December 26, 2006

A Play A Day #257

Bitter Tears, Bitter Tears


Cast:
Roy
Feena

Setting: Two chairs [Note: I hear this play done with Feena playing the lines with the emotions and actions as written, but I can also hear it done with Feena speaking the lines in an emotionless monotone. Would be interesting to see the differences in each.]


Roy: I didn't want to say it either, Feena, believe me. I love you. I do. It's just that...

Feena: Dismay. Dismay. Dismay.

R: Please don't be like that.

F: Dismayed?

R: I understand, but, over time...

F: Recrimination, subtle insult.

R: That's not really true, and, to the extent that it is true, I apologized... many times.

F: Lingering anger.

R: Are you still mad?

F: Denial of obvious.

R: You are... you're still mad about last September.

F: Further denials and blatant projection.

R: Why would I be angry about that? I apologized. I screwed up. I know that. I've admitted it and apologized over and over again.

F: Complaint.

R: Then why did you say you forgived me if it wasn't enough? I did a bad thing, but I was honest about it. You tell me that you forgive me, but you bring it up all the time to remind me how hurt you were... or are.

F: Demonstrative accusation.

R: How can you say that! I owned up to it; I owned up to it out of my own guilt. You persist in this manipulative game of forgive-me, forgive-me-not.

F: More demonstrative accusation.

R: Listen, Feena. It isn't even about that.

F: Only tangentially-related demonstrative accusation.

R: That doesn't make any sense! What does that...

F: Almost entirely delusional and very frantic demonstrative accusation.

R: What... I don't even know what that means.

F: Pulling back from edge.

R: Besides, it's not about any of...

F: Coy recollection.

R: It's not about...

F: Bolder recollection, allusion to sexual proclivity.

R: Yes, of course, but, let me finish...

F: Recounting of passionate moment.

R: I'm not here to talk about that.

F: Hint of immediate sexual gratification.

R: No. No, Feena, I have to tell you why I...

F: More blatant sexual reference, slight desperation.

R: Don't say that; we both know it won't get at our real problem.

F: Desperate query.

R: I don't think this is something we can fix.

F: Desperate counterstatement.

R: Even if we could fix it...

F: Desperate encouragement.

R: Even if we could fix it, and I doubt we ever could, but even if we could, it wouldn't be what I want.

F: Desperate mumbling.

R: I need to leave, Feena. I can't stay with you. The first year was so nice, but...

F: Excessive agreement.

R: BUT... the last two have been a descent into malaise, argument, distrust, one wild allegation after another, and...

F: Wild allegation, wild allegation.

R: Why do you think last September happened in the first place?

F: Understated cynical barb.

R: Hardly.

F: Vicious personal attack.

R: Say what you will... the truth is I could have handled the distrust, the allegations, the angry arguments, because I thought you were worth it, but you never opened yourself up... to me.

F: Spurious claim.

R: That's all I wanted, and I told you that over and over: Please talk to me, tell me what you're thinking, but, no... nothing.

F: Rabid counter-accusation.

R: Feena, I wanted you to be open and honest. Your words often go one way, but your emotions go the other. Unfortunately for you, I could read you like a children's book. A children's book gets old very fast.

F: Attempted mean humor.

R: So, I need to go. We need to go. You're not a bad person. I loved you.

F: Disbelieving anguish.

R: I've tried to fix this thing... us... for a long time. It's time to let it go, Feena. (reaches out strokes her hair) I'm sorry, but it will be better for both of us. It will.

F: Bitter tears, bitter tears.

R: I'm... I'm sorry. (chokes up a little, falters a bit, then goes to her for one last awkward kiss on the cheek) I... I... have to go, now.

F: Bitter, bitter, bitter tears.

R: (leaving, turns around) Good-bye. (he's gone)

F: (looks up) Statement of honest relief. (walks off the other way, whistling)

(lights out)

(end)

1 comment:

Bleeet said...

So, the description for this play would be: "A women who doesn't mean what she says, even when she's saying what she means."

Maybe that makes more sense, the key line of course is when Roy says: "...Your words often go one way, but your emotions go the other..."

So, if she's stating her emotions or emotional reactions, then...

That's the conceit.

I liked it.

- Bleeet