UPDATING AN OLD STORY

"Love all, trust a few, do wrong to none" - William Shakespeare

Word! The man said it as is. Nothing more to add or work on except on a story I wrote a few blogs ago and that I came back to because I feel that there's more to it.

I started working again on "NOT TODAY" and even changed its name to "BAMBOOZLE" because that word "to confuse, frustrate, or throw off thoroughly or completely" is more in accordance to what started happening to the play. Don't know where it is going but I like what I found. I'm sure that after a couple drafts and revisions it will change, hopefully to the better.

Whomever is reading this is welcome to express a thought.

BAMBOOZLE!

​

ACT I

Scene 1

AT RISE: Stage is completely dark except for a faint moon light coming in from a window. On an old bedside radio we can see that it is 5:06 AM. Chopin is playing.

The shadow of what looks like a bedroom. On stage center is a bed in between two windows. On stage left is a door to the bathroom. Next to it there's another door that opens to a closet. In between the two doors is a round table with a flower base and picture frames; a mirror hangs on the wall behind it. There's another door stage left that leads to the rest of the house.

Once the lights are up we can see a room decorated with the utmost of tastes for someone who doesn't have enough money to buy expensive furniture. Nothing happens for the next minute.

ANDREA (30's) lays in bed while her partner WILL (30's) is locked in the bathroom. A faint running water sound can be heard. The sound stops. Will opens the door and turns on the bedroom lights.

WILL:

Time to get up sleepy head.

He uses a bathroom towel to dry himself up while surfing in the closet for something to wear.

WILL(con't):

I think Drew is going to have a "talk" with me today. Two weeks ago I noticed that there's was something he wanted to tell me but couldn't. We went "shopping for shirts" during our lunch break. I thought it was an excuse. You know, a way to get me out of the office and kind off hint to me that the company was letting me go.

ANDREA:

What did he said?

WILL:

Nothing. He kept asking how I was doing. If I was happy now that I was working from home more often, but he didn't say anything you know. He just kept pacing around the store looking for a "shirt".

ANDREA:

Did he get a shirt?

WILL:

Why is that important?

ANDREA:

Because if he got a shirt that means he was looking for a shirt and not looking for a "shirt" as in I'm going to use the shirt thing as an excuse.

WILL:

Sometimes I don't get your logic you know? He obviously don't need a shirt. We've been working for years and I know that the least he needs is a new shirt. He took ME to the store. ME, a Vice President of marketing, to get a shirt. I have a collection of shirts to wear to work, all different shades of blue. Why would he ask me to accompany him to choose a shirt?

ANDREA:

Maybe he wanted your opinion on a blue shirt.

WILL:

He was "looking" for a pink shirt Andrea.

ANDREA:

Did he get it.

WILL:

Again, the shirt thing is irrelevant. I was not there to help him choose a shirt. I was there so he could find a way to tell me that I was going to be fired.

ANDREA:

Did he mention that you were going to be fired?

WILL:

We couldn't talk about that I was looking for a shirt.

ANDREA:

Did you get a shirt?

WILL:

I was not there to get a shirt. I was there to "help him get a shirt".

ANDREA:

So, did you "helped him"?

WILL:

I'm telling you that I was.

ANDREA:

Well, did he get one or not?

WILL:

He did.

ANDREA:

Then you have nothing to be worried about. He went there to look for a shirt, he found one that he liked and he bought it.

WILL:

How come they are letting me go then?

ANDREA:

Are they letting you go?

WILL:

Not yet, but that was the whole purpose of "buying a shirt".

ANDREA:

Stop referring to "the shirt".

WILL:

Well, I'm referring to "it" because I know for fact that it wasn't his intention.

ANDREA:

You don't know for a fact. They have not "talk" to you about it.

WILL:

So know you are saying "talk" as if everything is in my head. Well, it is not. I'm being let go and that's certain. I just don't know when. Not yet, but a month tops. You'll see.

ANDREA:

Let's say that you are right and that the company is letting you go. So what? wouldn't that be better for you? After all that's what you wanted so that you could have more time to write your play and "enjoy the garden".

WILL:

I don't want to "enjoy the garden". I want to enjoy the garden. That's a fact you know. But one thing is for them to let me go and the other thing is: Can afford to be let go? We both know I can't.

ANDREA:

We'll sell your book and live of the residuals.

WILL:

You sure is not "we'll sell" your book?

ANDREA:

Stop it! I'm trying to be supportive on whatever this is.

WILL:

Are you "sure"?

ANDREA:

Today's not the day.

WILL:

Why not, it is always a good day.

ANDREA:

Not today Will, not today.

WILL:

Oh why not Andrea? Your fingers must be "hurting". Lets "talk" about that.

ANDREA:

Will, we have already wasted around five minutes talking about "shirts" and "punctuation marks". Why don't you "go to work", have "lunch with" Drew, "help him find a shirt" with a different shade of pink, "get fired", "come back home" and then we can have a whole conversion that ends with question marks. "Ok"?

She gets out of bed and goes to the bathroom slamming the door after her.

WILL:

(Adjusting his tie and talking to himself.)

He didn't get a pink shirt. He was "looking" for a pink shirt. I was just trying to make an observation you know.

ANDREA:

You sure was will.

WILL:

The least I wanted was upset you.

ANDREA:

I'm sure of that Will.

WILL:

Just that you and my characters are the only people I can really express my thoughts to.

ANDREA:

I sure know that Will.

WILL:

There's a six sense that all writers have. We perceive things before they are said. We can see it in people's eyes. We feel their energy. And when I tell you that Drew took me to that store to hint to me that I was going to be fired I know why I'm telling you so. Hell, sometimes I think that makes me a little be of a physic. Don't you think?

ANDREA:

Sure

WILL:

I mean, think of that. I see this pensive middle aged handsome man coming to my office. Knocking on my door and by the subtlety of the knock I can tell that something is bothering him. You would only know that if you had the sensibility of a writer. Someone that pays attention to life details in such a way. In such a way that it makes life a bit more.... what should I say... A bit more gratifying! Isn't that a gift Andrea?

ANDREA:

Honey, I'm trying to take a dump.

WILL:

Go on love. Take a dump! Go on with your life unaware of it's little hidden pleasures. Ohhh that knock! It talked to me. It said" "Will, I respect you. I care so much for you and that's why I'm so sorry that these bastards are letting you go. I don't know how to break this to you. I'm not supposed to tell you this but what the hell! I'm breaking their trust. That's how much I care for you. I'm betraying the company so that you won't be taken by surprise. I'm the most loyal comrade you ever had my compadr..

ANDREA:

(Standing at the bathroom door)

And that was just a knock. Imagine that!

WILL:

Real funny Andrea, real funny love of my life. Real funny you insensible fool. Spiritless beast. Royal disgrace of a human being...

ANDREA:

It's getting late for work.

WILL:

All right honey. See you tonight.

He kisses her and rushes away.

Scene 2

AT RISE: It is late evening. Andrea is reading a book in bed while Will is wearing his pajama and is seating stage right on a small desk. He stares at a computer screen.

When he starts typing his words and actors will take form and come on stage. Their mouth will move as if speaking but until they have a line of their own it will be only Will's voice being heard.

WILL:

(Pensive at first)

The male character walks into the living room (The male character walks in elegantly). He's a brute! (Immediately he starts acting accordingly) "Jose Manuel Del Carmen and by all saints control yourself" Says Larissa, an innocent looking girl with a dark side (In walks the actress who starts acting both innocent and evil) "What do you want from me woman?" says he. "Nothing Jose Manuel. Everything"... Could she be bipolar (He stops to think. The characters remain still)

ANDREA:

(Looking up from her book)

She sounds crazy to me.

WILL:

Excuse me?

ANDREA:

Your character. She sounds nuts.

WILL:

Do you think so?

ANDREA:

Think about it. She jumps from good to bad and from bad to evil in a matter of a sentence.

WILL:

I guess I will have to change that.

ANDREA:

Change her name while you at it. Larissa, is not easy to pronounce. Sounds too Spanish.

WILL:

(Strong accent)

What about Jose Manuel Del Carmen?

ANDREA:

No, that I like. Sounds virile.

JOSE MANUEL:

(Without moving)

When is she going to stop getting in his business?

LARISSA:

(Also not moving)

The whole novel is balls deep in shit because of her.

Will notices that the characters are talking and is struggling to ignore them.

ANDREA:

Sounds like the type of guy who will grab you by the waist. Pin you against the wall and make passionate, hot love to you any given night.

Will stares at the characters as if waiting for them to do as she says.

LARISSA:

(Not moving but her eyes towards Jose Manuel. A bit concerned)

We only move when he thinks so.

JOSE MANUEL:

(Not moving but looking at her with excitement)

But he's thinking about it.

LARISSA:

(Same as before)

He won't do that. He won't let a pumpkin head dictate his writing.

Jose Manuel grabs her by the waist. Pin her to the wall and starts kissing her net.

WILL:

(Enjoying this very much)

Ohhh you sick little slut.

ANDREA:

(Offended)

I beg of you!

WILL:

(Taken aback)

No, not you. The character is saying that to her (Jose Manuel mimics the words)

ANDREA:

(Going back to her reading)

You're a pervert. (Larissa pushes Jose Manuel aside and mimics these words to Will while putting both hands on her waist)

WILL:

(To Larissa)

Shut up!

ANDREA:

Come again?

WILL:

Not you.

ANDREA:

(She looks around)

Come to bed if you are seeing visions again.

WILL:

Alright...

JOSE MANUEL:

(Disappointed)

Man! How can he let a pumpkin head influence him?

LARISSA:

My neck is sore but you complain.

WILL:

Oh well... (He motions them to go)

TO BE CONTINUED:

​

WANE (Work in progress)

"We must let go of the life we have planned, so as to accept the one that is waiting for us" - Joseph Campbell

Look at that! I planned to write and work on this blog relentlessly a few months ago and a lot has happened since. A lot of good things and a lot of laziness as well, not being able to wake up early to write because I have been sleeping for only a few hours a day and so on and so forth.

Anyways, here we go again until plans have to change in order to accept whatever comes my way.

WANE

​

INT. CORPORATE OFFICE - EARLY MORNING

ANN rushes through the corridor towards the CEO office. She holds a bunch of folder on her arms trying not to let them fall.

ANN

Nothing comes to mind! Nothing, absolutely nothing. Have I lost it?

EDWARD

That's why you shouldn't take a vacation.

He rushes next to her trying to keep up with her pace.

ANN

How was it?

EDWARD

How is it you mean.

ANN

You guys are not done yet?

EDWARD

We couldn't come up with anything. Got blocked.

ANN

Do I have to finish it?

EDWARD

You can help. Lisa had no idea about what she was doing.

ANN

Did you?

EDWARD

As usual, nope!

They stand in front of the CEO office. Both take a deep breath and exhale as she opens the door to the office. As they walk in.

CEO (O.S.)

Whatever it is guys I'm on my way out. Got a meeting in 10 minutes.

TO BE CONTINUED (Literally had 5 minutes to write this morning)

​

NOT TODAY ( Scene 1)

​

It's not the will to win that matters everyone has that. It's the will to prepare to win that matters.

Paul "Bear" Bryant

I almost didn't make it out of bed this morning. Got the beginning of a cold and my body just want to staple itself to the sheets. Will have to line up my vitamins an cold pills as I have a long week of auditions ahead with me.

Used to like having those self auditions because I didn't have to go anywhere but now I find it twice as much as difficult and more time consuming. Keep bothering the same people to read with me and when you have two or three of those lined up calling a friend to help you eventually will become a bit of a burden for them. So I will have to save my friends for specific ones.

On a similar note, last night's table read for a short film I have a role in turned out very good. I'm excited to be working on such project and I look forward to a great production. There's always the opportunity of growth and making new friends when working on projects. You meet people that challenge you to be better or people who let you realized how far you've come from where you started. 

There's always something to learn in any situation, something to teach and something to share. We just have to keep our hearts and minds open and we'll be able to noticed those things.

ACT I

Scene 1

AT RISE: Stage is completely dark except for a faint moon light coming in from a window. On an old bedside radio we can see that it is 7:06 AM. Chopin is playing.

The shadow of what looks like a bedroom. On stage center is a bed in between two windows. On stage right is a door to the bathroom. Next to it there's another door that opens to a closet. In between the two doors is a round table with a flower base and picture frames; a mirror hangs on the wall behind it. There's another door stage left that leads to the rest of the house.

Once the lights are up we can see a room decorated with the utmost of tastes for someone who doesn't have enough money to buy expensive furniture. Nothing happens for the next minute.

ANDREA (40's) lays in bed while her partner WILL (40's) is locked in the bathroom. A faint running water sound can be heard. The sound stops. Will opens the door and turns on the bedroom lights.

WILL:

Time to get up sleepy head.

He uses a bathroom towel to dry himself up while surfing in the closet for something to wear.

WILL (con't):

I think Drew is going to have a "talk" with me today. Two weeks ago I noticed that there's was something he wanted to tell me but couldn't. We went "shopping for shirts" during our lunch break. I thought it was an excuse. You know, a way to get me out of the office and kind off hint to me that the company was letting me go.

ANDREA:

What did he said?

WILL:

Nothing. He kept asking how I was doing. If I was happy now that I was working from home more often, but he didn't say anything you know. He just kept pacing around the store looking for a "shirt".

ANDREA:

Did he get a shirt?

WILL:

Why is that important?

ANDREA:

Because if he got a shirt that means he was looking for a shirt and not "looking" for a shirt as in I'm going to use the shirt thing as an excuse.

WILL:

Sometimes I don't get your logic you know? He obviously don't need a shirt. We've been working for years and I know that the least he needs is a new shirt. He took me to the store. Me, a Vice President of marketing, to get a shirt. I have a collection of shirts to wear to work, all different shades of blue. Why would he ask me to accompany him to choose a shirt?

ANDREA:

Maybe he wanted your opinion on a blue shirt.

WILL:

He was "looking" for a pink shirt Andrea.

ANDREA:

Did he get it

WILL:

Again, the shirt thing is irrelevant. I was not there to help him choose a shirt. I was there so he could find a way to tell me that I was going to be fired.

ANDREA:

Did he mention that you were going to be fired?

WILL:

We couldn't talk about that I was looking for a shirt.

ANDREA:

Did you get a shirt?

WILL:

I was not there to get a shirt. I was there to "help him get a shirt"

ANDREA:

So, did you "helped him"?

WILL:

I'm telling you that I was.

ANDREA:

Well, did he get one or not?

WILL:

He did.

ANDREA:

Then you have nothing to be worried about. He went there to look for a shirt, he found one that he liked and he bought it.

WILL:

How come they are letting me go then?

ANDREA:

Are they letting you go?

WILL:

Not yet, but that was the whole purpose of "buying a shirt".

ANDREA:

Stop referring to "the shirt".

WILL:

Well, I'm referring to "it" because I know for fact that it wasn't his intention.

ANDREA:

You don't know for a fact. They have not "talk" to you about it.

WILL:

So know you are saying "talk" as if everything is in my head. Well, it is not. I'm being let go and that's certain. I just don't know when. Not yet, but a month tops. You'll see.

ANDREA:

Let's say that you are right and that the company is letting you go. So what? wouldn't that be better for you? After all that's what you wanted so that you could have more time to write your book and "enjoy the garden".

WILL:

I don't want to "enjoy the garden". I want to enjoy the garden. That's a fact you know. But one thing is for them to let me go and the other thing is if I can afford to be let go. We both know we can't.

ANDREA:

We'll sell your book and live of that.

WILL:

You sure is not "we'll sell your book"?

ANDREA:

Stop it. I'm not putting anything you said or do in apostrophe.

WILL:

Are you "sure"?

ANDREA:

Today's not the day.

WILL:

Why not, it is always a good day.

ANDREA:

Not today Will, not today.

WILL:

Oh why not Andrea? Your fingers must be "hurting". Lets "talk" about that.

ANDREA:

Will we have already wasted around five minutes talking about "shirts" and "punctuation marks". Why don't you "go to work", have "lunch with" Drew, "help" him find a shirt with a different shade of pink, "get fired", "come back home" and then we can have a whole conversion that ends with question marks. "Ok"?

She get out of bed and goes to the bathroom slamming the door after her.

WILL:

(Adjusting his tie and talking to himself.)

He didn't get a pink shirt. He was "looking" for a pink shirt. I was just trying to make an observation you know.

​

JULES! YOU'RE NOT SO GREAT YOURSELF

First of all, write!

That was me two minutes ago reprimanding myself.  I have this tendency of wondering around before writing, exercising or performing certain tasks as a matter of fact. A fly on the wall can be fascinating to me in order to avoid sitting down and working.

I, like many other professionals in the field, like giving it a name. We call it procrastinating, anxiety, adult ADHD, malnutrition, dehydration, premature menopause......... pretty much any BS that comes to mind and sounds as good as "the dog ate my homework".

Anyways, today I will be directing my first short play reading at Chelsea Rep. The Playwright Lab for The Acting studio and that's something to be excited about. I made a conscious decision to always expect great things to happen out of anything. Hope I can pass that on to others.

JULES! YOU'RE NOT SO GREAT YOURSELF

​

INT. APARTMENT COMPLEX HALLWAY  - EARLY MORNING

The door to Carmen's apartment is slightly opened. There's an eerie calmness in the hallway. Birds can almost be heard chirping. Edward Grieg: Morning Mood (Flute & Piano) plays on.

Suddenly the elevator door rings open.

Out comes CHRISTIAN (3) a sweet little one with dimples on his cheeks and curly hair. He holds Mom's hand but we are so focused on him that we don't see her face. (Like the adults in the "Muppets", the adults in this story are talking bodies).

Christian smiles as he walks, he and his mom head towards Carmen's apartment. Push the door open and the calmness is over.

INT. CARMEN'S DAYCARE -

We are in a complete different scenario. There is total chaos inside the apartment.

LILY (5) Asian and MARA (4.5) African American sing at the same time on a karaoke machine.

ANTHONY (7), complains nearby that he's hungry while MIMI (9), Carmen's niece, overweight and a bully yells at them to stop.

The sweet, dimpled infused smile on Christian's face turns into an almost devilish grim as he lets go of mom and joins the clan.

INT. CARMEN'S DAYCARE - FEELS LIKE AN ETERNITY BUT IT HAS BEEN THREE MINUTES

No longer Flute and Piano sounds but Guns N' Roses - Welcome to The Jungle plays on.

Where it was chaos before now's a war. Christian pulls Lily by the hair as she fights over the microphone with Mara.

Mimi and Anthony hand slap game turns violent as Carmen and Christian's mother try to separate the good, if any, from the bad.

MIMI

He hit me!

ANTHONY

She hit me first!

MIMI

(Charging at him)

I did not!

ANTHONY

Yes you did did!

MIMI

I did not!

CHRISTIAN

Yes you did!

MARA

Shut up!

LILY

You shut up!

MIMI

No, you shut you!

LILY

Why are you telling her to shut up. You shut up!

Meanwhile Carmen and Christian's mom are still trying to separate them but the rumble is growing bigger and the adults are losing the battle.

ANTHONY

I'm going to tell my mom that you hit me.

MIMI

Tell her, I don't care. She's ugly anyways.

ANTHONY

My mom is not ugly. You're mom is!

MIMI

No, you're mom is. She's fat.

MARA

You're fat.

CHRISTIAN

Mimi is ugly.

LILY

You're ugly.

ANTHONY

No he's not. You're ugly.

Anthony pulls Lily by the hair. Carmen carries him to the other room. Leaving Christian's mom alone with the "terrorists".

MARA

(Being nice)

Don't worry Lily I'm going to let you sing with my microphone.

LILY

(Not nice at all)

It's my microphone!

MARA

No it's not!

MIMI

Yes it is. Her mom got it for her.

LILY

And my mom said don't play with Mara she doesn't know how to sing.

MARA

Oh no. You don't know how to sing.

MIMI

None of you know how to sing. You sing bad!

 A bomb was dropped. Mara and Lily can't take the heat and start crying inconsolably.  In comes Carmen.

CARMEN

Mimi, what happened?

MIMI

They're crying.

CARMEN

I know they're crying. What did you do?

MIMI

Nothing. I was just playi.....

Mimi joins the crying chorus as Christian's mom takes advantage of the concerto and sneaks out of the apartment.

A loud bang as the door closes.

INT. CARMEN'S DAYCARE - LUNCH TIME

However she managed it but Carmen was able to tame the "beasts". They are all sitting down, eating, drinking.

Food Groups Are Rockin' Tonight plays and the kids are doing the happy food dance. Christian sits on Carmen's lap as she feeds him.

CHRISTIAN

(Rubbing his belly)

hmmm, jummmmy.

CARMEN

(Feeding Christian)

Here, open. You have to eat it all.

A "gang" member new to scene sits at the table with Lily and Mara. Jules (5) smart, glass wearing waiting to be nerd, playing with his ipad.

MIMI

Jules, turn it off and eat.

Jules ignores her.

LILY

(Being nice)

It is ok Mimi. He's just looking at it.

MARA

You're not his mom.

ANTHONY

Carmen said we could watch cartoons and eat.

LILY

My mom is going to bring ME my tablet and I'M going to watch cartoon.

MARA

Are you going to let me watch cartoons with you?

LILY

Yes, you're my best friend.

There's an ahhh moment. The girls hug and share food.

MIMI

(to Jules)

Put Peppa pig.

ANTHONY

Noooooo, not that.

MARA

The Powerpuff Girls!

CHRISTIAN

(Mouth full)

Mojo jojo

MIMI

Noooooo, that's a stupid show.

Tension in the room. Carmen can feel it coming. This is it?

LILY

(Still being nice)

Oh no. Don't say that. I like it.

Carmen breath off the tension. That was a near asteroid impact on earth.

MARA

I'm bubbles!

LILY

Buttercup!

CHRISTIAN

(Getting a little excited)

Mojo jojo!

ANTHONY

I'm Optimus Primes!

MIMI

That's not the same show.

ANTHONY

I know but I'm Optimus Primes.

MIMI

Whatever. I'm Belle from the Beauty and The Beast.

Jules giggles at this and little by little the others join in. Carmen knows this is the moment of no return. She puts Christian down in order to be ready to jump in to separate someone from something but....

MIMI

(Laughing too)

I'm lying. I don't want to be Belle.

Carmen is relieved once again, that was so close it feels like a miracle that nothing happened.

MIMI(CON'T)

If I was a princess I would be Rapunzel and have my long hair like... (she shows them how long her hair would be like).

LILY

My hair is going to be like Rapunzel. Long and shiny and beautiful.

MARA

And my hair too!

LILY

Yeah but mine is going to be longer but you're not going to be mad right?

Mimi doesn't like this alliance to take her princess away from her. She goes to the table where they are seating and turns Jules tablet off. She laughs.

LILY

Don't do that!

MARA

You're mean.

ANTHONY

And ugly.

MIMI

You're mom is ugly!

Carmen knew it was a matter of time, no surprise here. She stuffs Christian's mouth with another spoon of rice and beans and waits for the moment of truth.

Jules, still ignoring everyone, turns his tablet back on.

ANTHONY

You're ugly!!

MARA

And Jules is still eating his food.

"Is she clueless?" seems to be everyone's expression. Soon the explosion... of laughter.... but....

ANTHONY

Mimi shouldn't eat anymore.

MIMI

(With a Bronx attitude)

Because I'm fat?

MARA & LILY

Yes

ANTHONY

(Knowing better)

No, because if you eat too much Carmen is not going to give you candy.

MIMI(con't)

If he don't turn the tablet off none of us is getting any candy!

"Oh no" a turn of events. Carmen knows this but she has to handle this with extreme care.

CARMEN

None of you will get candy. You're talking too much and not eating.

Huge mistake!

ANTHONY

(to Mimi)

See what you did?

MIMI

Me? Jules's the one not turning his tablet off.

MARA, ANTHONY & LILY

Jules!!

Christian grabs a handful off food and throws it at the tablet. The food falls on Mara's hair and so ends lunch time as she starts to... cry... of course.​

INT. CARMEN'S DAYCARE - STILL LUNCH TIME?

3 Doors Down - Kryptonite loudly plays.

Mara desperately cries as Carmen tries to clean her hair.

Mimi and Jules are fighting for the tablet while Anthony carries Christian to the table.

Lily runs to the karaoke and starts to sign. Things just keep getting better worse.

JULES

(Exasperated)

Stop! You're a bunch of morons! All of you....! You too Carmen!

Hold for the applause.

CARMEN

(Officially fed up for the day but trying very hard...)

Jules! You're not so great yourself.

Christian flies from the table and lands on top of Jules. Then, you guessed it. Everyone else followed.

INT. APARTMENT COMPLEX HALLWAY  - EARLY MORNING

Another day, another dollar.

The door to Carmen's apartment is slightly opened. There's an eerie calmness in the hallway. Birds can almost be heard chirping. Edward Grieg: Morning Mood (Flute & Piano) plays on.

Suddenly the elevator door rings open.

Out comes CHRISTIAN......

CREDITS

Guns N' Roses - Welcome to The Jungle plays

​

"SO SAYS WILLY"

"Do you want to be safe and good, or do you want to take a chance and be great?" 

Jimmy Johnson

I read that last night. The immediate answer was "I want to take a chance and be great" but am I taking chances? You get involved in the day to day activities, you set up a schedule, workout, start a new diet and get to work on your goals. Sometimes you lose perspective of what you are doing. Can't see the whole picture if you are working from the bottom up.

As I started to write and question the things that I'm doing the answer is "yes". I'm taking a huge chance with my life. Leaving everything I have that's secure for the uncertain, for a mere chance. I'm scared to death of the possibility of wasting my time but I'm willing to risk it or else be contempt with living with regret the rest of my life.

This is the beginning of it. I'm going to be great or I'm going to fail but I'm not going to sit behind hold by my fear of knowing that there's a huge chance of going broke.

SO SAYS WILLY

​

INT. AN APARTMENT IN NYC - LATE NIGHT

NARRATOR

(Talks as in the 50's narrator style)

Welcome. Today's episode, as always, focuses on a social issue. This in particular might be the end of New York City's society as we know it. Today we are observing the life and daily struggles of Willy Andrew and his comrades. Willy, a boy of 35, shares an apartment with two other equally young boys of 27 and 42.

The narrator moves out of the frame and we see Luke, 35 still in his boxers in front of the television. He swipes his phone screen left every other second.

LUKE

No.. big nose.. no... small ass... no tits.. brunette.. too blonde ( and so on)

NARRATOR

Here enters subject number two, 27, handsome and with that air that the world owes him the best it has just for the fact of being born. We have named him Willy... for the sake of it.

WILLY

Nothing yet?

LUKE

Nah... I don't think I'm going out today man.

WILLY

That bad?!

LUKE

Yo! I've been looking for 10 minutes and still nothing. How hard can it be to find a suitable mate in this city?

ALVIN

I found one!

NARRATOR

We hear subject number three yell that from the kitchen. Alvin 42, balding and carrying a few too many outside meals on him. In a few minutes he will join the other two and discuss this impending issue. Dating in NYC.

CREDITS

INT. AN APARTMENT IN NYC - SAME BUT MOMENTS LATER

The three men are now seating next to each other. Looking at their phones. The narrator is in the room, unseen by them.

ALVIN

How about this one?

He shows the picture to Willy who goes through the girl's gallery.

LUKE

(Delighted)

Not bad. She looks clean, cute and intelligent.

WILLY

Total waste of time.

ALVIN

You think. Look at her.

He hands the phone over to Willy.

WILLY

She's hot. Now send her a message and you'll see.

Tossing the phone back at Luke.

LUKE

See what?

WILLY

That she's a total waste of time. It'll take you two hours to convinced her to go out tonight.

ALVIN

We can't wait for that. The others are already waiting. We either show up now or ...

Luke tosses his phone down on the coffee table.

LUKE

(Totally discouraged)

I don't think I can do this today.

NARRATOR

So hard isn't it? We'll have to leave the story here. On a cliff hanger so to speak so that we can continue tomorrow and see how things unravel for these cats. Until then folks.

The narrator walks out of frame leaving the other two trying to console Luke.

CREDITS

INT. AN APARTMENT IN NYC - KITCHEN - MINUTES LATER

The guys are dressed to impress. Looking their best but with signs of being drinking and partying for a while.

On a snapchat post with the quote "WISH YOU WERE HERE LOOSERS!" (not my typo)

Loud music is heard on the background. Willy holds the phone and flirts with the camera. Enter Luke holding a cup in his hand and dancing.

Willy pans the phone to Alvin who seems intoxicated on top of the kitchen counter.

INT. AN APARTMENT IN NYC - KITCHEN - SIX SECONDS LATER

WILLY

And that's it. Tagging ya'll and posting it!

ALVIN

(No longer intoxicated)

How did it look.

Willy replays the video.

LUKE

Nice!

The guys congratulate each other and start putting things back in order. The door bell rings.

Luke walks out of the kitchen taking his pants off and tossing them around.

LUKE(o.s)

Yo Alvin! Yo! You put in the tip?

ALVIN

Damn right I did!

Alvin and Willy chest bump each other.

BOTH

(Making battle noises)

TO BE CONTINUED

​

LET'S SEE WHAT HAPPENS (10 Minutes play)

"Thinking will not overcome fear but action will" 

W. Clement Stone

Without further introduction as I feel like I might have a lot to explain to a certain person that might be the only one reading this (W) here it goes. By the way, this time I wrote a short 10 minutes play instead of a short film.

LET'S SEE WHAT HAPPENS

​

Scene 1

At rise we find ourselves in the middle of nowhere, anywhere. A dessert. The sun light slightly increasing. That burning, suffocating hour that can turn lethal in such place.

On stage right is a rock. ROBERT, 14 sits against it covering himself with the shadow it creates and his brother MATT, 9 stands a little further up looking at the sky.

MATT

Do you see it Robert?

ROBERT

See what?

MATT

Look at the sky. It's right there. In plain sight!

ROBERT

I don't see sausage Matt. Please shut up and go back to sleep.

MATT

Don't look at it then. I don't care.

Both hold their places. Matt stares at the sky creating a shade over his eyes with his hands.

ROBERT

What is it this time?

MATT

Nothing... It's gone.

ROBERT

Look at that. What a surprise. Now it's gone.

MATT

I told you there was something in the sky you ignored me. Now you want to see it, well now it is gone!

He sits next to his brother still looking at the sky.

MATT(con't)

It was too high to see us anyway.

ROBERT

(Patronizing)

They are always to high to see us aren't they?

MATT

I hate you!

ROBERT

Why now?

Matt gets up and throws rocks at the vast emptiness.​ His anger building up throw after throw.

MATT

Because you're doing that thing again.

ROBERT

What thing again?

MATT

That smart thing you do to make me look like an idiot.

ROBERT

ohhh, you mean patronizing you.

MATT

No, that's a stupid word you just came up with.

ROBERT

So, I'm not patronizing you but I'm making you look stupid. Hmmm, interesting. What's the word we're looking for then?

MATT

Stupid! Stupid just like what you did to get us here, that's the word we're looking for, stupid.

ROBERT

I did nothing to get us here and you know that.

MATT

Yes you did! You never listened to him. You never obeyed his orders. You had to go and speak up. Why couldn't you remain quite?

ROBERT

And let him do to us what he always did? You rather be at that house getting beat every day for no reason? Would you rather?!

MATT

Not that we can go back anyways.

ROBERT

I don't want to go back.

MATT

But I do. I want to see mom. Imagine how hard will it be for her alone with him.

ROBERT

I don't feel sorry for her.

MATT

How can you say that?

ROBERT

Matt, did mom ever do anything to help us?

MATT

She cried. She told him to leave us alone.

ROBERT

But did she actually do anything to help us? Did she?

MATT

Don't talk about mom.

ROBERT

Fine, let's not talk about mom.

Matt sits next to his brother and plays with a dry lizard skeleton. They remain silent for a few minutes.

MATT

Do you think they stopped looking?

ROBERT

Didn't you see a flying thing just now? Maybe that's them looking for us aren't they?

MATT

(Starts to cry)

ROBERT

What now?

MATT

No one is looking for us Robert. Why are you so stupid?

ROBERT

You were the one seeing flashlights last night! And hearing sounds and flying objects!

MATT

I made them up.

ROBERT

No shit! You made them up?

MATT

So that you wouldn't be scared.

ROBERT

Me scared? I've never been scared!

MATT

Yes you have.

ROBERT

Never!

MATT

How about that time you broke dad's tv remote control.

ROBERT

That was different.

MATT

Why?

ROBERT

Cuz he was chasing after me with a branding iron!

(Silence)

MATT

We will be like this lizard by time they find us.

ROBERT

If they find us.

Robert stands up and starts to look for something on the ground. Far away from Matt. The sound of a vehicle is heard approaching.

MATT

You hear that?

ROBERT

Stop making things up. I'm not scared. I told you.

MATT

I'm not making anything up. This time is real. Listen!

They listen attentively to the sound of a vehicle approaching then stopping. They look at each other.  Robert walks towards Matt.

ROBERT

This is it!

MATT

You think?

ROBERT

Shhhh.

They stand up and start waving.

MATT

Here! Over here! Oh God Robert. Do you see them?

ROBERT

We're here. Over here!

A group of people is heard approaching.

DORIS

(Offstage)

Best if we split. I'll go this way. This is within the parameter the father said he left them.

MATT

She's coming this way. Oh Robert she's pretty!

ROBERT

Stop jumping like that she can't see you.

MATT

Oh but she's so close to us.

ROBERT

Yes she is.

DORIS, 40 wearing dessert appropriate clothes enter stage left. Always talking into a walkie talkie.

DORIS

Ok guys. Please report anything you see. Any piece of clothes, signs of disruption on the ground, anything.

MATT

Over here! We're here!

ROBERT

Calm down Matt. She will find us.

MATT

What do you mean calm down. Don't you want her to see us? What's wrong with you? (To Doris) Here! Over here!

ROBERT

Here she comes.

Doris is walking around looking for them. Nothing. All of a sudden she notices something on stage right towards the directions the children are standing. She covers her eyes to protect them from the sun light.

DORIS

I think I see something.

She walks towards them slowly. There's something in her expression that's discerning to Matt.

MATT

Is she about to cry?

ROBERT

Looks like it.

MATT

Do we know her? Robert tell me. I don't want to look like an idiot if she know us and I don't remember her.

She's closer to them now.

DORIS (CON'T)

(Emotionally affected)

Oh, I do think I found them.

MATT

Come on woman don't cry. We're here, we're alive.

Matt is about to run towards her but Robert holds him back. She's now standing in front of them.

MATT (CON'T)

Hey lady. Stop looking down we're here, up. Look up. (to Robert) What's wrong with her can't she see us?

DORIS

I found the kids. It's them. I found them.

She walks away and sits crying. Waiting for the others to come.

DORIS (CON'T)

Sorry, it is always this hard.

ROBERT

I'm sorry Matt.

MATT

She can't see us. I hoped....

ROBERT

She can't. No one can't.

MATT

That's it, we're gone?

ROBERT

Not until they take us back to the city.

MATT

Do you think they'll take us to mom?

ROBERT

I hope not. She wouldn't know what to do with us.

MATT

She will cry.

ROBERT

She always cry.

A moment. 

ROBERT

No more running around hiding under the bed.

MATT

No more crying for help while others ignored us.

ROBERT

He got rid of us.

MATT

WE got rid of him.

ROBERT

How come you're sounding so smart all of a sudden?

MATT

I'm doing that smart thing you do do to make me look stupid.

ROBERT

You're trying to patronize me?

MATT

Not that. I'm trying to make you look stupid.

Lights starts to fade on the children who are now running after each other, playing. Doris, still sad over the finding stands up to wave at unseen people. She signals towards the area where the bodies were found and starts walking towards them.

Lights off.

​