"Love all, trust a few, do wrong to none" - William ShakespeareWord! 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:
