Sunday, February 27, 2011

Episode 1: MR. JONES by Sara Gouveia

AGENT SMITH: (starts recorder) Do you know why you are here, Mr. Jones?

MR. JONES: I, I don’t. Who, who are you? And where is here?

AGENT SMITH: Oh, Mr. Jones, I do not have time for this playful banter. You know why you are here. Otherwise, why would you be here?

MR. JONES: But I don’t know why I’m here. I.. Please, can you please explain?

AGENT SMITH: Once again, Mr. Jones, I do not have time for this, and you do not have time for this either. The clock is ticking.

MR. JONES: Is this about a clock?

AGENT SMITH: Perhaps; or perhaps it is about something all together different, Mr. Jones.

MR. JONES: Why are you being so cryptic? If you don’t have time for this, then why are you wasting your own time? If you want to know something, just ask.

AGENT SMITH: Blunt it is. (silence) Who are you, Mr. Jones? Who are you… really?

MR. JONES: My name is Jonathan Jones… I own a used car dealership…. I’m a Sagittarius…

AGENT SMITH stares at MR. JONES.

MR. JONES: Umm… I like cheese, and cats, and, uh, well… What do you want to know about me? I’m sorry, I just don’t understand.

AGENT SMITH: Could it be that I know more about you than you know yourself? (silence) Mr. Jones, are you married?

MR. JONES: Yes… I mean no. I’m not married.

AGENT SMITH: Mr. Jones, do you live in a house or an apartment?

MR. JONES: Um, an apartment?

AGENT SMITH: Are you sure, Mr. Jones?

MR. JONES: Uh, I think so. All this pressure is confusing me.

AGENT SMITH: Mr. Jones, are you nervous?

MR. JONES: Who wouldn’t be nervous if they were kidnapped, blindfolded, brought to some… place… and—

AGENT SMITH: Yes, Mr. Jones, who would not?... You would not.

MR. JONES: I don’t understand. You don’t make any sense! I shouldn’t be nervous because I live alone in a studio apartment?

AGENT SMITH: I would say it is because you are a grown man not afraid to say that he loves cats, but we both know that is not the reason. You have a better reason than that, Mr. Jones. You—

MR. JONES: Look. I DON’T know what you are talking about. Why are you doing this to me? Am I a threat to you? Am I? Are you afraid of used cars or something? (silence) Wait, that must be it! It must be about a used car sale… You know, I only own the place. I don’t sell them. You should be talking to one of my salesmen. Probably Steve. Yah, Steve. I never liked him. He can’t be trusted.

AGENT SMITH: It looks like we are getting somewhere, Mr. Jones. Let’s talk about your business. What rules do your staff have to follow?

MR. JONES: Report all sales, no stealing each other’s customers, be kind and courteous at all times, and be loyal to the company.

AGENT SMITH: What is your policy for using a company car, Mr. Jones?

MR. JONES: Um… we don’t really have company cars but—

AGENT SMITH: Forgive me, Mr. Jones. What is your policy on borrowing a car from the lot?

MR. JONES: What does this matter?!?

AGENT SMITH stares at MR. JONES.

MR. JONES: Well, they can borrow any car they wish for a period of no more than 24 hours and they must sign it out to get one of the dealer plates. Any damages come out of their pay and they are the only ones allowed to drive it… oh, and the tank needs to be filled when it gets back… and they aren’t allowed to sell it while they have it out.

AGENT SMITH: Do you also follow these rules, Mr. Jones?

MR. JONES: …Yes

AGENT SMITH: Then, Mr. Jones, how do you explain this? (pulls out photo and shows it to MR. JONES)

MR. JONES: A car?

AGENT SMITH: Yes, Mr. Jones. A car. Do you recognize the plate?

MR. JONES: Wait, that’s one of my dealer plates. So this is about a car?

AGENT SMITH: Mr. Jones, this car, your car, was seen parked outside of a young woman’s apartment two months ago. Do you know what happened to that woman?

MR. JONES nods “no”.

AGENT SMITH: She was tortured and killed, Mr. Jones. By you. (pulls out photo and shows it to MR. JONES)

MR. JONES flinches and looks away.

MR. JONES: Oh, God, that’s… that’s… disgusting.

AGENT SMITH, photo still in front of MR. JONES, walks behind MR. JONES to speak.

AGENT SMITH: Mr. Jones, do you enjoy your work?

MR. JONES peaks back at the picture and a grin flashes across his face, ever so barely. He once again averts his eyes away from the picture.

MR. JONES: I, I, I do enjoy my work. I enjoy selling used cars.

AGENT SMITH: Now, that’s definitely a lie, Mr. Jones.

MR. JONES: OK, so I don’t enjoy selling cars. I don’t even actually sell them. But it’s a living.

AGENT SMITH: Yes, back to living, or should I say killing. Mr. Jones, are you a lefty or a righty?

MR. JONES: Righty.

Silence

AGENT SMITH: So you had a partner, Mr. Jones. Who is he?

MR. JONES: A partner? You, you think I did this?

AGENT SMITH: Yes, I do think that you did this, Mr. Jones. Or, at least part of this. (leaning over MR. JONES’ shoulder) See, these cut marks show a distinct left to right motion, from a righty like you, and these others show a right to left motion, from your left handed accomplice.

MR. JONES: Why do you think I did this? There are several righties that work for me. Couldn’t one of them do this? You have no proof that I did this!

AGENT SMITH: Oh, Mr. Jones, you must think so little of me. Do you recognize this? (pulls out a small stack of papers)

MR. JONES: This is the sign out log from my dealership. Wait, this is the sign out log from my dealership! How’d you get it?

AGENT SMITH: Nervous, Mr. Jones?

MR. JONES: Yes, again, I am nervous. This is a very stressful situation. Why do you have my log and how did you get it?

AGENT SMITH: I have my ways, Mr. Jones. But you do not have to worry about that. You need to worry about this. (leans over MR. JONES’ other shoulder and points to a name on the log) Whose name is this, Mr. Jones?

MR. JONES: That’s… my name… So what?

Silence

AGENT SMITH: In the interest of time, Mr. Jones, I will explain it to you. You have a friend that I have been looking for for quite some time. He is a sinister fellow… and this log shows that you, a righty, signed out the car that he was seen driving on the night that this poor girl was murdered. I have proven that this is your handwriting so there is no disputing this fact. Now, I am sure at first that it was just a car here or there, but something changed and he wanted… no needed… your help. (taps the photo with each word) So… you… helped… him… I just need you to tell me where he is now. That is all, Mr. Jones. That is all.

MR. JONES: I don’t know who you are talking about. I swear. I only take cars out for myself. I use them to pick up girls.

AGENT SMITH, standing behind MR. JONES, takes out his gun and cocks it. From here on out the intensity of the situation grows immensely.

MR. JONES: Is that a gun? I swear, I swear on my wife’s life that I don’t know who you are talking about.

AGENT SMITH: I thought that you weren’t married, Mr. Jones. (puts gun to the back of MR. JONES’ head)

MR. JONES: I’m not! I’m not!... I meant my mother.

AGENT SMITH: Are you sure, Mr. Jones? All I need is for you to tell me where he is.

MR. JONES: Please, please don’t kill me. I swear, I only use the cars for myself. I don’t kill people, Agent Smith, I swear!

AGENT SMITH: (clearly shaken) How’d you know my name? I never told you my name.

In one smooth move the cuffs around MR. JONES’ wrists fall to the ground, MR. JONES leaps from the chair, takes the gun from a stunned AGENT SMITH, holds it in his left hand, and shoots AGENT SMITH  square in the chest. AGENT SMITH falls to the ground stunned and dying.

AGENT SMITH: (gasping for breath) You… (Looks at the gun in MR. JONES’ left hand) You’re ambi—

MR. JONES shoots AGENT SMITH in the head, puts the gun in the swell of his back, unrolls his shirt sleeves, takes AGENT SMITH’s suit jacket and tie, puts on both, adjusts his sleeves, smoothes out his tousled “used car salesman” hair, and leaves. The recorder stays on.

Tuesday, February 8, 2011

A Beginning, by Tofer Carlson

Hesitating only for a moment, the girl, Abigail Carter,  stepped into the room, her eyes just catching the miracle of the dust at her feet swirling, dancing in the whirls and eddies of the passage of her shoe, excited to be part of the infrequent incursion of light into darkness.  She was alone as the great doors behind her closed and the light was shut out. 

Hello?

Abby heard her voice echo off... some back wall beyond the darkness, and the electric vibration of a generator kicking on somewhere beneath the dust she could no longer see playing at her feet.  She held the letter tightly in one hand while digging through her pocket to find her cell phone with her free hand. 

Hello?

She asked again.

I got a letter?  It told me to come here... Is there anyone here?

Silence. 

I should have known better.  Her dad told her to ignore the letter.  A mistake of the post variety.  So...she did.  For the better part of a week!  Abigail thought that was a long time considering how boring her life had become. 

It was OK when school was still in session--she could do homework and pretend that the world outside her window was a little less gray.  But with the Christmas holiday, she had a month of time without school-work, and access to the books through her tablet at school.  A month without new stories to explore or new characters to befriend.  That was the real tragedy. 

That's when the letter came. 

The world's greatest collection of literature and characters open for a special exhibition!  Explore new worlds, Abigail Carter!  Adventures beyond your wildest imagination, Abigail Carter!  A new life, for you Abby!  1111 East Alexandria Avenue.  Boston, Massachusetts. 

A new life, for you Abigail Carter.

So, here she was.  Standing in the darkness beyond the giant wooden doors leading into 1111 East Alexandria Avenue.  And she couldn't find a single person, not to mention the world's greatest collection of of literature...

Abby unceremoniously let the note fall to the floor with a sigh.  She should have known better than to hope for something exciting to wake her out of her miserable life.

Somewhere in the distance a light clicked on, a pale flickering line in the darkness.  Abby could barely make out the ghosts of what appeared to be shelves in the dim light it cast.  She thought she'd try once more. 

Hello?

Another row of lights came on, closer, and illuminating what clearly were more shelves.  Another row came on, and another, and another until what had been a dark terrifying vastness was entirely illuminated by the white-blue glow of the overhead fluorescent bulbs, and the dark terrifying vastness became something else entirely, something much more comfortable for Abigail Carter.  A library.

Friday, February 4, 2011

Save Me, by Tofer Carlson

Stage opens as an obvious war zone. Lights come up on several beleaguered soldiers standing around what appears to be a female body (MOLLY), naked but covered. Throughout the story, the sounds of battle can be heard in the background.

AMELIA
Is it really her?

JACK
I don't know.

MILES
What do you mean you don't know?

JACK
I mean, I don't know.

MILES
Three minutes ago you said it had to be her.

JACK
And?

MILES
So, is it?

AMELIA
Leave him alone.

MILES
What now?

AMELIA
We've been dying here for weeks. We're all a little out of it, so give Jack some space.

MILES
Look, the guy stumbles across this body--

JACK
She's alive.

MILES
Whatever. He stumbles across this, this girl, and what? Sees the tattoo on her neck and goes all prophetic on us.

AMELIA
Come on Miles.

MILES
I'm just laying it out like it is, OK?

AMELIA
You're being an ass.

JACK
It's fine.

AMELIA
What?

JACK
It's fine. He has a right.

AMELIA
To be asinine?

MILES
Screw you, Amelia.

JACK
To be skeptical.

AMELIA
And to let us all know exactly how wrong we all are to hope.

MILES
Hey! I'm not saying hope is a bad thing, yea? But hope that this git is her? That's just bullshit.

JACK
And all I'm saying is we don't have much left here.
Loud explosion and the party pauses, listening.
And we don't have much time.

AMELIA
(beat) He's right.

MILES
Kind of a hail Mary, don't you think?

JACK
What else have we got?

MILES
If it's her...

AMELIA
Then all of this is over.

JACK
We can go home--

MILES
To what's left.

JACK
Collect the pieces and rebuild.

MILES
So we can tear each other apart again in ten years.

AMELIA
Home... (beat) Isn't that worth it?

JACK
It is for me.

AMELIA
But...what if she--

MILES
What if she isn't the one?

AMELIA
That isn't what--

MILES
Of course it is. With the exception of Jackie the Apostle, no one believes this crap.

AMELIA
That isn't true.

MILES
We're better off leaving her behind.

JACK and AMELIA
Not an option.

TERRY comes running in from offstage.
TERRY
Incoming!
They dive to the floor (JACK dives over MOLLY to protect her) as another loud explosion is heard followed by the sound of falling dirt.
They're still a ways off, but they're coming.

AMELIA
How long?

TERRY
An hour? If we're lucky.

JACK
They've got to cross the zone to get here. That's slow going.

TERRY
They've got sniffers.

MILES
Damn it, Jack! We need to move.

JACK
I'm not leaving her.

TERRY
Is this...

JACK
(with MILES) Yes.

MILES
Who knows?

TERRY
Is she alive?

AMELIA
So far.

TERRY
And she...

JACK
Just showed up.

MILES
Bull.

JACK
I was coming back from the north post--what's left of it--when I saw her here.

MILES
Tripped on her is more like it.

JACK
She wasn't there when I went out.

MILES
Maybe you weren't looking.

JACK
I don't have a deathwish.

MILES
Could have fooled me.

AMELIA
Miles!

JACK
She wasn't there when I went out, and she was there, naked, when I came back.

TERRY
So she just appeared...

AMELIA
Just like it says.

JACK
And she came from nothing, without even armor to save the damned.

MILES
It's crap.

JACK
I saw her once.

MILES
Bull.

JACK
I did. When I was a kid.

MILES
That was thirty years ago.

TERRY
She hasn't been seen in almost that long.

JACK
It was the just before the first war.

TERRY
Damn.

JACK
The New Year's day parade.

AMELIA
The day she left.

JACK
Yea.

AMELIA
It must have been hard.

JACK
I was young. I didn't understand what was going on. I mean my parents were in shock--my mom started drinking, and the police held everyone who was saw her.

MILES
She was what, twenty-five when she disappeared?

AMELIA
Twenty-three.

JACK
And?

MILES
Thirty years gone by...(goes to lift the cloth covering MOLLY) looks damn good for a fifty--
JACK tackles MILES to keep him from exposing MOLLY.

JACK
Don't you dare!

MILES
What the fuck?!

AMELIA
Jack!

JACK
Don't touch her.

MILES
What the fuck, man. (gets up and walks towards MOLLY)

JACK
Don't do this.

AMELIA
Miles.

MILES
This prick goes after me because I go for a glimpse of sleeping beauty's better parts?

JACK
Stay back Miles.

MILES
Or what?

TERRY
We don't have enough to worry about without this?

MILES
Or what Jack?

JACK
(pulls a gun) Just stay back, OK.

MILES
Are you kidding me?

AMELIA
Jack, come on.

MILES
You're pulling this shit, now?

JACK
Just stay back, Miles.

MILES
Now, when they're going to be here in a god damn hour.

JACK
Keep back. It's all I ask.

MILES
Whatever. But we get through this? We're done.

JACK
Fine by me.

AMELIA
Jack?

JACK
Yeah?

AMELIA
Put it away?

JACK
What?

AMELIA
The gun? Please, put it away. Miles isn't going to go anywhere near her.

MILES
Nope. I'm done.

AMELIA
See? You don't need it. She's OK.

JACK
I don't trust him.

TERRY
Come on man, just put it away. You're gonna need it later.

JACK
I know.

AMELIA
Come on Jackie, just put it away now. (he does, and they all relax)

TERRY
So, you saw her?

JACK
What?

TERRY
And that's how you know?

JACK
Oh. Yeah, I guess. She looks the same, and has the same tattoo.

TERRY
Yeah.

JACK
So, I figure it's got to be her.

AMELIA
I do too.

TERRY
So, what's the plan?

JACK
The plan?

AMELIA
Well, I mean, when she wakes up...

MILES
If she wakes up.

JACK
When.

MILES
What?

JACK
When, not if she wakes up.

MILES
Whatever.

JACK
When she wakes up, we'll ask for her help.

TERRY
Think she'll do it?

AMELIA
Isn't that the point?

JACK
I mean, I hope so. If she doesn't, we're done for anyway.

MILES
Now you see this?

JACK
It's the truth.

MILES
First time tonight.

JACK
If she agrees, it's all over.

AMELIA
Peace.

TERRY
Peace.

MILES
(scoffing) Peace.

AMELIA
Do you even remember it?

JACK
Peace? Not much.

AMELIA
I wasn't even born when the first war started.

TERRY
Me either.

MILES
I remember ice cream.

TERRY
What?

MILES
Ice cream. Frozen sweet cream and chocolate.

TERRY
Oh.

JACK
It can be like that again.

MILES
Or we can all die by firing squad for heresy and presenting a false savior.

JACK
She's not a fake.

AMELIA
And we've got what, two weeks left anyway?

TERRY
I think that's generous.

AMELIA
You see anyone else out there Terry?

TERRY
Not in a while.

JACK
Are we it?

MILES
Then it's over anyway.

AMELIA
There have to be others.

MILES
Fuck it. Take the chance.

JACK
Too little, too late.

TERRY
Guys?

MILES
Hey, if it buys me a new life...

TERRY
Guys?

JACK
You're on board?

MILES
I've done crazier--

TERRY
Guys!

AMELIA
What, Terry?

TERRY
She just opened her eyes.

Lights down as we hear sounds of explosions coming closer again.