thank you
this is just the first draft im working on places where im pushing or coveying more to the audience Thomas’ downall ito insanity
thank you once again
regards
-kyle-
Stage Play / Shadows
Characters:
THOMAS-wearing a gray overcoat and what ever else the director chooses
CHARLES-warm clothing
DAD-dress clothing
HEIDI -warm clothing
SAM-warm clothing
SHADOWS A, B, C, D, E (completely black clothing, black masks, shadows E wears a gray overcoat like THOMAS. A, B, and E are definitely male. C and D are definitely female. Try to male their costuming and movements exact to the character they are shadowing.)
Opens with THOMAS pacing around his office. Two of the shadows are in the cupboards completely hidden. one is in each curtain. DAD is standing behind the empty picture frame, it appears that he is the picture. THOMAS picks up random papers anxiously shuffling around the room.
CHARLES – (entering in SR) Thomas. (THOMAS continues pacing) Thomas!
(THOMAS stops pacing and slowly looks at CHARLES)
THOMAS – What is it?
CHARLES- You’ve been in here for weeks. Everyone is -
THOMAS – Worried? Let them worry.
CHARLES – You don’t mean that.
THOMAS – I do.
CHARLES – (pause) This isn’t healthy. You know that. Nothing can change what happened. Nothing can change the p-
THOMAS – That will be enough, Charles.
CHARLES – But -
THOMAS – You heard me. (CHARLES stands still) Have you forgotten where the door is?
CHARLES – Good day, Thomas. (exits SR. THOMAS continues pacing around the room. He sits down at his desk and puts his face in his hands. The clock on the wall speeds up. CHARLES re-enters dressed differently.)
CHARLES: I know you don’t approve of this but I’ve brought you breakfast.
THOMAS: I don’t need your food Charles. I’ve asked you countless times to leave me alone and still you persist on coming here. Why?
CHARLES: I care for you, as do several other people out there. People that need you Thomas, think of what all you’ve done, how many lives you saved. The cure-
THOMAS: (angered) It means nothing! All those people mean nothing, if I couldn’t even have saved- (his voice cracks.)
CHARLES: I know it hurts. I hate clichés but you know there’s so much more to live for-
THOMAS: Live? From the moment we are born we begin to die. You never live for something, you die towards it.
CHARLES: I don’t know what to say Thomas.
THOMAS: You’ve said enough.
CHARLES: You can’t change the past, what’s done is done. (pause) Enjoy your breakfast. (Exits through door).
(THOMAS paces through the room again and stops at the picture of DAD)
THOMAS: What do I do dad? You always knew of the right thing to say. You were always there when I needed help. Now, I’ve nothing, I have nothing left. (SAM enters)
SAM: Thomas?
THOMAS: Yes?
SAM: I just spoke with Charles. He’s very worried about you.
THOMAS: And?
SAM: I’m worried too. And so is mom. (notices THOMAS standing by the picture of DAD) I miss him. Dad always knew of the right things to say. I wish I could find the words now.
THOMAS: Nothing you say can bring her back.
SAM: Why are you so hostile? You used to be so kind and warm and now you’re just so cold. You used to be my friend-
THOMAS: (With vengeance) I used to have a purpose! I used to have a wife! I used to be able to wake up every morning beside her and be happy! Truly genuinely happy . . . and we buried that happiness along with Heidi.
SAM: (Defeated) I’m sorry Tom. I’m just so sorry. I’m sorry I can’t bring her back, I wish I could. I know nothing I say could bring her back, but nothing you do will either. (THOMAS stands hunched over his desk. SAM makes a move to comfort him then stops.) You have my number, don’t hesitate to call me, okay? (She exits. THOMAS stands at his desk then screams and throws things off it and becomes really distressed then sits down and passes out with his face in his hands. Clock speeds up.)
CHARLES: (Enters with an umbrella and a newspaper. THOMAS is still asleep and CHARLES throws the newspaper on his desk) Look at this.
THOMAS: What?
CHARLES: Look at the paper. Look at what people are saying! Wanting to give you the Nobel Peace Prize, and see what they are calling you. A hermit You! You Thomas!
THOMAS: I don’t deserve it.
CHARLES: Don’t deserve it? You found the cure for cancer!
THOMAS: I don’t want it.
CHARLES: You are ridiculous. You know, maybe the papers are right, if not they sure are damn well close. (He exits. THOMAS stands not looking at the paper and wanders over to the LAMP in front of the CUPBOARD and turns it on illuminating SHADOW A. SHADOW A mimics THOMAS as he moves. He and SHADOW A reach into their pocket and pulls out a picture of HEIDI.)
THOMAS: I’m sorry Heidi. I’m sorry I couldn’t save you in time. I’m sorry I failed you. I thought I could do it, it was just too late and it’s my fault.
DAD: (Speaking from inside PICTURE FRAME) Son. (THOMAS and SHADOW A turn)
THOMAS: Dad?
DAD: You failed her.
THOMAS: I know . . .
DAD: She’s dead because you failed her.
THOMAS: I know . . . I promised after you died I would find a cure. I would not allow anyone close to me die-
DAD: But she did. (DAD steps from PICTURE FRAME and into the room)
THOMAS: I’m so sorry.
DAD: You failed me, you failed her. You couldn’t save her! Heidi is dead because of you! You Thomas! You let your own wife die!
THOMAS: I’m sorry! I tried so hard! (Crying) I’m sorry I failed you dad. I’m sorry I failed Heidi. (As he says this he grows more and more distressed until he is overcome and screams/cries as he does that DAD laughs and walks into the CUPBOARD B, when he enters it SHADOW B emerges and becomes a second “shadow” of THOMAS. THOMAS continues crying on the floor, SAM enters when she does SHADOW C connects to her from behind CURTAINS, it needs to be as inconspicuous as possible.)
SAM: Thomas! (Runs to him)
THOMAS: Go away!
SAM: Thomas?
THOMAS: I said go away Sam! Leave me be!
SAM: Let me help you please!
THOMAS: I don’t need help! I need to get Heidi back!
SAM: (pause and gently) You can’t though Tom. You know that . . .
SHADOW C: You miserable piece of scum, letting Heidi die.
THOMAS: What did you say?
SAM: You know you can’t bring Heidi back.
THOMAS: No, you said something after that.
SAM: No I didn’t.
THOMAS: (Standing and walking toward SAM.) You did! I heard you!
SAM: Stop it Tom, you’re scaring me . . .
THOMAS: You don’t want to help me! You’re glad Heidi is dead!
SAM: What? Thomas, no.
THOMAS: You were always jealous of her because mom favored her more than you; she was the daughter she always wanted, the one you couldn’t be.
SAM: (Deeply hurt.) Thomas that’s not true at all. I loved Heidi you know I did.
SHADOW C: Yes that’s right, I’m glad she’s dead.
THOMAS: QUIET! (He advances toward her.)
SAM: You’ve lost your mind . . . (Runs from the room scared. SHADOW C stays behind and connects to THOMAS. At this point THOMAS is very distraught. He moves around the room like a mad man and essentially that is what he is now. At one point as his madness grows SHADOW C starts moving on its own. This needs to be a very apparent change. THOMAS continues his rampage through his office until another SHADOW breaks away and he is left with only one. CHARLES enters quietly, no SHADOW connects to him. THOMAS sees him and stands still. SHADOW B and C cross over to CHARLES and hover around him randomly mimicking his movements.)
CHARLES: I just saw Sam running scared and crying-
SHADOWS B & C: Let her cry, etc . . .
CHARLES: I’m tired Tom. I’m tired of fighting with you. You’ve been here for weeks and everyday I have come to offer you help and every time you have pushed me farther and farther away. Now, I’m too far to come back again. I’m sorry Tom but I really can not do this anymore. I’m done Thomas, I hope you fix your problems and maybe I’ll see you again one day. I pray everything works out but I won’t be back.
(CHARLES exits. When he does SHADOWS B and C scream at him and THOMAS yells as well about CHARLES abandoning him. He goes off on another rampage again throwing things around his office SHADOWS B and C throw things as well. THOMAS has pretty much lost his mind now. Eventually SHADOW A breaks away too. The set behind the DOOR needs to be changed during this to a very bright set. After a moment HEIDI enters revealing the bright set in the background and leaves the door open and everything pauses.)
THOMAS: (pause) Heidi?
HEIDI: Thomas.
THOMAS: You’re here . . . how?
HEIDI: You promised me-
THOMAS: I know, I’m so sorry (moves to her but she backs away. When she does SHADOW D attaches and mimics her from behind CURTAIN B)
HEIDI: You told me nothing would happen.
THOMAS: I’m sorry.
HEIDI: I loved you.
THOMAS: Oh God, I love you so much . . . I miss you Heidi, I wish you were back here with me.
HEIDI: I’m here now.
THOMAS: I love you so much.
HEIDI: Why did you let this happen to me?
THOMAS: I didn’t mean to, I tried so hard to save you. I thought I could. (He turns from her.)
HEIDI: Why aren’t you looking at me Tom?
THOMAS: I don’t want to see what I did to you.
HEIDI: Look at me Tom. (He stands still.) Look at me. (He turns and looks) I love you.
THOMAS: I love you too . . .
HEIDI: Do you?
THOMAS: Yes . . .
HEIDI: Even after what you did to me?
THOMAS: I tried so hard to stop it from happening . . .
HEIDI: It happened Thomas.
THOMAS: I know. I wish I could have you back, I wish I could fix everything . . .
HEIDI: Do you?
THOMAS: (Desperately) Yes, Heidi, I do so much!
HEIDI: But you let me die.
THOMAS: I’m so sorry. Will you please stay with me?
HEIDI: I can’t.
THOMAS: Please?
HEIDI: I can’t Tom.
THOMAS: I need you. (HEIDI starts to back up to the door.)
HEIDI: Goodbye Thomas.
THOMAS: No . . .
HEIDI: I can’t stay here . . . you let me die! (Exits through door)
THOMAS: (Screams) NO! (He runs to open the door just as HEIDI closes it but it only opens SIDE B showing the BLACK PANEL) NO! (He opens and closes the door vigorously crying and pounding against it. SHADOWS A-D are hovering around him making noises of their own. He continues crying while he crawls over to the DESK and reaches inside the drawer and pulls out a GUN)
THOMAS: I’m coming Heidi. (As he places the GUN under his chin the door slowly opens and SHADOW E steps in.) NO! (He and all the SHADOWS scream and he puts the GUN under his chin, as he does all the SHADOWS crowd around him and cover him and the sound of a gunshot is heard. SHADOWS A-E pull out red pieces of scarf and hold one in each hand, THOMAS has one around his neck and lies dead on his desk. The shadows after moving around the room some pick up THOMAS and pull him into one of the CUPBOARDS and they all end up in their respective places. CLOCK speeds up.)
OR
(The SHADOWS all go in their respective places leaving THOMAS on the desk. Clock speeds up.)
END OF PLAY
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icedsapphire reviewed Version 1 -
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Jessica42 reviewed Version 1 -
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This play is wonderfully orgininal. The blocking and stage settings will be difficult, particularly the clock, but if it is preformed it should be able to be pulled off. I think that if you expnaded it a little, it might be better, so get some more details in, but it works as it is right now. I think that this is a magnificent physoslogical metaphor and if it is preformed will be visulally amazing. Overall, brilliant.
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black_butterfly reviewed Version 1 -
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I can tell this is the sort of the play that has to be felt rather than read. It’s very well written, though some of the lines are sort of cliche. They repeat and make it a little hard to get through. But it is still good. You don’t have too much serious editing to do. Keep writing
retardedpigeon reviewed Version 1 -
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XxfixedheartsxX reviewed Version 1 -
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i really liked this. i think u should work on the ending a little though, and maybe try to be just a little more descriptive in some of the scenes.but other than that i enjoyed reading this very much, and i hope to see it on a stage one day
BigMamaMags reviewed Version 1 -
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Well, I found your play to be interesting. You have a good plot going, but, it needs more to me. I think maybe you should add some flashback scenes for his dad and for the promise he made to his wife along with her death scene. Although the character of Thomas is good, you might consider expanding him more than you already have. Give the audience more of a story. Just a thought.
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