AN: This is a two - act play. It stands on its own, but if you would like to see what started it all, a short story and a dialogue, check the next chapters.

ACT I

Characters

LESLEY HARTFORD, a science fiction writer suffering from writers block who has trouble dealing with her emotions and making her own choices KYLE BARLETT, Lesley's loving and supportive husband, a history teacher who doesn't like pushing his opinions on others GREG MURPHY, Lesley's editor and mentor, who is kind but when asked to voice his opinions, can be harsh

Act I, Scene I

(The scene begins in Lesley and Kyle's home. There is a couch center
stage with a chair on either side of it. A coffee table is positioned
between the two chairs and in front of the couch. Stage right is a
kitchenette with a fridge, oven, and table. Stage left is Lesley and
Kyle's bedroom, which is furnished with a bed and a table with a lamp
on either side. Lesley and Kyle are sitting together on the couch.
Kyle is stage left and Lesley is stage right. They are leaning against
each other and are covered in a blanket. They have a nearly empty bowl
of popcorn between them. It is clear by the pale light illuminating
only Lesley and Kyle and their forward stare that they are watching a
movie. After a few moments, Kyle picks up a remote from the table and
presses a button. The lighting changes to normal and the stage is
evenly lit. Lesley's expression becomes somewhat blank)

KYLE

(Yawns and stretches) That movie was pretty good. Didn't you think so?

LESLEY

(Her voice flat) Yeah, I liked it.

KYLE

What's wrong, Lesley? Are you tired?

LESLEY

No, not really.

KYLE

(Furrows his brow) Sick?
(He feels her forehead, and withdraws his hand with a frown) What's wrong?

LESLEY

(She sighs and leans her head in her hands) Oh, I'm just so nervous about tomorrow.

KYLE

Oh, about your meeting with Greg? Don't worry, I'm sure it will go fine.

LESLEY

Well, I'm not. Trust me. You haven't read my book.

KYLE

(Annoyed) Only because you wouldn't let me!

LESLEY

(Sheepishly) That's how bad it is. Aren't you always the first one to see my work? But, Kyle, that's not the point. The point is.
(She pauses) I don't even know what it is. All I know is that I'm worried about tomorrow.

KYLE

Well, do you need to talk about how you're feeling? It'll probably make you feel better.

LESLEY

No, no. I'll be fine. I guess I should just get a good night's sleep.

KYLE

(Uncertainly) Well, if you're sure.

LESLEY

(Forcing a smile) Yes, I'm sure. Don't worry! I'm fine.

(As a response, Kyle gets up from the couch, crosses stage right and
puts the popcorn bowl in the sink in the kitchenette. He returns to
Lesley on the couch and takes her hand, helping her up. They cross
stage left towards the bedroom. Blackout.)

Act I, Scene II

(The scene opens in an office. There is a desk stage left with several
chairs in front of it. A clock is on the wall center stage. Lesley
stands beneath it, in front of the desk. The office is of generic
style, with few personal effects except some framed photographs on the
desk. Greg is sitting at his desk. His countenance shows that he is
kind, yet it demands respect.)

LESLEY

Good morning, Greg.

GREG Good to see you, Lesley. Sorry I kept you waiting, I had a phone call I had to handle.

LESLEY That's okay, Greg. I didn't mind. (She stares at him as if waiting for something)

GREG
(Realizes Lesley is still standing) Oh, I'm sorry. Have a seat.

(Lesley sits in one of the chairs in front of Greg's desk, her hands
clutched together nervously in her lap. One can ascertain that this
next part is something that they always go through, for familiarity.
Small talk always proceeds their discussions of work.)

LESLEY

So, how is everything with you?

GREG

Oh, I'm good. Not much is new since I last saw you. Well actually, I started tennis lessons at the gym a few months back.

LESLEY

Oh, really? How is it? Are you any good?

GREG

(He chuckles) Not really. The instructor thinks I'm a lost cause.
(Pause) Anyway, how are you doing?

LESLEY

Not too bad. I guess I'm sort of worn out.

GREG

That's a shame. You're all right, though?

LESLEY

Yes, I'm fine.
(Hastily changing the subject) How's Hannah? Is her back still bothering her?

GREG

Not nearly as much. She started seeing a chiropractor, and it's working well.

LESLEY

Good. I'm glad to hear that.

GREG

And how is Kyle?

LESLEY

Oh, he's good. His new students have finally learned to respect him. I thought it would never happen considering the stories he came home with every day.

GREG

Kids these days have no respect for authority.

LESLEY

True. It's a shame, really. (She pauses, then hesitantly speaks again) Should we get started?

GREG (Discomfort surfacing in his expression and voice) Yes, let's get down to business.

(Lesley senses Greg's discomfort, and looks at him, waiting for him to
continue, but he remains silent.)

LESLEY Well?

GREG (Innocently) Well what?

LESLEY (Speaking as if walking on eggshells) Did you read the manuscript?

GREG (Uncomfortably) Ah. Yes.

LESLEY (She is slightly impatient at this point) And?

GREG (Still evasive) Well.

LESLEY (Sighs, sounds somewhat upset) Greg, I can't believe this. You've been my editor for what, eight years? And I can't even get a straight answer from you about what you thought of my book!

(Greg considers this, taps his pen on the desk. He sighs heavily and
leans forward in his seat, resting his elbows on the table.)

GREG

You want me to be completely honest with you?

(Lesley responds immediately and certainly)

LESLEY Yes. Tell me exactly what you thought when you read it. Don't be afraid to hurt my feelings, I'll worry about that myself.

GREG (Gently) It was awful.

LESLEY (Nods and sighs, angrily berating herself) I knew it. I knew it.

GREG
(His voice begins to lose its gentleness. He becomes increasingly
intense as he continues to speak) I couldn't understand the characters, and they did contradictory things. Nothing about them made me care what happened to them. They seemed so one- dimensional. The description was dull and plodding. There was no spark, no life, throughout the whole thing. I mean, that book was just crap! (Greg huffs, and calms down. Suddenly, he looks apologetic) I'm sorry, I really am. I don't know what came over me.

LESLEY (Stammering at first, a bit taken aback) Th-that's okay. I knew it all along. (Her voice becomes increasingly strong and angry as she continues) I had just hoped that it was just me. I mean, I thought it couldn't possibly have been as bad as I had thought.

GREG I'm sorry Lesley, really I am. But what happened? You're a wonderful writer. I have always felt honored to be your editor. What happened this time?

LESLEY (Dismissing his statement) You won't believe me.

GREG (Reassuring) Of course I will. Go on, tell me.

LESLEY I think I had the worst case of writer's block ever. (Senses his skepticism) I'm not being melodramatic. I mean, it was physically painful.

GREG Go on.

LESLEY (She begins speaking intensely) For months, I survived from day to day writing a few paragraphs a day, but later deleting them. I hated everything that I was writing, but it ended up consuming so much time that I finally gave up on liking it. I stopped trying to write something that I was satisfied with and focused on just writing something.

GREG

Yes. Well, frankly, I can see why you were so dissatisfied. This work is far beneath you.

LESLEY

Well, what should I do? How can I write again?

GREG

I know exactly what you need. What, you can't figure it out?

LESLEY

If I could, would we still be having this conversation?

GREG

No, we wouldn't. I suppose I should tell you?
(Lesley nods slowly as if he is dimwitted. He obliges leisurely) You could use a break from writing. You need some restorative time.

LESLEY
(Thoughtful) Maybe you're right. After all, I haven't let myself have more than a few days away from writing for years. Kyle has been suggesting we go on vacation for ages, but I haven't wanted to take time away from my writing. Now's the perfect opportunity.

GREG Well, then, there you go. Relax for a while, then come back and you can try writing again. But let me ask you something.
(Puzzlement shows in his voice and features as he continues) Why didn't you give yourself a break from writing on your own? I'm sure you must have entertained the idea.

LESLEY
(She thinks for a moment, and then responds slowly as if she is unsure
of her own feelings) I don't know. I must have thought of it myself. But I guess I just felt like if I did that, it would be like quitting.

GREG

(Surprised) Since when is taking a break the same as quitting? You are planning to come back, aren't you? Clearly, what you've been doing hasn't been working. So, why not try something new?

LESLEY

But what if it doesn't work? What if I come back and still can't write?

GREG

What's there to lose? Besides, I'm pretty sure that a break is all you need. Don't just assume that you're going to fail. You need to have faith in yourself.

LESLEY

(Sighs) You're right. I'll try my best.

GREG

Good. (He pauses) I everything it goes well. Send me an email from wherever you go and tell me how you're doing.

LESLEY Oh, I will.

GREG Good. Where do you want to go, anyway?

LESLEY I don't know. Someplace warm, I guess. Maybe it'll melt my brain back into shape.

GREG (Chuckles) Sounds like a good plan to me. Have a good time.

LESLEY Thanks again, Greg.

(She rises from her seat and exits stage right)

GREG (As if still talking to Lesley) And I'm sure that after this break, your next book will be wonderful.

Act I, Scene III

(Kyle and Lesley's apartment. Kyle is sprawled on the couch reading a
book, and facing stage left. Lesley enters the house stage right and
closes the door behind her. Kyle turns around and moves over to one
side of the couch. Lesley sits next to him and smiles)

LESLEY

Hi, honey.

KYLE

You certainly look happier.
(Suspiciously) What happened?

LESLEY

I had my meeting with Greg today.

KYLE

I know that. But what happened? What did he say about the book?

LESLEY

Well, for starters I was right. It was awful.

KYLE

Oh, I'm so sorry.
(Confused) But wait. You're happy. Why is that?

LESLEY

(Hesitantly optimistic) Well, Greg had an idea about what I should do to get through this block.

KYLE

And that was?

LESLEY

He thinks I should take a break from writing for a while. I thought that maybe we could go on vacation.

KYLE

I suggested that to you five months ago, and you wouldn't even consider it.

LESLEY

I know. But I wouldn't have felt right doing it in the middle of a project. I just felt like I had to keep going.

KYLE

Well, I guess I can understand that. I do know how important writing is to you. I really love you, and I want you to be able to do what you need to.

LESLEY

(Genuinely) Oh, honey, I love you too. It really means a lot to me that you're so supportive. I should have listened to you before.

KYLE

So, you do want to go on vacation?

LESLEY

Yeah, I think it could really help me through my block.

KYLE

Plus, it would be nice for us to get away together.

LESLEY

(Smiling) Yeah.
(Pause) I was thinking of going somewhere tropical, with beaches, rainforests, all that stuff. We haven't been to anywhere like that since our honeymoon.

KYLE

(Reminiscing) Hmm. I remember every moment of those two weeks.
(He pauses for a while, and then interrupts his train of thought) I guess we should go in about a month? That's when winter break for the students begins. We could have a good two or three weeks then. Even though break is only ten days, half the students don't show up till mid January, and the other half doesn't expect to learn anything. I'm sure the school could have a sub cover my classes.

LESLEY

(Chuckles) Ah, the joys of public schooling. December is as good a time as any. Then we'll be warm when everyone else is freezing.

KYLE

And where, specifically, should we go?

LESLEY

Let's go back to Costa Rica. Our honeymoon there was wonderful, and there were so many things we didn't get to do.

KYLE

Sounds good to me. You should arrange everything this week. I would, but I have a huge stack of papers to grade. Besides, you have free time.

LESLEY

I sure do. Don't worry, I'll handle everything.

(Lesley leans over and hugs Kyle unexpectedly. He is a bit surprised
at first but then laughs and hugs her back. He kisses her and they sit
there smiling at each other for a while. Blackout.)

ACT II

Characters

LESLEY HARTFORD, a science fiction writer suffering from writers block who has trouble dealing with her emotions and making her own choices KYLE BARLETT, Lesley's loving and supportive husband, a history teacher who doesn't like pushing his opinions on others GREG MURPHY, Lesley's editor and mentor, who is kind but when asked to voice his opinions, can be harsh

CARA, the concierge at a resort in Costa Rica ALEX, a visitor to Costa Rica, Julie's husband JULIE, a visitor to Costa Rica, Alex's wife MANUEL, a tour guide in Costa Rica

Act II, Scene I

(One month later, in Costa Rica. Scene is set in a resort reception
room. There is a check-in desk stage right facing stage left. Along
the back of the stage are four chairs, the center two separated by a
small table containing a pile of travel magazines. The concierge, Cara
is sitting at the front desk. On the desk are a lamp, telephone, and
papers. Cara is shuffling through some papers as Lesley and Kyle enter
from stage left, carrying their luggage. The concierge rises from her
seat. Lesley and Kyle stand in front of the desk and put their bags
down)

CARA
(Smiling brightly) Hi, I'm Cara, and welcome to El Hotel del Sol! How are you two this morning?

LESLEY We're doing great, thanks.

CARA Wonderful. Do you have a reservation?

KYLE Yes, it's under Barlett.

CARA Barlett. let me check.
(She scans a sheet of paper) Ah, yes. Honeymoon suite?

KYLE That's right.

CARA Congratulations!

(Lesley and Kyle look at each other and grin)

LESLEY
(Explaining to the concierge) We came to this hotel ten years ago for our honeymoon. When we were looking for a vacation spot, we decided to come back to the same place and rent the same room.

CARA How sweet! Sorry, I had just assumed you were newlyweds. But anyway.
(She gets two keys out from one of the desk drawers and hands them to
Lesley and Kyle) Here are your room keys. And here is the list of activities that the resort has planned for the next few days.
(She hands them a sheet of paper and a pen) If you'd like, you can sign up for any of them now. Or would you like to go up to your room first?

LESLEY No, I think we'll look at them now. Thanks.

CARA Well, when you're done, just come back here and I'll sign you up for what you decide on.

(The concierge sits back down at her desk. Lesley and Kyle move to the
chairs and sit down. They look over the list together)

LESLEY Look at all this! Horseback riding, canoeing, rain forest hikes!

KYLE Everything looks amazing. What should we sign up for?

LESLEY I don't know. I wonder which of these will help me with my writing.

KYLE
(Disappointed) Lesley.

LESLEY Well, wasn't the point of coming here to make me able to write again?

KYLE In one part, yes. But it's also for us to have some relaxing time free of stress. How will you feel better if you obsess over something unnecessarily?

LESLEY I guess it won't help. I'm just not used to this.

KYLE I know. Just relax.

LESLEY All right.
(Looks at the list again for a while) So, how about we go on the white-water rafting trip tomorrow afternoon?

KYLE Sounds good.
(Peering at the paper) And do you want to do the horseback riding the next day?

LESLEY Sure.
(Scans the list) Oh! I've always wanted to do this!

KYLE
(Trying to find what she's so excited about) What?

LESLEY
(She points at the paper) Ziplining up in the canopy of the rainforest! You know, when they have a wire between two trees and you get hooked to it and zip across.

KYLE Oh, wow. That sounds exciting. I remember, didn't we want to go when we were here before?

LESLEY Yes, but the trip was cancelled.

KYLE Well, then it's perfect that they have it now.

LESLEY
(Circles several items on the paper) Come on, let's sign up.

(They get up and bring the paper to the concierge)

CARA All set?

LESLEY Yes. Here you go.

CARA
(Looks over the paper) Great. So tomorrow you have rafting, the next day is the horseback-riding trip, and the next day is ziplining.
(She writes down their choices and gives them the paper back) Here, you can keep this since it says when and where everything is. I'll sign you up for the trips.

LESLEY Thanks.

CARA Do you need help carrying your bags to your room?

KYLE That would be great.

CARA All right, I'll get someone to come help you. If you need anything else, just call. There's a list of numbers next to the phone.

LESLEY Thank you.

(Cara picks up the phone and dials. Blackout)

Act II, Scene II

(The scene opens in the rainforest. There is a backdrop depicting a
scene of trees. Sounds of frogs, birds, etc. can be heard. Stage right
is a wide tree trunk that seems to continue past the ceiling of the
stage. A rope ladder is dangling down the tree. As the lights rise to
a dusky glow, several characters can be seen descending the ladder,
and some are already on the ground. Lesley and Kyle stand at the base
of the tree. A Costa Rican tour guide, Manuel is highest up on the
ladder, closer to the bottom are a young couple, Alex and Julie. Kyle
and Lesley speak to each other as the others reach the ground)

KYLE

That was amazing, wasn't it? Feeling the wind rushing past you and only seeing a blur of green as you passed by the trees?

LESLEY

Yes. And you know what?
(A sort of wonder emerges in her voice) That first zip, when I didn't know what to expect, I felt something that I hadn't experienced for a long time.

KYLE

What?

(The others have reached the bottom of the ladder by this point and
are listening to Lesley and Kyle. The lighting darkens as they speak)

LESLEY

I felt this rush of exhilaration. I was going so fast, and I was afraid, but at the same time, I was excited. I had forgotten what that felt like.

KYLE

But how could you have forgotten? It's not like you've never felt it before.

LESLEY

I don't know. But I realized up in the trees just now how little I've felt in the last few years. I mean, sure, I've been experiencing things, but not the emotions that come with them. I don't know. It just seems that this trip is reminding me of everything I've been missing. Like when we were white-water rafting the other day, I felt so alive. And when we were riding the horses yesterday, I felt content, just completely at peace. All these feelings all of a sudden, and I hadn't even noticed missing them before.

KYLE

Wow, then it's perfect that we took this trip.

LESLEY

(As if she is thinking very hard to herself, she appears somewhat dazed) Yeah.

JULIE

(Cheerfully) Well, I can see that you two enjoyed ziplining as much as we did. Right, Alex?

ALEX

Definitely. Too bad we had to stop early, though. I would have liked to go through all the zips.

MANUEL

Sorry, but we were running late in the first place, and I didn't want it to get too dark.
(As if responding to his words, the forest begins to darken again. He
takes no notice of it, but continues speaking) The rainforest can be very dangerous at night. Now let's go find the end of the trail so we can get back to the truck.

(He looks around and realizes how much it has darkened. The others notice as well)

ALEX

Um. which way do we go?

MANUEL

Oh, don't worry, I know where we're going.

(Manuel leads the way towards stage left. Everyone follows him, until
he abruptly stops. Then Manuel turns back around and walks towards
stage right, and the others follow. He again stops when he reaches the
tree. Everyone is puzzled and looking around. The lighting dims again
until the audience can just see the silhouettes of the characters. The
rainforest sounds stop abruptly. Spots of bioluminescence - glow in
the dark paint - can be seen on the forest floor. It is apparent by
their bumping into each other and reactions that the characters cannot
see anything. Kyle, Lesley, Julie, and Alex's voices overlap each
other in this next bit)

KYLE

No way.

LESLEY

Shit!

JULIE

Why does this have to happen?

ALEX

All right, what do we do now?

MANUEL

Now everyone, stay calm. I'll get us out of here.
(There is a clap of thunder and the sound of rain) All right, nothing to worry about, just a little rain. It's not called the rain forest for nothing, right?
(No one laughs at the joke) Here's what we're going to do. It'll be too hard for us all to move together in the dark, so you four stay here. I'll find the truck and come back with flashlights. Just don't move - it's better that you stick together.

LESLEY

(Suddenly hysterical) What? You're going to leave us here alone?

MANUEL

It'll be fine, just stay put and I should be back within fifteen minutes.

(Manuel exits stage right. The sound of the rain becomes louder. The
characters have to speak loudly because of this)

KYLE

It's okay, Lesley. We'll just have to make the best of this.

LESLEY

How? What's so great about our situation? We're in the rainforest, we can't see a thing except some weird glowing stuff on the ground, and it's pouring.

(The others seem to ignore Lesley's comment. During these next
developments, she listens with interest but does not partake in them.
As the others' self-distraction progresses, Lesley seems to be dealing
with an internal struggle.)

ALEX

Say, have you two been to the restaurant right next to the resort? Julie and me went last night and it was excellent.

JULIE

The food was great! Especially the fish.

KYLE

Oh, we were there the day before you. You're right, the fish was excellent. Did you get the mahi-mahi?

JULIE Yeah, the dolphin-fish. I had to make sure it wasn't really dolphin before ordering it!

ALEX More like she was berating the waiter because she was outraged at the prospect of having dolphin on the menu. He told her it wasn't dolphin once he could get a word in edgewise.

JULIE
(Jokingly) Well, I'm sorry I'm conscientious about the environment and have a respect for nature!

KYLE Well, we're trapped in a whole lot of nature right now. I wonder when Manuel will be back.

(Alex and Julie seem not to have heard him. Neither do they seem to
notice a rustling from the bushes or a snarl from nearby. Lesley does,
however, and suddenly clings to Kyle. When the sound does not
continue, she relaxes somewhat and lets go of Kyle, but is still wary)

JULIE Hey, Alex, you wanted to play tennis tomorrow, right?

ALEX Yeah, why?

JULIE
(To Kyle and Lesley) Do you two want to join us? Neither of us is very good, but we could play some doubles.

KYLE I don't know. I don't think we had made plans yet.
(Turns to Lesley) Lesley, do you want to play?

(She does not answer. Her internal struggle is still obvious in her posture)

KYLE (More quietly) Lesley, what's wrong? Are you okay?

LESLEY
(Loudly, full of emotion. She is mostly addressing Alex and Julie) Nothing's wrong with me! What's wrong with all of you? Can't you see the situation we're in? We're in real danger here! And all you can talk about is other things! Food! Tennis! Why can't you just live here, now? Don't ignore your emotions! They're what keep you alive! What's the point if you just ignore them?
(The others stand dumbfounded and silent. When Lesley speaks again,
she is calmer, but sounds like she has reached something very
important) Oh my god. That's it! That's it!

KYLE
(Concerned) What? What is it?

LESLEY The world has been trying to tell me something for the last few days. I didn't understand it until now. But everything is coming into place.
(Kyle stands waiting, confused. The others are still in shock at her outburst) I know what I've been doing wrong. Instead of living life and feeling emotions, I've been ignoring them. But what kind of life is that? I need to let myself feel! That's what's wrong with my life. And that's. that' what's wrong with my writing!

KYLE How?

LESLEY
(Takes a deep breath) I need to start writing from within. What's the point of just grabbing things out of nowhere? It's not real. No, to write, I need to write from experience. I have to truly live, and write from that true life!

KYLE You think that's the solution you were searching for?

LESLEY Yes. I know it. I can feel it!

(She laughs happily. Kyle hugs her)

KYLE That's great, honey. I'm so glad you've figured everything out. Not just for writing, but for life.
(He smiles at her) Now all we have to worry about is getting out of here.

ALEX
(Affected by Lesley's epiphany, no longer subconsciously distracting himself) Yes. Manuel should be back soon.

JULIE
(Affected the same as Alex) I wonder if he had any trouble finding the truck.

(A flashlight beam shines onto the stage from stage right. Julie,
Alex, Kyle, and Lesley blink and squint at the unnatural light. Manuel
enters from stage right. He is carrying one illuminated flashlight and
one other)

MANUEL Is everyone all right?
(The others nod) Good. Here, I brought these flashlights. Let's get back to the truck. We'll all need a good night's sleep after this.

(He hands a flashlight to Alex. Alex switches it on, and the light is
dim and flickering, but there is enough light for everyone to see
adequately. Everyone walks towards stage right and exits. Blackout.)

Act II, Scene III

(The scene opens in Lesley and Kyle's hotel room. There is the bedroom
stage left; stage right is a nook where there is a mini-bar, icebox,
and coffee maker. Center stage is a desk with a lamp on its right, a
coffee cup on its left, and Lesley's laptop on the center. Lesley sits
at a chair behind the desk. She looks very frazzled and is typing
frantically. Kyle stands at her left. He also seems a bit haggard)

KYLE
(In an attempt to persuade her) Come on, Lesley, take a break. Snap out of it!
(He waits, but she doesn't respond) You're not even supposed to be working! You could at least get some sleep. You haven't slept for three days!
(He waits for a response, but still gets none) Lesley, you can't keep this up for much longer. You'll crash. I don't want you to have a breakdown.

(Lesley stops typing and turns to him, sighing)

LESLEY
(In a stressed-out voice) I really need to do this. I can't just stop now. I've come so far!

KYLE What are you talking about?

LESLEY
(Struggling) This book. it's. once I'm done it, I can be me again. Once I get out all these pent-up feelings, I can go back to normal.

KYLE
(Abruptly) But what is normal? The way you've been recently or the way you were before that?

LESLEY
(Confused, and shocked) What do you mean?

KYLE
(Emotionally) I've been keeping this to myself, but I really need to let you know how I feel. You've been really self-absorbed lately. It started when you were writing that book. You just internalized everything, and I was left wondering what was happening to you, feeling that you were slipping away. I don't want that to happen again. You're not the only one in this relationship, you know. I'm here too. But over the past year, I haven't felt that. I deserve some attention.

(Kyle finishes on a demanding note. Lesley sits slack-jawed for a moment, speechless)

LESLEY
(She laughs sadly, shaking her head.) God, I've been really selfish, haven't I? How can you live with me like this?

KYLE Because I love you. Despite how you've been acting, I still love you. But I think we have some issues that we need to resolve.

LESLEY
(Sighs) You're right. I didn't see it before, but I really have been neglecting you. I'm so sorry. I know it will take more than that to make things right again, but I am sorry.

KYLE Just take a look at what you're doing right now. Aren't you doing what you just learned not to?

LESLEY
(She appears puzzled for a moment, and then realizes) I'm. I'm completely submerging myself in writing this, and ignoring what's going on around me. I'm doing what I said I had to stop!
(Upset) I'm just so scared I'm going to lose what I found in the forest. That if I stop writing now, I won't be able to keep putting myself into my writing.

KYLE But what about your life? Isn't it more important for you to put your feelings into your life? If you can't do that, then what's the point?

LESLEY When you say it that way, it seems obvious.
(She exhales forcefully. Determined, she makes up her mind) I have to take that chance. I'll just be here, with you, now. To hell with the book. I'll finish it when we get home. But right now, we're on vacation. We need to talk and work things out, and spend some time together.

(She gets up from her seat and walks to Kyle, who is smiling. She hugs him hard. They hold each other for a long time. Blackout)

Act III, Scene I

(The scene is in Greg's office. Greg sits behind his desk, and Lesley
sits in front of it. Lesley appears very happy and changed. Greg
doesn't quite know what to make of her and proceeds somewhat
cautiously. Lesley, however, is very sure of herself and does not need
to be pushed to converse)

GREG So. how was Costa Rica?

LESLEY Oh, it was wonderful! Kyle and I really had a great time there. I'm glad that we stayed for so long, because there was so much to do.

GREG
(Slightly scolding) You would have had more time if you weren't working.

LESLEY I know, but I only wrote for a few days. The rest I did when we got back.
(Happily) For the first time in ages, I had fun. And Kyle and I got to really spend time together. I think the trip was good for us. We had been having problems, and I hadn't even realized it. We had a few long talks about it, and we're doing better than ever now.

GREG Well, that's good. I'm happy for you.

LESLEY I am too.
(Correcting herself) Happy, I mean. I just feel. so much more alive.

GREG
(Smiling) I can tell.

LESLEY Yeah.
(She smiles) I guess everything has just come into place for me now. It took a while, but I figured everything out.
(She pauses and switches tracks) And I am glad that I wrote that book. I really think it's the best thing I've ever written. Even though it's science fiction, this book seems real, more so than all of my others.

GREG
(A bit surprised at Lesley's assertiveness, but in agreement) I completely agree. The book was simply amazing. Better than any of your other work. And the fact that you're pleased with it is great.

LESLEY It is. And once we're done working with this book, I'm not going to go back to writing for a while.

GREG Great idea.
(Jokingly) Sounds familiar.

LESLEY Well, I know now that I don't have to be working all of the time, so I'm not going to. I'm allowed to let myself rest!

GREG I'm glad that you learned that. I had been trying to tell you before.

LESLEY I know. I just wasn't listening. But now I'm making the decision for myself. I'm going to relax for a while, spend more time with Kyle, and just do what I want.

GREG Good.
(Chuckles softly) It's funny, it's like we're starting everything over.

LESLEY Except everything is different now. Everything is better.

GREG You're right. Everything is different, because you're different.

LESLEY
(Smiles) Yeah, I am. And I'm glad.

(Blackout)