Sample of Professional Writing Pieces

1. ALEXANDRA KAPLAN
551-265-6499
WRITING PORTFOLIO
Table of Contents
1) About Page for PR Client Adam Fallen
2) Review of Play “When We Were Young and Unafraid”
3) Mock Michelle Obama Speech on Gender Income Disparity
4) Analysis of the Novel “Beloved” by Toni Morrison
5) Press Release for ic! berlin on Brad Pitt
6) Articles on New York Fashion Week for Fashion 360 Mags
7) One-Act Play “The Smell of Cinnamon”
IG: @allyrumell
Slideshare: https://www.slideshare.net/AlexandraRumell
LinkedIn: https://www.linkedin.com/in/alexandrakaplan5/

2.
2
2
Adam Fallen Bio:
"Adam Fallen is a young lion who truly brings soul, groove, and an intense passion to all
the music he plays."- Charleston City Paper
Adam Fallen is a music maverick who, at 21 years old, has already gotten his hands
messy with some of entertainment's greatest. His first tour was on the road with Clay
Aiken at age 18. He has performed under artists and producers such as: Eric Benet, Ruben
Studdard, Monifah, Vinylz, Elise Testone, Elle Varner, and more. Most recently, Adam
performed at the Super Bowl XLVIII with Queen Latifah. Fallen musically directs the New
York pop, R&B, and hip hop showcase Nema's Boom Boom Room, working hands on with
artists from Def Jam and Atlantic Records.
Adam's career began when he attended Charleston County School of The Arts in sixth
grade, majoring in Visual Arts. After being forced into a guitar exploratory class, he was
shown a simple riff and immediately became fascinated by the sounds. He did not realize
then that the attempt to play Outkast and Nirvana songs would soon lead him to develop a
passion for music that was unrivaled. His dad showed him the classics such as Jimi Hendrix,
Cream, and Led Zeppelin, while the blues became a lasting influence. By 15 years old, many
were referring to him as a prodigy. It was clear to most by then that he was going to go far.
After graduating high school with a diploma in Visual Arts, Adam applied to College of
Charleston for their jazz studies program and received a music scholarship. Studying under
the faculty there, he was pushed to develop a completely new method of playing. Adam's
first big break came when he was picked up and hired full time by American Idol finalist,
Quiana Parler, inspiring him to quit his day job at a restaurant and play music full-time.
After six months he was offered a 3 month tour across the U.S. playing for Clay Aiken and
took a break from school in order to seize that opportunity. Upon returning to Charleston,
the budding musician started his own group and headlined a weekly event as the musical
director of “Funky Thursdays” under the name of "Thank God Its Funky",
taking influence from a wide range of artists such as, The Roots, Lettuce, Snarky Puppy,
Robert Glasper and various gospel and R&B artists.
Recently, Adam took his music in a new direction, moving to New York and transferring
to Queens College,to study under Antonio Hart and Michael Mossman. Influenced by a
plethora of musicians, such as Wes Montgomery, Eric Walls, Django Reinhardt, George
Benson, Jimi Hendrix, Herbie Hancock, and Eric Krasno, his wide ranging abilities have
gotten him work very quickly in New York. Using gospel church as an outlet every Sunday
and becoming resident guitarist for multiple bands such as UF music group, MH the Verb,
Thank God It's Funky, and Toni Menage’s “So Disrespectful", he is on a new and
expanding horizon. Fallen also has appeared on multiple studio productions by Vinylz
(producer for Drake, DJ Khaled, One Direction and Jay Z).

3.
3
3
Just about every night of the week, you can find Adam somewhere practicing,
networking, listening, or playing music. He aspires to be a musical director for pop artists
as well as a producer and film score composer/arranger, as well as to continue creating his
own incredible music.
With New York fueling the flame of his growth and projection, you won't want to miss this
rising star's upcoming projects and performances.

4.
4
4
REVIEW
OF
“WHEN
WE
WERE
YOUNG
AND
UNAFRAID”
“There
is
a
special
place
in
hell
for
women
who
don’t
help
other
women”.
As
if
to
remind
the
cast
and
crew
of
the
purpose
of
the
drama
“When
We
Were
Young
and
Unafraid”,
this
telling
quote
by
Madeleine
Albright
is
scrawled
across
the
cast
page
of
the
script.
Had
I
not
requested
the
script,
I
may
never
have
seen
the
extent
of
the
playwright
Sarah
Treem’s
determination
to
convey
to
the
people
involved
what
their
duty
is
in
carrying
out
this
play.
This
is
not
a
play
for
theater-­‐goers
who
nourish
their
souls
through
conflict.
If
you
wish
to
see
the
female,
abused
protagonist
slapped
by
her
abuser
during
the
length
of
a
play,
you
will
not
like
this
play.
If
you
wish
to
see
the
beautiful,
flirtatious
MaryAnn
heal,
however,
you
may
not
like
the
play
either.
But
if
you
go
to
a
play
with
the
desire
to
have
your
core
values
questioned,
and
to
be
reminded
of
the
greater
purpose
that
perhaps
is
meant
amidst
the
sadness
and
beauty
of
being
a
woman
in
this
great
big
world,
then
this
may
very
well
be
your
play.
“When
We
Were
Young
and
Unafraid”
is
the
too-­‐familiar
story
of
a
woman
who
takes
flight,
and
then
finds
herself
with
nowhere
to
go.
But
instead
of
winding
up
dead
or
returning
to
her
abuser,
the
protagonist
calls
Agnes,
a
formidable
matriarch
and
the
owner
of
a
house
run
for
abused
women.
As
the
story
develops,
so
do
the
characters.
The
violated
sexuality,
lack
of
power
and
fear
of
the
women
is
palpable.
But
so
too
is
the
defiance,
as
walls
are
penetrated
more
than
these
women
will
ever
allow
themselves
to
be.
The
question
one
is
left
with
is
not
whether
submissive
love,
same-­‐love,
or
defiance
against
love
is
right
or
wrong.
That,
the
play
insists,
is
up
to
the
viewer.
Instead,
the
question
that
pervades
the
mind
as
you
leave
is,
plainly,
whether
you
will
survive.
Just
as
the
characters
secretly
haven’t
a
clue,
neither
do
you.
This
is
not
a
play
for
the
weak.
Or
perhaps
it
is.
It
is
not
a
play
for
the
housewife,
the
feminist,
or
the
LGBTQ.
Or
perhaps
it
is.
But,
above
all,
this
play
screams
that
is
not
for
you
to
decide
which
one
is
the
one
I
was
calling
weak.
This
is
a
play
for
women.
It
is
a
play
you
really
ought
to
go
to,
if
you
have
ever
looked
in
the
mirror
and
said
“I
am
a
woman”
or,
more
tellingly,
“I
am
not
a
man”.
Like
us,
or
at
least
like
me,
it
is
beautiful,
sad,
angry,
and,
just
maybe,
a
little
lonely.
It
is
human.
It
is
woman.
It
is
“When
We
Were
Young
and
Unafraid”.
I
dare
you
to
watch
it.

5.
5
5
Mock
First-­‐Lady
Speech
on
Gender
Gap
in
Earnings
Good
morning
everyone!
I
hope
you’re
all
enjoying
this
rain
as
much
as
I
am.
(Pause.)
The
truth
is,
this
rain
could
have
happened
any
other
day
and
I
would
have
been
fine
with
it,
but
today
is
an
important
day.
Today,
I
am
seeing
you
all,
and
you
are
such
a
supportive
crowd,
and
I
am
speaking
about
something
that
hits
very
close
to
home
for
me.
Today
is
an
important
day.
What
am
I
speaking
about?
It
can
seem
like
such
a
simple
answer,
but
it’s
probably
the
most
complicated
answer
imaginable.
I
am
speaking
about
the
gender
gap
in
earnings
this
year.
Because,
as
the
First
Lady,
I
am
in
a
peculiar
position,
where
I
am
given
the
chance
to
speak
for
women,
as
a
woman,
and
to
fight
for
their
rights
in
a
position
of
privilege
that
few
women
have
experienced.
And
why,
I
ask
you,
should
women
not
be
put
in
a
position
of
privilege?
I
hope
and
believe
you
all
agree
that
women
are
entitled
to
the
same
rights
as
men,
and
that
we
have
earned
it
not
only
by
our
natural-­‐born,
god-­‐
given
rights,
but
by
the
blood,
the
sweat,
the
tears
that
we
put
in
in
our
battle
for
women’s
rights.
And
yet,
you
may
have
heard
by
now
that
women
earn
78%
of
what
men
earn,
and
that
this
number
has
had
increased
in
alarmingly
small
amounts
for
the
entire
past
decade.
And
so
I
ask
you,
how
many
decades
must
we
wait
for
equal
pay?
This
is
not
to
be
considered
just
the
norm.
It
is
not
something
to
just
be
accepted
as
we
go
about
our
daily
lives.
This
is
an
atrocity.
This
is
an
atrocity
on
the
lives
of
single
mothers
who
work
all
day
at
a
nine-­‐to-­‐five
job,
come
home
to
feed
their
waiting
child,
and
find
they
don’t
have
enough
in
their
bank
account
to
feed
even
themselves.
This
is
an
atrocity
for
the
woman
in
an
unhappy
marriage
who
can
not
afford
to
leave
her
husband,
putting
her
very
body
in
danger
for
the
sake
of
the
family.
This
is
an
atrocity
for
anyone-­‐anyone-­‐who
believes
that
women
are
of
worth,
are
to
be
valued,
are
to
be
seen
as
living,
breathing,
walking,
hard-­‐working
humans.
This
is
an
atrocity.
Women
must
start
earning
the
same
wages
as
men,
and
as
a
believer
in
the
equal
rights
of
all
Americans,
I
am
here
today
to
promise
you
that
this
matter
will
be
at
the
forefront
of
my
mind
in
this
coming
year.
As
a
woman,
I
will
fight
with
all
my
blood,
sweat,
and
tears,
and
I
will
not
let
this
issue
rest
until
the
day
women
receive
equal
pay.
And
if
you
are
with
me,
and
if
you
are
with
the
president,
then
let
your
voice
be
heard.
Do
not
stand
silent
in
the
face
of
the
struggling
mother
and
the
struggling
wife.
Stand
up,
and
make
your
voices
heard!

6.
6
6
Analysis
of
the
Novel
Beloved
In
the
novel
Beloved,
the
character
Beloved
is
a
figure
of
intrigue.
She
fascinates,
and
yet
she
repels.
She
is
not
asked
for,
but,
in
her
unending
presence,
she
provides
safety
until
the
moment
she
destroys.
Beloved
is
not
a
mere
character
of
fiction;
she
is
a
representation
of
Carl
Jung’s
theory
of
archetypes,
particularly
of
Jung’s
theory
of
the
archetype
Shadow.
Beloved,
like
Jung’s
Shadow,
is
“the
necessary
and
needful
reaction
from
the
collective
unconscious
(expressing)
itself
in
(symbolically)
formed
ideas”
(21).
Beloved
is
a
symbol
of
the
unconscious
thoughts
that
the
characters
in
the
novel
harbor.
In
the
process,
Beloved
becomes
a
character
that
is
simultaneously
feared
and
loved,
one
that
is
never
forgotten
yet
somehow
is
not
remembered.
“In
the
realm
of
consciousness”,
says
Carl
Jung,
“we
are
our
own
masters.
But…we
discover
with
terror
that
we
are
the
objects
of…our
own
inadequacy.”
(23)
Beloved
exhibited
such
control
over
the
other
characters,
such
as
her
control
over
Paul
D,
when
he
described
himself
as
having
come
to
be
“a
ragdoll-­‐picked
up
and
put
down
anywhere
anytime”
(148)
by
Beloved.
Beloved
exercises
similar
control
over
the
life
and
fate
of
Sethe,
who
wastes
away
in
the
end
due
to
the
loss
twice
of
her
child,
and
of
the
actions
of
Denver,
who
turns
on
her
mother,
knowing
soon
after
meeting
Beloved
that
she
would
choose
her
over
her
mother
if
forced
to.
But
Jung’s
Shadow
is
similar
to
an
“ineffably
childish
phenomena…regarded
as
a
personal
‘gaffe’…”
(262)
Beloved,
the
character,
represents
this
childish
shadow,
who
is
nonetheless
powerful
in
her
negative
impact,
and
who
binds
the
fate
of
those
around
her.
The
Shadow,
moreover,
is
a
character
to
be
sympathized
with.

7.
7
7
Jung
describes
the
shadow
as
being
akin
to
remaining
animal
traits
which
we
succumb
to;
in
similar
fashion,
Beloved
is
just
a
“hurt,
little
girl”,
according
to
author
Toni
Morrison
(VisionaryProject),
and
Beloved
is
essentially
acting
on
how
she
was
raised
and
based
on
a
fear
of
being
abandoned.
“I
can
not
lose
(my
mother)
again”,
muses
Beloved
(250).
Like
a
lost
child,
Beloved
would
do
anything
not
to
be
abandoned.
A
product
of
self-­‐defeating
behavior,
Beloved,
as
the
Shadow,
brings
her
own
downfall.
In
a
tragic
turn
of
plots,
after
Beloved
has
come
from
the
waters
despite
being
murdered,
if
she
was
in
fact
the
same
as
the
murdered
baby,
Beloved
then
becomes
recklessly
impregnated
with
Paul
D’s
child.
When
villagers
come
to
exorcise
the
house
of
her,
she
“explode(s)”,
or
simply
“disappear(s)”
(310).
Akin
to
her
position
in
life,
Beloved
has
no
stable
ending
story.
She
sets
herself
up
to
be
run
off,
afraid
of
staying
but
with
nowhere
to
go,
disappearing
into
nothing.
The
tragedy
is
not
in
that
Beloved
was
healthy,
but
instead
in
that
Beloved
is
the
root
of
personal
fantasies,
fears,
and
loves.
For
Beloved
to
fail
is
for
the
human
condition
to
fail.
The
story
is
only
about
her.
“I
surrounded
her
with
people
more
like
myself”
(VisionaryProject),
says
Morrison,
indicating
that
Beloved
was
the
central
character,
and
all
other
characters
were
repercussions
of
her.
Beloved
is
the
human
condition,
shown
through
the
occasional
outlandish
act
of
a
human,
and
the
here
and
there
“faux
pas”
(262)
or
slip
of
the
tongue.
When
she
disappears,
the
story
comes
to
a
bitter
close.
Was
there
any
chance
at
all
that
Beloved
could
have
survived,
if
she
had
not
been
a
hurt
and
lost

8.
8
8
little
girl?
If
a
human
is
left
untainted,
are
they
inherently
good?
This
is
the
question
that
the
reader
is
left
with,
as
the
book
Beloved
is
closed
for
a
final
time.
Works Cited
Jung, C G. The Archetypes and the Collective Unconscious. New York, New York.
Bollingen Foundation Inc., 1959.
Morrison, Toni. Beloved. New York, New York. Vintage International. 1987.
Toni Morrison Talks About Her Motivation For Writing. Dir. Visionaryproject. YouTube.
YouTube, 04 Dec. 2008. Web. 10 Aug. 2012.
<http://www.youtube.com/watch?v=_8Zgu2hrs2k>.

9.
9
9

25.
10
10
Act
1:
The
Smell
of
Cinnamon
Isabelle
I
saw
her
again
last
night.
Eli
You
saw
nothing.
Isabelle
But
I
did.
I
do.
I
see
her
sometimes.
She’ll
suddenly
appear.
Eli
It’s
not
real-­‐
Isabelle
I
can
feel
her
breath.
The
smell
of
cinnamon-­‐
Eli
…It
never
was.
Isabelle
…And
she
speaks
to
me.
Pause.
Eli
It’s
not
real,
Izzy.
It’s
all
in
your
head.
Isabelle
Oh,
but
if
what’s
in
our
head
isn’t
real,
then
is
anything
real
at
all?
Eli
She
doesn’t
hear,
she’s
not
receptive-­‐
Isabelle
A
mind
is
nothing
more
than
action
and
reaction.
Her
soul-­‐
Eli
Is
gone.
She
is
gone.
She
died-­‐
Isabelle
My
mind
remade
her.
I
spoke,
and
she
spoke
back.
Memories
were…constructed-­‐

26.
11
11
Eli
She
is
gone,
Isabelle.
Gone.
Dead.
Dead
and
done
with-­‐
Isabelle
No
she’s
not-­‐
Eli
(Loudly,
stressingly)
There
is
nothing
left
of
her!
Isabelle
(Whispering)
But
you’re
wrong.
I
know
you
think
you’re
right.
I
know
nothing
I
say
will
change
how
right
you
think
you
are.
But
believe
me
when
I
say
there
are
things
beyond
your
grasp
that
live
and
thrive
out
of
those
who
believe-­‐
Eli
None
of
it
is
real.
None
of
it
is
feasible-­‐
Isabelle
Oh,
but
you’re
wrong.
Eli
Izzy-­‐
Doorbell
rings.
Pause.
Eli
gets
the
door.
Enter
Mother.
Mother
(On
phone)
…No,
no,
no!
I
won’t
allow
it!....No,
I-­‐Yes,
I…that’s
not
my
place?!
And
what
exactly
do
you
think
your
place
is…in,
in…I
raised
him
better
than
that.
You
think
about
that,
why
don’t
you?
Yes,
you-­‐no,
you…yes,
he
can.
He
is
capable
of
anything.
Pause.
And
that
kind
of
thinking
is
why
this
happened.
Think
about
that.
Long
and
hard.
No,
I-­‐Yes,
I…I’m
hanging
up.
I’m
hanging
up!
Yes,
I…
Sighs,
hangs
up.
(Absentmindedly)

27.
12
12
Going
down
the
wrong
path,
and
what
can
I
do?
Because
God
gave
us
free
will,
now
didn’t
he?
Looks
at
Eli,
laughs.
(To
Eli)
First
He
gave
free
will,
then
He
gave
me
you
all.
It’s
a
cosmic
joke,
that’s
what
it
is.
Eli
(Quietly)
Would
you
like
some
tea,
mother?
Mother
Tea?
Yes…no.
No,
I
can’t
have
tea,
darling.
The
yeast…will
fester…my
body,
it
will....
Pause.
What
was
I
saying?
Isabelle
That’s
not
true
at
all.
Eli
stands
up
abruptly
and
begins
putting
cups
in
the
dishwasher
as
Isabelle
draws
rings
around
her
hovering
cup.
Not
true…
Mother
The
doctor
agreed.
He
quite
literally
said
it,
the
yeast
Isabelle’s
cup
drops,
making
clinging
sound
and
splashing
coffee
on
table.
Isabelle
Oh…stupid
me.
Laughs.
I
do
manage
to
make
a
mess
every
time
I’m
hear,
no,
Eli?
Eli
That…is
very
true.

28.
13
13
Eli
and
Isabelle
look
at
each
other.
Mother’s
phone
rings.
Eli
turns
on
tea
pot
as
Mother
silences
phone.
Mother
Doesn’t
he
get
what
no
means?
Doesn’t
it
occur
to
him
to
just
once-­‐
Isabelle
(Softly)
I
know.
Phone
rings
again.
Mother
accepts
call,
whips
to
ear.
Mother
I
said,
Trevor,
that
I
was
hanging
up.
Do
you
not,
can
you
not
comprehend….WELL
THAT’S
FINE
until
you
give
me
a
heart
attack…do
not
tell
me
WHAT
I
heard,
I
know
what
I
heard…yes,
yes,
got
it,
I’m
quite
sympathetic.
Pause.
Exeunt
Eli.
(Dead
calm)
I
raised
him
better.
This
is
your…blame,
your
fault.
This
is
your
fault.
Your…failing,
your-­‐for
god’s
sake!
I
am
hanging
up!
Pause.
Good
night,
Trevor.
Not
at
all….The
blame
is
yours,
and
yours
alone.
This…is
your
failure.
(Gaining
momentum)
This
is
your…
Pause.
Good
night.
Hangs
up.
Isabelle
Mother?
Mother
Yes?
Isabelle

29.
14
14
What…?
Tea
pot
starts
loudly
whistling.
Enter
Eli,
running.
Eli
turns
off
tea
pot.
Mother
Do
you
never
watch
the
tea
pot,
Eli?
Eli
I
told
you
to.
Isabelle
slowly
gets
up.
Isabelle
What
time
is
it?
Eli
There’s
a
clock.
Isabelle
The
handles
confuse
me.
You
know
that.
Mother
That
is
overthinking,
honey.
Isabelle
The
numbers…all
cluster.
Eli
Yes,
and
when
you
tie
a
shoelace,
your
hands
intertwine.
These
aren’t
things
you
unlearn.
Pause.
Eli
begins
wiping
counter.
It’s
three
o’clock.
Isabelle
You
didn’t
even
look.
Eli
looks
meaningfully
at
clock.
Eli
It’s
three
thirty
three.
Isabelle
You’re
lying.

30.
15
15
Mother
Izzy,
what
is
the
matter
with
you?
Isabelle
(Earnestly)
It
is
not,
it
is
not…she
is
lying…
Mother
She
looked
at
the
clock-­‐
Clock
clangs
three
times.
Eli
laughs
long
and
hard.
Eli
It’s
three
o’clock.
Lights
dim.
New
scene.
Grassy
park.
Eli
ruffles
through
bag
on
bench
in
frenzied
fashion.
Enter
Cameron.
Watches
her
for
moment.
Cameron
Hello,
Auntie
Eli.
Kisses
Eli
on
cheek
before
she
can
stop
him.
How
are
you?
Eli
How
am
I.
Stops
ruffling,
straightens
back.
How
am
I.
Pause.
Cameron
Auntie
Izzy-­‐Eli!
Listen…Auntie…Eli-­‐
Eli
What?
Cameron
The
situation
was
incredibly...complicated-­‐

31.
16
16
Eli
Complicated.
Have
you
never
heard
of
nature’s
magic
number?
Cameron
I...don’t
believe
I
hav-­‐
Eli
This…is
a
simple
world.
Everything
is
simple,
everything
is
cut
just
right,
so
take
a
step
back
and
YOU
tell
ME...how
I
am.
Cameron
I…made
a
mistake-­‐
Eli
-­‐You
got
caught.
What
else?
Cameron
It
wasn’t…intentional-­‐
Eli
You
have
free
will.
Nothing
is
controlling
you.
Intention…nality...is
not
even
a
question.
Cameron
No
one
needs
to
know.
Eli
And
you
are
so
lucky
no
one
does,
and
when
someone
does,
and
someone,
someday,
will
find
out-­‐
Cameron
Izzy-­‐Eli-­‐
…give
me
a
break,
Auntie
Eli.
Eli
Do
you
not
grasp-­‐
Cameron
Yes,
I
grasp…at
straws-­‐
Eli
For
the
love-­‐
Cameron
I
grasp
it!

32.
17
17
Eli
You
sound
like
grandma.
Cameron
Better
than
Izzie.
Am
I
wrong?
Eli
Izzie
didn’t
kill
a
baby.
Train
whistles,
honks
in
distance.
Cameron
jerks.
Cameron
Neither
did
I.
Eli
A
helpless…baby.
Cameron
Babies
are
like
fish.
They
don’t
know
when
they’re
dying.
Eli
And
how
could
you
ever
know
what
a
fish
feels?
Cameron
How
could
you
know
the
measurements
on
every
maple
leaf?
Eli
With
a
ruler.
Cameron
Humans
made
rulers
from
what
they
saw,
what
they
observed-­‐
Eli
-­‐You…have
your
mother
to
answer
to.
Cameron
My
mother
is
gone.
Pause.
Eli
(Quietly)
If
maple
leaves
can
be
measured,
and
a
human
can…feel…
Cameron
Then
people
can
live.
And
then
they
die.
And
that
is-­‐

33.
18
18
Eli
No,
then
they
can
live
again.
Nature…recycles…
Cameron
Some
deaths
can
not
be
undone.
Eli
Like
your
baby.
Cameron
Auntie…Izzy.
She
won’t
tell.
Eli
It
doesn’t
change
the
fact-­‐
Cameron
Fact,
fiction,
Izzy,
it’s
all
just
an
illusion
of
perception-­‐
Eli
Your
colors
were
exposed,
and
now
you’re
cleaning
up
your
mess
and
hiding
the
stench.
That…is
what
I
perceive.
Pause.
Cameron
Just
keep
that
to
yourself,
then,
and
we
should
be
fine.
Eli
You…are
a
snake.
Cameron
My
mother
died,
and,
yes,
my
baby
is
dead,
I
am
grieving.
Eli
Grieving.
You
are
charming.
Cameron
So,
then,
am
I
the
snake
or
the
charmer?
Eli
You’re
satan.
Cameron
Don’t
tell
Izzy.

34.
19
19
Stands
up.
Hands
Cameron
folder.
The
letter…from
your
child’s
mother.
And
then
your
ex’s
statement.
Cameron
Which
one
should
I
burn?
Eli
You…are
a
fallen
angel.
Cameron
Angels
don’t
exist.
Eli
They
did,
Cameron.
They
did.
Exeunt
Eli.
New
scene.
Kitchen.
Isabella
prays
at
table.
Smoke
rising
from
floor.
Isabelle
God,
tell
me
if
it’s
real.
I
don’t
care
if
it
is
real,
I
just
need
to
know
whether
it
is
real.
Just
tell
me
if
it’s
real,
God.
The
monsters
are
consuming
me,
and
I
am
being
eaten
alive,
and
my
flesh
is
peeling.
But
if
it
isn’t
real,
then
it’s
in
my
head.
Or
maybe
it
is
anyway,
but
at
least
I
can
imagine…them
dying.
Just…tell
me
if
they’re
real.
(Softly)
Real.
Fire
alarm
goes
off.
Isabella
looks
around
curiously.
Enter
Eli,
running.
Opens
oven
door.
Eli
Damnit!
Isabella
Did
they…did
they-­‐
Eli
Burn?
YES,
they-­‐
Slams
down
pan.

35.
20
20
-­‐burned.
Ringing
silence.
Damnit.
Isabella
Stop
it.
Eli
Stop
what?
Pause.
Isabella
What?
Eli
Can’t
even
make
a
muffin
when
the
world
is
falling
apart,
now
can
you?
Isabella
World’s
don’t
fall
apart.
Muffins..fall
apart.
Eli
holds
out
muffin.
Eli
I
hold
the
world
in
my
hand.
Behold.
This
muffin…is
God.
Doubles
up
in
silent
laughter.
Isabella
How
is
that
funny
at
all?
Eli
It’s
not.
Pause.
Isabella
I
suppose-­‐I
suppose
it
could
be.
Eli
(Thoughtfully,
looking
at
Isabella)
It
could-­‐

36.
21
21
Knock
at
door.
Enter
Cameron.
Cameron
Good
evening,
Auntie
Eli.
Pause.
Good
evening,
Auntie
Izzy.
Isabella
How…?
Cameron
puts
package
in
front
of
Isabella.
What…is
this?
Cameron
I
saw
it
in
a
shop
today,
and
it
reminded
me
of
you.
Eli,
who
just
put
the
second
batch
in
the
oven,
leaves
room.
Isabella
opens
package
to
reveal
a
beautiful
journal.
I
know
you
burned
the
other
one,
after-­‐after
Kaydee.
But
I
think
you
ought
to
have
a
place
to
hide
your
secrets.
Isabella
It
is…thoughtful.
(More
quickly)
Not
so
much
thoughtful
as
considerate.
It
is,
it
was,
kind
of
you.
Cameron
Well
I
hope
you
like
it.
Pause.
Cameron
goes
to
hang
his
coat
up.
Isabella
appears
deep
in
troubling
thought.
Alarm
goes
off.
A
bang,
then
Eli
runs
in
and
turns
off
stove.
Cameron
Eli,
has
it
occurred
to
you
that
perhaps
you
should
leave
cooking
for
others?
Eli
Do.
Not.
Talk
to
me,
Cameron.
I
am
so
angry
with
you.

37.
22
22
Cameron
I
had
no
choice-­‐
Eli
How
did
you
not
have
a
choice?
That
makes
no
sense,
it
is
a
senseless
act
for
a
senseless
statement.
Pause.
What
I
mean
is-­‐
Isabella
A
senseless
statement
for-­‐for-­‐
Cameron
A
sense….
Eli
…less-­‐
(Simultaneously)
Eli
(somberly)
-­‐act.
Isabella
(perkily,
throws
hands
up)
act!
Isabella
giggles.
Eli
How
is
that
funny
at
all?
Isabella
It’s
not.
It’s
really,
truly
not.
Clock
strikes
10.
Oh
goodness,
I’m
tired.
Isabella
gets
up
to
go
to
bed.
Kisses
Eli.
Isabella
Good
night,
dear
Eli.

38.
23
23
Eli
Good
night.
Exeunt
Isabella.
Beat.
Cameron
takes
journal,
follows
Isabella
out.
Eli
turns
around,
watches
the
exit
door
for
awhile,
then
doubles
back
against
counter.
End
of
Act
1