Chaos Reigns Read online



  Chaos Reigns

  By

  Justin Blasdel

  Justin Blasdel

  1/21/13

  Version 1

  [email protected]

  Chatacters

  Pandora: Calm, Calculated Conductor

  Hole: Malicious, Cold-Hearted Devil

  Goliath: Furious, Homicidal Child

  Lilith: Patronizing, Cruel Matron

  Psyche: Warm, Caring Free-Spirit

  Man: OS Delivery Person

  Place

  There is no place here.

  Time

  The time is irrelevant

  SCENE I

  The stage: a chair and small dinner table in Downstage corner, a single glass and plate with utensils and tablecloth upon the table, and a small table upstage.

  SFX: Rising wind. The kind of wind that makes friends with dead grass on a barren plain under grey skies. Eventually, the wind dies down. A large wooden door creaks open Offstage, and then closes. The wind dies down.

  Enter PANDORA. PANDORA is a very proper business type who finds pleasure in HER work. HER mind is quite sharp, but values minimalistic modes of communication.

  PANDORA is holding a small box. SHE studies the room, making sure everything is in its place. When SHE is satisfied, SHE places the box on the small table Upstage. SHE then walks over to a mirror that hangs on the Fourth Wall. SHE adjusts HER coat, checks buttons, brushes off dust from HER shoulder, fastens the tie, inspects HER hair, and then smiles.

  SHE sits down at the dinner table, drunks some water, and then with utensils begins to eat the nonexistent food upon the plate.

  SFX: A rising heartbeat.

  The heartbeat coincides with the dimming and brightening of the room’s light. PANDORA doesn’t seem to be bothered.

  SFX: The heartbeat’s pace slows down.

  The light is full only during the heartbeats and completely off between beats.

  SFX: The heartbeat is almost gone with the beats moving further and further apart.

  HOLE can now be seen standing by the box. HOLE is a primordial intellect born before a time when the full range of human emotions existed. HE knows of pain, pleasure, and curiosity. Nothing more.

  SFX: After a few times of seeing HOLE, the beats stop.

  The lights turn back on. HOLE has just awakened from a deep dream prison, and now the world of real is in front of HIM. HE is pleased. HE notices every stimuli one by one; the light from above, the feeling of HIS skin, the sound of HIS foot on the ground, and the smell of HIMSELF. HE skulks around the stage, HIS mind aflame with the new pleasures around to consume HIM.

  HE chuckles a little. Then, HE chuckles a lot. HE laughs out once more, but shuts HIS mouth out of fear of being noticed. PANDORA stops eating to look up at HOLE.

  Beat.

  PANDORA goes back to eating. HOLE looks over to PANDORA. HE knows this being. Slowly, HE creeps over to PANDORA, slimes HIS way over to the table, and rises up to its top. HE watches PANDORA eat. SHE doesn’t mind it. HOLE smells the table. HE is surprised not to smell the invisible food. HE observes as PANDORA drinks the water and then sets the glass back down. HOLE snorts at the apparent uselessness of PANDORA’s actions. HE moves close to HER face to watch it more closely. Then, out of curiosity, HE opens HIS mouth to bite PANDORA.

  PANDORA

  Don’t you have something better to do?

  The two stare at EACHOTHER, HOLE frozen in open-mouthed stance.

  Then, HOLE stands upright, wipes the dust off HIS clothes, pushes out a “Hmph” from HIS throat, and then HE exits the stage like an insulted business man.

  PANDORA puts down the utensils, gently pats down HER mouth with the tablecloth, stands up, and faces the audience.

  PANDORA

  And now we begin the dream.

  PANDORA exits. Blackout.

  END SCENE I

  SCENE II

  In the darkness, there is screaming. The screams are caught between ultimate hatred and self-pity. They roar out loud like a gorilla’s battle cry and then die off as whimpering of a dying, old man.

  Lights rise. GOLIATH is lying on HIS stomach on the floor. GOLIATH is warrior in chains. Though in spirit HE is as mighty as a fire scorched mountain, HE is more like the uneaten bits of fat on a pork chop.

  GOLIATH is the source of the screams from beforehand. HE cries on the ground, defeated. HE yells one more time, but is cut off.

  LILITH (OS)

  Calm down.

  LILITH enters. LILITH is a glass mask stuck in perpetual kindness, but all it covers is the emptiness of a nonexistent face of humanity. This emptiness has taken a motherly form, and its nature is cruel.

  LILITH

  Please calm down. You’ll never accomplish anything through yelling.

  GOLIATH

  I want to die.

  LILITH

  What was that?

  GOLIATH

  I want…to kill…myself.

  LILITH

  Well, I’m sorry, but you can’t do anything yourself, and I won’t help you do that.

  LILITH goes to comfort GOLIATH by patting HIM on the head.

  GOLIATH

  Don’t patronize me!

  LILITH

  It’s only a gesture of kindness. Don’t you enjoy receiving kindness from others?

  LILITH walks over to inspect the dinner table and utensils. Something is off about them.

  LILITH

  Have they been used?

  GOLIATH

  Not from you.

  LILITH

  That’s hurtful. And why not?

  GOLIATH

  You—(don’t mean--)

  LILITH drags the table over to GOLIATH’s side. SHE makes sure everything’s in its right angle.

  LILITH

  And everything is good. I’m sorry. What were you saying?

  Half-beat.

  GOLIATH

  You don’t mean it.

  LILITH

  How could I not?

  GOLIATH

  Because you’re empty inside. You’re all teeth and nails and pretty smiles. You’re worse than dead.

  LILITH

  Hmm. I don’t think you know what you’re saying. No, you’re just crabby and hungry. Here, let me help you up.

  GOLIATH

  Go away.

  LILITH comes over to GOLIATH and prepares to lift HIM.

  LILITH

  I won’t.

  GOLIATH

  Go away!

  LILITH

  Lift your arms for me.

  GOLIATH

  I said leave me alone!

  LILITH

  I’m not going to do that, so you better understand that and let me help you up! [Beat.] I’m sorry, but you’re going in the chair whether you want to or don’t.

  Beat.

  GOLIATH raises HIS arm.

  LILITH

  Thank you.

  LILITH helps GOLIATH into a chair. It’s a laborious, grueling task that has GOLIATH grunting in pain the whole process.

  LILITH

  There, there. Almost done. And, finished. Ah, yes. See? You’re in the chair. Good for you.

  GOLIATH gives a short growl and startles LILITH, but not by much.

  LILITH

  You’re so grumpy. All the time you’re angry at something. Mostly me. That’s not healthy.

  LILITH re-adjusts dinnerware.

  GOLIATH

  I want to be.

  LILITH

  What, you want to be like this for the rest of your life? [Beat.] I didn’t think so. Now, is everything ready?

  GOLIATH

  The soup.

  LILITH

  Hmm?

  GOLI
ATH

  No…soup.

  LILITH

  Of course not. I haven’t gone to get it yet. Wait here. I’ll be back.

  LILITH exits. GOLIATH has a moment to consider HIS options. Get out of the chair? Crawl away? Use the spoon as a weapon? No. HE knows he doesn’t have the strength to do any of that. HE’s more sour than before. HE can’t even look at LILITH as SHE re-enters with big bowl of liquid in hand.

  LILITH

  Wonderful soup.

  LILITH sets it in front of GOLIATH. SHE mixes the liquid with a spoon.

  LILITH

  It smells good, right?

  GOLIATH

  No.

  LILITH

  Sure it does.

  LILITH dips the spoon and lifts it to GOLIATH’s lips.

  LILITH

  Eat. [Beat.] Eat it.

  GOLIATH

  What if I don’t want to eat it?

  LILITH

  Well…did that ever matter before?

  GOLIATH eats the liquid off of the spoon. It tastes of familiar bitterness.

  LILITH

  Thank you.

  GOLIATH grunts.

  LILITH

  Use your words, please.

  GOLIATH stares at HER, then continues to eat off of the spoon offered to him by LILITH.

  LILITH

  How are you liking your soup?

  GOLIATH

  It’s soup.

  LILITH

  That’s not an answer to my question.

  GOLIATH

  It tastes the same.

  LILITH

  And what ‘kind’ of taste is that.

  GOLIATH

  Soup.

  LILITH

  You can’t define something by itself. It doesn’t make sense. ‘It is what it is because it is.’ Preposterous. Even piety doesn’t get to define itself. ‘What is pious? What the god’s favor. What do the god’s favor? What is pious.’ No one is satisfied with that answer. Nor should they be. We should all be able to define what we mean into simpler words. And when we don’t know simpler words, then we should complicate them all over again. You see, it’s the purpose of language. It complicates to simplify, and vice versa, in order to grow more enjoyable and expressive as a language. To put a limit in one area would be to put limitation in all.

  LILITH (CONT.)

  Every element directly connects with every other, so what effects one affects them all. So when you tell me the soup tastes like soup, you can understand my frustration—(from your lack of usage of choice--)

  GOLIATH

  It’s piss! It’s hell! I hate it almost as much as I hate you. Is that a good answer? Huh? I hate it!

  Beat.

  LILITH

  I don’t understand why you hate it so much.

  GOLIATH

  I hate it…because it heals me. I hate it, because it’s bitter and sweet. It gives me life, but not enough. It keeps me here with you. Helpless, weak, but alive I hate you and it.

  LILITH

  Then why do you eat it?

  GOLIATH

  You make me. I’d never eat again…if you’d let me.

  LILITH

  You could try harder to resist me. You ever think of that?

  GOLIATH

  No. You don’t get that from me. Not anymore.

  LILITH drops the spoon in the bowl and walks away a few steps, turned away from GOLIATH and folded arms.

  Beat.

  LILITH

  I’m hurt.

  GOLIATH

  Liar.

  LILITH turns around.

  LILITH

  How dare you—(tell me what I feel--)

  GOLIATH

  You lie. We both know it. You…are…a…li…ar. Sit down and give me the soup.

  Beat.

  GOLIATH

  Then don’t.

  LILITH feeds GOLIATH more soup.

  LILITH

  Tell me, please, if you will, why you don’t choke on your hate. No, if you tried to kill yourself, I’d stop you. But if you had enough willpower, I suppose you could make your heart stop. Why do you suppose that is? I’ll tell you why. You love me. You love me, and you love how I take care of you. That’s why. You love me.

  GOLIATH

  One day. One day I will grow strong. You know this.

  LILITH

  I suppose that’s possible.

  GOLIATH

  I will grow strong enough to walk.

  LILITH

  I suppose.

  GOLIATH

  To push back. To be my own person.

  LILITH

  I suppose, I suppose, I suppose. What does this mean in reference to me?

  GOLIATH

  When I’m strong. When I finally won’t need you, you will be old.

  LILITH

  I suppose.

  GOLIATH

  Sick.

  LILITH

  I suppose.

  GOLIATH

  And dying. [Beat.] You’ll want to die. Beg for it. Cry for it. But I’ll care for you. Keep you alive. Feed you…soup. And you’ll love me for it.

  LILITH drops the spoon again. SHE has finally been hurt. THEY have a staring match of wills and hate. It seems like forever.

  LILITH

  That’s a possible future. That’s what you hope. W could die together before then. Anything is possible.

  GOLIATH

  No, it isn’t. We know our fate. Yours and mine.

  LILITH gets up and moodily moves back all the furniture back to its original place. GOLIATH watches with a cat’s grin. LILITH wipes GOLIATH’s face off with the napkin, and HE resents the action completely, but returns to smug countenance when SHE’s done.

  LILITH

  Arms up.

  GOLIATH lifts arms. LILITHS lifts HIM out of the chair only to drop him on the floor. HE lies motionless as LILITH moves the chair back. SHE crouches down to HIS body and caresses HIS head.

  LILITH

  There, there my—(little, little man--)

  GOLIATH

  Don’t touch me. Don’t ever touch me!

  LILITH stands.

  LILITH

  I’ll see you tomorrow, child. Goodbye.

  LILITH exits. GOLIATH lies there, helpless and pitiful. HE lifts up HIS head to see LILITH has gone. HE lays it back down and weeps. BLACKOUT.

  END SCENE II

  SCENE III

  Darkness.

  SFX: A door closing far offstage. Footsteps going downstairs. A door opens, then closes.

  Enter PANDORA holding an alarm clock in one hand and the book in the other. SHE looks around and sees that no one is there. SHE is pleased with this progression. SHE sets the book down on the small table and then winds the alarm clock. SHE flicks the bell to hear a small ring. Yes, this will do nicely. SHE sets the clock down on the small table and then places the chair to the side of the table as to allow a good view of the rest of the stage. SHE looks intently at the space. SHE walks a slow circle, visualizing what will soon be there and what will take place. Finishing the circle, SHE sits down and opens the book. SHE starts reading and lets out a pleased sigh. SHE turns the page.

  Blackout.

  SFX: Very muffled human screaming. Some become more distinct while others less so over time, and vice versa. They get louder and louder, along with the new sound of a heartbeat which also increases in volume until it cuts to an infant’s scream. Then, silence.

  Lights up. PANDORA is gone. In the Center Stage there is a small nest made of twigs with an egg in the middle lies on the floor. PSYCHE is sitting by it, looking like a spunky young girl looking up at a summer’s moonless night.

  PSYCHE is a smile in human form, and HER state of being is highly contagious. Not to say SHE can’t get upset, but SHE knows where SHE belongs and that’s at the center of joy’s heart.

  SFX: Sound of crickets and frogs at night.

  PSYCHE looks at th
e egg and then points at the sky.

  PSYCHE

  That there, up there, he’s called Orion. He was my brother. He was big and strong and fast. And really tall too. I rode on his shoulders once for a whole day. He never got tired. [Beat.] Nope. Never did. And you know what his nickname was? The bestest hunter ever in the world. Could hunt anything he wanted, yes, he could. Bears…

  PSYCHE does a bear pose with HER hands and growls.

  PSYCHE

  Deer…

  SHE puts antlers on HER head with HER hands and starts while pretend bucking the egg.

  PSYCHE

  And wolves.

  SHE howls at the moon. Beat. SHE laughs, then hums.

  PSYCHE

  He was great. I wish…I’m glad you’re here.

  SHE hugs the egg.

  PSYCHE

  I love you.

  SHE kisses the egg and goes back to hugging it and watching the stars.

  HOLE enters. This world is interesting to HIM. HE stands as straight as a board, his fingers slowly dancing against each other like two spiders in a waltz, HIS mouth slightly open to taste the air, and HIS eyes observing all the beautiful intricacies of this weak world.