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william jude aher

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REFLECTION; REFLECTIONS---?
By william jude aher
Friday, April 26, 2013

Not rated by the Author.

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1975 was a very strange year.


CHARACTERS

Reeley - Voice 3 -
Allen Voice 4 -
Phil - Voice 5 –
Pete Dancer -
Shelia First Black Robed Figure -
Voice 1 Second Black Robed Figure -
Voice 2 –

ACT ONE

SCENE ONE

The scene is a three walled room. Its color is brown and easily melds into the form of shadows. Stage left the wall holds empty. To the far left of the back wall is an old wooden door, discernible by cut but not by age from the rest of the wall. Somewhere nearer right there is a window. It casts no light as its panes are painted black. The right wall is bent slightly out from a squared pattern of the other two walls, that the audience might all be able to see its face Centered in its middle is a large antique gold trimmed mirror. Its dimensions are approximately four feet by three feet. Equally distant from each side of the mirror is a matching candleholder placed empty into the wall. There is a long oriental rug covering not all but most of the floor. Its design is worn as its colors were long ago faded. Against the back wall centered between door and window is a desk and chair, both empty. Rocking chair, all wood faces the mirror from the left of the stage, bent just slightly to allow a sitting profile to be seen by the audience. Against the left wall lies an old mattress, there are gray sheets and blankets wrinkled all about it. Between the rocking chair and the mirror stands a low dark wooden table. Scattered on its top are; an almost burnt out candle, two books one paper back and one hard covered, a crumbled pack of cigarettes, an emptied wine glass, along with scattered dust.
In the chair sits Reely. Her age could be her early twenties, or with other glances even younger. Her hair is pure black verging, in certain lights on brown. It hangs long down her back, solid but not quite thick. Her skin if anything is pale. Her eyes brown, moments hinting at color while others, matching the color propor¬tions of her hair. She is thin but her bones have never quite shown, in her nakedness. But her face follows all the features of her skull. Her eyes stand wide in a self ¬enclosed way. She is slightly above average height, while standing straight. The scene opens from darkness and almost silence. From the rocking chair can be heard the sound of wood rubbing against wood, as it is rocked slowly in a stable position. The lights rise slowly and find first shadows and then Reely alone in the room in the rocker. She is dressed in a long floor length dress. Its pattern once had color and shape, while now all is flowing one into the other. She is wrapped in a sharp white wool shawl, falling from her shoulders to a small mound about her hands. Wrapped in her hands is a forty five automatic, as yet lying unseen by way of shawl and hands, from the sight of the audience. The lights rise until the room is fully clear but still filled with a sort of shadowed mist.

REELY: (the rocker slowly comes to lie still) Mirror, Mirror on the wall, who would you be if I didn't call! (There is a pause and full silence, an almost below the breath snicker, then Reely slowly begins rocking) Go ahead, tell me I'm not the fairest maiden of them all. . . ?

VOICE 1: (all voices come from the general direction of the mirror. It is an aged masculine voice, never quite sharp, though always solid) No . . . (almost unheard)

REELY: (not hearing) Where is my fair Knight, with shining sword, running horse
(not quite a pause) blue eyes, golden hair, sweet personality, pickle in
one pocket jelly beans in the other, feet stained from mashing grapes, a broken
nose oh, and of course no handkerchief! Well ? Ah, come on
Mirror, now you promised.
VOICE 1: No (solid and then silence)

(Reely stops the rocker while so turning to the door. She stands and turns back
to the mirror, gun hanging as if part of her right hand.)

REELY: Now, Now mirror, it's not nice to play games with she who gives you a name (glancing slightly over her shoulder uneasily and then back to the mirror)

VOICE 2: (that of a woman, no longer young but not yet near being old) Would I do a thing like that? (a slight hint of sarcasm)

REELY: (turning from the mirror begins walking slowly to the back wall and towards the door, a nervous edge to her voice) Come on, Who's there? (as she reaches the door)

VOICE 3: (a young man, with an outspoken tone in the voice) Not there sexy, over here.

(Throwing the door open, Reely suddenly stops as no one is there.)

VOICE 2: Ah, come on girl, over here (Reely turns back towards the mirror.)

VOICE 5: (of a man or a boy, highly versatile in its tone) You thought maybe, the gods, sorry (closing the door Reely starts back towards the mirror) Just us voids out here.

REELY: (Coming close to the mirror) Who are you ? (then turns, taking a few steps toward the audience) Right, talking to mirrors are one thing, but when they begin to talk back. (She glances toward the gun in her hand) So Gun, maybe you would like to talk back to me? What, no answer we can make you do better than that! (raising the gun to point to her chest)

VOICE 3: You couldn't be thinking of wasting all that beautiful flesh! (Reely turns sharply back.) Now put the gun down. Come to think of it, while you are at it, you might do the same with the dress. (Shaken, Reely starts back towards the rocker.)

VOICE 1: Reely, now I want you to put the gun down. (Reely stops to lean on the back of the rocker, staring at the mirror, gun hanging loosely onto the chair.,'

REELY: You're really coming from the mirror? (almost disbelief)

VOICE 2: No, we're really little elves who live on your ceiling.

VOICE 4: (young almost child like in female tone) why don't you all leave her alone.

VOICE 2 : Maybe you want her to shoot herself!

VOICE 4: Of course not . . . . but

VOICE 3: (laughs)

VOICE 4: Leave me alone you . . you Pervert!

VOICE 3: (still laughing) Pervert ? You can do better than that Honey (teasing) Well ? O. K. let me try, how about, (now mocking VOICE 4) you used scum lover... (silence) not good enough

VOICE 2 : why don't you leave her alone! (threateningly)

REELY: You're really coming from the mirror!

VOICE 5 : So?
REELY: I mean you got to admit that it' s weird enough t o be talking to a mirror, but to find it talking back to you ?

VOICE 5: It ?

REELY: (letting t he gun fall into the chaff r , as i f i t was never i n her hand) Well , what ever you are ? ( starting back to the mirror)

VOI CE 2 : What ever we are! Isn't t hat so sweet And what the fuck do you think you are ?

REELY: I only meant (defensively; pause and then t o herself) I'm defending myself t o a mirror. You’ll be O. K. kid.

VOI CE 3 : What a bunch of bullshit

VOI CE 1: He's right you know,

VOICE 2: 0. K. , 0. K,

VOICE 3: So, let's get down to something serious, now about that dress.

REELY: What's wrong with my dress ?

VOICE 4: Oh no, it's a beautiful dress, don't listen to him.

VOI CE 3: And it would be all the more beautiful if it were on the floor.

VOI CE 4: That's all you ever think about

REELY: She's right, you belong in a glue factory.

VOICE 5: A glue factory

REELY: What do you people have in there, a parrot ?

VOICE 5: Mirror, Mirror on the wall, who's the nakedness of us all

REELY: (picking up the hard covered book from the table, starts to throw it at the mirror) You insolent bastard!

VOICE 2: Slow down girl.

REELY: (stopping halfway through the throw, stares at the book) You know this mirror cost me almost fifty dollars (putting the book down on the table, then grabbing the crumpled cigarette pack, trying to tear it open)

VOICE 1: It's not good for your health to smoke.

REELY: It's not good to breathe either, big deal (finding one, she straightens it and places it in her mouth) Matches (scrounging on the table)

VOICE 3: You still haven't answered me. What are you afraid of, I'm just a mirror.

REELY: Yeah, just a mirror that drools. No way am I going to stand naked before this mirror for you to jerk off on. (finding no matches, throws cigarette on the table)
VOICE 3: How can I jerk off, all you see is the mirror. What am I going to use. What are you afraid of.

VOICE 2: Maybe she wants to jerk off herself and doesn't want company.

REELY: I have no need to, and certainly not for either of you. Just what I need, a hard on and a dike.

VOICE 2: Why you sexless frigid Bitch, who would want that shapeless body of yours anyway.

VOICE 3: I would, come on just a little look.

REELY: Don't you people think about anything else.

VOICE 4: I met a fairy once.

VOICE 3: Here we go again.

VOICE 4: Well, I did.

VOICE 2: We know you did, but do we have to keep hearing about it ?

VOICE 4: But I, well

REELY: (turning toward the chair, again sitting in it after unconsciously shoving the gun aside) Well, I haven't. Hew did you meet a fairy?

VOICE 4: So there, (slight pause)

VOICE 5 : One more time!

VOICE 4: It was late at night and I got up to go into the kitchen. I turned on the light and moved to the refrigerator, to get some milk.

VOICE 3: She really wanted some cold hot dogs, to warm up her

VOICE 2: Oh for fucking sake, will you let her tell it and get it over.

VOICE 4: (pause) Something hit the corner of my eye. So, without thinking, I turned toward the sink. And sitting on the pipes underneath was this fairy. She ...

VOICE 3: How do you know it was a she ?

REELY: (rocking easily, stood up fast) For Christ sake, Shut Up! Can't you swallow your slime for even a moment! (shaking slightly before the mirror, starting to walk she kicks into the table) FUCK!

VOICE 5: If Christ was Sex personified, who would be Judas

REELY: (straightening herself out) You would' (sharply)

VOICE 3: (snickers, but then is quiet)

REELY: Well

VOICE 2: Persistent masochist, aren't you

VOICE 4: (Reely gives a sharp hateful stare into the mirror) She was just sitting there, I mean she had little silver wings, and all colors, not just her wings, her whole body.

VOICE 3: Now this is getting interesting, so she was naked?

REELY: (turns toward the audience gesturing frustrated) No

VOICE r: I don't know, but well, she must have had clothes.

VOICE 1: It doesn't matter, go on.

VOICE 3: Spoil sport!

VOICE 4: (Reely turns back to the mirror as it speaks, softening) She just sat there and looked straight at me. I felt as if she was saying something, or trying, but then I heard a noise coming from the living room, and I turned for a second, just a second, And she was gone, just gone.

VOICE 2 : Sure she was.

VOICE 5: And they all lived unhappily ever after.

REELY: (to herself) Where's my gun ? (turning about the room)

VOICE 5: Dream for the best, play for the best of white, and try for Nothingness.

REELY: What do you know.

VOICE 5: You're right (a pause) So why is your shawl so white ?

REELY: I like white. It's not your business anyway, if I want to die.

VOICE 5: If you really wanted to die, you would never have started talking to this mirror in the first place.

REELY: (turning to the mirror) O. K., all knowing one, what do I want ?

VOICE 5: You want to play and win, but since you're here, I guess you're not winning.

REELY: And what did I want to win.

VOICE 5: Doesn't really matter, And that's why you'll never win

REELY: But nothing matters, so what can I want, but nothing,

VOICE 5: You're still wearing that white shawl.

REELY: So, as if it mattered, you're suggesting that I take it off. I suppose you also want me to take the dress off!

VOICE 5: (in a flat tone) You're suggesting it.

VOICE 3: Now we're moving along.

VOICE 5: Now we're moving along (as Reely wraps her shawl tighter around herself) but are we ?

REELY: And that's all anyone wants

VOICE 5: Anybody or you?

REELY: Me, that's a good one. Shows what you know, thinking I'm after everything in pants.

VOICE 5: Maybe, but you don't want their bodies but only yours. So, why don't you just take it, rather using it for someone else to use for you.

REELY: That makes allot of sense. You should have been an elephant in heat. (She lifts up her dress well above her knees, slightly opening her legs toward the mirror) Well, turn you on!

VOICE 5: As you said. (pause)

ALLEN: (Upon hearing his voice Reely immediately drops her skirt, and then
straightens herself out as up) Reely (shouted from outside the door), you
coming down soon? I almost have supper ready for the kids. ?

REELY: (going over to the door, opening it and talking loud through it) I'll be down in a bit! (irritable; she starts pacing around the room) Now where's a fucking match! (goes to the desk, finding nothing walks over to the bed and starts shaking the blanket) Maybe I should just run away. (a change in voice) What does it matter! (Finding matches, she returns to the table, takes and lights the cigarette)

VOICE 2 : So you have kids.

REELY: (throwing the match on the floor) What?... (turning to the mirror) Oh, yeah two.

VOICE 3: So, you're not all that pure.

REELY: In the words of the ancient Chinese, Fuck Off!

VOICE 1: Reely, why do you curse so much

VOICE 2: Two, one I could see, but two. That's too many diapers.

REELY: You can say that again

VOICE 2: So, why. .. why not stop after one, considering you are foolish enough to even want that many ?

REELY: It happens, and I'm not much for abortion.

VOICE 5: You aren't!

REELY: Look, things happen and you do what is necessary, but. . . No, two is more than we can afford. The world isn't filled with a million choices!

VOICE 2: So, you're also married. You're doing pretty good.

REELY: (to herself) Maybe.

VOICE 4: (shocked) You don't love your kids, your husband ?

REELY: Of course, I do!

VOICE 4: But... But the way you're talking.

REELY: It doesn't mean anything.

VOICE 5: Doesn't it?

VOICE 3: Yeah, if you loved them, you would be down there with them.

REELY: One has to get away once in awhile.

VOICE 5: Maybe, one has to stay once in awhile.

REELY: What do....can you know about it, you're just a mirror. If it wasn't for them, for loving them, I would run away. I'd find myself a mountain, and just climb away from the world.

VOICE 2 : But no Body ever does.

REELY: How can you ? 1

VOICE 5: Just go

REELY: And feel guilty for the rest of my life, no. If only the gun would accidentally go off, I wouldn't have to hassle.

VOICE 3: And leave your husband, die so you don't have to feel the guilt

REELY: No, no guilt. It would be great for his ego.

VOICE 4: But what about the kids ?

REELY: They would be better off without me.

VOICE 5: Better off with who? Your husband ?

REELY: Well, maybe that's why I'm still here (pause) so anyway what does it matter!

VOICE 5: Best excuse in the world, and you use it often enough.

VOICE 1: Sometimes rationalizing is necessary.

VOICE 5: Necessary for what.

REELY: To survive!

VOICE 5: But are you surviving ?

VOICE 2: She's here and the gun is on the chair, you're surviving kid.

REELY: (suddenly turns from the mirror and goes to the door, and opens it in one motion, is about to leave the room but then stops. She takes off her shawl and throws it on the bed. Still at the door, she turns to the mirror.) Mirror, Mirror on the wall, who will catch anything who will fall. You're Black Mirror, when I'm smiling I look into you to see myself so, and what.. That isn't me. I can't even look the way I feel, to my own eyes. Why don't I try. Can you walk up to someone you love and ask them to die. I can't point the gun at them. And say, "Hey, you don't exist! "

VOICE 5: But they don't!
REELY: Maybe, but it's easier for me not to exist, this way I can. I know, . . . I don't make any sense. But I'm here inside and won't ask for anything more VOICE 1: Reel y, why did you throw your shawl on the bed ? You'll catch cold. REELY: I still have my dress, and even my skin, I'll keep.

VOICE 3: Yes, your skin.

REELY: (moving back to the mirror) So you would like my skin. You would like to see it touched (placing her hands to her breasts) Feel the warmth and the ache. Well, (moving her hands and squeezing) I feel it, yes I can crave if I am touched. You, want to make me warm (moving her hands along her sides) You want me to give this body to you ?

VOICE 5: Just another Dress.

REELY: (pause, she looks down at her hands at her thighs. Turns from the mirror to the audience. Moves he r hands together and before her, and stares at them.) Just another Dress !

ALLEN: Reel y . . . . . . . . . who are you talking to? (voice from
beyond the door.)

REELY: (to herself) no one . . . . . . . . . . (turning towards the door and louder) No One! (She walks to the door, stops at the bed and looks at the shawl, then touches her dress, wrapping her arms around herself, she leaves the room) . The room grows very slowly lighter, and before it is too bright, though perceptibly so, all lights go black.










ACT TWO


The scene holds in a room opened out onto the audience. The walls are painted in. a dark blue but its color comes nowhere near black. The paint is clear as if recently painted. The floor and all assorted woodwork is old and worn with no consistency in its grain. On the left wall near front stage lies a door. It is win¬dowed with an old white sheet cut badly as a curtain to the outside. Further along is a window, half curtained in the same manner. Against the back wall are hung, assorted paintings and drawings, not quite those of a child but surely not that of an artist, however good. They represent spacey almost spiritual scenes. They are the work of Allen and reflect simple dreams with ego tinges of more than reality set in and out of such. Near right is another window, covered the same. And just past the window stands a stairway, leading up against the right wall. At the base of the stairs is an open doorway leading into a kitchen which might occasionally be lit, but only as a scene through the doorway.
Against the back wall, in the left corner lies a couch, it is brown stained and torn in many places. In front of it stands a low rung coffee table, its condition matching that of the couch. Center front stage stands a T. V. It is turned toward the couch, with its back toward the audience. To the right of the stage is a stained wooden table, just beyond its time but still solid. It has two accompanying chairs. Behind the table is a chest dresser. It is a polished black in good condition, almost an enigma to the room. There are cigarettes and ashtrays as well as a single magazine on the coffee table. A single candle lies centered on the wooden table to the right.
We find Reely sitting cross legged on the far left of the couch. Her fingers are playing with an open book in her lap while she stares emptily at the To V. , which is on but just barely audible. Phil, her hair definitely brown or lighter, cut short but not too short or styled, sits on the opposite end of the couch. She is just twenty but might look even older or more used. She is dressed reasonably well compared to Reely's old torn jeans and faded white blouse. She is facing Reely.
Pete sits on the floor slightly forward right of the couch, separated from Phil. He is her age, his hair short but with dreams of length, once cut. He almost needs a shave. A few years older than Phil, he looks just his age. He picks a guitar almost silently to himself. The scene so opens, from darkness, until the room is bright without shadows. Outside night can be seen through the windows. But the right side of the stage is in a semi darkness as if the only light is on the other half of the room, which is now in use. There is also a light coming from the top of the stairs

PHIL: (to Reely) If you want, we're going shopping tomorrow?

REELY: (turning slowly from the T. V.) I don't know! (putting her book on the table; sighing) I have washing, and cleaning;, I have to wash the kids, do ironing (another pause, turning back to the T.V.) Besides, we don't have any money to waste.

PHIL: As if we do. We just go window shopping anyway. It's fun!

REELY: I'll let you know. . . o . . . .

PHIL: (just about to speak, but is interrupted as the front door is opened. turns. Lighting a cigarette is Reely's only reaction. )

SHELIA: (enters, closes the door, then leans against it looking at the people in the room. Pete looks up and waves and then returns to the guitar) Hi! (to Phil) Is she coming ? (turning to Reely)

PHIL: She doesn't know if she can.

SHELIA: (by the way, who is slightly older than the others, fairly tall, solid but not fat. Her hair is brown, fairly long and reasonably thick. Dressed in an odd combination of pants and shirt, as if no consideration has been given to picking them.) Don't tell me, you have the washing, cleaning (pause) come to think of it, this house could use a good cleaning.

REELY: Don't you know .... I'm idolizing your habits

SHELIA: Very funny, a hippie comedian. But seriously, why don't you come. You always have this stuff to do ?

REELY: (Pause) I don't like shopping without any money. It's frustrating

SHELIA: And doing wash isn't! (turning towards the kitchen and then back to Reely) Do you have any coffee left, I'm out.

PHIL: You're always out, why don't you move into their kitchen, you'd make a good pot bellied stove.

SHELIA: So now it's two against one (going over to Pete, caricaturing secrecy) Come on Pete, I need an ally. What do you say, two against two... and we'll wipe them out.

PETE: (Looking over at the other two) I'd rather fight the hordes of Mongolia Besides, I'm a coward at heart.

SHELIA: (standing and facing the other two) Propaganda! Pure Propaganda So, what will it be, Swards or pistols. How about Bananas .... (Reely grabs her book and throws it at Shelia).

REELY: Books at four paces! Engird !

SHELIA: (ducks but gets hit anyway, grabs the book and starts to throw it back, when a noise of steps is heard on the stairs and the light goes out. Allen comes down the stairs, all the girls make ready for the attack, giggling all the time) Another Victim !

(Allen, short and well built, his hair thin and pitch black cut as if a Greek’s

dream, stops at the base of the stairs, looks at the girls and then turns away

and goes into the kitchen.)

SHELIA: (turning to Neely) What's his problem ?

REELY: (sitting back in the same position) Don't know. He's been like this for the past two days. (pause ) He won't tell me what's wrong. (turning to the kitchen and then to Phil as she speaks)

PHIL: Maybe he thinks you're cheating on him.

SHELIA: (sitting on the floor now in front of the coffee table, blocking neither girl from the view of the audience) That shouldn't bother him anyway.

REELY: (gives a sharp look to Shelia) He knows I wouldn't anyway.

PHIL: And besides who would you do it with anyway.

SHELIA: Right, there's no decent piece of male flesh around, anyway.

PETE: Thanks

SHELIA: Is that a proposition (pause, slight) Don't worry Phil wouldn't mind. It's all between friends.

REELY: I think I'll become a Nun!

SHELIA: What! Now I really need that coffee,

REELY: Allen will show you where it is.

(Shelia rises and walks into the kitchen, a moment of silence and both girls

shift with themselves, Allen comes partially out of the kitchen.)

ALLEN Anybody want coffee?

(Reely nods.)

PHIL: Two sugars!

PETE: Same!

REELY: You're going to get fat.

PETE: Get ?

PHIL: You want to sleep alone tonight? (Allen goes back into the kitchen passing Shelia coming out with a doughnut in her hand.)

REELY: Talk about fat.

SHELIA: (walking) I'd throw it at you, but it looks too good. (Pause) On the other hand! (She throws it at Reely, just missing, it lands on the couch.)

REELY: Thank you! (She picks it up and starts eating it.).

SHELIA: Glutton. (She turns back to the kitchen.)

REELY: I hope it's the last one.

PHIL: We have to be going soon!

PETE: (looking up) Yeah.

REELY: At least wait for your coffee.

PHIL: Sure. (Pause) You sure have Allen trained well. How about giving lessons.

REELY: Now, would I do that to poor Pete over there. (Pete looks over to them) When do you want to start ?

(Shelia returns with another doughnut)

REELY: (turning to Shelia) Hey, how about another doughnut, fatty?

SHELIA: Not this time, this fat I'm keeping for my own Mouth!

PHIL: How's Allen doing?

SHELIA: Nothing's wrong now. The coffee is almost ready. (sitting down again; between eating the doughnut, she turns to Reely) By the way, what book are you reading ? Where did it go, anyway ? (looking around)

REELY: You had it! I'm almost done anyway. It's still DUNE. You know those sand worms are really weird. How would you like one, as a pet in your backyard?

SHELIA: Right, and it could mate with the “Thousand leggers”!

REELY: Yeach !

PETE: You know that would be a really interesting combination. Just think about it

SHELIA: Me and my big mouth.

PHIL: (to Pete) You'd probably really love it.

PETE: What can I say? By the way, Reely, I have the sequel if you want it when you're finished.

REELY: You mean there's more ? (to Shelia) You didn't mention it ?

SHELIA: (finishing the doughnut, with marked gestures) Forgot! But he's right, in that you should read it. It helps complete the ending that DUNE doesn't quite make.

PETE: Yeah, you see when he ....

REELY: Please, I haven't even. (Allen enters carrying two cups of coffee)

ALLEN: Coffee.

REELY: Ah! Just in time to save me from these two literary Freaks.

ALLEN: (handing a cup to Shelia and Phil) What, am I missing something ?

REELY: (thanks are muted by Shelia and Phil) Well, there's another book to DUNE, and they were about to tell me the ending.

SHELIA: Ah come on, such a nice people like me, to do such a mean thing. (Allen laughs quietly and returns to the kitchen) like that. How could you suggest such a thing.

REELY: (smiling) Hummnn! (loud and with expression)

PETE: Well, I'll bring the book over next time we come.

PHIL: If you remember.

PETE: You're beautiful when you're not mad. (goes back to playing the guitar)

SHELIA: You're trying to say she's sane. (Allen reenters again, with two more cups of coffee)

ALLEN: Who's not sane ? (handing Pete a cup)

PETE: Thanks

PHIL: Reely, didn't you know?

SHELIA: Aren't we all?

(Allen puts Reely's cup on the coffee table as she is now lighting another cigarette,

and then returns to the kitchen.)

PHIL: Can you spare a cigarette?

PETE: I thought you brought a whole pack?

PHIL: (taking a cigarette from Reely) So did I, but they're not here.

PETE: And I might forget the book. (He reaches over and places a hand on her knee, and quietly) I love you.

SHELIA: Ah A touching scene.

PHIL: You're just jealous (smiling)

SHELIA: Of course, . . . . . (Pause) Male flesh!

REELY There must be someone you could seduce at that weird college of yours,

PHIL: I would think they'd get turned on by an older woman.

SHELIA: What do you mean an older woman?

REELY: What about that guy who picked you up hitch-hiking?

PHIL: Yeah, what was he, a banker?

SHELIA: A corporation lawyer.

PETE: I think I missed this one

SHELIA: I don't know if I still want to go out with him. (a questioning pause)

REELY: Cold feet!

PETE: (Allen comes in and sits near to Pete, with a cup of tea) Don't I get the story?

ALLEN: What story is that?

REELY: You remember, the guy who's taking Shelia out Saturday.

ALLEN: So, you're still going.

PETE: I feel like a I'm watching a soap opera without any picture.

SHELIA: Well, (pause) I got stuck hitching home from school last Thursday, and this guy picked my up. He took me all the way here which wasn't where he was going.

REELY: I still don't think your body is worth it.

SHELIA: Funny (lust a barely noticeable nervousness in the edge of her voice). Anyway, he's married and he fools around every now and then, and he asked me to go to a hotel with him, he was rich and clean, and besides, I never just went out with someone to fuck before. So!

PETE: Good luck, (standing) But we have to go now.

PHIL: Just let me finish my coffee. (She downs it and then stands)

(Both walk to the door, Allen stands while Shelia gets up and goes over to the couch)

PHIL: Would you jump into my grave as fast?

SHELIA: Bad . . . . .

PHIL: Well, I hope he shows up on Saturday.

SHELIA: Sadist, have fun freezing.

PETE: It's not that cold and we have the car just outside. See you.

ALLEN: (over at the door) Bye
PHI L: (Pete 1eaves and Phi1 stands with t he door open, turns to Reely) We'll stop by before we go, just in case. (leaves) ALLEN: Bye!

PHIL: Bye! See you tomorrow.

SHELIA: Bye! (Allen goes over to where Pete was and takes the guitar and starts playing badly, saying nothing. ( Shelia turns t o Reely) Why don't you come with us tomorrow. You can get your work done in t he morning I'll even come over and get you up.

REELY: I'll 1et you know. (silence)

SHELIA: (turning t o Allen) What's wrong, you've been weird since Reely and I tripped together the other night .

ALLEN: Nothing!

(more silence)

SHELIA: (t o Reely) Well, I got to go, just dropped by f or some coffee. I'm going t o take some with me, OK?

REELY: Sure, I baked a cake today, you can take some of that if you want .

SHELIA: (standing) You . . . . . . Baked a cake! Boy, it must have been something special to get you to do that. (She goes into the kitchen)

REELY: Can you put on Channel 6, there's a good movie on in about ten minutes. (Allen says nothing, gets up, goes over to the television, turns the channel and then returns to his place and starts drinking his tea.)

SHELIA: (comes from the kitchen, carrying cake and coffee) I'll see you tomorrow. And think about coming, at least it's something to do.

REELY: Well, . ....... Maybe. (Shelia leaves) Bye

Another silence and Reely lights herself another cigarette, looks at the TV and

then over to Allen)

REELY: I know something's wrong.

ALLEN: (gets up and collects the empty coffee cups and then goes into the kitchen) Do you want more ?

REELY: Not now. (smokes and looks into the TV)

ALLEN: (light in the kitchen goes out. Allen comes into the room and sits on the couch, looks at the T. V. , pauses and then turns to Reely) Reely, it's OK.

REELY: (turning slowly to Allen) What's OK?

ALLEN: (seemingly disturbed, talking slow) I mean ... well, you and Shelia, well, it took me awhile, I can finally accept it. REELY: (bewildered) Accept what ? What are you talking about?

ALLEN: I mean you and Shelia being together all night, well you know. I mean, it was kind of hard, but (gesturing) if it's the way you are I don't want you to change.
REELY: You mean (pauses and smiles) you think Shelia and I were making it together? We were just tripping. ALLEN: But, the way you were when you came down .... REELY: Don't you believe me ? ALLEN: Of course, I don't know, it just felt that way, the way .... REELY: We tried sharing souls and nothing more (Allen reaches over and kisses her.) REELY: I'll take some more coffee now. The movie is starting. ALLEN: (stands) O. K. (smiling, he goes off into the kitchen.)

(Reely takes and lights another cigarette, while so the lights begin, and in coordination the T.V. gets louder, until there is blackness, but for the shadows light that is an off shoot from the kitchen, and the noise of the T, V, Then all is darkness and silence on the second.

ACT TWO

SCENE TWO

The scene is set as before but need be set a little back from the stage. Giving a distance of at least fifteen feet from the wooden table to the front of the stage. Just to the left and front of the table is a trap door in the floor. Closed and not noticeable when the scene is open. Both rooms and the kitchen are lit as the scene opens, not slowly but immediately. Reely is in the same position as before, with Allen a little more to the right than previously seen sitting on the floor. He is drawing. Reely is reading.

SHELIA: (enters through the door, letting it close with a slight bang, walks over and collapses on the couch.) I think I'm going to die!

REELY: Let me guess You had gym again today.

SHELIA: Fifteen times around that track. (pause) I thought I would make it. But the last two times I was just barely walking. Missing a week of gym doesn't make it.

REELY: (putting her book down) But the masochist in you loves it anyway.

SHELIA: I'm beginning to think that it is time to do something about that part of me. (She makes an attempt to sit up, and then collapses on the couch.) Phil and Pete get here yet?

REELY: Yeah, they're hiding under the couch. Want me to call them?

SHELIA: I'd throw something (making a gesture with her arm and then having it fall back to the couch) at you, but my arm has stopped listening to me.

REELY: (almost laughing) I don't think Pete is coming anyway. He never did like these meetings.

SHELIA: They just don't serve his purpose.

REELY: I think he's afraid to open himself up.

SHELIA: And you're telling me that you're not.

REELY: (at this, Allen looks quietly up from his drawing) No, but... (stops, at the sight of Allen looking)

PHIL: (enter, carrying a paper bag in one arm) Don't everyone get up, an applause will do just fine.

SHELIA: (getting up a second later) What's in the bag ?

REELY: You sure are nosey! (also getting up) Well, what's in the bag? (three standing together, basically facing the audience).

PHIL: (taking a dress out of the bag) I found while cleaning, it's old and doesn't fit me anymore.

SHELIA: You clean ? (marked silly bewilderment)

REELY: We all have to do it occasionally.

PHIL: (turning to Shelia) Well, most of us.

REELY: (taking the dress, so that it falls the full length of her) It's really beautiful. I'm going to take it upstairs and try it on. (Leaves with the dress and goes upstairs)

SHELIA: (after Reely leaves) That's pretty neat, she only has one dress that I know of.

ALLEN: And she loves long dresses.

PHIL: I know. By the way, I think I'm going to start exercising with you. (looking at herself) I don't know where this fat is coming from.

SHELIA: You're complaining. I couldn't fit into two of your dresses.

ALLEN: (laughs)

SHELIA: (grabs the bag from Phil and turns, throws it at Allen)

ALLEN: (catches it but it bounces out from his hand) Ouch (nurses sore finger.)

PHIL: I guess I should have told you. I finally got around to bringing the book

SHELIA: (turning to Allen) It's an accident of fate, what can I say. (Reely comes downstairs, now dressed in a long flowing black dress.)

REELY: (waltzes around the room) It's really fantastic.

ALLEN: You look beautiful.

SHELIA: She knows.
PHIL: Does it fit?

REELY: All I needed was a safety pin in the back.

SHELIA: (Walking over to the table) Well ...let's get started with the meeting.

REELY: (to Allen) You want to get the other chairs?

ALLEN: Yeah! (Now standing, he goes into the kitchen coming out again with two chairs, He places them in the two empty spaces at the table. The three girls one by one go over. Reely, almost dancing overly involved with her dress, sits)

SHELIA: (Lighting the candle on the table) We need the lights out.

ALLEN : (not yet sitting) I'll get them. (meanwhile, the three girls start touching hands, but Reely changes and looks for a cigarette.)

SHELIA: (the lights go out) Come on Ree! Let's get started this time.

REELY: I just wanted a cigarette. (all the lights go out.) OK, OK! (She brings her hands onto the table.)

ALLEN: All set?

(Phil sits with her back to the audience, Shelia to the right of the table, with

Reely on the left. Allen comes over sits at the head of the table, facing the

audience, the only light is coming from the candle. He joins his hands to the

others.)

SHELIA: (Turning toward Allen) We might as well start.

ALLEN: Is everyone ready?

REELY: Get set, Go ........

SHELIA: Ree!

REELY: O. K. I just couldn't help it. (puts on a mock serious face.) I'm ready!

ALLEN: (quietly, but audible) It's not going to work if we're not serious.

REELY: I said I'm ready! (Silence)

ALLEN: Let's close our eyes, and everyone relax, trying to float inside your bodies. (There is a little shifting in everyone) WE LOOK FOR THE CIRCLE OF FIRE WE LOOK FOR LIGHT ON WHICH TO TURN WE LOOK TO OPEN THAT WHICH WE YEARN SO MOTE IT BE WE ONE WE TURN ETERNITY' S SEA (To be repeated quietly, continuously until told to stop.)
-----------------------------------------------------------------------------------
The trap door is now open, but its hole is unseen in a complete black shadow which covers the floor. A form comes struggling out of the hole. It is done with great effort. Finally she is out. She lies collapsed on the floor, wearily. is a composite of Reely, the same dress, but all in white and her hair is free, but all the parts of her skin which might show are covered in black including her face. On the beat of the chant she slowly rises. She moves, She Dances. She must be the only light on the stage but for the candle which becomes almost nothingness behind. The other characters are still seen but not perceptibly so. Shelia is now swaying. Phil, shakes occasionally, and Reely is totally still. The dance goes on for about four minutes. It is to be done in modern form. And it must reflect some of the hidden qualities of the first act. But without the nothingness. Between freedom and fear. Freedom the seeing dream. She dances in front of the table. The chanting stops. After about four minutes or so, two more figures climb out of the hole with great effort and one at a time. They come to stand for a moment in front of the hole. The one on the left is carrying something in his right hand as they are facing the audience, but more so the dancing figure. Each are dressed in floor length black robes, hooded, so that they also have no faces. The dancer is smooth. She doesn't react to the added presence. They move slowly toward her. The circle of her dance tightens, but still she doesn't relate to the figures. Suddenly, both put an arm on her. She stops still and crumples to the floor.

REELY: (She breaks contact with a high piercing scream. They all withdraw their hands and look at her, and all are frozen in position.)



The two figures place a black bag, large over the slumped dancing figure, cover her and the n tie her in with a silver rope. They then together drag the black bag back to the hole, drop it in and then climb in after it. The door is shut.

(All move, Shelia gets up and turns on the light. Reely is slumped in her chair and visibly sweating. Shelia moves to the back of her chair and stands. Allen and Phil are both turned toward Feely.)
SHELIA: Reely, you all right?

REELY: (shaking her head for a moment, then grabbing both hands onto the table) what . . . . . . . What happened

PHIL: You screamed.

SHELIA: Yeah! Like a fuckin' bitch out of Hell!

REELY: I was really weird. (She turns to Allen.) ALLEN: You sure you're alright? (pause)

REELY: Now. Someone grabbed me.

ALLEN: Something was grabbing you. . , and pulling away. I could feel
you leaving the circle. I reached out to pull you back. You could have gotten
hurt alone!

REELY: (Remembering for a second) Maybe you should have, you know, I feel like a cup of coffee.

SHELIA: Funny, you don't look like

REELY: Now that's bad! (A nervous laugh runs across, between the two and then Phil.)

ALLEN: (rising) I'll get some coffee! Anyone else?

SHELIA: Yeah, sure.

PHIL: Do you have any tea?

ALLEN: Right. (goes into the kitchen).

REELY: (She gets up and goes over to the couch, grabs a cigarette from the table, lights it and sits down)

PHIL: (following seconds later) Where's the light switch?

SHELIA: I got it. (The lights in the room go on. Shelia sits on the floor against the door, Phil on the couch) I hope these types aren't habit forming ? Dike, everything was going like, well I guess water. I was swimming everywhere, but I could breathe. The sun was everywhere but soft, and the colors, man they were beautiful! to Reely) And then you screamed. I almost felt like I was going to drown, but I guess I came awake too fast. And it was all gold! That's the strangest part. I could remember it but it felt like it all happened weeks ago.

PHIL: I didn't get any pictures, but then I never do. (pause) Well, almost never, anyway. I was so comfortable, so relaxed, and then you screamed. You scared the shit out of me.

REELY: (without looking at Phil) Sorry

SHELIA: But that's what this thing is all about.

(Allen enters with two cups of coffee, gives one to Phil)

PHIL: Thanks.

(And moves to hand the other to Reely. Reely doesn't take it but stands.)

REELY: I've changed my mind. Starts to move and then stops again) On the other hand, I'll take the cup with me. (She takes the cup)

ALLEN: Are you sure you're all right?

REELY: (kisses him quick, smiles) Sure. Just tired. If I stay, I think I'll fall asleep on the couch. (She starts to the stairs.) Good night! (goes up.)

ALLEN: (sits down on the couch with a worried look on his face.) You think she's OK?

SHELIA: I've gone through a screaming trip before. It wears the shit out of you. Is the coffee made? (standing) I'll get it. (goes into the kitchen)

PHIL: (Allen now looking up at the stairs) You should let her sleep it off.

ALLEN: I forgot my coffee. (starts to stand.)

SHELIA: (enters from the kitchen) I've got it. Isn't that nice of me?

ALLEN: Now this is service. (smiles as he takes his cup) I thank you my dear.

SHELIA: (goes back to the door to sit) My pleasure sir.

PHIL: (silence) Anybody for a game of Risk

SHELIA: Now that's a good idea. (stands and turns to Allen) Is it still in the chest?

ALLEN: I'll get it. (He makes a move)

SHELIA: No, I'm already up. I can find it

(Sitting back, Allen starts to sip his coffee. Shelia goes over to the chest behind

the table opens and starts searching through it. Phil reaches onto the table for a cigarette. )

The lights dim slowly while each is moving quietly with their own task.










ACT THREE

The scene is to be set as it was in Act one. The door is not quite closed, but to be open only an inch. Reely is the only occupant in the room as the scene opens. She wears t he same dress. She sits at the desk, which is spread with papers. And is writing. The 1ights rise to open the scene, with the same intensity as in the first act.

REELY: (She finishes writing something, and rises with it hanging from her right hand. Turns away from t he desk, 1ooks down at t he paper and crumbles, but holds it still . She t urns toward the door and then stops. Turns again and walks over t o the mirror. ) Hey Mirror, Do you think your stomach is strong enough t o hear a poem? (she waits as if for an answer) No answer! Well, I was going to read it anyway. (Un-crumbling the paper into her hands before her, she sits on the edge of the coffee table, still facing the mirror)

VOICE 5 : Why Not?

REELY: Now, Now, let us not get impatient. OK, let 's see. (looking over the paper) Right.
“Broken glass battering
¬torn between here and now
and there now shattering
rained empty ever tired
and can't no more shall I be
a tree love so sweet passing
lasting I miss something
not i seeing reason in I
strength strength is gone
i change i'm invisible
memory lost love my closed
lights”

(Reely stands, looks at the paper, crumbles it with both hands, and throws it toward the desk)

VOICE 4: That was beautiful, I almost cried.

REELY: Girl you have no taste

VOICE 5: What does taste have to do with it?

REELY: What do you have to do with it.

VOICE 5: I am Can you say as much.

REELY: If I could, why should I? I've got nothing to prove to anybody.

VOICE 3: What about yourself?

REELY: I don't need to be told who I am!

VOICE 5: We're not talking about being told, but being.

REELY: It's all the same. If I am, I am. And nothing I will say will change it anyway. It might even give them some way to get at me.

VOICE 3: Do I hear a note of fear!

REELY: It's not fear It's Reality

VOICE 2: Ah, come on girl You trying to tell me that you don't enjoy doing what you feel ?

REELY: Depends on what I feel!

VOICE 5: As you say, it is all the same. Either you're doing what you feel or not. Anything in-between is but a game.

REELY: And one can feel for the game.

VOICE 3: being that it is the only one in town

REELY: Oh I have other choices.

VOICE 5: Now do you really

VOICE 4: So why don't you find one without the game ? ?

REELY: As if anything isn't a game from beginning to end.

VOICE 3: So, you're thinking about ending it!

REELY: (Sharply) I didn't say that (Moving irritably over to the chair)

VOICE 5 : It wasn't not said!

REELY: What do I care anyway. If things (turning back to the mirror) are to die, they don't need my help.

VOICE 5: Be careful, if you ask for death, it may come whether you are ready or not.

REELY: We all got to die sometime.

VOICE 5: And we aren't always allowed the pleasure of dying when death comes.

REELY: If it comes, there is nothing I can do about it!

VOICE 1: But you asked for it in the first place.

REELY: I did not, (pause) but it would be so easy to die.

VOICE 2: The gun is still on the chair, why don't you stop bullshitting and use it.

VOICE 5: Children like to wine.

REELY: It takes too much energy.

VOICE 3: Just a lazy bitch, and the way I love them. We wouldn't want all that beautiful flesh going to waste, decaying under some plot of earth, now would we.

REELY: (moving seductively over to the mirror) So, you would like a little cheese cake.

VOICE 3: As much as you would like giving it.

REELY: Fuck you!

VOICE 2: You're trying to tell us that you don't!

REELY: Sex is part of life, so what. Why always make a big thing of it.

VOICE 5: Why are you making a big thing of it ?

REELY: It's like anything else. It serves its purpose, and for any real you have to pay the price. For nothing is real.

VOICE 5: I thought you were.

REELY: I am as long as I'm not hassling with other people.

VOICE 2: Then why are you still hassling with other people?

REELY: It's all a choice between evils.

VOICE 5: Paranoid Escapism!

REELY: Pretty words, but so what. Where could it ever make a difference?

VOICE 2: Have you ever tried. There is a lot to it if you succeed.

REELY: I've tried, and all anyone ever wants is to rape me.

VOICE 5: Did you ever think that might be what you are asking for?

REELY: Bullshit!

VOICE 2: Really.

VOICE 5: Tell me. You want to be able to control the people close to you, Right. You always want to be sure on what you have.

REELY: And I shouldn't! If I turn my back, they'll do the same.

VOICE 3: And you really think that you're the one who is controlling?

VOICE 5 : If there was no need for control, then you would be controlling.

REELY: So, now we have a philosopher (mocking)

VOICE 5: Philosophy ? or the ideology of fact

REELY: Is that supposed to be profound?

VOICE 5: Now who is spouting Profundity

REELY: Just (gesturing to herself) what I need, a Yo-yo!

VOICE 5: It is all part of the game.

VOICE 1: Reely, you started this game.

REELY: Like I've said, what more can I ask!

VOICE 4: I don't believe that. There are a million things you could ask for.

REELY: And just what might they be. (again mocking)

VOICE 4: WE COULD BE LADYS IN GREAT WHITE CASTLES. All the knights would bow to us. And.

REELY: And we could get dragon heads for breakfast!

VOICE 5: You're trying to say you don't dream.

REELY: Oh! I dream all right. But sure as hell not of great lady’s in white castles. (pause) I haven’t been six for a long time now.

VOICE 5: (Reely goes over and sits on the table, then gets up and goes over and sits on the desk, feet defko~plek4dangling) So tell us then, these great dreams of yours.

REELY Why should I?

VOICE 3: Why shouldn't you.

REELY: why not? (shrugs) I had a dream just the other day? Let me see. Ah yes, now I remember! I woke up and I was lying on this wooden floor, looking up at a wooden roof. There was crying coming from somewhere next to me. I looked around but when I did no one was there. And then I was standing, holding Tete, sleeping in my arms. I heard something scratching on t he floor from one of the shadows behind me. (gets up) I knew it was of after her, and I had to get her away. I looked around as t he noise grew louder and louder. There was a ladder before me and it wasn't there before, but you know how dreams go. Anyway, I climbed the ladder and came to a loft, put Tete down figuring to kick the ladder away, so it couldn't get us. I kicked t he ladder and it disappeared, but when (walking around t he room nervously) I turned t o hold her again, she was gone. And I was down on t he wooden floor again. I was staring up at t he 1adder. And up at the top, there was Tete. screaming, as she hung from the roof by a rope around her neck. I started climbing the ladder to get to her. And suddenly t he thing was climbing behind me. So, I climbed faster to get to Tete first, but the ladder was getting longer. She was getting so far away while this thing got closer and closer. And then (pause) I woke up! (slumping her weight onto the back of the chair, head bent)

VOICE 4 This (Shocked) is what you want to dream?

REELY: We dream what we dream. If you dream what you want, it is simply fantasy. And you always wake up.

VOICE 5: So why don't try waking up?

REELY: Why?

VOICE 4: Wouldn't you like to wake up in your own fantasy?

REELY: It's inside, I don't need to go outside for it.

VOICE 3: With dreams like that it must be one hell of a fantasy!

REELY: You dream because of the world you live in. Fantasy is a world of just yourself.

VOICE 2: Don't you ever want just a little Reality to come to your fantasy?

REELY: Even if I did, it couldn't. So it doesn't matter!

VOICE 5: Your point. (pause)

VOICE 1: Maybe.

REELY: (she walks over to the bed and lays down)

-The lights dim and then blackness. Seconds¬-

REELY: memory lost love my closed lights.

{Seconds. Lights rise again and find Reely sitting cross legged on the mattress.)

REELY: (Reely gets up and hurriedly goes over to the desk. Sits.tries to write.) Fuck! (she throws the papers off the desk, rises and goes over, face to face with the mirror. Stares for a second and then turns away quickly as if frightened, towards the audience)

VOICE 5: Don't tell me, we scare you!

VOICE 2: And such a sweet, quiet girl too.

REELY: Every now and then I don't look like I expect and it's weird.

VOICE 5: I thought you don't want anything?

REELY: No one's perfect. Besides it's different.

VOICE 3: And what's so different about it

REELY: Anyone can get scared of something they don't expect.

VOICE 5: But if you expect nothing, how can nothing scare you.

VOICE 3: Yeah, Nothing doesn't exist.

REELY: It isn't the nothing but the something that was hiding behind it.

VOICE 5: Then nothing must be nothing. A fantasy to hide the something.

REELY: I don't know. (she moves around and turns back to the mirror) It doesn't matter anyway, whatever will be there, no matter what I think about it. (just then the door opens silently, Allen walks in and then stops. Seeing Reely talking, looking around and seeing no one, he just stands and watches) It is not a part of me anywhere. I'm still safe inside no matter what I do outside!

VOICE 3: Good, so why don't you take your dress off, it won't matter.

VOICE 2: Ah! She knows she's bullshitting. Scared of her own flesh.

VOICE 5: Scared of her own self!

REELY: You're all a horny bunch of fucks. So, you want to see me naked? (teasing) ha. (She pulls her dress down to her breasts)

VOICE 2 : Games, the child knows nothing but games.

REELY: Child! (she pulls the dress and lets it fall to the floor around her feet. Allen starts towards her, but comes to a stop behind the chair as she speaks) Well, (pause) No comment, doesn't it turn you on! (backing away towards the chair, she begins moving seductively to the mirror, stops in front of the chair) Well ! Answer me! (her hands are moving on her own body) (Allen bends and picks up the gun)

VOICE 5: Your hands are answering for themselves..

REELY: (moving back towards the mirror) And don't you wish you were my hands!

VOICE 5: You're finally right, but unfortunately we're not!

ALLEN: (now moving towards Reely, the gun hanging at his side) Reely! (he reaches her, as she turns into him) What's going on ? ( still bewildered)

REELY: Allen! (she is still and then she throws her arms around him, her head on his chest. She cries nervous quiet but almost hysterical tears. )

ALLEN: (One arm goes around her and holds her) What ? ( A slight pause and then his left arm comes up with the gun as he stares over to the mirror. Another pause and then he fires)

REELY: All (and Reely falls back in his arms and with him still holding her she falls to the floor. The gun drops with a thud. Reely lies with blood flowing from her chest.)

ALLEN: Reely (kneeling by her) Reely. (quieter)

( a pause as he lets her head and shoulder which is still in his arm, fall to the floor. He rises, goes over to the mirror and rips it off the wall. He then throws it hard across the room, turns and starts back towards Reely.)

( The mirror hits and shatters. The stage goes Black. Silence ! )

       Web Site: the mad poet

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