Saturday, November 19, 2005

Play 14: Thanks to Don Delillo For This One

(The stage is set up like an airplane, there are a few dozen people sitting in rows, some are talking to each other, some are reading books, some are listening to music and sitting still, and some are asleep.)

(Everything is silent for a few seconds, save for the few people who are talking.)

(Suddenly there is a very loud crashing noise, and the entire stage shudders. Various colored lights start flashing on and off, and the sound of rushing air and another crash—though not as loud as the first—and shudder occurs every few seconds.)

(There is a large amount of noise now, some people are screaming and almost everyone is franticly looking around and talking to the people around them.)

PILOT
(From over the intercom system—nervously, unlike usual pilot announcements.)
The engines have shut down, and we’re rapidly losing altitude. We’re (beat.) going to have to attempt an emergency landing.

(Everyone starts to panic: many start screaming or crying, some cling on to each other. Others begin yelling at each other. A couple of people stand up and start running down the aisles. More join them, and all over the plane people have left their seats and are running and falling over each other in chaos. The on and off flashing of different colored lights and loud sound of air rushing and the intermittent crashing noises and shudders continue.)

MAN
(Yelling over the background noise from his stance facing the audience in the middle of the aisle)
We’re all going to die!

WOMAN
(She’s crying as she says this, standing facing him next to him in the aisle)
Don’t say that! We’re gonna make it!

(He grabs her by the shoulders.)

MAN
What the fuck are you talking about, we’re heading down and we’re all going to crash and be blown into a thousand pieces!

(The chaos increases—the noises and lights get more frequent and intense, the passengers are more franticly moving around. A few people even begin to brawl, people are tangled up anywhere. By now, no one is left in their seats, they are all in a giant mass in the aisles falling and struggling around each other.)

(Suddenly, the lights go back to normal and the sound ceases in one moment.)

(Everyone is frozen still in their poses—most are lying on the ground in awkward positions, a few are interlocked with each other. A few people throughout the plain that had been clutched to each other crying freeze and look up. In the back, one man is frozen with his hands around another’s neck, several others pause mid fight throughout the plane.)

PILOT
(Over the intercom.)
The, the engines appear to be functioning again.

(Pause.)

We’re going to continue with our scheduled flight to Chicago.

(Everyone remains frozen for a few moments, then begins to move back to their seats. In silence, they all regain their seats, even the people who had been fighting not saying a word to each other as they do so.)

(After a couple dozen seconds, everyone is back in their seats. There is complete silence: no one is talking, no one is listening to music or reading books. They all sit paralyzed, some looking at the ground, some staring straight ahead, some looking at the people next to them as if to ask them what to do.)

(Blackout.)

Friday, November 18, 2005

Play 13: He Has It Coming

CHARACTERS
VINCENT, 25
MAN, around 50

(Man is walking down a dark street at night carrying a small instrument case in his hand. Suddenly, a mob of men run on stage and proceed to start beating him, he drops the case.)

(Vincent enters. He sees the man being beaten.)

VINCENT
Hey, stop!

(They turn to face him, pause for a second, then go back to beating the man.)

(After waiting a few seconds, Vincent pulls out a shotgun.)

VINCENT
I said stop!

(They turn to look, and seeing the shotgun, stop beating the man and run offstage.)

(Vincent walks over to the man lying on the ground. He is covered in blood.)

VINCENT
Are you okay?

MAN
Yeah (Beat.) I’m fine.

(He manages to weakly drag himself off the ground and kneel.)

(Vincent notices the instrument case)

VINCENT
So you play an instrument?

MAN
Yeah.

VINCENT
What is it, I’d guess clarinet from the case?

MAN
Soprano saxophone.

VINCENT
That’s cool.

(He looks up at his face and freezes.)

Wait (beat.) are you Kenny G?

MAN
Yes, yes I am.

(Pause.)

(Vincent suddenly lifts his shotgun and shoots the man in the face. The man is launched backwards from his kneeling position and sprawls out on the ground a few feet back. His face is completely blown off.)

(Vincent shoots the fallen body multiple times, pausing to reload twice.)

(He looks around, and seeing no one, he puts the shotgun back under his coat and calmly walks offstage.)

(Pause.)

(He walks back on stage, takes out his shotgun again, shoots the case once, and walks offstage softly humming a song to himself.)

(Blackout.)

Thursday, November 17, 2005

Play 12: There Must Be Someone

CHARACTERS
1, male, 16
2, male, 16
3, male, around 16

(1 and 2 sitting by lockers. 3 is off in the corner.)

1
Still waiting ehh?

2
Yeah.

1
That sucks.

2
Yeah, I just wish something would happen.

1
Same.

2
Especially if it was something really good, it would be a nice change for once.

1
Definetely.

2
I swear, somewhere there has to be someone hogging all the awesome things that there are and that’s why they never happen to us.

(1 laughs.)

1
Yeah, I know what you mean.

(They laugh, then both of them suddenly notice 3 sitting in the corner hunched over. He is hiding what appears to be pile of papers. They stop laughing.)

2
(whispering to 1)
Are (beat.) are you thinking what I am?

1
Yeah.

(They suddenly leap to their feet and start running towards 3. He notices them coming towards them, grabs up the slips of paper and runs off-stage. They pursue him.)

(There is a thud from offstage, the sound of running feet stops.)

3
(from offstage)
Please, no!

(There is a series of loud dull thuds from offstage, and the sound of 3 screaming.)

(1 and 2 walk back on stage, their clothes are now covered in blood.)

2
Well, guess we fucked up.

1
Yup.

2
These are definitely not awesome events.

(He looks down to the papers in his hand, they are more visible now and appear to be a small pile of money.)

1
But on the up-side, we did make twenty bucks.

2
Yup.

1
What should we do with it?

2
I dunno, something interesting.

2
Movie?

1
Sure.

1
Sounds like a plan.

(They walk offstage.)

(Blackout.)

Wednesday, November 16, 2005

Play 11- Something Snapped

CHARACTERS
BRIAN, 26
JESSICA, 25

(She is sitting in a chair in her living room reading a book. The room is tidy and quiet. There is a knocks at the door. She opens it, and he is standing there. All of his clothes—shirt, pants, and coat—are covered in blood.)

JESSICA
Hey--

(She looks down at his clothes, and drops her book on the ground.)

What…what the hell happened to you?

BRIAN
Nothing, just (beat.) just let me in.

(He quickly enters the house and shuts the door behind him.)

JESSICA
Nothing? You’re covered in blood!

BRIAN
(yelling)
I said it’s nothing!

(he walks over to the chair she had been sitting in and sits down. He is running his fingers through his hair.)

(She stands in silence watching over him nervously.)

JESSICA
Brian, what---

BRIAN
(interrupting her.)
I, (beat.) Jessica…I fucked up.

(She looks worried now. She goes and sits in a chair across from him.)

JESSICA
What do you mean?

BRIAN
Me and Joe were at the bar. We had had a bit to drink, we went outside.

(Beat.)

This guy, he tried to mug us, he had a knife--

JESSICA
Oh my god, are you okay?

(She rushes over to him.)

JESSICA
With all that blood (beat.) you need go to the hospital. Here let me look.

(She kneels down and starts to pull back his coat to see if he is alright.)

BRIAN
I’m fine!

(He pushes her away.)

JESSICA
Please, just let me look.

(She moves to look again.)

BRIAN
I said I’m fine, he didn’t cut me.

JESSICA
Then, then what happened?

BRIAN
When he came at us, Joe started to take out his wallet, but, but I thought why let him have our money you know? I told him off, I don’t remember what I said, he came at me with that knife so I hit him—

JESSICA
(She interrupts him.)
But he came at you, you even said that, don’t feel bad about what you did.

BRIAN
(yeling.)
You don’t get it!

JESSICA
What?

BRIAN
The first hit took him down, I think he was unconscious.

JESSICA
But if you only hit him once why do you have all that bl—

(She stops in mid-sentence.)

BRIAN
I, I told you I had been drinking, and, and when I hit him something just snapped.

JESSICA
(franticly now)
what do you mean?

BRIAN
I couldn’t stop myself. After a bit Joe tried to pull me back but I just kept hitting him.

(He stops, and looks up to her. She looks down at his clothes again, her eyes scanning all of the blood on him.)

BRIAN
I, when we left, Joe finally pulled me off him, he wasn’t moving, there was blood everywhere.

(He looks down at the blood on his clothing.)

What should I do?

JESSICA
Just, give me your coat, I’ll go wash it, and go change out of your pants and shirt.

(He takes off his jacket and gives it to her, she exits, walking up the stairs in the back of the room.)

(He remains, running his hands through his hair, staring at the ground.)

(He gets up and goes up the stairs she had left through.)

(Blackout.)

Tuesday, November 15, 2005

Play 10: A Ninja-less Scene

CHARACTERS
BEN,16
JENNY, 16

(They sit next to each other in a computer lab, he is staring intently at his computer screen, she’s checking her email.)

JENNY
So no ideas?

BEN
Not one.

JENNY
That sucks.

BEN
It does.

JENNY
I dunno, just write something.

BEN
If I could do that wouldn’t I not be sitting here staring at the computer screen and swearing to myself?

JENNY
You could just write about not being able to write stuff.

BEN
Too easy.

JENNY
Well isn’t that a good thing?

BEN
It just seems like a cheap cop-out to me. And it’s generally not too interesting, and I mean, you can’t write 365 scenes about not being able to write.

JENNY
True.

(Pause.)

So you’re sure you have nothing to write?

BEN
I guess I got one idea, I don’t really like it though.

JENNY
I’m sure it’s better than you think.

BEN
I doubt it.

JENNY
Then what is it?

BEN
Well (Beat.) I dunno, I don’t think I can explain it well.

JENNY
Just try.

BEN
So, I’ve always thought it would be funny if you went to like become a ninja and came back and just randomly used it in every day life. So, it’s a class scene, and the teacher’s talking, and this dude in a ninja suit just randomly throws a smoke bomb and repels in and…

(HIs voice trails off)

(Beat.)

JENNY
Wait, what?

BEN
I explained that terribly.

JENNY
No, that’s not it, I didn’t really get anything you said.

BEN
Nevermind then.

JENNY
No, just try to explain it again, I’m sure its fine.

BEN
No, nevermind, I think I know what I’m going to do.

(He starts typing)

JENNY
What?

BEN
I’m just gonna go with the cop-out.

JENNY
Mean writing about not being able to write?

BEN
Yeah, something like that.

JENNY
Cool.

BEN
Not really.

JENNY
Does this one have ninjas in it?

BEN
I thought you said you didn’t hear what I said.

JENNY
I heard a bit.

(Beat.)

So does it have ninjas in it?

BEN
Nope.

JENNY
That’s probably for the best.

BEN
Yeah.

(He continues typing.)

(He pauses in the middle, scanning over what he’s written. He shrugs.)

BEN
Ehh, good enough.

(He keeps typing.)

(Blackout.)

Monday, November 14, 2005

Play 9: Fictional Dialogue

CHARACTERS
BEN,16
PERSON, male, 16

PERSON
So you don’t think it’s ironic?

BEN
What?

PERSON
You always talk about how you never write about your life because nothing interesting happens, and yet almost all of the scenes you’ve written so far are pretty much about you.

BEN
No they’re not, not a single one of those things has happened to me.

PERSON
But they’re all from your voice.

BEN
I guess so.

(Beat.)

But technically isn’t everything you write from your own voice?

PERSON
That’s not what I mean. Of course you wrote them all, I mean that the characters in most of them, or at least one of the main characters, is effectively you.

BEN
I guess.

PERSON
And they’re all pretty much talking about what you feel like.

BEN
Yeah.

PERSON
So I guess you’re life isn’t so boring after all then?

BEN
Just because I can write about what I’m feeling like doesn’t mean my life is interesting.

PERSON
At least it means you’re thoughts are.

BEN
Not really.

PERSON
If you can write about them for what, 8 days, then there has to be something interesting in there.

BEN
I guess.

PERSON
And what can be more focused on your thoughts than an inner dialogue?

BEN
How is this an inner dialogue?

PERSON
Well, you are thinking out loud right now.

BEN
What do you mean, I’m talking to you.

PERSON
Exactly.

BEN
What?

PERSON
I’m you.

BEN
No you’re not.

PERSON
How do you know?

BEN
Because, I…

(Beat.)

Wait, so I’m talking to myself?

PERSON
Yup.

BEN
That’s weird.

PERSON
Not really, you tend to talk to yourself all the time.

BEN
True, but I normally don’t actually think I’m talking to someone else.

PERSON
Well this is a fictional scene.

BEN
You’re point?

PERSON
Well, normally you don’t think you’re talking to someone else, but normally it’s also real life.

BEN
So things are different here?

PERSON
Yup.

BEN
So can I like do crazy shit or anything?

PERSON
Like what?

BEN
Can I fly?

PERSON
Nope.

BEN
Freeze time?

PERSON
No.

BEN
So what can I do?

PERSON
Talk to me.

BEN
That sucks.

PERSON
Yup.

BEN
Damn.

(Blackout.)

Sunday, November 13, 2005

Play 8: That Would Be Sweet If My Life Had a Save Feautre

CHARACTERS
WILL, 17
EMMA, 18

(They’re sitting on a couch facing a TV. He’s holding a video game controller and staring intently at the TV, faint video game noises are audible)

WILL
Just one second.

EMMA
Come on, you’d said you’d be done five minutes ago.

WILL
Just one second.

(He hits a few buttons on the controller and then puts it down on the coffee table in front of them.)

There, done.

EMMA
Finally.

(She picks a remote up off the table, and hits a few buttons. A television show is now audible in the background.)

(They sit watching the television in silence for a few seconds.)

EMMA
What do you see in those games anyways?

WILL
I dunno, they’re fun.

EMMA
That’s deep.

WILL
Come on, it’s just a video game.

EMMA
Whatever.

(Pause.)

WILL
I guess there’s just something comforting about playing them.

EMMA
Come on, you’re just making up shit to try to convince me there’s a good reason for playing them. You got nothing.

WILL
I’m serious.

(She turns from the TV to look at him.)

EMMA
Fine then, if you have such a good reason, how are they comforting?

WILL
There’s something nice about being able to save. If you fuck up, you can always go back and do it again. And if you can’t beat something, you can always go work up, play a little more to get the hang of it, and you’re good.

(Pause.)

EMMA
I guess that makes sense.

WILL
Really?

EMMA
Kind of.

(Beat.)

You know you really are neurotic as hell.

(He laughs.)

WILL
Yeah.

(They sit in silence watching the TV for a few seconds.)

WILL
So, Ms. there has to be an important reason for everything, what do you see in this?

(He gestures to the TV.)

EMMA
I dunno, something to do.

WILL
Wow, that’s deep.

EMMA
I try.

(They laugh.)

(Blackout.)