While enrolled in Mark Kneece's Comic Book Scripting class this past winter, I wrote the story seen below, which is entitled Resubmission. I was a 19-year-old, idealistic Long Island kid when the events of 9/11 changed the city forever. Prior to that, I had spent a year at Boston's Emerson College, Gray's alma mater, and also distinctly remember following the 2003-2004 news articles that reported his disappearance, and eventual discovery of his death. Years later, I created the character of Scott Black, and via fiction, decided to change the fate of an individual with whom I'd felt connected. I'd like to thank the estate of Spalding Gray, as well as writer John Boland for posting this script on Spalding Gray's official website.
*The following is an element of fan fiction. It is a means of reflection, and an expression gratitude, and should be perceived as entertainment only.*
Page One
Panel One
Shot of the silhouette of a man, Scott, seated at a table against a gray, unlit background. He is hunched over, with a burning cigarette in his hand, gesturing while speaking.
Scott: It was an old city with its ghosts and crevices, yet a new city, reduced to fear and nothing.
Panel Two
A stage technician is sitting in a lighting booth at the back of the house, looking over a lighting board. He is in the foreground, and we can see the vague figure of the smoking man on the stage in the background. An audience, filling up a small theater separates them. The technician flicks on a stage spotlight.
SFX: FUTOOH!
Scott: I saw the buildings fall; the dust cloud the air, drying tears if only for a moment. I wanted to know why they had struck the heart…
Panel Three
We now see the clear figure of the smoking man seated on the stage. It’s evident that he is in the middle of a performance. He is in his mid-fifties, and dressed modestly. His expression and demeanor are anything but happy. His cigarette has just about burned down to its filter.
Scott: …why they had taken the essence of our lives; stolen our city from us. Maybe history took it back as an overdue payment.
Panel Four
A man, Jim, a stockbroker type, who is younger than the one on stage, is seated in the packed audience. He is staring intently in front of him, mouth agape, obviously taken by what he is hearing. Some of the other audience members have similar expressions, others don’t seem to care, and a few are sleeping.
Scott (from stage): It hurt to see her so victimized by outsiders.
Jim (whispering): Geez.
Panel Five
Close up of Scott’s cigarette ash, as it falls into the ashtray.
Scott: And now, every time the subway doors close behind me; every time I buy the Times; every time I open my eyes, really, I stare into a chasm that not even a spectacle of lights can fill.
Panel Six
The curtain falls. The audience claps.
Curtain SFX: SOOOSH!
Audience: TUT-TUT-TUT
PUH-PUH-PUH
Page Two
Panel One
A hallway leading to the backstage of the theater. It is filled with people who are holding coffee cups and martini glasses, wearing VIP badges, and chatting. The air is stuffy with pretension. The focus is on Jim, the man from the audience as he walks swiftly through the hall.
VIP: Blah, blah, Really?
Another VIP: Blah, when I was in Rome, blah, blah.
Panel Two
Closer shot of Jim looking at the different people in the hallway. It is obvious that he is looking for someone. His gaze is intense, and he is clutching his program.
Jim: He’s gotta be…
Panel Three
Shot of Jim from a different angle, looking at different pretentious people. He still hasn’t found who he’s looking for.
Jim: …here somewhere.
Panel Four
Jim has stopped towards the end of the hallway, where he has found who he was looking for. It is Scott, the performer of the evening. We see a bird’s eye view of Jim’s foot in the immediate foreground, and are looking up at Scott, who is holding a martini glass, holding casual conversation with a man in glasses. Scott and the man with glasses are blurred by shadow.
Jim: Mr. Black…I, um, I’d like to speak with you.
Panel Five
Closer shot of Scott and the man with glasses. Scott has stepped forward, and is now half in, half out of the shadows. He looks tired and cynical.
Scott: And who are you?
Page Three
Panel One
All three men are now in the shot. Jim is stepping towards Scott, who is directing his position to the man in the glasses, who is stationary.
Jim: Just a…just a guy who saw your show.
Scott: Please excuse me for a moment.
Man with Glasses: Certainly.
Panel Two
Jim’s expression is somber, yet it is only in reflection. Scott looks innately miserable, and is shaking his head.
Jim: Your speech on 9-11 really hit me. I was on Wall Street when it happened. I saw a lot of people die.
Scott: Que sera, I guess. Terrible thing. Terrible.
Panel Three
Closer shot of Jim’s face and hands. He now has that youthful, idealistic expression on his face that makes you want to vomit.
Jim: But it brought us together. It made us stronger. I swear, even the cabbies were nicer.
Scott (off panel): Did it though? New Yorkers are a miserable lot.
Panel Four
Scott is pulling a cigarette out of a pack.
Scott: They just don’t care. Too busy making deals and catching trains.
Panel Five
Scott lights his cigarette. Jim is positioned slightly behind him, in the shadows.
Scott: What did Shakespeare say about life? It’s a walking shadow. A poor player. A tale told by an idiot.
Jim: Signifying nothing. Yeah, yeah, I don’t buy that.
Panel Six
Wider shot of the two men. They are now surrounded by both men and women who are wearing VIP badges, and carrying coffee cups and martini glasses. The new people seem to want Scott’s attention.
Scott: You should. It’s a crapshoot. Most of the time you lose.
Person A: Mr. Black, I-
Person B: Excuse me, Mr. Black-
Scott: Pardon me. I have to go now.
Panel Seven
Jim has stepped in front of Scott and the others, and is no longer in the shadows. Now, Scott and the others are. Scott’s cigarette has burned down, and is now little more than a really long ash.
Jim: Poor guy. He doesn’t realize how wrong he is.
Page Four
Panel One
Scott is walking down a dark, empty city street. His hands are in his pockets, shoulders are slumped, head is looking down, and there is a cigarette hanging out of his mouth.
Panel Two
He sees a discarded paper advertisement in the gutter of the street that catches his eye.
Panel Three
Close view of the advertisement. It is for the show that he’d just performed.
Panel Four
Scott is walking, reading the advertisement, not paying attention to the street.
Panel Five
He bumps into a woman, who is walking in the opposite direction.
Woman: Watch where yer goin’, asshole.
Scott: Sorry…Sorry.
Panel Six
Scott continues to walk, as he tosses the now crumpled up piece of paper into the street.
Scott: Waste of time. Total waste of time.
Page Five
Panel One
Jim is getting into a cab outside of the theater. Most of the show goers have left already, but there are still a few people hanging around outside.
Panel Two
Inside of the cab. The cab driver is foreign, though not a blatant stereotype. His cab driver’s I.D. is visible on the dashboard .
Cab Driver: Where to?
Jim: Have you ever met someone who was just…so sad, but shouldn’t be?
Panel Three
Different angle inside of the cab. Jim’s face is solemn. The cab driver looks irritated.
Cab driver: Where?
Jim: Do you know who Scott Black is? He’s a writer. Performer. Sad.
Panel Four
Close shot of the cab driver, who is pretty pissed off, but trying to contain himself. He just wants to drop this guy off, so that he can find someone else to transport.
Cab driver: I do not know this writer. I just want to know where you are going.
Panel Five
Jim leans forward, gesturing towards the square hole in the Plexiglas that separates him from the cab driver.
Jim: Sorry…Sorry. Pinto di Blu restaurant. 71st and Lexington.
Panel Six
The cab is driving away from the restaurant. Display signs of the restaurant’s name and menu are visible. There is a doorman outside, and a woman with a fur coat is walking out, arm-in-arm with a man in a suit. Jim is walking inside.
Page Six
Panel One
Scott is standing outside of the same restaurant that Jim walked into. The scene description is similar to the previous panel, however there is no couple walking out, and the doorman is positioned differently so as to denote a passage of time. Scott is smoking a cigarette that is almost down to the filter.
Doorman: Good evening, sir.
Scott: I hate publicity dinners.
Panel Two
Scott stomps out his cigarette at the doorman’s feet, directly in front of the door to the restaurant.
Doorman: SIR!
Panel Three
Interior of the restaurant. A maitre d is standing at a podium, and there are diners seated at tables throughout. A small, but classy bar area is just beyond the podium. The lighting is soft, there are paintings on the wall, and Mediterranean plants decorate the establishment. Jim is standing near the bar holding a wine glass, talking to someone. Scott is speaking to the maitre d.
Scott: I’m here to join the Kistner party.
Maitre d: Follow me, Mr. Black.
Panel Four
Jim has spotted Scott. He looks pretty excited. Scott doesn’t. The maitre d is stopped in his tracks.
Jim: Mr. Black! Looks like we run in the same circles.
Scott: Scott. It’s Scott. I have to be here. What’s your excuse?
Panel Five
Scott is following the maitre d towards a table.
Jim: Well, I…Look, Mr. Black. It’s all really not that bad.
Scott: I just met you. I don’t know if you’re a prophet, or a Mormon or something, but I have to go. Thank you. Good-bye.
Page Seven
*Panels One-Three all show Scott seated at a table with Upper Eastside art collector types. As each panel progress, he looks more and more discontented.
Panel One
Woman: Would you believe that the Guggenheim turned down Matthew Barney’s new project?
Man: Good.
Panel Two
Man: People don’t seem to understand quality these days. Right, Scott?
Panel Three
Scott: Sigh. Excuse me.
Panel Four
Scott gets up from the table. The woman who speaks, whispers the dialogue to another woman sitting next to her.
Woman: What’s his problem?
Panel Five
Scott is walking up a winding staircase towards the door to a balcony. The restaurant and its diners diminish in size. Jim is watching as Scott walks upstairs.
Panel Six
Scott is leaning over a balcony, smoking a cigarette.
Scott: Who is this show for anyway?
Panel Seven
View of Scott looking over the balcony at the distance to the street.
Page Eight
Panel One
Scott climbs onto the ledge, still smoking.
Scott: Not gonna cater to you bastards anymore.
Jim (off panel): HEY! Mr. Black! What are you doing?!
Panel Two
Scott looks at Jim’s shocked expression. He’s gesturing wildly, nearly falling off balance.
Scott: IT’S SCOTT! And I’m sick of it! Sick of these people. Sick of this farce. No one REALLY cares. They only want you if it suits their wallets.
Panel Three
The atmosphere is warped by Scott’s lack of balance. Jim is leaning towards the camera, as if to grab Scott. We see a distorted view of Jim from Scott’s perspective.
Jim: What about people like me? I just liked your story.
Panel Four
Jim grabs Scott by the arm, pulling him downward, and away from sudden death.
Jim: Empathy, Scott! You have it for everyone. That’s why it hurts.
Scott: They don’t care!
Jim: Some people do!
Panel Five
Scott crashes hard on the balcony floor.
Panel Six
Scott is pulling himself into a seated position. Jim is hunched over, with his hands on his knees, catching his breath.
Jim: Most…people…want…money. Some…want…insight. You’re important, Scott. You provide…insight.
Scott: Insight?
Panel Seven
Jim is leaning down, looking Scott right in the eyes. Scott, who is now seated, leans back on his hands, looking at Jim.
Jim: Yes. That’s why I’m here. For insight.
