WEEK SEVEN ~ EXEUNT, ...

Another one I want to flush out more...

EXEUNT, ...

By

Kyle Gregory Boynton

Cast of Characters
Derek:
Chris:
Mona:
Tina:
Comedy:
Tragedy:

Scene
a Stage.

Time
Now.

Lights up on DEREK. He sits center stage. Reads.

DEREK
All the world’s a stage, And all the men and women
merely players; They have their exits and entrances,
And one man in his time plays many parts.

DEREK stands.

DEREK
Infant, whining school boy, lover, soldier, justice,
Pantaloon...

Pause

DEREK
Last scene of all... ends his strange eventful
history... mere oblivion.

MONA enters.

MONA
Is all our company here?

TINA enters

TINA
Our season opener is going to be Shakespeare’s cursed
play.

MONA
And, because of this, we’re going to be fairly delicate
with the title.

TINA
So, during auditions, rehearsals, performances--

MONA
--And for marketing purposes--

DEREK
(aside)
Words, words, words.

TINA
We’re calling this particular production.. The Scottish
Play.

MONA and TINA exit.

DEREK lights a cigarette.

CHRIS enters

CHRIS
Can I bum one?

DEREK hands a cigarette to CHRIS

CHRIS
How do you think auditions went?

DEREK
Waste of time.

CHRIS
How so?

DEREK
I just played Hamlet...

CHRIS
Ah..

DEREK
What’s the point of auditioning? They know what I can
do.

CHRIS
You’ll make a great Mac, too.

DEREK
Yeah.

MONA enters with two folders/scripts. She hands
one to each DEREK and CHRIS.

Hugs CHRIS.

MONA
Congrats, Chris! You’re going to be a great Mac.

CHRIS
Thanks! I’m still completely shocked.

Pause.

CHRIS
I’ll see you inside.

CHRIS exits.

MONA
Congrats -

DEREK
Save it.

MONA
You’re replaceable, you know? Do you want the part or
not? I don’t need you moping around.

DEREK
I’ll be fine.

MONA
I don’t want to hear it! Just, do your job. You should
be happy for Chris, this is going to be his first lead
role with us. You’ve had plenty.

MONA exits.

DEREK begins to exit. Stops. He sees "something"
in the audience. He moves slowly to center, gazing
outward.
Pause.
On either side (right/left) of the stage, COMEDY
and TRAGEDY enter. (Both wear all black. Each have
a white mask - Comedy mask for COMEDY and a
Tragedy mask for, you guessed it, TRAGEDY) They
move in unison, with the sound of a HEARTBEAT
offstage.
DEREK slowly becomes aware of them, as they begin
to circle him. DEREK quickly moves to one side of
the stage, they STOP. He raises his right arm,
they copy. DEREK lowers his arm, they copy. DEREK
doesn’t move.
They start circling again, now moving closer.
Faster. The HEARTBEAT goes faster and faster. They
reach DEREK. COMEDY holds out a slapstick, TRAGEDY
holds out a dagger.
LIGHTS OUT!
Pause
Lights up. COMEDY and TRAGEDY are gone. DEREK is
alone on stage, holding a dagger.
Lights out.
CHRIS screams.
Lights slowly rise on DEREK standing over CHRIS’
body.

DEREK
Life’s but a walking shadow, a poor player that struts
and frets his hour upon the stage, And then is heard no
more. It is a tale Told by an idiot, full of sound and
fury, signifying nothing.

CURTAIN

WEEK SIX ~ GUARDIAN DEVIL

GUARDIAN DEVIL

By

Kyle Gregory Boynton

2010

Lights up on a "hospital room". Bed center stage,
chair next to it. Otherwise, bare.
SAM lays in bed, eyes shut. He is restrained.

Lights flicker.

MILES enters through the door. Secures door. He
walks over and checks SAM’s restraints. Sits in
chair. MILES takes out a book and begins reading.

SAM
What are you reading?

MILES ignores.

SAM
I bet if I attack you again, you’ll talk to me. Worked
last time.

MILES turns a page.

SAM
Protocol.

MILES
Dr. Jekyll and Mr. Hyde.

SAM
Book report?

MILES
One of my favorites.

Lights flicker

SAM
Power gonna go out.

MILES
Generator.

SAM
Generator gonna go out.

MILES
..Maybe.

Pause.

SAM
Why are you here?

MILES
Because you’ve been labeled danger to yourself or
others. If the power does go out, you’ll be trapped
here. They want me to be in here if that happens, so
nothing happens to you.

Pause.

SAM
Why are you here?

MILES
Sam, I just got done telling you--

SAM
(interrupting)
Not that! This job. This town. Why?

MILES
A jobs, a job.

SAM
Why this job?

MILES
Because... I need a job.

SAM
But why this job?

MILES
Eventually I want to be a police officer.

SAM
I see.

MILES
You got any other questions, or can I go back to
reading?

SAM
If you’ve read that before, what’s the point? You know
the ending.

MILES
Probably the same reason you do drugs. You know the
ending to that. You get arrested and put in here until
you sober up. Then you go to jail.

SAM
Escapism?

MILES
I suppose.

SAM
You read to escape your mundane existence, and I do the
same. But with the drugs.
(pause)
Did you kiss your daughter before you left?

MILES
How did you know I had a daughter?

SAM
I bet she misses you.. Too bad you’ll never get to see
you again.. After tonight..

MILES
(spooked)
I’m gonna go back to my book.

SAM
Don’t you wanna know--

MILES
(interrupting)
SHUT UP! Just lay there, okay? I’m not here to talk to
you. Just shut up.

Lights flicker

Pause

SAM
The power will go out soon. The woman in the room
across the hall will lose her mind, start screaming.
The elderly man that was just taken out of the room
next to us is going to get stuck in the elevator...

MILES
Okay...

SAM
And we’re going to be trapped in here. You’d better
prop the door open - it being an electronic lock and
all..
(pause)
And since we’re going to be in here a while, you might
as well talk to me. Why don’t you ask me the questions?
Or, you can ask God. You see. I can talk to God.

MILES
Sure.. Tell God I say what’s up.

SAM
(muttering to himself)
He says I’m right.

MILES
What?

Lights out. An eerie, red, dimly lights the stage.

SAM
About the power.

A WOMAN screaming is heard. MILES rushes to the
door, tries to open. Fails.

WOMAN (VOICE)
What happened to the lights!?!

MILES
Shit.
(to his radio)
Need assistance in the west hall. Room 144. Trapped
with patient. Woman across the hall needs to be
secured.

Static.

WOMAN (VOICE)
HELP!! OH MY GOD!!

SAM laughs, quietly.

MILES
(to his radio)
Can anyone hear me?

WOMAN (VOICE)
IT’S HIM!! HE’S TAKING ME!!!!

MILES
(to his radio)
Hello?

Static. Nothing. Miles bangs on the door.

MILES
Let me out!

SAM’s laugh grows.

The WOMAN screams. Blackout.
**The following dialogue takes place in the
blackout.

SAM
Where are the other guards?

MILES
She’s dead..
(pause)
How’d you know...

SAM
The weather is pretty awful tonight.

MILES
HOW DID YOU KNOW!?

SAM convulses, screaming.

A struggle between MILES and SAM is heard. MILES
screams.

Pause.

MILES lights a "match". The stage is illuminated
enough to see MILES laying on the ground. His
shirt is ripped. A large "cut" is seen. SAM stands
on the bed.
"Match" goes out.
Breathing.
The eerie red light from before slowly rises to
the end.

MILES
What are you?
(pause)
I thought he-- I thought you weren’t real..

SAM
If you could know the answer to any question, what
would you want to know?

Pause.

MILES
Is she proud of me? Even though I gave up my dream for
her?

SAM
Yes.

MILES
I don’t get to see her again, do I?

SAM
Afraid not. Your time is up.

MILES
What are you?

SAM
Your guardian devil.

CURTAIN

WEEK FIVE ~ FOR YOU

FOR YOU

By

Kyle Gregory Boynton

Lights up on a "forest". A "log" is stage...
whatever.

ADAM enters carrying a bottle of wine.
He sits on the "log", sullenly.
He takes the cork out of the bottle, takes a swig.

NOAH enters.

NOAH
Why’d you run off?

ADAM
Why do you think?

NOAH
You have to make a decision!

ADAM
No, not this.

NOAH
You’re the president of the united states!

ADAM
Get out!

NOAH
No.

ADAM
Leave. Now!

NOAH
Pathetic.

NOAH exits.

ADAM rises. Anger flourishes. Throws bottle.

AMY enters.

ADAM
Not you too.

AMY
Why?

ADAM
I can’t handle something like this...

AMY
Yes, you can.

ADAM
Not after-

AMY
I believe.

ADAM
What is there to believe in anymore?

AMY
Me?

ADAM
You’re not real anymore.

AMY
You’re talking to me, aren’t you?

ADAM
Pressure..

AMY
Anxiety...

ADAM
How can I make this decision.

AMY
You have to.

ADAM
Why?

AMY
For me.

ADAM pulls out his cell phone, dials a number.

ADAM
For you.

ADAM presses a button.

END OF PLAY

WEEK FOUR ~ SO?

SO?
By
Kyle Gregory Boynton

INT. FRED’S CAR - DUSK
FRED - confident, charming - sits in the driver’s seat,
eagerly.
He reaches into the backseat, pulls out a BOX. Sets it on
the dashboard.
Suddenly, FRED perks up at the sight of RUTH entering the
car.

FRED
So?

She plops down in her seat, unsatisfied.

RUTH
No.

FRED
(confused)
No?

She sighs.

RUTH
No.

RUTH notices the box. Inspects it, curiously. FRED nods.
Picks it up and hands it to her.
She opens the box to find a calendar that features FRED in
erotic poses for each month - firefighter, astronaut, etc.
RUTH laughs. Hard. Cries a little. Her makeup starts to run
from her eyes, making her look like a rock star with heavy
eyeliner.
She looks in the mirror, wiping her eyes, notices her
appearance.

RUTH
It’s all your fault!

Playfully hits FRED.

FRED
(laughing)
I couldn’t help it!

Beat.

RUTH
(seductively)
So?

FRED
So!

They embrace, passionately.

CUT TO BLACK:
END OF FILM