Doubt by John Patrick Shanley
Doubt by John Patrick Shanley (500-word response & Takeaway)
LOST IN THOUGHT Christopher Lockheardt ORIGINAL PRODUCTION Simple Machine Boston, MA 857-574-0550 May 12, 2013 Directed by Adrienne Boris Fight Choreographer: Meron Langsner CAST: MAN: Stephen Libby WOMAN: Anna Waldron TOM: Tim Hoover CHARACTERS: What are you doing here? What could you possibly want? MAN: any age How simple do I have to make this for you before you un- WOMAN: similar age derstand? TOM: male, similar age (The grin fades. The woman moves to a new spot, a half- SETTING: The play is set within the memories and imagination step closer. of a man washing dishes. There’s something extraordinary about you. The grin disappears. The woman moves to a new spot, AT RISE: a half-step closer. The woman’s lines come quicker and quicker as she spirals in closer to the man. His reactions (At center stage, a MAN is washing dishes, lost in thought. to them become more and more stony.) A WOMAN enters right. She takes a few steps towards WOMAN: You know what I miss? I miss feeling pretty. I used the man. He does not look at her.) to feel so pretty around you. You used to make me feel WOMAN: There’s something extraordinary about you. beautiful. (The man freezes for a moment and then returns to his (Move.) dishes. The woman crosses the stage to stand on the oth- This is where I always want to be. Curled up with you, my er side of the man, but a half-step closer.) head on your shoulder. I never want to leave this spot. I want Do you like this spot? I drive up here all the time when I need to stay here forever. some quiet . . . and privacy. (Move. (The man continues washing dishes, but a grin sneaks Don’t say that. Of course I miss you. I miss you every day. onto his face. The woman moves to a new spot, a half- But missing you has nothing to do with it. You know that, step closer.) right? Right? Excuse me? I know this sounds weak and helpless, but . . . I (Move. can’t reach that box of cereal. Would you mind? I must be the only one who buys that brand because the store always puts You remember me? The short girl with the inconvenient taste it on the top shelf. in cereal? I don’t usually do this. I mean, I absolutely never do this, but . . . . Would you like to . . . Would you be free (The grin widens. The woman moves to a new spot, a sometime to . . .? half-step closer.) (Move.) Oh my God. That was . . . AMAZING. I can’t . . . I can’t even breathe. How did you ever learn to do that? Did you take a Don’t look like that. You knew this was coming. You wanted class or something? it to come. The grin breaks open into a smile. The woman moves to (She is now leaning on his shoulder, her mouth whisper- a new spot, a half-step closer.) ing in his ear.) It’s always the same. Every time you have a choice, you nev- There’s something extraordinary about you. er choose me. Never. (He grabs her. For a moment they lock eyes. Then he (The grin falters. The woman moves to a new spot, a half- spins her around and gently but forcefully marches her step closer.) offstage. Once she is gone, he returns to his dishes. He 302 The Best Ten-Minute Plays 2014 Lawrence Harbison 303LOST IN THOUGHT Christopher Lockheardt ORIGINAL PRODUCTION Simple Machine Boston, MA 857-574-0550 May 12, 2013 Directed by Adrienne Boris Fight Choreographer: Meron Langsner CAST: MAN: Stephen Libby WOMAN: Anna Waldron TOM: Tim Hoover CHARACTERS: What are you doing here? What could you possibly want? MAN: any age How simple do I have to make this for you before you un- WOMAN: similar age derstand? TOM: male, similar age (The grin fades. The woman moves to a new spot, a half- SETTING: The play is set within the memories and imagination step closer. of a man washing dishes. There’s something extraordinary about you. The grin disappears. The woman moves to a new spot, AT RISE: a half-step closer. The woman’s lines come quicker and quicker as she spirals in closer to the man. His reactions (At center stage, a MAN is washing dishes, lost in thought. to them become more and more stony.) A WOMAN enters right. She takes a few steps towards WOMAN: You know what I miss? I miss feeling pretty. I used the man. He does not look at her.) to feel so pretty around you. You used to make me feel WOMAN: There’s something extraordinary about you. beautiful. (The man freezes for a moment and then returns to his (Move.) dishes. The woman crosses the stage to stand on the oth- This is where I always want to be. Curled up with you, my er side of the man, but a half-step closer.) head on your shoulder. I never want to leave this spot. I want Do you like this spot? I drive up here all the time when I need to stay here forever. some quiet . . . and privacy. (Move. (The man continues washing dishes, but a grin sneaks Don’t say that. Of course I miss you. I miss you every day. onto his face. The woman moves to a new spot, a half- But missing you has nothing to do with it. You know that, step closer.) right? Right? Excuse me? I know this sounds weak and helpless, but . . . I (Move. can’t reach that box of cereal. Would you mind? I must be the only one who buys that brand because the store always puts You remember me? The short girl with the inconvenient taste it on the top shelf. in cereal? I don’t usually do this. I mean, I absolutely never do this, but . . . . Would you like to . . . Would you be free (The grin widens. The woman moves to a new spot, a sometime to . . .? half-step closer.) (Move.) Oh my God. That was . . . AMAZING. I can’t . . . I can’t even breathe. How did you ever learn to do that? Did you take a Don’t look like that. You knew this was coming. You wanted class or something? it to come. The grin breaks open into a smile. The woman moves to (She is now leaning on his shoulder, her mouth whisper- a new spot, a half-step closer.) ing in his ear.) It’s always the same. Every time you have a choice, you nev- There’s something extraordinary about you. er choose me. Never. (He grabs her. For a moment they lock eyes. Then he (The grin falters. The woman moves to a new spot, a half- spins her around and gently but forcefully marches her step closer.) offstage. Once she is gone, he returns to his dishes. He 302 The Best Ten-Minute Plays 2014 Lawrence Harbison 303
stands over the sink, his head bent. Then he takes a big MAN: Good. Good. How are you? breath and thrusts his hands back into the water. WOMAN: Good. You heard about me and Tom, I assume. (The woman returns. She enters, takes a few steps toward (She freezes. He stares at her. He then returns to the him, and stops, frozen.) dishes. He stands over the sink, his head bent. Then he takes a deep breath and walks back to the woman. He (He sneaks a glance at her and then returns to his dishes. adjusts her frozen limbs until she appears to be strain- He sneaks another glance. And another. He turns and ing towards something out of her reach. He walks be- looks at her. He walks over to her.) hind her.) (He stands in front of her. She remains frozen. He takes MAN: I thought you were settling for the bottom-shelf brands her wrist and raises her arm, stretching it out above and now? in front of her. Her arm remains in that position. He then (She unfreezes and spins around.) adjusts her other limbs until she appears to be strain WOMAN: What is that supposed to mean? ing towards something out of her reach. He walks behind MAN: I heard about you and Tom. Congrats. her.) WOMAN: You’re such an arrogant prick, you know that? MAN: Still hungry for the hard-to-reach stuff, eh? MAN: No, really. Well done. He sounds like an extraordinary Pause. guy. Still craving what you can’t get, eh? WOMAN: I can’t believe you. I don’t see you in months and suddenly you’re sneaking up behind me in the grocery store (Pause.) and Still have a taste for the inconvenient, eh? MAN: Months? It hasn’t been months! Years! I haven’t seen you (Pause.) in almost two years! WOMAN:-sneaking up behind me and abusing me about- Need a hand, stranger? MAN: You call this abuse! I tell you what abuse is! Abuse is me (She unfreezes and spins around.) showing up at your door and you . . . and you . . . WOMAN: Oh. Hi. She freezes. He stares at her. He then returns to the MAN: Hi. dishes. He stands over the sink, his head bent. Then he WOMAN: How are you? takes a deep breath and walks back to the woman. He MAN: Miserable. Heart-broken. Lost. adjusts her frozen limbs until she appears to be strain- (She freezes. He rethinks. She unfreezes.) ing towards something out of her reach. He walks be- WOMAN: Oh. Hi. hind her.) MAN: Hi. Need a hand, stranger? WOMAN: How are you? (She unfreezes and spins around.) MAN: Better. Slowly. But . . . you know . . . surely. Mostly, that is. WOMAN: Oh. Hi. (She freezes. He rethinks. She unfreezes.) MAN: Hi. WOMAN: Oh. Hi. WOMAN: How are you? MAN: Hi. MAN: Good. Good. How are you? WOMAN: How are you? WOMAN: Good. You heard about me and Tom, I assume. 304 The Best Ten-Minute Plays 2014 Lawrence Harbison 305 MAN: Yeah, that’s . . . great. Tom’s great. He’s really . . . I’ve (The man rushes the couple in a rage. He knocks Tom to heard he’s a really nice guy. the ground and begins punching and kicking him. The WOMAN: He is. woman watches silently. The man pummels Tom until he MAN: That’s good, because . . . because you deserve a nice guy. is too exhausted to continue. He looks at the woman. She You know? You really do. stares back at him expressionless. He stumbles, sick with WOMAN: Thanks. Listen . . . I’ll see you around, okay? shame, back to the sink. The woman helps Tom to his feet. MAN: Yeah. Okay. They begin slow dancing again.) (She exits. He watches her go. Then he returns to the dish- TOM: Darling? es. He stands over the sink, his head bent. Then he takes a WOMAN: Yes, love? big breath and thrusts his hands back into the water.) TOM: Do you . . . do you ever think of him? (The woman returns. With her is TOM. They are holding WOMAN: Who? hands. They enter, take a few steps toward him, and stop. TOM: You know. WOMAN: Oh. No, never. Why? They begin slow dancing.) TOM: I just thought maybe . . . (The man sneaks a glance at them and returns to his WOMAN: No. There’s no point in thinking about him. dishes.) TOM: Why is that? WOMAN: Because I can’t imagine him ever thinking about me. (The woman begins running her hands through Tom’s hair and caressing his cheeks. The man sneaks another BLACKOUT glance at them. He returns to his dishes.) The woman begins passionately kissing Tom. The man sneaks another glance at them. He returns to his dishes.) (The woman whispers in Tom’s ear.) WOMAN: Do you like this spot? I drive up here all the time when I need some quiet . . . and privacy The man does not look up from the dishes. The woman whispers in Tom’s ear.) Oh my God. That was . . . AMAZING. I can’t .. . I can’t even breathe. How did you ever learn to do that? Did you take a class or something? The man does not look up from the dishes. The woman whispers in Tom’s ear.) You know what I like? I like feeling pretty. I feel so pretty around you. You make me feel beautiful. The man does not look up from the dishes. The woman whispers in Tom’s ear.) WOMAN: There’s something extraordinary about you.stands over the sink, his head bent. Then he takes a big MAN: Good. Good. How are you? breath and thrusts his hands back into the water. WOMAN: Good. You heard about me and Tom, I assume. (The woman returns. She enters, takes a few steps toward (She freezes. He stares at her. He then returns to the him, and stops, frozen.) dishes. He stands over the sink, his head bent. Then he takes a deep breath and walks back to the woman. He (He sneaks a glance at her and then returns to his dishes. adjusts her frozen limbs until she appears to be strain- He sneaks another glance. And another. He turns and ing towards something out of her reach. He walks be- looks at her. He walks over to her.) hind her.) (He stands in front of her. She remains frozen. He takes MAN: I thought you were settling for the bottom-shelf brands her wrist and raises her arm, stretching it out above and now? in front of her. Her arm remains in that position. He then (She unfreezes and spins around.) adjusts her other limbs until she appears to be strain WOMAN: What is that supposed to mean? ing towards something out of her reach. He walks behind MAN: I heard about you and Tom. Congrats. her.) WOMAN: You’re such an arrogant prick, you know that? MAN: Still hungry for the hard-to-reach stuff, eh? MAN: No, really. Well done. He sounds like an extraordinary Pause. guy. Still craving what you can’t get, eh? WOMAN: I can’t believe you. I don’t see you in months and suddenly you’re sneaking up behind me in the grocery store (Pause.) and Still have a taste for the inconvenient, eh? MAN: Months? It hasn’t been months! Years! I haven’t seen you (Pause.) in almost two years! WOMAN:-sneaking up behind me and abusing me about- Need a hand, stranger? MAN: You call this abuse! I tell you what abuse is! Abuse is me (She unfreezes and spins around.) showing up at your door and you . . . and you . . . WOMAN: Oh. Hi. She freezes. He stares at her. He then returns to the MAN: Hi. dishes. He stands over the sink, his head bent. Then he WOMAN: How are you? takes a deep breath and walks back to the woman. He MAN: Miserable. Heart-broken. Lost. adjusts her frozen limbs until she appears to be strain- (She freezes. He rethinks. She unfreezes.) ing towards something out of her reach. He walks be- WOMAN: Oh. Hi. hind her.) MAN: Hi. Need a hand, stranger? WOMAN: How are you? (She unfreezes and spins around.) MAN: Better. Slowly. But . . . you know . . . surely. Mostly, that is. WOMAN: Oh. Hi. (She freezes. He rethinks. She unfreezes.) MAN: Hi. WOMAN: Oh. Hi. WOMAN: How are you? MAN: Hi. MAN: Good. Good. How are you? WOMAN: How are you? WOMAN: Good. You heard about me and Tom, I assume. 304 The Best Ten-Minute Plays 2014 Lawrence Harbison 305 MAN: Yeah, that’s . . . great. Tom’s great. He’s really . . . I’ve (The man rushes the couple in a rage. He knocks Tom to heard he’s a really nice guy. the ground and begins punching and kicking him. The WOMAN: He is. woman watches silently. The man pummels Tom until he MAN: That’s good, because . . . because you deserve a nice guy. is too exhausted to continue. He looks at the woman. She You know? You really do. stares back at him expressionless. He stumbles, sick with WOMAN: Thanks. Listen . . . I’ll see you around, okay? shame, back to the sink. The woman helps Tom to his feet. MAN: Yeah. Okay. They begin slow dancing again.) (She exits. He watches her go. Then he returns to the dish- TOM: Darling? es. He stands over the sink, his head bent. Then he takes a WOMAN: Yes, love? big breath and thrusts his hands back into the water.) TOM: Do you . . . do you ever think of him? (The woman returns. With her is TOM. They are holding WOMAN: Who? hands. They enter, take a few steps toward him, and stop. TOM: You know. WOMAN: Oh. No, never. Why? They begin slow dancing.) TOM: I just thought maybe . . . (The man sneaks a glance at them and returns to his WOMAN: No. There’s no point in thinking about him. dishes.) TOM: Why is that? WOMAN: Because I can’t imagine him ever thinking about me. (The woman begins running her hands through Tom’s hair and caressing his cheeks. The man sneaks another BLACKOUT glance at them. He returns to his dishes.) The woman begins passionately kissing Tom. The man sneaks another glance at them. He returns to his dishes.) (The woman whispers in Tom’s ear.) WOMAN: Do you like this spot? I drive up here all the time when I need some quiet . . . and privacy The man does not look up from the dishes. The woman whispers in Tom’s ear.) Oh my God. That was . . . AMAZING. I can’t .. . I can’t even breathe. How did you ever learn to do that? Did you take a class or something? The man does not look up from the dishes. The woman whispers in Tom’s ear.) You know what I like? I like feeling pretty. I feel so pretty around you. You make me feel beautiful. The man does not look up from the dishes. The woman whispers in Tom’s ear.) WOMAN: There’s something extraordinary about you.
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