【by Angelica Gajewski】
CHARACTERS
Tyler Adair
Chester Adair
Harvey Elmsong
Secretary
Quinta (no lines)
Bug (no lines)
NOTES
Concerning audience stage direction:
Stage direction referring to “the audience” addresses sound. This does not refer to the actual audience of the play, but rather a backtracking that mimics a live studio audience in scenes one and four.
SCENE ONE
THE STAGE IS SET FOR A TALK SHOW. TWO SEATS FACE EACH OTHER WITH A COFFEE TABLE IN BETWEEN. TWO MEN SIT ON THESE SEATS. ON THE LEFT SITS A YOUNG MAN, ONLY A BIT PAST THIRTY. HE HAS A YOUTH TO HIM BUT A SOPHISTICATION THAT OVERCOMES IT. HE WEARS A SUIT AND TIE, WELL TAILORED, FACE JUST SHAVEN ENOUGH, AND HIS HAIR MANAGED. ON THE RIGHT SITS A HEAVILY OVERWEIGHT MAN, WITH AN UNHEALTHY SUNKEN FACE, ORANGE SPRAY TAN, AND A SUIT BURSTING AT THE SEEMS. A DOMINEERING DEMEANOR.
HARVEY
Tyler.
TYLER
Harvey.
The sound of a live studio audience applauding is heard. The two look at the audience, Tyler with an artificial, showbiz style, Harvey with a slight smile and droopy eyes. The applause stops abruptly, they turn back to each other, Harvey’s smile is gone, Tylers remains plastered on.
HARVEY
It has been far too long.
TYLER
It has, hasn’t it. The last time I was he-
HARVEY
Congratulations on Clouded Mirrors.
TYLER
Thank you!
HARVEY
For those who don’t know, well, Tyler, why don’t you explain your newest project.
TYLER
Clouded Mirrors: The Psychology of Familial Manipulation is a project I’ve been working on for,
Harvey holds up a copy of the novel to the audience.
TYLER
…a while now. I hope that the book can help readers address patterns of abuse from members in their own circles, and be a source of healing.
HARVEY
Powerful stuff…powerful stuff…
The audience applauds. Harvey puts the book down, queuing the audience to stop.
HARVEY
And, now, you have a long history, writing these books aimed at helping readers through mental philosophy, what makes-
TYLER
Psychology
HARVEY
Yes. Sure. Through psychology. What makes this one different?
TYLER
My previous releases have been of the self-help category and really focus on helping readers to heal themselves from trauma inflicted upon them by others…and…and Clouded Mirrors, this is more about confronting those inflicting that pain, and protecting oneself from it.
Tyler faces the audience.
TYLER (Seriously, almost rehearsed)
There’s a change happening, one that I’d like to give the young generation credit for; our tolerance for verbal and mental abuse is lessening, we, as a society are becoming more sensitive to the hallmarks of mistreatment, and I’d like to aid in that sensitivity.
The audience applauds, louder now. Harvey is unengaged, clearly not listening, until the audience applause causes him to plaster on his perfect smile. Tyler takes in the applause and turns back to Harvey.
HARVEY
That’s wonderful, wonderful. Now how did your experience and…background help during the process of writing this book?
TYLER
I have a master’s degree in psychology from the University of-
HARVEY
No, no not that…I mean your…how do I say this…familial background…
TYLER
Oh, sure, well, I initially got the idea-
Beat
Tyler takes a breath, the audience is completely silent for the first time.
TYLER
Many people have speculated over the years about my fathers motivations, but his mind was always more interesting to me than the gruesome details and motivations of his crime. It’s what planted a seed of curiosity, I believe…I…in my personal life have tried to decode just how he manipulated everyone around him, and hid his horrific tendencies for so long.
The audience applauds.
HARVEY
Wow, very admirable indeed. Congratulations.
TYLER
Thank you.
HARVEY
Now for those who don’t know, your father is the notorious Chester Adair.
Tyler takes a breath and readjust himself, looking uncomfortable.
TYLER
Yes.
Shuffling sounds are heard from the audience, Harvey’s eyes turn sympathetic.
TYLER
And actually, I almost forgot to mention, five percent of the profits from this release in particular go to The Parents of Murdered Children National Organization.
The audience applauds, tension is seemingly released.
HARVEY
And our lucky studio audience is all going home with their own copy!
The audience applauds even louder, Harvey holds up the novel again, smiling. Tyler smiles and cheers with the audience.
BLACKOUT
SCENE TWO
THE STAGE IS ILLUMINATED WITH DULL, AMBIENT LIGHT. A BAR WITH A BARTENDER, LOUNGE CHAIRS, AND A FEW PATRONS CAN BE SEEN. HARVEY AND TYLER SIT IN TWO LOUNGE CHAIRS, MUCH MORE CASUALLY THAN THE PREVIOUS SCENE, THEY SIT MORE SIDE BY SIDE THAN ACROSS FROM ONE ANOTHER, AND SLOUCH, EACH HOLDING WELL-WORKED-ON DRINKS. SMOOTH JAZZ IS PLAYING. THE TWO ARE SEEMINGLY IN THE MIDDLE OF A CONVERSATION.
HARVEY
-and the best part? I didn’t have to pay a single fucking penny.
Harvey laughs.
TYLER
That- that is funny.
HARVEY
Lighten up a bit! Relax! We’re not on air anymore fuck. (mocking, in a robotic tone)
That – is – funny
Harvey laughs, taking a sip of his drink.
TYLER
Sorry.
HARVEY
Don’t be sorry, be cool.
TYLER
Okay
Ten very awkward seconds go by.
HARVEY
I was a mega church pastor, decades ago.
TYLER
No shit!
Harvey cracks a slight smile.
HARVEY
Yeah, it feels like a past life now, but it’s how I cracked my first million. Bought a tiny, and I mean fucking tiny, production company. Worked at it for a few years, built it up -behind camera of course. Then I finally got someone to bite and invest even more into it…two years after that I was the face of the show.
TYLER
Incredible.
HARVEY
You could do it too, you know…I mean the way you work an audience. I’m not getting those young ones to watch as much as their parents, but you clearly strike a chord with them. Those fucking buzzwords trauma, manipulation, abuse-grasslighting-bullshit, it fucking makes them foam at the mouth!
Tyler snickers, Harvey looks at him seriously.
Beat
HARVEY
It uh, reminds me of when I’d preach about dungeons and dragons and premarital sex, and all that fucking shit that made the housewives pull out their husbands wallets in order to protect their children.
Harvey laughs, clearly tipsy.
TYLER
I like to think that those words just get young people interested. They’re young, they’ve been told they can save the world… overcorrection is still just a form of correction after all.
HARVEY
Sure.
Beat
HARVEY
But fuck, a man can’t even grab a pair of tits anymore, am I right?
Harvey laughs loudly, taking a sip of his drink. Tyler smiles politely.
TYLER
Aren’t you married?
HARVEY
Nah! Divorced that bitch like six months ago when the boy went off to college.
TYLER
Oh, I’m sorry.
HARVEY
Sorry? Shit, we should be celebrating. That old hag just kept getting bigger and bigger -Anyway, enough about my fucking good luck, how about you? Wife? Kids? College suga baby?
Tyler lifts his hand to reveal a wedding band.
TYLER
Wife. And daughter. She’s uh, she’s nine.
HARVEY
A daughter? Good luck, I salute ya!
Harvey laughs, taking another sip of his drink. Tyler grins.
TYLER
She’s wonderful.
HARVEY
Good, that- that’s good you know, you have an obedient one, that’s nice.
Tyler smiles. Harvey takes a sip of his drink.
Beat
Tyler checks his phone.
TYLER
Speaking of, I should get going, I have someone anxiously awaiting to get tucked in.
Harvey chuckles.
HARVEY
I’ll let you go then, Tyler.
Harvey gestures to the bartender, ordering another. Tyler gets up and begins to put on his coat.
HARVEY
Oh! And don’t take the whole me bringing up your dad too seriously, okay? That was just to ensure there’d be at least a few tweets about your interview. You know you shouldn’t dig into the science of it too much-
TYLER
Yeah I figured, it’s okay, I get it.
Harvey nods.
HARVEY
I am sorry by the way, truly, I can’t imagine my father killing one of my friends during a fucking playdate.
TYLER
…Thanks.
HARVEY
Though, just between us…
He leans in, drink still in hand.
Harvey (CONT’D)
I did kind of always think my father’s handwriting looked like that zodiac motherfucker’s.
TYLER
You have a good night, Harvey.
Tyler exits. Harvey sits and continues to drink.
BLACKOUT
SCENE THREE
A DESK IS SET IN THE MIDDLE OF THE STAGE. ON IT SITS A COMPUTER, PAPERS, AND A FEW BOOKS. TYLER SITS AT IT, SPACING OUT. AUDIO IS PLAYING, SEEMINGLY FROM A VIDEO ON THE COMPUTER.
COMPUTER AUDIO (VOICE OF HARVEY)
And let me end today’s message with a verse near and dear to me and those here at ATC, Timothy 6:10,
“For the love of money is a root of all kinds of evils.” Let’s not pierce ourselves. Earthly success will not compare to salvation. Goodnight.
Applause can be heard.
Beat
COMPUTER AUDIO (FEMALE ROBOTIC VOICE)
Donate at www.allegiencetochrist.org…
Enter Secretary.
The audio continues inaudibly.
SECRETARY
Tyler.
Tyler looks up, seemingly ripped out of a trance-like state.
TYLER
Sorry ! Hello.
SECRETARY
Hi…
Beat
They look at eachother. Tyler appears confused.
TYLER
Yes?
SECRETARY
The um, the corrections hospital is on the line…they…they think this is it…
TYLER
Okay. Thank you.
SECRETARY
Sure.
She turns to leave, Tyler reaches for the phone.
SECRETARY
Oh and-
She turns back.
SECRETARY
They said he requested to speak to a few reporters…just thought you should know in case…
She gets flustered.
TYLER (REASSURINGLY)
In case I don’t want to be noticed visiting that monster. Yeah. Thank you.
She lets out a quick breath of relief, smiles, and exits. Tyler watches her leave. Once she exits completely he retracts his arm, and continues to space out.
This goes on for a while.
Suddenly the sound of a cell phone ringing goes off. Tyler is startled, digging the phone out of his pocket. He picks it up.
TYLER
Hi, sweetheart.
Beat
TYLER
Actually… I won’t be able to make it for Elf tonight.
Beat
TYLER
I know. I’m sorry, something came up with…work.
Beat
Tyler inhales sharply.
TYLER
Yeah
Tyler sighs.
TYLER
Tell mom I’ll call her soon okay? And uh, I’ll make it up to you, Bug, I promise.
Beat
TYLER
I know, I’m sorry.
Beat
He smiles.
Beat
TYLER
I love you too, bye.
He hangs up the phone.
BLACKOUT
SCENE FOUR
A HOSPITAL BED AND AN IV DRIP CAN BE SEEN ON STAGE. Next to the set-up sits two chairs on either side of the bed. A MAN IN AN PRISON UNIFORM SITS UP ON IT. HE IS LARGE, OLD, SICKLY, WORN DOWN-BY-LIFE TYPE.
A woman is putting finishing touches on the side of the bed, fresh linen has been installed.
CHESTER
Thank you.
Looking at her name tag
CHESTER
Quinta.
Chester smiles slightly, visibly in pain.
Quinta looks at Chester, a bit startled by his words. She then grins back at him before turning to leave the room. Tyler enters. Quinta provides an empathetic, polite smile as they pass. Tyler doesn’t look at her.
CHESTER
They said you wouldn’t come.
TYLER
Well I’m here.
CHESTER
I’m glad you are, I- I’ve missed you.
TYLER
…
They said you started talking to a reporter about the book.
CHESTER
Oh.
Chester looks down, seemingly disappointed.
CHESTER
And I thought you came here to see your dying old man…
(under his breath)
Should’ve known better.
Beat
CHESTER
Tucker, you can’t do this…don’t you think it’s enough that you’ve gotten to lead a normal life…If I had known you would be profiting from this-this horrible horrible thing that you did..I…I’m not sure I would have taken the-
TYLER
This isn’t your story, Dad, not yours to tell.
CHESTER
And it’s yours? Give me a break, Tuck!
TYLER
It’s more mine than it is yours.
CHESTER
Sure it is, and you’re meant to tell it from here.
He gestures to the handcuffs that lock him to the bed.
TYLER
It was your gun.
CHESTER
It was your finger on the trigger. Everything was locked, I-I should’ve known something wasn’t right when you said you found it in the nightstand…
-Do you even remember his name?
TYLER
Well you obviously didn’t read the dedication of the book. Russell Martinez. I know, Dad.
Chester looks down in disbelief and chuckles lightly.
TYLER
That was his name.
CHESTER
Sure it was, but we never called him that. What was the name his poor mother screamed in that hospital waiting room?
Chester looks at Tyler, desperate for a hint of goodness in his son.
Beat
TYLER
Fuck this. I won’t be talked down to by someone who is rotting in prison.
Tyler gets up, beginning to leave.
CHESTER (LOUDLY, NOW IN DISTRESS)
I thought it was an accident, Tucker! That’s why I took the fall. Then I’m sitting in court…and the prosecution…brings out those drawings. Those drawings-
He begins to break down.
Tyler looks back at him coldly, jacket in hand. He leaves as Chester continues to cry.
Beat.
CHESTER (LOOKING UP)
Forgive my son, for he is sick.
BLACKOUT
CHESTER (THROUGH TEARS, QUIETLY)
in healing grace…through Your strength…empower me to forgive as wholly and, and
(now whispering)
as completely as You first forgave me, please lord…
He continues to cry for roughly fifteen seconds before going silent. The stage remains dark for a few moments longer than is standard.
END SCENE
SCENE FIVE
THE STAGE IS DARK. (LEFT TO RIGHT) CHESTER’S EMPTY HOSPITAL BED, HARVEY STANDING TOWARD THE AUDIENCE, TYLER AND BUG. TYLER IS STANDING OVER BUG AS SHE SITS UP IN A BED. A SPOTLIGHT ILLUMINATES THE BED, TYLER, AND BUG. HARVEY REMAINS IN THE DARK, STANDING STILL, WITH A SMILE ON.
CHESTER (V.O.)
Start children off on the way they should go, and even when they are old…
Bug and Tyler talk inaudibly. Bug has a moment of supposed realization and sits up. She begins to pray. As she does, Tyler stares blankly at her, only looking away to retrieve a gun from her nightstand, leaving it open. He shoots her, kissing her on the forehead when she falls back. He tucks her in.
CHESTER (V.O.)
…they will not turn from it
The spotlight on Tyler and Bug goes out, Harvey is illuminated, he is speaking inaudibly.
The spotlights on Chester and Harvey go out.
Beat
The spotlight on Tyler and Bug reemerges. Tyler stands over Bug who is now neatly tucked into bed.
Beat
He gets on his knees and begins a prayer. Passionate, it seems. We cannot hear him. The prayer goes on for a full minute or longer. Let this feel awkward and tense.
Tyler completes his prayer, stands, and looks at Bug one last time.
Beat
Tyler exits stage right.
A pause.
Harvey enters the spotlight, now in the room with Bug. He folds back the blanket revealing her body, lifts her, and carries her into the dark (stage left). Chester exists simultaneously.
A pause.
A spotlight on Chester’s hospital bed reemerges in conjunction with the spotlight on Bug’s room going out. The bed is empty.
A pause.
BLACKOUT
END SCENE