Greeting to all who might stumble onto this page, or revisit in hopes to find something current to fill the page and your minds. I know it has been a great expanse of time since I posted anything worth reading, but I think you'll like this one...
I am proud of it and have spent a great deal of time over the past month developing the story and its characters. It doesn't hint at anything that has happened to me or give any insight into any inner treachery or twisted personality, sorry!
I just had an epiphany or sorts when writing up a character sketch for a villain a while back and it pushed me in this direction. I mean what makes a great villain anyway? Aren't they all just real people who eventually make one or more wrong decisions that either force them to choose to commit a very harmful decision or continue to bind them and limit their choices to equal or worse ones along their journey. Don't they all have someone to support them or point them toward their unavoidable end?
That's what this script is all about. It has a mature theme, a swear word or two, but mostly a haunting situation that will make you think. Do we allow people to become villains in our society? Is there anything we can do to prevent this sort of thing from happening? Is this type of situation one that could be on the evening news in your town?
Enjoy!
SOME FLOWERS BLOOM SICK
Tobby Scott Harward
© 2009
SETTINGS
The settings for this play all take place in Northern California in the present day. It begins in the office of a child psychologist, then the visitation room at California Men’s Colony a prison in San Luis Obispo, finally at the home of Karl Mitchell.
CHARACTERS (4M, 2W)
DR. EMILY ROSENBAUM, child psychologist, post 30.
KARL MITCHELL, 17.
NICK JONES, 18.
JUANITA SANCHEZ, his wife, mid to late 30s.
GABRIEL SANCHEZ, prisoner in his late 30s to early 40s.
CORRECTIONS OFFICER, any age.
CORRECTIONS OFFICER 2, any age.
ESTEBAN SANCHEZ, small toddler up to 2 yrs old.
NOTES
The play should be performed without an intermission.
To increase the flow, scenes should take place on opposite sides of the stage, so the next scene can be set before it takes place. Lights should fade and rise to solidify the change.
No snake is necessary, but to increase the dramatic effect, the director has the option of using a real or made giant Burmese python on stage. Also the choice not to cast the small toddler, Esteban Sanchez, is permitted.
Message: Abuse usually results in more abuse. Criminals are made not born. Life isn’t fair and doesn’t necessarily have happy endings. It’s not always about good vs. evil. Are we okay with this? Is there something we all can do to stop the cycle?
ACT ONE
The lights rise on a therapy session.
KARL is seated toward the center of the
room across from DR. ROSENBAUM.
DR. ROSEMBAUM
So this is our second to last scheduled visit…
KARL
(Yawning)
Yeah. I’m not going to need you anymore.
DR. ROSENBAUM
You feel you’re ready to take on the world do you?
KARL
Sure. It’s not like I’ve really needed your help in the past several years anyway.
DR. ROSENBAUM
Karl, you have grown a great deal since your parents’ accident, yet still don’t respond like an adult.
KARL
Got another more week for that.
DR. ROSENBAUM
Think you can make the switch just like that?
KARL
I’ll be eighteen, might just surprise you.
DR. ROSENBAUM
Go on.
KARL
I never said that I had something to share.
DR. ROSENBAUM
That’s too bad. I’d love to hear your thoughts about what you plan to do with your future, with the settlement money, and your living arrangements.
KARL
They’re not getting a cent. I’m going to get my own place and live how I want, free to do what I want, just me and my snake.
DR. ROSENBAUM
Still have that monster? Haven’t seen a picture in a while.
KARL
(Pulls out his cell phone, thumbs
through it.)
It’s SO much bigger than last time, moved onto feeding it cats and rabbits.
DR. ROSENBAUM
Wow. Don’t think that’s legal.
KARL
(He hands the phone to her.)
It’s a Burmese Python, one of the biggest. That’s what they eat at this stage.
DR. ROSENBAUM
It’s gigantic. Surprised they’ve let you keep it.
KARL
Don’t have a choice. They’re scared. They did make me move it out to the chicken coop though. It’s got good heat and moisture, but no more chickens.
DR. ROSENBAUM
(She hands the phone back to him.)
Surprised they suggested their coop.
KARL
They don’t pay attention to chickens or people for that matter. They sure noticed me after they saw how big it’s become.
DR. ROSENBAUM
I bet. How often does it feed?
KARL
Used to be every 10 days, but now it’s more like a 3 week span.
DR. ROSENBAUM
Has it ever tried to bite you?
KARL
Did once… After it got attacked.
DR. ROSENBAUM
Attacked? By what?
KARL
There were two incidents actually. First was when it was about to shed, and it wouldn’t eat. I put a giant rat in the cage and it just sat there for 20 minutes. I went to turn off the lights when the rat started biting and scratching it. The snake struck and coiled around it, squeezing it to death, but didn’t eat it until a week later. It got so smelly! When I tried to take it out with tongs, it struck at me.
DR. ROSENBAUM
Didn’t get you?
KARL
No. Instead it got the rat, so I let it go. Didn’t like me messing with its food. So cool!
DR. ROSENBAUM
Right, cool… And the second?
KARL
Oh, it got loose from the coop once and went hunting. We found it all torn up, but still engulfing the neighbor’s dog while they were on vacation.
DR. ROSENBAUM
We? What kind of dog?
KARL
It was like the only other time that she’d paid attention to me in over 5 years. Was a bull terrier. Don’t think it would have survived if the dog wasn’t on its last leg. She said we should play dumb.
DR. ROSENBAUM
I can’t believe she helped you get away with that. She’s been a horrible guardian to you… Well, I have arranged that meeting for you. It was a great idea! I need to know how you’ll react. Then, I might feel confident that you’re able to handle life without treatment.
KARL
So this is it? The last test before we’re through?
DR. ROSENBAUM
Not necessarily. I’ll explain it to both you and Nick.
(She picks up the and phone dials an
extension.)
KARL
Nick? Oh yeah. Do I get to meet him today too?
DR. ROSENBAUM
Yes. Send him in please.
(Hangs up the phone, then stands and
faces the door. NICK enters the room.
She motions to an empty chair.)
NICK
Hello Dr. Rosenbaum.
(He sits. DR.ROSENBAUM turns her chair
forward then seats herself.)
KARL
Nick. Hey nice to meet you. I didn’t want to go see Gabriel without you.
DR. ROSENBAUM
Nick hasn’t agreed to that yet. He almost didn’t agree to meet you here today.
NICK
(Sits in silence)
KARL
Well you’ve got to come with me. What’s the matter? Are you still scared of him or something?
DR. ROSENBAUM
Well, he has been a victim of Gabriel Sanchez for a little longer than you.
KARL
All I heard about is the rape… What exactly did he do to you?
DR. ROSENBAUM
You don’t have to explain anything.
KARL
Sh*t. Tell me something. I mean it’s your fault my parents are dead too. You kind of owe me anyway.
DR. ROSENBAUM
No he’s not.
KARL
If he hadn’t squawked that day, then Gabriel never would’ve been arrested or down at that bar.
DR. ROSENBAUM
Maybe not, but it took a great deal of courage to speak out-
KARL
He’d never have hit them. Did you know that was his first time getting drunk ever?
DR. ROSENBAUM
It wasn’t Nick’s fault. He did the right thing. You did well.
KARL
They’d still be alive if it wasn’t for stupid Nick here! Why’d you even bring him in if he’s too big a baby to go see Gabriel?
NICK
Shut up! I’d still be his play thing if I hadn’t talked!
KARL
No one cares about you!
DR. ROSENBAUM
Now Karl, you don’t mean that. He doesn’t mean that.
NICK KARL
It’s okay. Yes I do.
DR. ROSENBAUM
Karl, you need to apologize if you want to continue.
KARL
Sorry.
DR. ROSENBAUM
Good. Now boys I’ve looked into this and the only way for either of you to visit Gabriel in prison is for you to go together.
KARL
What? Now I’ll never get the chance. That sucks!
DR. ROSENBAUM
Karl’s already agreed to it. How about you Nick?
NICK
I don’t ever want to see him again. I want him to rot in that cell forever.
KARL
It just might make us feel better? I don’t even have to talk to him. I’ll be able to tell if he’s suffering by the look in his eyes, if he’s become someone’s b*tch!
DR. ROSENBAUM
Karl! You’re one strike away from losing the privilege. You’ll have to be on your best behavior. That’s where the test comes in. You boys could tell him how you’ve moved on with your lives, ask for an apology, even-
KARL
No way! So he can revel in our pain?
DR. ROSENBAUM
No. Finally face your demon and him his. I’ve already had your names added to the approved visitor list. They said you could each speak to him individually. We’d only have a half an hour total though.
KARL
So when is this happening?
DR. ROSENBAUM
Next week. I thought we’d have an extra session before you turned 18 to help you process and move into adulthood, ready to cope with what new challenges lie in store for you.
NICK
Fine, I’m in.
DR. ROSENBAUM
Great! Then you’re both excused. Thanks for joining us today Nick.
(Lights fade as the boys walk through
the door and rise on the other side.)
NICK
I guess I could be indirectly responsible for your parents. I’m sorry.
KARL
Yeah, but it’s not really your fault.
NICK
Thanks. I guess I’ll see you again?
KARL
Yep. You going to be okay with seeing him again?
NICK
Hope so. Can’t believe you want to set foot in a room with him! Guess I could use some closure to all this.
KARL
I don’t want closure. I want justice.
NICK
Isn’t being imprisoned for life without possibility of parole justice? I mean I’m still mad at him for what he did to me.
KARL
What did he do? I mean I heard what the news reports said.
NICK
They call it grooming, like conditioning, but I wasn’t coerced into it. He was my friend at first; I mean I saw him every day at the crosswalk. He talked to me, gave me candy. Then he started telling me dirty jokes and eventually showed me some pornography, which I thought was cool. One day he showed me some gay stuff. I was disgusted! After he apologized, he invited me to his house after school to get some of the good stuff. Never knew what was coming.
KARL
Then he just raped you?
NICK
No. It’s embarrassing. You wouldn’t understand.
KARL
Never mind. I don’t want to know. I just wish I could make him suffer more. I have an idea. You in?
NICK
Sure. I guess.
(Lights fade on the boys and rise on
JUANITA and GABRIEL in the visitation
room at the California Men’s Colony.)
JUANITA
I didn’t just come to visit baby! Our son has been kidnapped…
GABRIEL
What? What are you saying?
JUANITA
I know right. I mean I was shopping the other day and I left him in the cart for only like a second to put the groceries in the car.
GABRIEL
You mean you weren’t watching him? Where was Hector?
JUANITA
No. I can’t watch him every second of the day. I mean I told Hector to get in the car an’ he was playing his video game. Esteban was taken right out of the cart and I didn’t even hear him. I screamed for help but nobody saw nothing.
GABRIEL
Did you call the police or something? What are they doing? O Dios mio!
JUANITA
I just don’t know what to do. Wish you were out here to help me!
GABRIEL
I know. Me too baby. You gotta search for him. Try everything! Now go. Let me know when you find him.
(Gabriel hangs up phone. Juanita does
too. She gets up and walks out. Gabriel
paces around and hits the wall/glass.
The corrections officer comes over.)
CORRECTIONS OFFICER
Sit down now or I’m sending your other visitors away.
GABRIEL
Other visitors?
CORRECTIONS OFFICER
That’s what I said. A lady and two boys.
GABRIEL
I don’t know any boys.
(DR. ROSENBAUM escorts KARL and NICK
into the room. NICK gets to the phone
first.)
DR. ROSENBAUM
Now as we discussed, I’ll leave so you each can speak to him in private. Just raise your hands when you’re through.
(NICK picks up the phone and KARL waves
her away. GABRIEL picks up his phone.)
GABRIEL
Wait. Why are you two here? Come to get an apology from me? No way! I’m not sorry about what I did to either of you.
NICK
He recognizes us but isn’t going to say he’s sorry. Well, we’ll just make him sorry then won’t we?
GABRIEL
How you gonna make me sorry? Nothing you do can hurt me. Go ahead, give it a try. You’re too weak!
NICK
Weaker than your son?
GABRIEL
Oh you little freaks! What have you done with him? Give him back to me, you f*cking bastards!
(As he gets excited the CO motions to
someone. He walks over to GABRIEL and
pushes him up against the glass. The
second CO enters. They drag him off.)
KARL
Way to go fag! Didn’t think you were going to tell him our plan.
NICK
Don’t get so squeamish. No one’s going to listen to him anyway.
(The boys raise their hands. Lights
Fade and rise on a chicken coop in a
backyard. NICK enters carrying Esteban
They move about the space for a while.
KARL joins them running from offstage,
carrying a sack with something in it.)
NICK
‘Bout time you showed up! Thought you’d chickened out or something.
KARL
Just went to get a little rat to make sure it’s hungry. Don’t want it getting hurt in the process. Plus it might not be able to handle something his size.
NICK
Well, get on with it then. Sooner it’s over the less likely we’ll get caught.
KARL
(Slowly walks up to chicken coop, opens
door and tosses in the bag.)
It never had a chance. It was stupid of me not to feed you for the past month. Guess there’s no turning back now, is there?
NICK
(Picking up the toddler.)
Nope. Ok little guy, now it’s your turn.
KARL
(Walks between NICK and the coop.)
I really don’t think we should do this Nick. I mean he already knows we kidnapped his son. That’s gotta be eating at him. What if this comes back to bite us, huh?
NICK
Ten seconds and it’s all over. I’ll do it, you pussy! Knew you were getting cold feet. Just remember this was your plan all along. I was the one that needed convincing. You can’t back out now. Besides, there’s no way we’ll get caught; the evidence will just disappear.
KARL
Forget what I said Nick. Give him to me. Let’s get rid of him some other way.
(He walks over to take ESTEBAN. NICK
turns and pushes past KARL, knocking
him to the ground.)
NICK
We’ve had him too long already anyway. It’s time to make that son of a bitch pay for all he’s done to us!
(NICK rushes to the cage, opens it and
sets the child in before KARL can stop
him. Lights slowly fade as part of a
news report is heard about the murder.)
Monday, October 26, 2009
Sunday, September 20, 2009
While spending this evening at the SCERA’s indoor theater in Orem, watching “Into the Woods,” was not our prescribed destination for celebrating our six year anniversary, we enjoyed watching how this more realistic fairy tale experience paralleled our own lives.
It seemed that the discord we were experiencing with our plans tonight carried over into this show. This was opening night, so there were many elements out of sync: nerves, pitchiness, blocking and sound problems, even lighting mishaps. However we stood to honor the cast in the end for giving a fresh and powerful performance. The characters seemed to develop before our eyes. We sympathized with them as they reacted honestly to the realism of the mishaps on stage, and connected with them as their story became ours.
It was interesting to us, that the writing of this show interwove the stories of many well-known fairy-tales into an all encompassing story. Being familiar to these childhood stories made us comfortable in the world of the story. Hearing them told in sync with this larger more unified account made the experience fresh and interesting. As this was a musical, the songs drove the stories forward, while the dialogue gave exposition, depth, and support for the characters in their realms.
These weren’t however the innocent tales we tell our little children. These were the real stories, from literary works, we’d read later on in our lives, the more adult versions. In fact, the more traditional “Disney-like” adaptations ended at intermission. The second act continued into the idea of what really happened in place of the “and they lived happily ever after,” of those versions.
People refused help, sought for revenge, and were murdered. Others went looking for more, cheated, and were punished. Similar to real life, characters were ripped tragically from one another’s lives in some way then forced to adapt to their new circumstances and pull together to make it through. It wasn’t safe or magical anymore, but chaotic and authentic.
The story played upon both our need to dream and our humanistic desire to make the most out of what we’re dealt. It was clever and poignant. I almost let my guard down enough to let my emotions come out. We were willingly immersed in the world of the story presented and learned something about ourselves through the struggles of those before us.
I recommend this play presented by the SCERA and give my continued regard for this cast and the fine job they gave tonight. I have even decided to log this experience onto my imaginary shelf of things to come back to when I finish my education and run a program of my own. I already have connected with this legend and have some idea of how to carry it out under different circumstances such as a high school setting. Kudos!
It seemed that the discord we were experiencing with our plans tonight carried over into this show. This was opening night, so there were many elements out of sync: nerves, pitchiness, blocking and sound problems, even lighting mishaps. However we stood to honor the cast in the end for giving a fresh and powerful performance. The characters seemed to develop before our eyes. We sympathized with them as they reacted honestly to the realism of the mishaps on stage, and connected with them as their story became ours.
It was interesting to us, that the writing of this show interwove the stories of many well-known fairy-tales into an all encompassing story. Being familiar to these childhood stories made us comfortable in the world of the story. Hearing them told in sync with this larger more unified account made the experience fresh and interesting. As this was a musical, the songs drove the stories forward, while the dialogue gave exposition, depth, and support for the characters in their realms.
These weren’t however the innocent tales we tell our little children. These were the real stories, from literary works, we’d read later on in our lives, the more adult versions. In fact, the more traditional “Disney-like” adaptations ended at intermission. The second act continued into the idea of what really happened in place of the “and they lived happily ever after,” of those versions.
People refused help, sought for revenge, and were murdered. Others went looking for more, cheated, and were punished. Similar to real life, characters were ripped tragically from one another’s lives in some way then forced to adapt to their new circumstances and pull together to make it through. It wasn’t safe or magical anymore, but chaotic and authentic.
The story played upon both our need to dream and our humanistic desire to make the most out of what we’re dealt. It was clever and poignant. I almost let my guard down enough to let my emotions come out. We were willingly immersed in the world of the story presented and learned something about ourselves through the struggles of those before us.
I recommend this play presented by the SCERA and give my continued regard for this cast and the fine job they gave tonight. I have even decided to log this experience onto my imaginary shelf of things to come back to when I finish my education and run a program of my own. I already have connected with this legend and have some idea of how to carry it out under different circumstances such as a high school setting. Kudos!
Why the Arts?
Today we have the unique opportunity to make a critical decision that will affect the future of our students. According to the NASAA, [1]“Despite convincing research and strong public support, the arts remain on the margins of education, often the last to be added and the first to be dropped in times of strained budgets and shifting priorities.” While the economy is forcing administrators, like you, to evaluate whether the arts programs offered in their schools are worth retaining, there is nothing of greater value than keeping these programs in the lives of our student body at this school.
I wish to focus our attention specifically on theatre education. Since there are many similarities between the fine and performing arts, I have chosen to answer three questions that may represent your concerns regarding whether these programs have a place in our curriculum. I make a case for how theatre can provide the majority of our students with access to a complete and quality education. How one can measure the success of this program. In addition, I will clearly outline where the financial support to sustain it for the next few years will come from.
Mary Luehrsen, executive director of the NAMM foundation, shared a letter addressed to all school and community leaders delivered August 18 of this year from U.S. Secretary of Education, Arne Duncan, stating, [2]“I write to bring to your attention the importance of the arts as a core academic subject…” He continues, “Arts education is vital to a complete and quality education for all children. All of us need to work together to assure that all children have access to a complete education that includes high quality, standards-based learning in music and the arts.”
An education in the theatre curriculum provides students more than just entertainment. It is an all-encompassing subject. What other discipline combines business management, public speaking, story-telling, creative writing, history, anthropology, drafting, carpentry, math, sewing, painting, music, dance, and design? In a safe and positive learning environment, theatre fosters self-examination, creativity, and valuable lessons about the human condition. It has a proven track record for increasing participation and attendance in school and the community.
Students who are involved with theatre are taught things they cannot learn from books. Teamwork, leadership, commitment, punctuality, confidence, and responsibility are among the more obvious qualities improved upon. It presents more useful experiences in working with deadlines, collaboration, and making due with limited resources. It gives them a head start by foreshadowing valuable aspects of adult life. It develops problem solving skills, professionalism, motivation to achieve, and prioritization. Wouldn’t our community benefit greatly from these kinds of skills? This is what my high school theater program can provide. Even the No Child Left Behind initiative reaffirms the arts as a “core academic subject” that all schools should teach.
The best way to measure the success of this program would be to measure in my performance as a teacher in the classroom frequently, to observe the improvement of my student’s test scores across all subjects and on national examinations, and to notice the change in the lives and attitudes of those students that require more care and attention than most.
One of the reasons you hired me to teach in this capacity is due to the level of preparation, professional development, technology, leadership, development, induction, and mentoring I have put into my curriculum. Each time you sit in my classroom and observe my instruction and the learning going on, it will reaffirm that this program exceeds achievement standards. [3]“Teachers have the greatest single impact (on student performance) other than an effective parent,” Kriner Cash, Memphis City Schools Superintendant, said. “We have to have a way to get the right people in the classroom.” I welcome the evaluations.
Kathryn Vaughn associated the relationship between the arts and academic achievement as, [4]“… students who study the arts in high school have higher SAT scores than those who do not study the arts.” Research has proven that theater helps understanding and retention in other subjects studied. One such study showed how drama increased improvement in verbal skills such as reading achievement and readiness, recall of stories, oral understanding, writing, and vocabulary. Results state that,[5]”… drama helps to build verbal skills that transfer to new materials. Such an effect has great value for education.”
The theater program is one of the only places that can reach those students that don’t shine anywhere else. This is a place for children who feel like they have no place. It is the perfect avenue for students with disabilities to develop. Many students that come from economically disadvantaged circumstances rapidly connect to the supportive environment that promotes constructive acceptance of criticism. It’s a climate in which it is safe to take risks. There are even signs pointing to drama decreasing the rate of kids dropping out of school. [6]“Students at risk of not successfully completing their high school educations cite their participation in the arts as reasons for staying in school.” Dr. James Catterall at UCLA suggests, [7]“… students who studied music and the arts had higher grades, scored better on standardized tests, had better attendance records and were more active in community affairs than other students.” He continues, “Students from poorer families who studied the arts improved overall school performance more rapidly than all other students.”
The final and most crucial point to present is the funding aspect. There are only three things I ask for. First, we’ll need a classroom with basic technology (T.V., DVD/VHS Player. Second, access and use of the wood shop and tools therein, for myself and a handful of predetermined students. Third, we require use of the auditorium, including the lights and sound boards for practice and show space. I have a complete sound system, access to over 100 play scripts, a costumer and pianist, and over 40 parents that are willing to put in time to do whatever needs to get done. I have several fundraiser models that will keep the school in good standing and improve the reputation among our community. I have obtained a few private donators over the years that will contribute to our pursuits. Finally, there are several federally funded programs and projects that we could apply for further assistance.
Research alone can’t provide all the answers or ensure the success of a theatre program in this area. It does however reaffirm what you already know and believe. This program is vital to the development of all students that grace these halls. The best summation of my point, is simply said, in Mallory Waugh’s Helium article entitled, The Importance of Theater in Public Schools, [8]“… anyone would be hard-pressed to find one activity that allows and encourages all of these gains, other than theater.” Thank you for your time and consideration.
[1] “Critical Evidence, How the ARTS Benefit Student Achievement.” Sandra S. Ruppert (2006), NASAA
[2] U.S. Secretary of Education: Duncan, Arne. Washington D.C. Importance of The Arts In Schools. August 18, 2009. Print.
[3] Roberts, Jane. “Memphis a stop on Secretary of Education’s listening tour.” Aug. 31, 2009
[4] Journal of Aesthetic Education, Vol. 34, No. ¾, Special Issue: The Arts and Academic Achievement: What the Evidence Shows. (Autumn – Winter, 2000), pp. 77-89.
[5] Translations: From Theory to Practice, Vol. 10, No. 1, The National Art Education Association. (Winter 2001), pp. 2
[6] The Role of the Fine and Performing Arts in High School Dropout Prevention, 2002; Barry, N., J. Taylor and K. Walls
[7]
[8] Waugh, Mallory. “The Importance of Theater in Public Schools.” 2008,
I wish to focus our attention specifically on theatre education. Since there are many similarities between the fine and performing arts, I have chosen to answer three questions that may represent your concerns regarding whether these programs have a place in our curriculum. I make a case for how theatre can provide the majority of our students with access to a complete and quality education. How one can measure the success of this program. In addition, I will clearly outline where the financial support to sustain it for the next few years will come from.
Mary Luehrsen, executive director of the NAMM foundation, shared a letter addressed to all school and community leaders delivered August 18 of this year from U.S. Secretary of Education, Arne Duncan, stating, [2]“I write to bring to your attention the importance of the arts as a core academic subject…” He continues, “Arts education is vital to a complete and quality education for all children. All of us need to work together to assure that all children have access to a complete education that includes high quality, standards-based learning in music and the arts.”
An education in the theatre curriculum provides students more than just entertainment. It is an all-encompassing subject. What other discipline combines business management, public speaking, story-telling, creative writing, history, anthropology, drafting, carpentry, math, sewing, painting, music, dance, and design? In a safe and positive learning environment, theatre fosters self-examination, creativity, and valuable lessons about the human condition. It has a proven track record for increasing participation and attendance in school and the community.
Students who are involved with theatre are taught things they cannot learn from books. Teamwork, leadership, commitment, punctuality, confidence, and responsibility are among the more obvious qualities improved upon. It presents more useful experiences in working with deadlines, collaboration, and making due with limited resources. It gives them a head start by foreshadowing valuable aspects of adult life. It develops problem solving skills, professionalism, motivation to achieve, and prioritization. Wouldn’t our community benefit greatly from these kinds of skills? This is what my high school theater program can provide. Even the No Child Left Behind initiative reaffirms the arts as a “core academic subject” that all schools should teach.
The best way to measure the success of this program would be to measure in my performance as a teacher in the classroom frequently, to observe the improvement of my student’s test scores across all subjects and on national examinations, and to notice the change in the lives and attitudes of those students that require more care and attention than most.
One of the reasons you hired me to teach in this capacity is due to the level of preparation, professional development, technology, leadership, development, induction, and mentoring I have put into my curriculum. Each time you sit in my classroom and observe my instruction and the learning going on, it will reaffirm that this program exceeds achievement standards. [3]“Teachers have the greatest single impact (on student performance) other than an effective parent,” Kriner Cash, Memphis City Schools Superintendant, said. “We have to have a way to get the right people in the classroom.” I welcome the evaluations.
Kathryn Vaughn associated the relationship between the arts and academic achievement as, [4]“… students who study the arts in high school have higher SAT scores than those who do not study the arts.” Research has proven that theater helps understanding and retention in other subjects studied. One such study showed how drama increased improvement in verbal skills such as reading achievement and readiness, recall of stories, oral understanding, writing, and vocabulary. Results state that,[5]”… drama helps to build verbal skills that transfer to new materials. Such an effect has great value for education.”
The theater program is one of the only places that can reach those students that don’t shine anywhere else. This is a place for children who feel like they have no place. It is the perfect avenue for students with disabilities to develop. Many students that come from economically disadvantaged circumstances rapidly connect to the supportive environment that promotes constructive acceptance of criticism. It’s a climate in which it is safe to take risks. There are even signs pointing to drama decreasing the rate of kids dropping out of school. [6]“Students at risk of not successfully completing their high school educations cite their participation in the arts as reasons for staying in school.” Dr. James Catterall at UCLA suggests, [7]“… students who studied music and the arts had higher grades, scored better on standardized tests, had better attendance records and were more active in community affairs than other students.” He continues, “Students from poorer families who studied the arts improved overall school performance more rapidly than all other students.”
The final and most crucial point to present is the funding aspect. There are only three things I ask for. First, we’ll need a classroom with basic technology (T.V., DVD/VHS Player. Second, access and use of the wood shop and tools therein, for myself and a handful of predetermined students. Third, we require use of the auditorium, including the lights and sound boards for practice and show space. I have a complete sound system, access to over 100 play scripts, a costumer and pianist, and over 40 parents that are willing to put in time to do whatever needs to get done. I have several fundraiser models that will keep the school in good standing and improve the reputation among our community. I have obtained a few private donators over the years that will contribute to our pursuits. Finally, there are several federally funded programs and projects that we could apply for further assistance.
Research alone can’t provide all the answers or ensure the success of a theatre program in this area. It does however reaffirm what you already know and believe. This program is vital to the development of all students that grace these halls. The best summation of my point, is simply said, in Mallory Waugh’s Helium article entitled, The Importance of Theater in Public Schools, [8]“… anyone would be hard-pressed to find one activity that allows and encourages all of these gains, other than theater.” Thank you for your time and consideration.
[1] “Critical Evidence, How the ARTS Benefit Student Achievement.” Sandra S. Ruppert (2006), NASAA
[2] U.S. Secretary of Education: Duncan, Arne. Washington D.C. Importance of The Arts In Schools. August 18, 2009. Print.
[3] Roberts, Jane. “Memphis a stop on Secretary of Education’s listening tour.” Aug. 31, 2009
[4] Journal of Aesthetic Education, Vol. 34, No. ¾, Special Issue: The Arts and Academic Achievement: What the Evidence Shows. (Autumn – Winter, 2000), pp. 77-89.
[5] Translations: From Theory to Practice, Vol. 10, No. 1, The National Art Education Association. (Winter 2001), pp. 2
[6] The Role of the Fine and Performing Arts in High School Dropout Prevention, 2002; Barry, N., J. Taylor and K. Walls
[7]
[8] Waugh, Mallory. “The Importance of Theater in Public Schools.” 2008,
Sunday, September 13, 2009
Story without dialogue
Lights rise on a middle aged man washing dishes. He noticeably pauses to look at the clock in the room and occasionally out the window. Leaving the water running, he paces across the room into the dining room for a minute or two.
Returning with a dish full of food, he walks to the trash can and empties the food off the plate into it, shaking his head.
He sighs, raises his head, and walks back to the sink. He sets the plate in the partially full soapy sink.
The phone rings.
He drips over to it, hurriedly. Before he gets to it, it stops ringing. He picks it up anyway. After a brief pause, he slams the phone onto its receiver. Then he heads back into the room out of view.
He returns again, arms full of soiled but empty plates and other flatware. He sets some dishes on the counter. He puts each one in the sink individually. He drops one of the last dishes and it breaks.
He falls to the floor, ending up in a seated position. After sobbing for several moments, a car door is heard from a distance shutting. Then a car is heard rolling away. Stanley stands up and looks out the window.
Quickly he turns on the radio on the counter (softly). He bends down and scoops up pieces of the broken plate into his hand. He walks across to the garbage and tosses it in. He again returns to the sink and turns down the radio.
Meanwhile, the edge of a credit card pushes through the front door, opening it slightly. A young man, dressed in overly large sporting attire with a hood, enters the room. As he notices Stanley, he hesitates moving. When Stanley doesn’t turn around, he darts across the room silently. He quickly finds access to the bedroom (out of view).
Stanley continues to wash dishes for another minute, tapping his foot. He turns and folds his arms, looking at the clock again. He proceeds downstage to the living room and notices the door is opened a bit. He looks around puzzled then shuts the door. He finally sits down in an over-stuffed recliner. He kicks off his shoes and pulls the lever on the side of the chair to raise his feet. He turns on the lamp at his right, and grabs the newspaper. He first glances at the front, but only a few seconds pass before he opens it and starts to read.
After a minute of silence he turns the page. He brings it to one side, almost shutting it to look over at the door. After a couple moments, he assumes the same position.
In walks the lady. She takes off her coat and scarf then hangs them up on a coat rack. She sets her keys in a porcelain dish by the door. As she’s about to take off her pumps, she notices Stanley sitting there reading.
She walks over by him. She stops briefly then continues on between him and the coffee table. She nudges his foot purposely as she straightens up the coffee table. When she realizes he’s still sitting there ignoring her, with his paper up in front of his face, she rolls her eyes, makes a frustrated noise and stamps off into the bedroom. She slams the door behind her.
Seconds pass before muffled noises are heard from the bedroom. Stanley puts his paper down and gloats to himself, while the ruckus continues in the bedroom. He gets up, after returning the chair to its upright position. He chuckles out loud as he walks to the kitchen. He pours himself a cup of coffee then heads toward the bedroom.
The bedroom door flies open. The hooded man inches out while holding a knife to the throat of the woman. Stanley notices and drops his cup of coffee. The hooded man has jewelry, sports memorabilia, and a laptop bag, obviously full, in tow.
Stanley moves forward up a step or two, raising his arms to waist level, psalms outstretched.
The hooded man nods his head upward, motioning Stanley to move backward. Stanley hesitantly stumbles back. The hooded man drags his blade across the woman’s neck a half-inch. She starts shrieking hysterically. With his other hand he slaps her. She shuts up.
Stanley fumbles into his back pocket. The hooded man motions for Stanley’s wallet. Stanley tosses the wallet at their feet. The hooded man shakes his head.
He pushes Gentri down to her knees, taking hold of her hair with one hand. She yelps, but reaches for the wallet.
Before rising, she looks up at Stanley. She winks at him. He looks back with concern, then confusion.
The hooded man turns his body to the side, raising his hip. He motions, with the knife, for Gentri to put the wallet in his pocket. With his other hand, he tightens his grip on her hair. She grunts.
The hooded man nudges Gentri forward. They take two labored steps, out of sync.
They take two more steps forward together, as Stanley moves backward, turning away from the audience.
The hooded man raises his knife, pointing it at Stanley. Stanley shakes his hands and continues backing up.
The hooded man takes a step to the side of Gentri. He yanks her hair again, forcing her to step toward the door. Stanley continues through the living room, facing the door.
Reaching the door, the hooded man turns about so he and Gentri face Stanley again. The hooded man pulls Gentri close to whisper in her ear.
As Gentri reaches around him for the door knob, she head butts him square in the nose.
The hooded man releases her hair and drops the knife as he covers his face, wailing in pain.Gentri seizes the opportunity to slam her heel down on his toes. She pounces on the knife as he falls backwards into the door, shutting it, continuing to the floor.
Returning with a dish full of food, he walks to the trash can and empties the food off the plate into it, shaking his head.
He sighs, raises his head, and walks back to the sink. He sets the plate in the partially full soapy sink.
The phone rings.
He drips over to it, hurriedly. Before he gets to it, it stops ringing. He picks it up anyway. After a brief pause, he slams the phone onto its receiver. Then he heads back into the room out of view.
He returns again, arms full of soiled but empty plates and other flatware. He sets some dishes on the counter. He puts each one in the sink individually. He drops one of the last dishes and it breaks.
He falls to the floor, ending up in a seated position. After sobbing for several moments, a car door is heard from a distance shutting. Then a car is heard rolling away. Stanley stands up and looks out the window.
Quickly he turns on the radio on the counter (softly). He bends down and scoops up pieces of the broken plate into his hand. He walks across to the garbage and tosses it in. He again returns to the sink and turns down the radio.
Meanwhile, the edge of a credit card pushes through the front door, opening it slightly. A young man, dressed in overly large sporting attire with a hood, enters the room. As he notices Stanley, he hesitates moving. When Stanley doesn’t turn around, he darts across the room silently. He quickly finds access to the bedroom (out of view).
Stanley continues to wash dishes for another minute, tapping his foot. He turns and folds his arms, looking at the clock again. He proceeds downstage to the living room and notices the door is opened a bit. He looks around puzzled then shuts the door. He finally sits down in an over-stuffed recliner. He kicks off his shoes and pulls the lever on the side of the chair to raise his feet. He turns on the lamp at his right, and grabs the newspaper. He first glances at the front, but only a few seconds pass before he opens it and starts to read.
After a minute of silence he turns the page. He brings it to one side, almost shutting it to look over at the door. After a couple moments, he assumes the same position.
In walks the lady. She takes off her coat and scarf then hangs them up on a coat rack. She sets her keys in a porcelain dish by the door. As she’s about to take off her pumps, she notices Stanley sitting there reading.
She walks over by him. She stops briefly then continues on between him and the coffee table. She nudges his foot purposely as she straightens up the coffee table. When she realizes he’s still sitting there ignoring her, with his paper up in front of his face, she rolls her eyes, makes a frustrated noise and stamps off into the bedroom. She slams the door behind her.
Seconds pass before muffled noises are heard from the bedroom. Stanley puts his paper down and gloats to himself, while the ruckus continues in the bedroom. He gets up, after returning the chair to its upright position. He chuckles out loud as he walks to the kitchen. He pours himself a cup of coffee then heads toward the bedroom.
The bedroom door flies open. The hooded man inches out while holding a knife to the throat of the woman. Stanley notices and drops his cup of coffee. The hooded man has jewelry, sports memorabilia, and a laptop bag, obviously full, in tow.
Stanley moves forward up a step or two, raising his arms to waist level, psalms outstretched.
The hooded man nods his head upward, motioning Stanley to move backward. Stanley hesitantly stumbles back. The hooded man drags his blade across the woman’s neck a half-inch. She starts shrieking hysterically. With his other hand he slaps her. She shuts up.
Stanley fumbles into his back pocket. The hooded man motions for Stanley’s wallet. Stanley tosses the wallet at their feet. The hooded man shakes his head.
He pushes Gentri down to her knees, taking hold of her hair with one hand. She yelps, but reaches for the wallet.
Before rising, she looks up at Stanley. She winks at him. He looks back with concern, then confusion.
The hooded man turns his body to the side, raising his hip. He motions, with the knife, for Gentri to put the wallet in his pocket. With his other hand, he tightens his grip on her hair. She grunts.
The hooded man nudges Gentri forward. They take two labored steps, out of sync.
They take two more steps forward together, as Stanley moves backward, turning away from the audience.
The hooded man raises his knife, pointing it at Stanley. Stanley shakes his hands and continues backing up.
The hooded man takes a step to the side of Gentri. He yanks her hair again, forcing her to step toward the door. Stanley continues through the living room, facing the door.
Reaching the door, the hooded man turns about so he and Gentri face Stanley again. The hooded man pulls Gentri close to whisper in her ear.
As Gentri reaches around him for the door knob, she head butts him square in the nose.
The hooded man releases her hair and drops the knife as he covers his face, wailing in pain.Gentri seizes the opportunity to slam her heel down on his toes. She pounces on the knife as he falls backwards into the door, shutting it, continuing to the floor.
One-upping
It was a typical autumn day. There was a cool mist hovering just above the lake. Percival stepped out of his vehicle and looked around the dock. Although it was early, he was not the first to arrive. He rounded his BMW, popped the trunk, and pulled out his gear. He grabbed his net, his tacklebox, his rod, and the neatly prepared lunch that his wife had prepared for him.
Mitch was already down at the dock, loading the last bit of equipment for their adventure. "Hey there, Percy. Thought you'd never make out here with us?" he joked as he ran up to the beemer, "Glad you could make er."
"Well after last night's game, I wasn't sure you'd be here first, Coach." Percival replied.
"Wouldn't miss a day on the lake." Coach Jones boasted.
An old rusted Dodge pickup came rolling into the parking area, dust trailing behind it. "Sorry to keep you waiting fellas," Jim said as he stepped out. "Mitch." He nodded. "Sir." He stuck out his hand for a shake. "Glad you could join us, sir. I've gotta talk to you about those kids."
"Let's get out there and fish before we get into the deep stuff, Jimbo" Mitch chided.
They all hopped into the small motorboat. Percival put on his bright orange floatation device. Mitch grabbed the stick and Jim sat between them.
After a few minutes they reached a narrow inlet between the two bodies of water. Mitch revved the motor one last time, then they glided in over near a dead tree that had fallen. Jim dropped anchor and the men unpacked their lines and gear. Once their lines were cast, Percival started the story telling...
"You know the Mitchell kid? Well, the other day, Sue Crampton sends him down to my office for trying to light his pants on fire. They were doing some experiment requiring the bundsen burners..."
"Never shoulda let them use those things in a classroom I always said." Mitch interrupted.
"They're for scientific use mind you, he must not have paid attention to her ground rules though. Anyway, after she gave them the chemicals, he stood on top of the desk, grabbed the burner, then started spilling the liquid down toward the flame. Nearly caught himself and the building on fire."
"Boy's just starving for attention, I'd say" Jim states matter of factly.
"Na. He's got some kind of death wish." Mitch continued. "The boys on my team give him a hard time. Call him an emo and a fag."
"I've recruited him to help me clean up after school." Jim appealed. "I like him. He's just lonely and misunderstood. He's got a sense of humor on him."
"Kinda funny. My boys got him good last week after gym class. They were just having a bit of fun. They steamed up the showers, putting blankets up over the doors, kinda like a sauna. They plugged the drains with plastic lids and put some wet shirts on top. Then they took turns water sliding across the shower room. Geoffrey was standing there watching them. He was checking them out! They were naked and he was looking them up and down. When someone noticed, the lot went crazy. He pretended to care about them making a mess. They pretended to clean it up, but instead they got a couple laundry bags and put bars of soap in them and went back and beat him with them. It was funny, but I got after them."
"Mitch that's not appropriate. I need to be involved in those type of things. Next time you call me in to administer judgement and punishment." Percival reprimanded.
"You're probably right. You're the principal. But those kids were just having a bit of fun. He was being gay." Mitch protested.
"That's wrong Mitch! He's not gay. He's an outsider and those boys you work with are keeping him on the outs. He told me all about that. He also told me about the harrassment they continued after the fact."
"Why hasn't any of this been brought to my attention? I'm so frustrated!" said Principal Harris, "You two need to keep me in the loop with these kids. I need your help to control the student body."
Jim continued,"They started decorating his locker with pictures of chip and dale dancers, wrote inappropriate love notes, and drew nasty pictures with markers. That's not easy to clean up, you know. The weirdest thing was that they would put on lipstick and kiss the mirror in the locker room and write him notes in lipstick. Then they'd take him in there and give him a swirly."
"Sounds like this is getting way out of hand guys." Percy huffed. "On Monday, I'm calling them all in to address this issue."
"No need to do a thing." Jim said, "We got back at them yesterday."
"You did that?" said Mitch suprised.
"It wasn't my idea, but it sure was the best way to get back at them though." Jim appealed. "So Geoffry got used to their routine. As he was being dragged into that stall this last time, he said something that stopped them in their tracks.
"Okay, but how did that stop them from dunking him this time?" Percival inquired.
"Well, They'd been kissing that mirror for three days straight... Each time we'd have to clean them off, and they'd keep kissing it."
"I still don't get it?" questionned Percy.
"I think I'm gonna puke," blurted Mitch.
"It's the way we were cleaning those mirrors... That toilet they kept dunking him in," Janitor Jim jested, "well we were using its contents to 'clean' off that great big mirror they were kissing all that time."
Mitch was already down at the dock, loading the last bit of equipment for their adventure. "Hey there, Percy. Thought you'd never make out here with us?" he joked as he ran up to the beemer, "Glad you could make er."
"Well after last night's game, I wasn't sure you'd be here first, Coach." Percival replied.
"Wouldn't miss a day on the lake." Coach Jones boasted.
An old rusted Dodge pickup came rolling into the parking area, dust trailing behind it. "Sorry to keep you waiting fellas," Jim said as he stepped out. "Mitch." He nodded. "Sir." He stuck out his hand for a shake. "Glad you could join us, sir. I've gotta talk to you about those kids."
"Let's get out there and fish before we get into the deep stuff, Jimbo" Mitch chided.
They all hopped into the small motorboat. Percival put on his bright orange floatation device. Mitch grabbed the stick and Jim sat between them.
After a few minutes they reached a narrow inlet between the two bodies of water. Mitch revved the motor one last time, then they glided in over near a dead tree that had fallen. Jim dropped anchor and the men unpacked their lines and gear. Once their lines were cast, Percival started the story telling...
"You know the Mitchell kid? Well, the other day, Sue Crampton sends him down to my office for trying to light his pants on fire. They were doing some experiment requiring the bundsen burners..."
"Never shoulda let them use those things in a classroom I always said." Mitch interrupted.
"They're for scientific use mind you, he must not have paid attention to her ground rules though. Anyway, after she gave them the chemicals, he stood on top of the desk, grabbed the burner, then started spilling the liquid down toward the flame. Nearly caught himself and the building on fire."
"Boy's just starving for attention, I'd say" Jim states matter of factly.
"Na. He's got some kind of death wish." Mitch continued. "The boys on my team give him a hard time. Call him an emo and a fag."
"I've recruited him to help me clean up after school." Jim appealed. "I like him. He's just lonely and misunderstood. He's got a sense of humor on him."
"Kinda funny. My boys got him good last week after gym class. They were just having a bit of fun. They steamed up the showers, putting blankets up over the doors, kinda like a sauna. They plugged the drains with plastic lids and put some wet shirts on top. Then they took turns water sliding across the shower room. Geoffrey was standing there watching them. He was checking them out! They were naked and he was looking them up and down. When someone noticed, the lot went crazy. He pretended to care about them making a mess. They pretended to clean it up, but instead they got a couple laundry bags and put bars of soap in them and went back and beat him with them. It was funny, but I got after them."
"Mitch that's not appropriate. I need to be involved in those type of things. Next time you call me in to administer judgement and punishment." Percival reprimanded.
"You're probably right. You're the principal. But those kids were just having a bit of fun. He was being gay." Mitch protested.
"That's wrong Mitch! He's not gay. He's an outsider and those boys you work with are keeping him on the outs. He told me all about that. He also told me about the harrassment they continued after the fact."
"Why hasn't any of this been brought to my attention? I'm so frustrated!" said Principal Harris, "You two need to keep me in the loop with these kids. I need your help to control the student body."
Jim continued,"They started decorating his locker with pictures of chip and dale dancers, wrote inappropriate love notes, and drew nasty pictures with markers. That's not easy to clean up, you know. The weirdest thing was that they would put on lipstick and kiss the mirror in the locker room and write him notes in lipstick. Then they'd take him in there and give him a swirly."
"Sounds like this is getting way out of hand guys." Percy huffed. "On Monday, I'm calling them all in to address this issue."
"No need to do a thing." Jim said, "We got back at them yesterday."
"You did that?" said Mitch suprised.
"It wasn't my idea, but it sure was the best way to get back at them though." Jim appealed. "So Geoffry got used to their routine. As he was being dragged into that stall this last time, he said something that stopped them in their tracks.
"Okay, but how did that stop them from dunking him this time?" Percival inquired.
"Well, They'd been kissing that mirror for three days straight... Each time we'd have to clean them off, and they'd keep kissing it."
"I still don't get it?" questionned Percy.
"I think I'm gonna puke," blurted Mitch.
"It's the way we were cleaning those mirrors... That toilet they kept dunking him in," Janitor Jim jested, "well we were using its contents to 'clean' off that great big mirror they were kissing all that time."
Thursday, February 5, 2009
Scene Only Using Stage Directions
Horse walks across stage dragging unconscious Shooter behind, by a rope. More than half way across stage, Shooter’s leg comes free from rope and he lies on floor. Horse continues offstage.
Shooter opens eyes, rubs them, and closes them again. He winces and grunts as he attempts to rise to sitting position, but is unsuccessful. Second attempt to sit up is successful but labored. Shooter looks around with confused look on his face. He shakes his limbs back into feeling. Takes bandana from neck and wipes brow.
A child runs across stage, being chased by another child. They giggle and joyfully scream as they continue the chase. Shooter watches them without expression.
After they’re gone, he gets up on his feet and brushes dust off his chaps. Shooter can sneeze or make coughing sounds if desired. He checks his belongings: gun belt, knife, and leather string around his neck. He pulls locket over his head, opens it, and looks longingly for seconds
He closes the locket. The demeanor changes on his face. He looks down at the ground. He looks the direction he entered from, as if following tracks. He rushes toward side curtain.
Before he leaves the stage, a group of 9 men surround him. One of the men, Smokey, pushes Shooter hard, causing him to grunt and toss locket backward (but not off stage). Shooter falls into the arms of two other men, which pick him up under the arms and carry him back toward the center of the stage. The other men, except Crockett, move into a half circle formation as the two men carrying Shooter drop him on the ground. The men taunt and make torture gestures at Shooter as they form the half-circle (slit throat, hanging, etc.).
Shooter jumps back on his feet, rising within inches of Crockett. The posse ooh as the two stare each other down for several seconds. Posse huddles in closer to the two men. Crockett looks down at Shooter’s guns, then nods head, purses lips and scrunches nose. He returns gesture. They size each other up again.
Sherriff Lawton and two deputies enter from stage left. They stop. Lawton bends down to pick up locket. He and his crew stare down Crockett and posse. As Crockett steps back a few paces, posse start whistling and showing their discomfort. Shooter turns to see what everyone’s looking at.
The 3 peacekeepers move toward Shooter. He waves his hand at them and shakes his head. Sherriff Lawton holds both hands at chest level, nods head to grant his request.
Shooter turns and steps toward Crockett. Crockett follows suit. They both unholster their guns. Crockett tosses his second gun to Smokey. Shooter tosses his spare to Deputy 2. Sherriff Lawton tosses locket back to Shooter. Shooter kisses it and puts it back on.
Shooter turns and steps toward Crockett. Crockett follows suit. They both unholster their guns. Crockett tosses his second gun to Smokey. Shooter tosses his spare to Deputy 2. Sherriff Lawton tosses locket back to Shooter. Shooter kisses it and puts it back on.
The lawmen move upstage, between Shooter and Crockett, looking posse over. Both Crockett and Shooter empty the bullets from their weapons, dropping all but one to put back in the chamber.
As the officers circle back around the group, Deputy 1 stops at side of posse and turns to watch, as other two men continue. Sherriff Lawton stops midway and steps up on horse rail attached to background building, holding on to post. Shooter and Crockett walk toward each other returning again face-to-face. They turn, standing back to back, until Deputy 2 arrives on the opposite side as his colleague.
Dueling music begins as men take first synchronized step away from each other. Men continue to take 2 more steps apart.
Woman stumbles in from offstage, clothes tattered, hair messed up. She has a black eye and rope burns on her wrists. Crockett hurries toward her, taking several steps out of sync. They meet and kiss. As kiss continues, Shooter turns and fires shot.
Crockett drops gun. They back away from each other a pace as Crockett touches his stomach, which is bloody. He looks up at woman. Her stomach is bloody. She falls forward into his arms, as he leans back, turning toward audience, wincing in pain. They slowly fall to the floor.
All spectators take off their hats. Shooter finally drops gun and continues to stand there stupefied. Coughing and sobbing, Crockett kisses woman’s lips. She dies.
Smokey rushes to side of Crockett and Sherriff moves toward Shooter. Posse, Shooter, and Deputy 1 continue to watch couple. Smokey tries to comfort Crockett. Crockett breathes heavy breath and slumps over woman. Sherriff and Deputy 2 grab Shooter. They haul him offstage.
Deputy 1 moves forward then kneels down to side of dead couple. Smokey turns and signals to men. Men rush over and split into two groups. First group (of 4) pick up woman and move toward curtain. Other group, 5 men, pick up Crockett and follow them offstage.
Deputy 1 moves forward then kneels down to side of dead couple. Smokey turns and signals to men. Men rush over and split into two groups. First group (of 4) pick up woman and move toward curtain. Other group, 5 men, pick up Crockett and follow them offstage.
The two children skip back across stage holding hands.
Tuesday, January 27, 2009
Story Idea
So I have to get this down, so I can come back to it and expound on it later. I do a lot of traveling for my job. In those travels, I often am accompanied by other people. Because of excessive speeding tickets and habit... I have a radar detector. Now this past trip, my friend driving this time, got a ticket because the radar was muted (and he was speeding)... so I got to experience first had what it's like to sit in the other seat when being pulled over (maybe I have in the past, but not that I can remember). So here's an idea inspired by that last and a few prior trips...
Disclaimer: None of the crimes are true, just thought it would enhance an already juicy story...
Here goes nothing...
Two coworkers traveling home from trip to Elko, NV have run in with Johnny law. "A" having experienced many traffic stops, looks at this one as being targeted yet again by the police and their "have nothing better to do" actions. "B" hasn't been pulled over in a long time, but was speeding/driving this time.
While two men are talking initially to officers, A gets out of hand. Though not in trouble until he opens his mouth, gets pulled out of car and put in squad car under arrest. B waits patiently for his ticket, pulls concealed weapon and opens fire on cop 1, then quickly fires on cop 2 as well.
A & B freak out, realize what happened, come up with idea to save their skins. Put police in car, pull off up the road and wait for another speeder. Pull him/her over shoot her, then stage whole thing. Take their ticket, leave all, and head home.
Later on, things catch up with them, years after they got away with it. Although murdered cops last confirmed stop was A&B's stop... since B left signed ticket on clipboard in squad car, crime "took place" down the road at different stop, and since B paid his fine, he was never was linked to crime.
A & B had some sort of falling out. Now no longer friends...
Either A turns in B with journal entry (found after commits suicide), or
B is wanted for past burglaries and gets pulled over again... Police link him to prior murders... B drags A into mess too.
So far I've got a scene into this, taking it from a different angle... but let me know what you think? Story good enough to watch? Interesting? Any reservations?
Disclaimer: None of the crimes are true, just thought it would enhance an already juicy story...
Here goes nothing...
Two coworkers traveling home from trip to Elko, NV have run in with Johnny law. "A" having experienced many traffic stops, looks at this one as being targeted yet again by the police and their "have nothing better to do" actions. "B" hasn't been pulled over in a long time, but was speeding/driving this time.
While two men are talking initially to officers, A gets out of hand. Though not in trouble until he opens his mouth, gets pulled out of car and put in squad car under arrest. B waits patiently for his ticket, pulls concealed weapon and opens fire on cop 1, then quickly fires on cop 2 as well.
A & B freak out, realize what happened, come up with idea to save their skins. Put police in car, pull off up the road and wait for another speeder. Pull him/her over shoot her, then stage whole thing. Take their ticket, leave all, and head home.
Later on, things catch up with them, years after they got away with it. Although murdered cops last confirmed stop was A&B's stop... since B left signed ticket on clipboard in squad car, crime "took place" down the road at different stop, and since B paid his fine, he was never was linked to crime.
A & B had some sort of falling out. Now no longer friends...
Either A turns in B with journal entry (found after commits suicide), or
B is wanted for past burglaries and gets pulled over again... Police link him to prior murders... B drags A into mess too.
So far I've got a scene into this, taking it from a different angle... but let me know what you think? Story good enough to watch? Interesting? Any reservations?
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