Page 48 of Curtain Call
“I love you, Riley, and I want to spend my life with you,” Colin puts his hands on Riley’s thighs and squeezes. “But at this rate, I will bury you in the next five years. And if you want to ghost me again, then fine, but I can’t sit here and watch you kill yourself.”
Riley is hurt. He is hurt because of the pain he has caused Colin and knows that the best thing he can do is leave. If he isn’t in Colin’s life, he can’t hurt him. He’s also hurt because he feels attacked, but it’s more about what he has done than how he feels.
Wait. Riley is still processing what’s going on. Did Colin really say that he loves him? How can he? After a fairytale night and now this? Was this Colin’s new way of pushing Riley out? Let me declare my love for you and then insult you so you leave me and I won’t look like the total asshole I am presently being?
“Then don’t,” Riley says firmly while standing, still draped in the sheet, almost knocking Colin over.
“What?”
“Don’t be here.”
“I’m here because I love you.”
Riley doesn’t say it back. Riley’s head is spinning with so many emotions that he can’t sort through the confusion. He needs some space. He needs Colin to leave.
“I have it under control.”
Riley is now standing at the window staring out at the people passing by. Some are in suits, others bundled up in jeans, a dog walker, and a woman pushing a bundle of blankets in a stroller. There must be a baby hidden underneath all that fabric.
“I don’t think you do.”
“I said, fuck off,” Riley’s voice had a shaky sternness to it.
Riley heard Colin stand and he could feel that phantom touch on his back as if Colin changed his mind before the contact was made. He could hear the sliding of his wallet off the desk and the rattling of keys.
The door shut behind him.
Colin fucked off.
Scene 17
Setting: 42nd Street rehearsal studios
New York City, New York
Four days later.
Riley
On 42nd Street, there is a tall building filled with studios on every floor. Most of the floors are reserved for shows that are already being workshopped, others are office spaces, while some are used as audition rooms.
The single glass door at the entrance is heavy, with a security guard posted just inside at a small built-in desk that mimics the glass on the exterior, except his is frosted.
“Can I help you two,” the security officer asks a little harshly.
Riley figures a lot of tourists try to come in for photo ops for Instagram or to try and see if they can see someone famous. Riley has been in this building before when he auditioned for Wicked. When he auditioned for the Book of Mormon, he auditioned at the Eugene O’Neill Theater since it was already a running show. Being on the Eugene O’Neil Theater’s stage during his audition, with the actual set, made it easier to get into character.
“Yes, I have an audition at 1:00, for Riley Cooper. It’s in studio 206. This is Jax, we’re in Wicked together and he’s here for moral support.”
“Deep breaths,” Jax whispers to Riley. “I can feel your nervous energy over here.”
Riley’s body is vibrating.
The officer confirms his daily schedule printout clipped to his board that Riley is authorized to enter the building. He radios up to his supervisor about authorizing Jax to enter as Riley’s plus one. After a few minutes, a woman comes out from the main floor office to meet us.
“Jax Montgomery?”
The woman must be in her seventies but dresses like she stepped right off a Vogue cover. Her sleek bob was silver with a pink streak framing her face.
