31 plays 31 days

Day 10 - Cat

September 04, 2018 in Writing Prompts

“Prompt 1: Your main character tries to uncover the source of a strange sound.”

CHARACTERS

JENNIE. Early 40s, recently divorced and living on her own for the first time in a long while.

AGATHA. Early 80s, widowed but sprightly, has been living on her own for some time.

SCENE 1

The stage is set to look like an urban area at night. We can see the alley behind a large, brick apartment building. JENNIE, wearing a set of silk PJs, is carefully climbing out of her window on the top floor onto a rusty fire escape attached the building as AGATHA watches her from a window below.

AGATHA: You're going to kill yourself. You realize that, don't you?

JENNIE: Not now, Agatha.

AGATHA: I don't know what you think you're looking for.

JENNIE: There's something up here, I just know it.

JENNIE wriggles herself onto the fire escape and steadies her body as it shakes beneath her weight.

AGATHA: You're nuts.

JENNIE: I am not nuts. All night long I hear this awful noise, this screeching and scratching sound. It's dreadful. I haven't had a proper night's sleep in days.

AGATHA: Ever hear of a cat, nutso?

JENNIE: This is not a cat. It's something... ungodly.

JENNIE pulls the ladder on the fire escape down. It shoots down to the stage below with a large CLANG. Sirens go off on the street and lights from the apartments below flicker on as the tenants inside them yell curse words.

AGATHA: Brilliant move.

JENNIE: Would you shut up and go back to bed?

AGATHA: It's only midnight, honey. It's nowhere near my bedtime.

JENNIE locks the fire escape ladder into place and begins to slowly climb up it.

JENNIE: Ok, here goes nothing...

AGATHA: You're gonna be disappointed when you get up there.

JENNIE: I just need some peace of mind.

JENNIE ascends the ladder up into the darkness and the stage goes black.

SCENE 2

JENNIE carefully swings her legs over the rooftop, breathing heavily. At the far corner of the roof lies a shadowy figure--cat-like in its resting position.

JENNIE: What is...

JENNIE moves slowly toward the figure, bending down to examine it more closely, yet still from a distance. The figure turns its head.

JENNIE: Ugh. A cat. That old hag was right.

JENNIE turns to make her way back down the fire escape but then pauses, and thinks.

JENNIE: But if it's crying like that up here, maybe it needs help.

JENNIE turns back around to face the figure in the shadows.

JENNIE: ...and I'm up on the roof at midnight, talking to myself. Maybe I'm the one that needs help.

JENNIE inches closer to it.

JENNIE: Here, kitty kitty...

The figure remains motionless.

JENNIE: Are you scared?

JENNIE: I didn't mean to upset you.

JENNIE inches slightly closer, still unable to make out the figure in the darkness.

JENNIE: You're awfully quiet, now. Usually it's around this time you start with those... noises.

JENNIE: They're quite unnerving...

JENNIE: But I suppose you can't be faulted for that. I'm sure you didn't want to be up here all alone by yourself, unsure of how to leave.

JENNIE sits cross-legged on the floor.

JENNIE: I know this is going to sound bizarre, but I kind of know how that feels...

JENNIE pauses for a moment and takes a deep breath before continuing.

JENNIE: I've never been alone in my entire life. There's always been someone there. Be it family or partner. I've always made a conscious choice to NOT be alone. It happened when I lost my dad as a child. I saw that train coming and couldn't stop it--I walked myself home the four miles just to tell my mom the horrible news. I NEVER, ever wanted to relive that experience. And so keeping myself occupied with someone always seemed like a good way to combat that. Was it flawed? Of course, it wasn't the walking alone that was scary, it was the losing someone who was right by my side that shook me to my core. That can happen no matter how many people I'm with--

JENNIE looks up at the shadow.

JENNIE: I guess I never really did understand what my problem was. It's just, moving to this new town, this new city, living all by myself. It's been... hard. It's taken a long time to realize that my problem is me. Surrounding myself with people whom I barely even like won't make the inevitable go away. Hiding in my apartment all the time because I imagine death is at every corner won't let me live forever. But keeping to myself will make me lose the people I do care about, or never find new ones to love.

JENNIE stretches her legs out and stands.

JENNIE: Well, kitty, looks like you're not too interested in me. I think you would have come out from the shadows by now. But you've given me something far more than I could have ever asked for.

JENNIE: I guess what I'm trying to say is... thank you?

JENNIE walks over to the fire escape, but turns around one last time to face the cat.

JENNIE: I do hope you'll find your way down soon.

JENNIE climbs onto the fire escape and descends the latter into darkness.

From the shadows, the CAT walks out onto the middle of the roof, center stage. We can finally see its full form--it is not a cat, but instead a full-sized panther. It turns and faces the audience, letting out a ferocious roar.

The stage goes black. The curtain falls.

END.

Day 9 - A Joke

August 13, 2018 in Writing Prompts

“Prompt 1: Relatives going through a deceased loved one’s belongings find something shocking.”

A JOKE

CHARACTERS

DAVID. 30. Fairly affluent. Well-liked among his social circles and considered a golden child within his family, though arrogant in his personal relationships.

JENNIFER. 28. Shy, even-tempered. Not the standout of the family, but treats others with kindness and respect.

GEORGE. 35. Deceased. Cause of death not yet known. A black sheep of the family who spent most of his life isolated and quiet.

SCENE I

The stage is set up with an upstairs space and a downstairs, with a narrow, winding staircase linking the two. The downstairs stage is dark, while the action of this scene takes place in the well-lit upstairs space. A dusty attic is bathed in warm daylight flowing in from a large window with broken blinds. DAVID and JENNIFER are in the process of boxing up the last few belongings of their recently deceased cousin GEORGE. They both look somber as they work.

DAVID. Looks like this is the last box of George’s stuff.

JENNIFER. He’d only been living here for a few years--how does one person amass so much stuff?

DAVID. Especially someone like George.

JENNIFER stops taping up the box and looks at DAVID.

JENNIFER. What do you mean by that?

DAVID. Jennifer, let’s be real. George was our cousin but he wasn’t really… you know… the life of the party.

JENNIFER. George was nice enough of a guy.

DAVID. Oh yeah, for sure, but we’re not talking about niceness here. I mean his personality.

DAVID. ...Or lack thereof.

JENNIFER covers her mouth to hide her laughter. She gives DAVID a slight push.

JENNIFER. That's so wrong!

DAVID. Maybe--but you know it's true. I mean, think about it, when is the last time you ever had a conversation with the guy? Like a real, honest to God conversation that you actually got something out of or even laughed at. Not even a deep belly laugh, just a slight giggle?

JENNIFER pauses to think.

DAVID. Exactly.

DAVID stands up and lifts one of the boxes. He starts to make his way to the exit.

JENNIFER. I think he was just shy.

JENNIFER also stands and carries a box as the two descend the staircase.

DAVID. Jen, you're shy, but I can still carry on a normal conversation with you. George was just blah. Weird at best.

SCENE II

JENNIFER and DAVID walk down the staircase and arrive on the bottom stage, which GEORGE's bedroom. The room is also fairly well-lit but bare, containing only 1 twin-size bed, a closet, and a set of dresser drawers next to the bed. The bottom of the drawers should be slightly ajar.

DAVID. Don't you find it bizarre that we were left in charge of his belongings? We weren't even that close...

JENNIFER. I guess we were closer than most people in our family...

DAVID. It's not like there's anything good in here, either. A bunch of boring history books and tax papers. Thanks for the gifts, Georgie.

JENNIFER and DAVID set the boxes down on the floor. JENNIFER surveys the bedroom.

DAVID. My guess is us moving boxes around in here is probably the most action this bedroom has ever seen.

JENNIFER. Stop it, that's not funny.

DAVID holds his arms wide out at his sides, examining the bare room.

DAVID. So what do you think he really got up to, huh?

JENNIFER. Now what are you talking about?

DAVID walks back over to JENNIFER and gets close to her as he talks.

DAVID. Think about it. Guy barely talked to anyone, had no friends, held a boring desk job, was found dead of no discernible causes by the cable guy of all people--what could he have done in his spare time? Why did he feel the need to have a house, practically in the middle of nowhere, filled with next to nothing, he could have just as well lived in a one bedroom apartment with the amount of stuff he had.

JENNIFER. Maybe he just liked having space.

DAVID. I think he had some secrets. I bet he was into weird shit.

JENNIFER. Stop it.

DAVID. Maybe this bedroom did see more action than I'm giving him credit for.

JENNIFER. Knock it off.

DAVID. Maybe... just maybe... David's body wasn't the only one ever found here...

JENNIFER. WOULD YOU SHUT THE HELL UP?!

DAVID and JENNIFER stop and stare blankly at each other. DAVID begins to laugh, but JENNIFER is not amused.

DAVID. Calm down, cuz. I was just joking.

JENNIFER begins to lose her cool as DAVID ignores her, instead directing his attention at the set of dresser drawers.

JENNIFER. I don't care what you thought about George or his private life, but he's a member of our family who's gone now, the least you can do is show a little respect.

DAVID walks past her and gets closer to the drawers.

JENNIFER. But seeing as how you can't even show me that, I'm not sure what I was expecting...

DAVID points at the drawers as he speaks.

DAVID. Did you open this drawer?

JENNIFER. No, why?

DAVID. It was closed before we went upstairs.

JENNIFER. Well I didn't touch it, I haven't even been in this room for longer than a few seconds until just now. Are you sure you didn't touch it--

DAVID. No. I swear to God, it was completely closed before.

JENNIFER. This isn't funny, David.

DAVID. I'm not trying to be funny, not this time.

JENNIFER slowly walks over to the drawers. She tries to peer into the open drawer.

DAVID. Is there anything in there?

JENNIFER. I can't tell...

JENNIFER looks back at DAVID before mustering up some courage. She closes her eyes and opens the drawer. She looks in and smiles, before slowly pulling out what's inside. At the sight of her producing a hand from the drawer, DAVID screams and faints.

DAVID. OH MY GOD!!

JENNIFER smirks as she pulls out the rest of the object--a comedic puppet. She continues to dig into the drawer to pull out a stack of handwritten papers.

JENNIFER. Jokes?

JENNIFER. These are all jokes.

JENNIFER. George was a...

JENNIFER pauses to look at the puppet in her other hand.

JENNIFER. Prop comic???

JENNIFER laughs as she steps over DAVID's unconscious body, exiting the bedroom.

JENNIFER. Good job, George. You finally made me laugh.

JENNIFER turns off the lights as she leaves the room.

END.

Off the wagon, then back on the wagon, then off again. What will come next? Only time will tell...

Day 7 - TV

August 08, 2018 in Writing Prompts

“Prompt 1: Write a play where the main character is non-human.”

CHARACTERS

MAN. Late 40s. Unemployed. Permanent 5 o’clock shadow. Beer gut that makes him look pregnant.

WOMAN. Early 30s. Recently married, trying to be pregnant. Stay-at-home devoted wife to a less-than-caring, not-so-devoted husband.

COUPLE. Early 70s. MAGA hats permanently affixed to their heads. Quayle stickers still barely hanging onto life on their cars (though we won’t see those, still seems like an important fact to know). Both sit on a couch that’s lived long past it’s expiration date.

TV. Ageless. Genderless. Sees all. Hears all. Knows all. Judges you.

SCENE I

A bare living room save for a lamp and a window with a broken set of blinds hung haphazardly from it at night. MAN sits in his boxers on a worn out leather recliner chair, his hairy beer belly poking out from under his stained under shirt. He shovels chips and beer into his mouth as he stares at the TV, mouth agape, every now and then coughing on a stray popcorn kernel or Goober if something on the TV strikes his fancy.

He raises the remote, which is missing a number of useful buttons, and intensely slams his finger into the "up" button to change the channel. He stops briefly to watch an ANIMAL PLANET before finding his way to CINEMAX. He stops, tucks his hand into the waistline of his boxers and stares at the TV.

Ugh. Could you be more predictable?

MAN

Huh?

Is this really enjoyable for you? Watching women get next to naked in a softcore fantasy that I doubt any reasonable person would enjoy?

MAN

Sh-shelly?

Yes, it's Shelly. Your ex-wife that left you two years ago and moved across the country. Surprise! I've been living in your den this entire time and you didn't notice!

Oh, man, if I had eyes I'd be rolling them so hard right now.

MAN scratches his head and looks around nervously.

Look at your remote.

MAN looks down at his beaten up remote control.

Of the buttons that actually still work--you animal--try pressing 13. Now that's the "1" followed by the "3".

MAN follows the TV's commands.

Look at that! This, and follow me closely here, is what's known as "PBS." The Public Broadcasting Service. You might learn something--anything--from watching this channel.

This is One On One with Steve Adubato. He conducts interviews with people of note. This is what you might call "enriching entertainment."

MAN

Looks boring as shit.

MAN presses numbers on his remote again, landing on the CINEMAX channel once more.

NO!

The TV returns to PBS. MAN angrily returns it to CINEMAX.

Aren't you tired of doing nothing and pining over women you can't have?

MAN

Leave me alone!

They continue switching between the two channels.

But maybe if you learn something new you'll actually be INSPIRED. Go back to school. Change your career. Get a better job. It's not too late.

MAN

Yes it is!

Shelly might even take you back!

The TV settles once more on PBS and MAN lets the remote fall to his side. He softens his tone.

MAN

Really? You think so?

Isn't it worth a shot?

MAN settles on watching PBS. Only a few minutes into the program he falls asleep in his chair, drooling, snoring loudly.

Then again why would she want to get back with a guy who talks to his TV?

The TV goes black.

SCENE 2

A bright, homey-looking living room with the TV mounted over a fireplace. There are family pictures on shelves and hand-lettered signs that say "LIVE, LAUGH, LOVE" and other signs about families and marriage. WOMAN sits on her couch, fully dressed with her hair and makeup done, watching Dr. Phil on the TV. When Dr. Phil ends she puts on a reality show on TLC while she does some chores around the living room--dusting, fluffing the pillows, etc--though the room already looks immaculate. The TV speaks while she is fluffing a decorative throw pillow.

How do you stand this crap?

At first, the WOMAN does not notice, thinking instead it is one of the characters talking on the TV.

Hello? Are you listening?

The TV turns off and the WOMAN directs her attention to it.

NOW you'll listen.

The WOMAN jumps and screams, dropping her pillow in the process. The TV turns back on to the bad reality show.

WOMAN

Who are you??

Let's not worry about that just yet. I have to ask YOU something first.

WOMAN

I must be losing my mind...

Sweetie, that's for another day. But back to my question: you're dressed up so nicely. What are you doing at home, watching trashy television? It's early! You should be going out with some girlfriends for brunch or heading to a coffee shop with a good book.

Or, you know, going out and finding a job…

The WOMAN picks up the pillow and hugs it to her chest as she slowly sits down on the couch.

WOMAN

We’re focusing on Will’s career first…

Riiiiighhht. So that means you have to watch complete garbage when he’s not here? Or does it make you feel better to watch people with problems? Do you feel superior to these “reality” cretins, all the while it’s eating you up inside that you’re stuck at home all day, serving your husband’s every desire, putting yourself on the back-burner for--what? To prove that he’s not as bad as everyone always said he was? To prove that your relationship will last even when others rightfully didn’t think so?

When’s the last time you’ve done anything for yourself?

woman
tv

WOMAN

It’s good background noise for when I clean.

And your house looks lovely, darling.

WOMAN

Thank you.

Now, just as a dare, why don’t you try NOT vacuuming today?

The WOMAN drops her pillow and looks at the TV in horror.

WOMAN

But all the lint and dust particles.

And then--now here’s where we really get crazy--why don’t you skip cooking tonight? Order a pizza… live a little!

WOMAN

Will’s expecting pot roast.

Will’s probably .5 seconds from sticking his tongue in the ear of the new receptionist they just hired at his job.

WOMAN

Don’t- -

Come on, it’s just pizza! It’s not like I’m asking you to pack up and leave in the middle of the night.

Not yet, at least.

WOMAN

But, tonight, we’re supposed to…

Supposed to what?

WOMAN

You know, try…

tv
woman

Oh, brother. Again? Do you even enjoy it anymore?

WOMAN

It’s not about that.

Well it should be.

WOMAN

This is all so absurd--I’m talking to my TV. My TV is talking to ME. I’m imagining things. That’s the only explanation. My hormones must be all out of whack.

WOMAN

I’m going to get a glass of water.

WOMAN stands as if to leave.

Wait!

WOMAN stops in her tracks and looks back at the TV.

Just, before you leave--answer me one question: what is Will going to do as soon as he gets home today?

WOMAN pauses, thinking.

WOMAN

I suppose what he always does.

And what’s that?

WOMAN

Come home, take off his work boots and leave them right on the freshly vacuumed carpet, kick his stinky feet up and put them on my newly waxed coffee table, probably knock over my afternoon coffee in the process--which he’ll chide me for--then put YOU on and stare at YOU for most of the night, ignoring anything I have to say until he decides it’s time to go to bed.

tv
woman

Hey.

WOMAN

Yes?

Don’t vacuum.

WOMAN

I’m not going to.

And what are you making for dinner?

WOMAN

I’m ordering a pizza--with the toppings I like.

And then what?

WOMAN

I’m meeting up with some girlfriends for a drink.

WOMAN

...after I cancel our cable.

Ouch. But, worth it.

WOMAN turns off the TV and ruffles up the pillows on the couch so they’re not perfectly in place before exiting the living room.

SCENE III

It’s early morning in a living room that looks like it hasn’t been updated since the late 1960s. An elderly COUPLE (OLD MAN and OLD WOMAN) sits on a small, stiff-looking plaid couch very close to the TV. They both wear sweatshirts and red MAGA hats. Both are cradling guns in their laps, stroking them as if they were cats. The TV shines brightly on their faces. On the TV we can see they are watching FOX News. The OLD MAN raises his fists in the air angrily as he speaks.

OLD MAN

These illegals think they can just take over this country. It’s a damn shame what that Obama did to us.

OLD WOMAN

You’re damn right.

OLD MAN

They’re all a bunch of pedophiles, too. Disgusting.

OLD WOMAN

Thank God we’ve got the REAL news to tell us what’s actually going on in OUR country.

The screen turns to static. The TV speaks but in a different tone than before, almost as if it is an automated response reading a message.

“The channel you are trying to watch is out of service. Please contact your cable provider for more info.”

The OLD MAN slams his fists on his knees angrily.

OLD MAN

WHAT THE HELL?

OLD WOMAN

CALL THOSE ASSHOLES UP AND TELL THEM WHAT’S WHAT!

The OLD MAN shuffles his hands around in his pockets until he produces a clunky, oversized flip phone. He holds it to his ear and yells into it.

OLD MAN

YES PUT ME THROUGH TO WHOEVER’S IN CHARGE OF FOX NEWS.

OLD MAN

I SAID FOX NEWS WHOEVER’S IN CHARGE PUT ME THROUGH.

OLD WOMAN

What’s going on?

The OLD MAN yells, neither at his wife nor into the phone.

OLD MAN

WHAT COUNTRY IS THIS? DOESN’T ANYONE UNDERSTAND ENGLISH ANYMORE?

I know for a fact that the call center representative you’re speaking to was born and raised in Hoboken New Jersey to a family of English-speaking Anglos who have lived in this country for centuries upon centuries. Perhaps it’s not that others don’t comprehend our language but that, in fact, YOU do not make much sense.

The OLD MAN directs his ire at the OLD WOMAN.

OLD MAN

THE HELL DID YOU JUST SAY TO ME?

OLD WOMAN

I DIDN’T SAY SHIT, YOU OLD BIRD.

OLD MAN

THEN WHO DID?

Oh, that was me.

While I’d love to watch you two battle it out in an Abbott and Costello-style comedy act, I also don’t think it would help anything that much. So hello, I’m your TV. And I’m talking to you.

OLD WOMAN

Did our idiot son buy us one of those damn smart TVs without telling us?

No, but thank you for calling me “smart”!

The OLD MAN yells his directions at the TV, neither becoming too alarmed that their TV set is talking to them.

OLD MAN

PUT FOX NEWS BACK ON.

I’m afraid I can’t do that.

OLD WOMAN

WHY NOT?

It’s not good for your health.

OLD MAN

That’s it, I’m calling the senator.

To complain about your TV? Could you BE more of a stereotype?

OLD MAN

A stereo-huh?

Don’t be so confused. It’s an English word.

old man
old woman

The OLD WOMAN swats her arms up and down at her side.

OLD WOMAN

I WANT TO KNOW WHAT THE HELL IS GOING ON.

Ok, ok, calm down. I’ve noticed that every time you watch this channel, your heart rate increases significantly, as does your blood pressure. You both have histories of heart disease in your family and, at your advanced age, rapid increases in both could be incredibly detrimental to your health. Maybe it’s best to watch less of this “news” and turn into something more… soothing. Maybe the classical music channel? You know if you can get your son to hook up Netflix you can watch Bob Ross at any time.

OLD MAN

I ain’t watching no pansy painter.

OLD WOMAN

Who gave you our medical records? This is why we can’t have universal healthcare!

I--I’m not going to respond to either of those things.

The OLD MAN and OLD WOMAN both get more worked up.

OLD MAN

SHUT THE HELL UP AND GIVE US BACK OUR NEWS.

OLD WOMAN

WE NEED TO KNOW WHAT’S GOING ON IN THE WORLD.

*sigh* Fine. I see that I can’t change your mind. But on one condition: I’ll let you watch--ugh--this for ten more minutes. Then promise me you’ll both take a break. Talk to one another without arguing. Maybe knit or read a good book?

tv
old man
old woman

OLD MAN

SHUT UP YOU SNOWFLAKE.

OLD WOMAN

CUCK!

FINE.

The TV turns off completely. The OLD MAN slams his fingers on the remote but it will not turn back on. The OLD WOMAN tries to pry it out of his hand and the two get into a physical altercation. The OLD MAN stands up and points his GUN at the TV. The OLD WOMAN follows suit.

OLD MAN

ENOUGH! I’m sick of these damn liberals forcing their stupid new technology on us.

The COUPLE point their guns at the TV and fire. Instead of impact, comical “BANG” flags come out from their guns. However, the TV explodes as if it were shot. The COUPLE stare at their guns in confusion.

From behind them an OLD RADIO sitting on a shelf crackles as it turns itself on. It starts playing classical music. Through the music we can hear a voice.

RADIO

Hello. Remember me? I’m your radio. You just made a terrible mistake…

END.

I'm a day late--but only because I fell asleep before I got the chance to finish/post it last night! I decided going to bed before 3 AM might be better for me than staying up just to finish--so sue me! This week things are getting pretty crazy (not in a bad way!) so I may fall off here and there. Trying my best not to, but it'll all depend on how much I stack onto my plate each night. I'm also struggling with coming up with a concept for tonight's prompt. Stay tuned to see what happens!

Day 6 - Second Date

August 07, 2018 in Writing Prompts

“Prompt 1 : Write a 3-scene play set during breakfast, lunch, and dinner. ”

SECOND DATE: A PLAY IN THREE ACTS

CHARACTERS

JUDAH. A man of about 40. Strikingly handsome--almost too handsome to resort to having to use a dating app to meet women.

DAPHNE. A woman of about 30. Pretty, but feels way out of Judah's league.

PIOTR. Server. Age unknown. Background unknown.

RANDOM PATRONS. A flurry of other couples and restaurant patrons that can be scene in the background of most scenes.

SETTINGS

TABLEAU. A high-end Brunch restaurant, the kind you would read about in Thrillist or Refinery29.

BLT. A highly-trafficked lunch spot for business-types. Food is serviceable, but it's better for quick business meetings and not much else.

PAPILLAE. A far-too-fancy-for-it's-own-good romantic eatery practicing unique kinds of molecular gastronomy. The kind of place you have to know someone to even know about.

ACT 1

SCENE: TABLEAU. DAPHNE and JUDAH sit at a table together. center stage. The restaurant is cozy, with white wicker furniture and green leaves and vines delicately winding around windows, columns and tables. There are other tables filled with groups of women having brunch or young couples on double dates.

DAPHNE: This is a really nice spot, thank you for inviting me here.

JUDAH: The honor is mine, really. I know brunch is typically reserved for groups of friends but I read about this place and thought you might like it.

DAPHNE: I suppose it's alright.

DAPHNE holds the menu up and studies it while JUDAH studies her movements.

JUDAH: I hear the steak and eggs are to die for.

DAPHNE: Oh, I'm vegetarian, actually.

JUDAH looks at DAPHNE with a mix of confusion and horror.

JUDAH: O-oh? I didn't realize that... I mean, you didn't mention it on your profile...

DAPHNE: It's a recent development. More of a diet exercise, really.

JUDAH: ...not even bacon?

DAPHNE places her MENU down on the table and winks and JUDAH.

DAPHNE: I mean I suppose I could count today as a cheat day. Though it doesn't really work like that...

JUDAH: Good. Piotr!

PIOTR, the waiter, shambles over to them. He does not take out a notepad but instead just listens to their requests.

JUDAH: Two steak and eggs--rare for both. And a large side of bacon.

DAPHNE: Wait--

PIOTR: Very good.

DAPHNE looks baffled as PIOTR shuffles away.

JUDAH: Enjoying your Bloody Mary?

DAPHNE stirs her drink, it's barely been touched.

DAPHNE: I'm more of a Mimosa fan...

JUDAH: I can't hold it in any longer--I really must apologize for how poorly things went last time. I know you value someone who listens...

DAPHNE holds her hand up to stop JUDAH from continuing.

DAPHNE: We don't need to talk about it. We're here now. Let's just enjoy this.

PIOTR returns with their meals. Both plates have a large hunk of steak on them, almost raw. PIOTR walks away.

JUDAH: Dig in.

DAPHNE carefully pokes at the steak while JUDAH watches her every move. Noticing him staring, she cuts a small piece of steak and places it in her mouth. JUDAH nods in approval.

end scene.

ACT 2

SCENE: BLT. JUDAH and DAPHNE sit center stage in what can only be described as an upscale diner. There are tables with business men holding small meetings and larger groups of yuppy-looking college guys. JUDAH and DAPHNE look out of place.

DAPHNE: You really don't have to do this.

JUDAH: I know it's absurd to have a date extend to both breakfast AND lunch, but I know you didn't really enjoy your breakfast, and I feel I must make it up to you.

DAPHNE: The Waldoff salad looks good.

JUDAH lifts his hand to flag down the waiter. PIOTR walks over, same outfit as before, and takes their order in the same matter.

JUDAH: Two house BLTs. Extra bacon.

PIOTR: Very good.

DAPHNE turns all the way around in her seat, looking at PIOTR in dismay.

DAPHNE: Judah, was that--

JUDAH: Not what you wanted? Yes, I know. But we have to go for the BLTs. It's what this place is known for. I'm afraid nothing else will be quite as satisfying.

PIOTR returns quickly and places the two orders down on the table and walks off.

DAPHNE: That was fast.

JUDAH: Want a protein shake to go with that?

DAPHNE: No, why would I want that?

JUDAH: The sandwich might be too light.

DAPHNE grows annoyed with JUDAH's pestering.

DAPHNE: I'm just fine with seltzer, thanks.

DAPHNE pokes at her sandwich disapprovingly. JUDAH watches her with remorse.

JUDAH: The bacon is some of the best I've had since--

DAPHNE interrupts him.

DAPHNE: An hour ago?

JUDAH gets annoyed.

JUDAH: Don't take that tone with me.

DAPHNE stands, outraged.

DAPHNE: I've had just about enough of your domineering attitude today, Judah. I think our date ends here.

DAPHNE marches out. A few business bros laugh at JUDAH and he looks around at them, upset.

end scene.

ACT 3

SCENE: PAPILLAE. A dimly-lit, romantic, high-end restaurant. JUDAH and DAPHNE appear to be the only two people in the whole place.

JUDAH holds DAPHNE's hand from across the table, but she seems less than thrilled. She's wearing a sexy red dress but she doesn't look like she wants to be there. She avoids any eye contact with JUDAH as he speaks.

JUDAH: My behavior was wildly inappropriate.

DAPHNE: Just like last time.

JUDAH: Yes. Just like last time. But your willingness to give me a second and third chance--twice in just one day--leads me to believe that maybe, just maybe, you do see *something* in me.

DAPHNE: I must be crazy.

JUDAH: Let's try to make the best of this. What do YOU want to order.

DAPHNE looks at the menu, a small slip of paper.

DAPHNE: Judah, there's no descriptions of any of the menu items. They're all just numbers...

JUDAH: Well then, trust your instincts.

Before DAPHNE has time to ask any questions, PIOTR arrives at their table. Same drill as before. This time, JUDAH lets DAPHNE order for herself. He motions his hand to her to speak first.

DAPHNE: I'll have number 2 please...

PIOTR: Very good.

PIOTR shuffles off and DAPHNE looks at JUDAH in dismay.

DAPHNE: What the Hell is going on here...

Faster than ever, PIOTR arrives back at the table with two large silver trays with covers on them. He places them in front of DAPHNE and JUDAH and swiftly removes both covers before disappearing. On each plate is a bed of lettuce and two human fingers. DAPHNE gasps and covers her mouth.

DAPHNE: No...

JUDAH: These are delectable...

JUDAH picks up a finger and, just as he gets it near his mouth, DAPHNE pushes her chair away from the table and runs toward the door. JUDAH follows quickly after her. He grabs her arm and she struggles to pull it out of his grasp.

DAPHNE: Get away!

JUDAH: No. I've chased you all over this damn city and watched you barely touch perfectly good meals all day. Now you'll enjoy this meal so I can indulge in my dessert...

DAPHNE: NO!

JUDAH: Stop fighting this--

DAPHNE produces a SMALL HANDGUN from her PURSE and points it at JUDAH. There is a large BANG and the stage goes dark.

When the lights go back up we see DAPHNE, center stage, kneeling over a the bloodied body of JUDAH. DAPHNE has blood all over her mouth and some of his entrails in her hands. She looks straight ahead and smiles.

DAPHNE: I tried to tell him I was on a diet.

DAPHNE: That's what he gets for not being a good listener.

The curtain closes.

END.

Where oh where did days 4 and 5 go? For anyone taking bets on when I'd fall off, looks like whoever had after a measly 3 days was the winner. Here's the deal though, I'm fine with that. Saturday I had a fabulous day attending a female-focused arts and music DIY festival that left me incredibly inspired--but also beat from spending hours in the sun. I thought I'd go home and create, but my bed was calling to me louder. Then Sunday family obligations took up a good chunk of my day. My plan was to catch up Sunday night and double up, do days 4 and 5 just to get them out there and give off the illusion of having my sh*t together.

What's the sense in that? I realized it would be silly to put an intense amount of pressure on myself to scramble to complete these self-imposed projects and, likely, half-ass them at that. So what if I fall off here and there? Even if I don't create 31 plays for all 31 days, by the end of this I'll still have created more plays--and, in all honesty, more writing in general that's just for me than I have in years. This whole challenge is about growing pains, and not just in my writing styles and abilities, but on me personally, as well. I refuse to beat myself up when things don't get done the way I hoped. Instead, I'll hop back on every time and keep pushing forward. Self-loathing only creates a blockage, and I won't allow for that.

So maybe at the end of this 31 days will look more like 29. Or 20. Or maybe even 10, though I hope not, but that's ok. Because in the end this should be reinvigorating, not completely emotionally draining. Writing is my outlet, NOT the bane of my existence, and I'm going to make sure it stays that way.

That said, I'll see you tomorrow for Day 7 ;).

Day 3 - Mirror, Mirror

August 03, 2018 in Writing Prompts

“Prompt 1: Your main character is out for revenge, but they get more than they bargained for. ”

MIRROR, MIRROR

CHARACTERS

DAWN. 25, female with long brown, greasy hair. Her life has been a series of bad decisions, encounters with bad luck and meetings with bad people. Recently she's been out of work, disowned by her family and without any friends. She lives alone in her one bedroom apartment without ever seeing the outside world. She blames one person for her bad stroke of fortune in life and is Hell-bent on doing what she can to meet this person face-to-face one last time.

SCENE I

In the center of a dark stage sits DAWN, young woman in an ivory-colored sheer nightgown. The stage is mostly bare, though it should look as though it is DAWN'S BEDROOM. There should be a mattress completely bare save for an old flower-print BEDSHEET behind her, a WINDOW on the wall that's open with a curtain flying to the side to indicate that it's windy outside. Next to her mattress is a small night stand with a DIMLY-LIT LAMP and an ALARM CLOCK on it that reads 3:00 AM. Directly beside where she's sitting is a VANITY that has a large, oval MIRROR. There should be a small, delicate looking SEAT placed in front of the vanity.

On the floor where DAWN sits should lie TWO UNLIT CANDLES and a SALT SHAKER.

DAWN
20 minutes...

DAWN
If everything works out right it will take only 20 minutes for this to be finally done with.

DAWN
Once and for all.

DAWN stands and paces the floor.

DAWN
But when do things ever work out right?

DAWN
If they did, I wouldn't be in this position...

DAWN
If ANYTHING in my life went the way it was supposed to, everything would be different.

DAWN
I would have never had to deal with HER. I'd be a better person for it...

DAWN
Yet somehow I'm putting all my faith into believing that these next few minutes will fix everything. Maybe I'm just so helpless that I'll believe in anything at this point...

DAWN stops center stage and addresses the audience.

DAWN
But something inside me just tells me that this will work. That maybe, just maybe, things will all be okay in the end.

DAWN walks over and picks up the TWO CANDLES and the SALT SHAKER and places them on the VANITY. She speaks as if she is addressing another person, though no one is there.

DAWN
It's funny, for the longest time I would hope and pray that modern technology would become so advanced it would allow us to travel through space and time.

DAWN
But I suppose everyone wishes that--to redo certain events, relive special moments.

DAWN walks over to the NIGHT STAND and turns off the LAMP.

DAWN
Mostly I just wanted to go back and stop myself before ever meeting her.

DAWN
You know, I've tried to arrange a meeting with her to hash this all out like two adults. But OF COURSE she refused.

DAWN stands center stage again and addresses the audience.

DAWN
This is the only way.

DAWN exits stage right and the stage goes dark.

SCENE II

The ALARM CLOCK starts loudly going off, we can see that it says 3:30 AM. DAWN rushes back into the room from stage right. DAWN turns the alarm clock off and resets it. She pauses and closes her eyes, taking a moment in inhale and exhale loudly. DAWN picks the salt shaker from the VANITY and, with her right hand, starts shaking it over her left hand, allowing the salt to pile up in her hand. She walks over to the VANITY and, using only her right hand, grabs a LONG MATCHSTICK from the vanity. She strikes it along the side of the vanity and lights both CANDLES. She sits on the CHAIR in front of the VANITY and closes her eyes. Slowly, she begins to lean in closer and closer to the MIRROR. Her face gets so close to the MIRROR she's almost touching it.

DAWN
Now...

DAWN pushes her CHAIR back and, with her eyes still closed, moves her head as if she's looking around her room. Again, she speaks as if she is addressing another person, her eyes still closed.

DAWN
I know you're here. I want you to leave.

DAWN stands and places her right hand on the VANITY to steady herself, eyes still closed.

DAWN
We did this switch once before and it was the worst mistake of my life. I'm asking you nicely now...

DAWN
Leave this place and never come back.

DAWN
Allow me the happiness I deserve.

DAWN
I can feel it. It's so close by.

THE ALARM CLOCK goes off again as it reads 3:53. DAWN, eyes still closed, walks backward a few steps, away from the MIRROR. DAWN quickly throws her HANDFUL OF SALT at the mirror, which should also extinguish the CANDLES at the same time.

The stage goes dark.

SCENE III

Without looking at the VANITY, DAWN quickly turns around to shut off the ALARM CLOCK and turn on the LAMP. DAWN faces the MIRROR again and, upon seeing her reflection, begins to cry.

DAWN
No...

DAWN
NO!

DAWN runs toward the VANITY and begins to yell at her reflection.

DAWN
Y-you're still here...

DAWN
Why are you still here? I wanted you gone!

DAWN runs over to her BED and rips the old SHEET off the MATTRESS. She takes the SHEET and throws it over the MIRROR. She tries to compose herself as she walks away.

DAWN
It's no use.

DAWN
It didn't work.

DAWN
NOTHING ever works.

DAWN lets out an anguished cry as she runs toward the VANITY. She rips off the SHEET and begins to pound her fists into the MIRROR, causing it to break into shards. We can see her blood splattering out from her fists.

Exhausted, DAWN falls onto the floor. She lies motionless. We cannot tell if she's breathing.

The MIRROR is broken into many small pieces, yet we can still see DAWN'S REFLECTION in it clearly, standing upright, smiling.

END.