Play 300: Interview IV

CHARACTERS
BEN, 17
MAN, middle-aged

(They sit on chairs facing each other on an otherwise empty stage, a small round table resting between them with two cups on it.)

MAN
So you’ve done 300.

BEN
Yeah.

MAN
Getting down to the homestretch.

BEN
Indeed.

MAN
It’s been a while since we talked last time.

BEN
Yeah, it has. 100 days.

MAN
Yeah.

BEN
Or, a little over that actually since I took a one-month break while I was at CSSSA.

MAN
Oh yes, I forgot about that. How was it?

BEN
Amazing. I had a great time and learned a lot. I actually worked a lot on play-writing this time.

MAN
Do you think that’s changed how your scenes have been since then?

BEN
Yeah, definitely.

MAN
How do you think they’ve changed?

BEN
I think I have a better idea of what I’m doing in many ways. I definitely write a bit differently. Shorter sentences and less words. That’s definitely one thing I learned to do at CSSSA.

MAN
Any other differences?

BEN
I think I have a better feel for dialogue since CSSSA. It’s been a little easier for me to write scenes because once I’ve thought of the basic idea, and know what the characters I’m going to use are like, the scene practically writes itself. Sometimes I’ll even start with one idea but then after a bit it just goes in another cause that’s the natural way it feels like it should go.

MAN
That’s interesting. Like it’s gotten more instinctual for you?

BEN
Exactly.

(Beat.)

MAN
So you’ve been happy with how the last hundred have come out?

BEN
Yeah, definitely. Honestly, I’m mainly thinking of the last fifty or so I’ve done since CSSSA, I barely remember the ones I wrote before. It’s been so long.

MAN
Have you been happier with them then you had with the first two hundred?

BEN
Yeah, I think I’ve had a handful of ones I’ve liked a lot, and haven’t done nearly as many scenes that are just thoughts of mine or cop-outs. I’ve done some, but even the cop-outs are a little less so than the ones I had done before.

MAN
That’s good.

BEN
Yeah, definitely.

(Beat.)

MAN
The last two times we talked you mentioned how it’s hard to think of ideas. Has it gotten any easier?

BEN
A little I think. Especially right after I got back from CSSSA I had a lot of ideas of things I wanted to try.

MAN
How about since then?

BEN
It’s still been pretty hard, but I guess it’s been a little easier.

(Pause.)

MAN
So how do you feel about the fact that it’s almost over?

BEN
Both very relieved and kind of sad. It’s been a lot of work, and been pretty hard at times, but I’ve liked doing it a lot. I’ll just have to make sure to keep myself writing once I’ve ended.

(Beat.)

And plus, it’s not over yet. It’s still too early to think about the end.

MAN
You’re right, I’ll have to save that question for next time.

BEN
Yeah.

(Beat.)

MAN
Is there anything you want to focus on in the final 65 scenes?

BEN
Just the same as always. Try to not do many cop-outs. Try a bunch of different kinds of scenes. Experiment a lot. All that kind of stuff.

MAN
Well, I’m excited to see how they’ll come out.

BEN
Thanks.

(Pause.)

MAN
Somehow this interview doesn’t feel complete.

BEN
Yeah, something’s…missing…

MAN
What could it be?

(Pause.)

(They whip out sharpened-toothbrushes and dive at each other.)

(Blackout.)

Play 299: Faint Glimmer

CHARACTERS
1
2

1
You okay?

2
Yeah, I’m fine.

1
You look a bit off.

2
Just in a bit of a weird mood I guess.

1
Any idea why?

2
Had an odd dream right before I woke up. I’ve been thinking about it all day.

1
What was it about?

2
I’m not really sure.

1
Do you remember much of it?

2
Just a few images.

1
Of what?

2
I don’t know. I can see them in my head, but I can’t figure out exactly what they are.

1
That’s odd.

2
Yeah, it always seems to happen to me with dreams. I forget what they’re about but I’m left with these odd images from them.

1
That happens to me sometimes too.

2
Really?

1
Yeah.

(Beat.)

2
They always have a weird feeling that goes with them.

1
What kind of feeling?

2
I don’t know. Some strange unidentifiable feeling. Whenever I think about my dreams, I get a really strong feeling, but I can never put my finger on what it actually is.

1
I know what you mean.

2
Really?

1
Yeah.

(Beat.)

I like it.

2
Me too.

1
I’m not sure why.

2
Me neither.

(Beat.)

I guess it’s just interesting. And so different from everything else.

1
It’s like it’s from a different world.

2
Yeah.

(Beat.)

And the weird part is no matter how surreal and foreign it seems, it’s all from your head.

1
Weird to think about.

2
Yeah. It’s the only faint glimmer of the subconscious we get to see.

1
Funny that the only time we can see it, it doesn’t make any sense really.

2
Yeah. The only way it makes sense is in a visceral way. We don’t understand it intellectually, just emotionally.

1
Maybe that’s why it’s so interesting.

2
Yeah.

(Beat.)

1
I’m jealous.

2
What?

1
I haven’t had any dreams I’ve remembered in a while.

2
That’s too bad.

1
Yeah.

(Beat.)

(2 laughs.)

1
What?

2
What an odd dream.

(Blackout.)

Play 298: Mind Your Own Business

(NOTE: I've been having a lot of problems with Blogger these last couple days--ie, it wouldn't let me post anything--so that would be why I've posted the last few scenes late. Thankfully, it looks like the problem's been fixed, so my scenes should be back on time from now on again.)

CHARACTERS
JACK, late 20s
EMMA, late 20s

(They sit at a table eating dinner.)

EMMA
How was work?

JACK
It was fine.

EMMA
What did you do?

JACK
Business meeting.

EMMA
How was it?

JACK
Same as it ever was.

(Pause.)

EMMA
Who was it with?

JACK
What?

EMMA
The meeting.

JACK
Oh.

(Beat.)

Just another company.

(Beat.)

EMMA
Which one?

JACK
It doesn't matter.

EMMA
I'm just curious.

JACK
Mind your own business.

EMMA
It's just a question.

(Pause.)

EMMA
Some cops came by today.

(Beat.)

JACK
What were they here for?

EMMA
They asked about you.

(Pause.)

JACK
What did you tell them?

EMMA
I told them you weren't here.

(Beat.)

JACK
And?

EMMA
And they left.

(Pause.)

EMMA
Do you know why they were here?

(Beat.)

JACK
It's probably about Dave.

EMMA
Dave?

JACK
Yeah, he got into a bit of a fight with someone when I was at the bar with him the other night.

EMMA
Oh.

JACK
They probably wanted to ask me some questions about it.

EMMA
That makes sense.

(Long pause.)

EMMA
Jack…

JACK
What?

(Beat.)

EMMA
Nevermind.

(Blackout.)

Play 297: Are You Serious?

CHARACTERS
1
2

1
What’s up?

2
Nothing.

1
Nothing?

2
That’s what I said.

(Beat.)

1
You sure?

2
Yes.

(Beat.)

1
So—

2
I said nothing.

(Beat.)

1
That’s not what I was going to ask.

(Beat.)

2
Fine.

(Beat.)

1
Did you—

2
Don’t you get it?

(Beat.)

1
What?

(Beat.)

2
Nevermind.

1
No, what?

(Beat.)

2
It’s nothing.

1
You sure?

2
Yes.

(Beat.)

1
What is it?

(Pause.)

1
Are you okay?

(Beat.)

2
Are you serious?

1
What?

(Blackout.)

Play 296: Love?

CHARACTERS
MAN, late 20s
WOMAN, late 20s

MAN
What did you think?

WOMAN
It was good.

(Beat.)

How about you?

MAN
I liked it.

(Beat.)

WOMAN
Good movie.

MAN
Yeah.

(Pause.)

MAN
Makes you think.

WOMAN
It does.

(Pause.)

WOMAN
That’s the best movie I’ve seen in a while.

MAN
Yeah.

(Beat.)

Same here.

WOMAN
Since…that other one.

MAN
Which one?

WOMAN
You know, the one we watched recently?

(Beat.)

MAN
I’m not sure.

WOMAN
Nevermind then.

(Pause.)

WOMAN
I’m tired.

MAN
Oh?

WOMAN
I think I’m going to go to sleep.

MAN
Okay.

(Beat.)

MAN
I love you.

WOMAN
I love you too.

(Blackout.)

Play 295: Footnotes

CHARACTERS
STUDENT, 17
TEACHER, late 30s

(A classroom, there are desks in a semi-circle around the room, and a table with a chair behind it in front of the chalkboard. The teacher has a packet of papers in his hand and is standing by the door. The student picks up his backpack and walks towards the door.)

TEACHER
We need to talk.

STUDENT
About the…

(Beat.)

What about?

(The teacher holds up the packet.)

TEACHER
This.

STUDENT
What about it?

(Beat.)

TEACHER
Do I really have to tell you?

STUDENT
Was it too long? I remember you said we could go over seven pages if we needed to, and mine’s only nine—

TEACHER
You know that’s not what I mean.

STUDENT
Then what?

(Beat.)

TEACHER
Your footnotes.

STUDENT
My footnotes?

TEACHER
Yeah.

STUDENT
Did I mess up the format for them? I always do that.

TEACHER
No, the format’s fine.

STUDENT
What’s the problem then?

TEACHER
Well, for instance there’s this book you said you took a quote from.

STUDENT
Which book?

TEACHER
(Reading from the packet)
The Delta Blues: Why Howlin’ Wolf is the Man.

STUDENT
I know, the title’s a little informal, but the information—

TEACHER
You said in your footnote that you wrote it.

(Beat.)

STUDENT
Your point?

TEACHER
You didn’t write a book.

STUDENT
Yes I did. I happen to be an expert on…

(Beat.)

What was the paper on again?

(Pause, the teacher shakes his head.)

TEACHER
And that’s not even the only problem.

STUDENT
What else is there?

(Beat.)

TEACHER
For one of your quotes, you wrote the following for your footnote.

(He flips a page.)

TEACHER
(Reading)
Some dude told me it once.

(Beat.)

STUDENT
So?

TEACHER
Sadly, some dude told me it once is not a reliable source.

STUDENT
He seemed to know what he was talking about.

(Pause.)

TEACHER
And then there’s this.

STUDENT
What?

(Beat.)

TEACHER
Your fifteenth footnote.

STUDENT
What about it?

TEACHER
It just says, I’m awesome.

STUDENT
So?

(Beat.)

TEACHER
(Shaking his head)
I don’t even know why I try sometimes.

(Beat.)

STUDENT
Any more problems?

TEACHER
Get out of my classroom.

STUDENT
See you tomorrow.

(Student exits.)

(Teacher sighs, shakes his head, and sits down in the chair by the table.)

(Beat.)

(He walks over to a cabinet off to the side and takes out a bottle of whiskey and a glass.)

(Blackout.)

Play 294: There’s Some Light

CHARACTERS
1
2

(They’re in a dark cave.)

1
Where?

2
I don’t know.

(Beat.)

2
There.

1
What?

2
There’s some light.

1
I don’t see anything.

2
I think I did over there.

1
Where?

2
There.

(Beat.)

1
I don’t see anything.

(Beat.)

2
Nevermind. I don’t anymore either.

(Pause.)

1
We need to get out of here.

2
I know.

1
If we don’t soon…

2
I know.

(Beat.)

2
We’ll find a way.

1
How do you know?

(Beat.)

2
There has to be a way.

1
Why? The tunnel fucking collapsed.

2
We just have to keep looking. We’ll find something.

1
Where?

2
I don’t know.

(Beat.)

1
What if we don’t?

2
Just keep looking.

1
But—

2
Worrying won’t help anything. The only thing that’ll get us out of here is looking around for a way out.

(Beat.)

1
You’re right.

(Pause.)

2
What about over here?

1
Where?

2
Here.

(Beat.)

1
I don’t see anything.

2
You sure?

1
Yeah.

2
I think there’s a little light.

1
You’re seeing things.

2
But there’s some light right here.

1
There isn’t anything there. You just want it to be.

(Beat.)

2
Maybe you’re right.

1
I know.

(Pause.)

1
I think we’re trapped.

2
Don’t.

1
Why?

2
It won’t help at all.

1
Doesn’t mean it’s not the truth.

(Pause.)

1
Maybe we’re just trapped down here and we’ll never find a goddamn way out no matter how long we look. You thought of that?

2
Keep looking.

1
Why? Like if I look for another minute I’ll suddenly notice something I haven’t in the last hour?

2
What else can we do?

1
Accept the fact that, just maybe, we’re completely fucked. We’ll be stuck here until the air runs out and we suffocate. Or maybe the air’s still circulating. Then we get another few days before we starve.

(Beat.)

We’re fucked.

(Long pause.)

1
Huh.

2
What?

1
I might see something.

2
Where?

1
Here.

(Beat.)

2
I don’t see anything.

1
You sure?

2
Yeah.

(Beat.)

1
Oh.

(Pause.)

1
I’m sorry. About that.

2
Just keep looking.

(Beat.)

1
Just keep looking.

(Blackout.)