----------------------------- A NOTE REGARDING THIS VERSION ----------------------------- This script is from the HIS COMPANY CATALOGUE of plays and musical resources. It is in ASCII (or plain text) format, and is intended only to be used for evaluation purposes. See the notes at the end of this script for information on downloading the FREE Adobe Acrobat (PDF) version. THE FOG "Come to Me, all who are weary and heavy-laden, and I will give you rest. Take My yoke upon you and learn from Me, for I am gentle and humble in heart, and you will find rest for your souls. For My yoke is easy and My burden is light." Matthew 11:28-30 a play by David S. Lampel Copyright 2002 David S. Lampel. All rights reserved. CHARACTERS Woman--is a harried businesswoman, dressed in a business suit and carrying a leather briefcase and purse. Man--is a thirty-ish to forty-ish man dressed casually, but neatly. Time: Today Place: Central Park, New York City House lights down. Stage lights up on an empty stage. WOMAN (calling loudly as she enters from one end of the stage; troubled) William! Will-i-am! MAN (entering from the opposite end of the stage; calmly) Who is it you want? WOMAN (craning her neck to see through the fog) Where are you? (beat) Who are you? MAN Over here. Can't you see me? WOMAN (cautiously moving toward the voice) It's too thick. Keep talking. MAN (reassuring) Follow my voice. I'm not far. WOMAN (moving toward the man) I've never seen anything like it. I can't even see my feet. MAN I'm right here. WOMAN (surprised, once she finally sees who it is) Oh! You're not William. MAN (deadpan) I know that. WOMAN (peering intently) I can barely make you out. MAN Funny, I can see you perfectly well. WOMAN (looking around; troubled) I don't think this is where I'm supposed to be. MAN You were looking for-- WOMAN (distracted) William. He was meeting me here for lunch. MAN I'm afraid you've missed that. WOMAN No. I may be a few minutes late, but-- MAN You missed it. Perhaps I can help you find a way out. WOMAN Out? Out of what? MAN Where do you think you are? WOMAN We were meeting at the deli on east Seventy-ninth. I was just a block away. MAN You missed it. WOMAN (irritated) Would you quit saying that! Where am I then? MAN In the park. WOMAN (disbelieving) Go on. MAN Near the Archway at Cedar Hill. WOMAN Why, just a moment ago I was-- MAN But now you're in the park. WOMAN (crescendoing; losing patience) All right. All right. I'm in the park. You're in the park. Everybody's in the park today. (sarcastically) As soon as this lifts we're all going to have a perfectly splendid picnic on the lawn-in the park! MAN (matter-of-factly) Do you want to get out? WOMAN (exasperated) Out of what? MAN (simply) The park. WOMAN (with a deep sigh) Who are you? MAN (looking around) It really is a lovely place. Too bad you can't see any of it. WOMAN Look, you seem to know the way out. Can't you help me? MAN (haltingly) I can. I could. But-are you sure you really want it? WOMAN What do you mean! Of course I want it. MAN (doubtful) Hmmmm-- WOMAN This is crazy! You think I came in here on purpose? I'm meeting my fiance, for crying out loud. Why would I do this? MAN (brightening) Your fiance! Well, isn't that nice. When's the happy day? WOMAN (distracted; dismissively) I don't know. We haven't set a date yet. (beat) And quit changing the subject! MAN How nice for you. Getting married, a home together, children-- WOMAN (exasperated; dryly) Yeah, we think so. MAN Then why are you stuck in here when you could be with him? WOMAN You're kidding me, right? I mean, Helen Burquewist sent you here just to drive me nuts, right? This is a joke. It's April first and somebody forgot to tell me. MAN (checking his watch) William must be worried. Don't you think you really should be with him? WOMAN (backing away) Okay. I'll be leaving now. (speaking slowly, as if to a child) Someone will be by soon to pick you up. You'll recognize them by their white coats. MAN That isn't the way. WOMAN What? MAN That isn't the way out. WOMAN (stopping; more seriously) Who are you? MAN (approaching her; pleasantly) Who would you like me to be? WOMAN (shaking her head; wearily) I'm losing my mind. MAN (quickly) No, no. You've just lost your way. (pause) William's waiting for you now--at the deli. Expecting you. But you took a wrong turn. WOMAN It was an accident! MAN (chiding her) Now really, by "accident" you find yourself on the far side of the park when you should be in a deli on Seventy-ninth? I don't think so. WOMAN Anyone ever told you you're an irritating man? MAN (nodding) Quite often, actually. (with a measure of pride) Some say it's what I do best. WOMAN (grimly) Add me to the list. MAN (more seriously) You just took a wrong turn. WOMAN But why? MAN Oh, there can be lots of reasons for that. But it seems every reason comes down to the same thing: You wanted to. WOMAN (skeptical) I wanted to get lost in the park rather than have lunch with my William. MAN Right. WOMAN Okay, I'll play your silly game. (beat) Why? MAN Lots of reasons for that, too. Maybe you were looking for something else. WOMAN Something better? MAN Now, what would be better than time with William. WOMAN Someone better? MAN Could it be? WOMAN (after considering) No. (beat) You're making me doubt myself. I don't like it. MAN Tell me about William. WOMAN It'll sound silly--like a story book. MAN Please. WOMAN He's kind--more thoughtful than most men. Never heard him speak badly of anyone. (pause) No, I tell a lie. I did--once. William can't abide hypocrisy. There was a man in the same business--a different office. He thought himself superior to everyone else. But in truth he was a toad of a man: one face for the public, another in private. William denounced him, and paid a price. MAN What was the price? WOMAN He was ostracized. Eventually had to leave. He was blackballed in the business. Couldn't get clients. Now he does simple work-work with his hands. And I love him very much. MAN So what are you doing here? The woman starts to retort, but then resigns herself to the strange rhythms of this conversation. WOMAN (with exhausted simplicity) I don't know. MAN But you must. WOMAN (snapping angrily) Look, I'm getting pretty fed up with your riddles! MAN But I can't spell it all out for you. I just can't. The woman takes a moment to gather her thoughts before speaking again. WOMAN (suspiciously) Do you know William? MAN Oh, yes. WOMAN (brightening) Are you with Harcourt & Brace? MAN I just know him. (beat) As I know you. WOMAN We've never met before. MAN Not in person, no. WOMAN You're not going to tell me straight, are you? MAN (simply) Why are you here? The woman again takes some time to mull over his question, taking longer this time. WOMAN (thinking out loud) Everything was normal. Just another day. I was on my way to see the man I love, when--poof!--suddenly I'm in a fog. MAN And just as suddenly, you found me-- (absentmindedly) --or I found you-or, well, whatever. WOMAN (pressing the point) And what about that? Some coincidence, huh. MAN (pleasantly) No. No coincidence. WOMAN No. Well, I'm not Jimmy Stewart-and I doubt that you're an angel named Clarence. So why don't you just lay it out for me. (gesturing around to the fog) Is this all your doing? MAN What? WOMAN (insistently) Did you make the fog? MAN (grinning) You're getting warmer. WOMAN (triumphantly) Then you did! MAN (innocently) No. But you're getting warmer. WOMAN I don't think I like you very much. MAN (obviously disappointed) I'm sorry to hear that. (more serious; sadly) We used to be such good friends. She takes a moment to page back through her memory, trying to place this stranger who claims to be her friend. WOMAN (deep in thought; repeating) We used to be such good friends. (with a heavy sigh) I don't know. I'm an American, you see: we don't do that well with riddles and enigmatic twists. We like John Wayne, and Clark Gable, and plots that hit you smack between the eyes. (looking around her) I'm lost. MAN But you brought it with you. You've been carrying it around for days--for months. WOMAN (angrily snapping) Now that's enough! (starting off in a new direction) I'm just going to start walking. Sooner or later I'll have to come out the other side. MAN Well. not necessarily. WOMAN (stopping in her tracks; resignedly) Why are you doing this to me? MAN Can't you see? You've tried every other way out. There's only one way left. WOMAN (stridently) Stop messing with my head! Just tell me what you're here to say--and then leave me alone! MAN (after a pause; sadly) Then I guess it's not to be. (pause) I'm sorry I bothered you. (pause; pointing) East Seventy-ninth is that way. WOMAN You told me it wasn't that way before. MAN It'll be there now. The woman immediately starts off in that direction, but then she stops and turns back toward the man. WOMAN (seriously) Who are you? MAN We used to be such good friends. WOMAN (slowly moving back toward him) This has nothing to do with William, does it. MAN It has everything to do with you. WOMAN (struggling to put it together) You've seemed familiar to me, but-- MAN (encouraging) You used to know me so well. The woman looks away from the man, staring off into space, struggling to understand who he is. Then, as it finally dawns on her, her eyes widen in realization-and fear. She quickly turns to look at him, to confirm her suspicion-and just as quickly she turns away, crumples to the ground. WOMAN (painfully) Oh, why didn't I see it? MAN (compassionately, but not going to her) I became inconvenient for you. So you tucked me away where I wouldn't be seen. You put me inside your fog-hoped I'd get lost. WOMAN (looking around) But-- I couldn't have done all this. MAN (firmly, but not unkindly) Actually, you're quite good at it. Someone becomes bothersome, just tuck them away where they can't be seen. Life can be much simpler that way. (beat) Problem is, they're still there. Soon you've got a whole park-full of people that have become inconvenient. Then what do you do? Eventually the sheer weight of it all comes down on you. WOMAN Like today. MAN (confirming) Like today. (going to her; serious, but warmly) You're my child, but I can't force you to love me. WOMAN I don't remember putting you here. How do I get out? MAN Get *me* out. WOMAN But can't you help me? MAN (even better) Oh, yes, I can--if you want me to. WOMAN I haven't been doing a very good job of it on my own. MAN You lost your way. WOMAN (with increasing resolve) But I do want to find it again. I don't like this fog. It moves with me. No matter where I am, it makes me feel so. alone. MAN (simply) I know the way out. (seeing that the woman remains troubled) What's the matter? WOMAN (fearfully) How do I know it won't come on me again? MAN (choosing his words carefully) All of my children have the right to live in a fog of their own making. I can show the way. I can give you some of my power. But you still live where you choose to live. WOMAN That's what scares me so. MAN Where I live, there is no fog. Those who live close to me can see forever. And they're never alone. WOMAN (frustrated) So why do I keep choosing the fog? MAN It's familiar. It's convenient. It's useful: Just look at all you can't see. How comfortable that is. WOMAN I've gotten good at that, too. MAN There are all sorts of realities out there. Everyone gets to choose their own useful, comfortable reality. (beat) But there's only one truth. You either take it, or leave it. WOMAN Somehow I forgot that. MAN (correcting her) You didn't forget. You set it aside. (beat) You can choose a false reality and tuck me away in the fog. But sooner or later, you'll end up there yourself. (pause) I know the way out, but you'll have to come with me. WOMAN (sheepishly) You can't just tell me. MAN (firmly) I *am* the way out. The only way. (pause) Do you want to get out of the fog? WOMAN (not immediately; then wearily) Yes. Oh yes, I do. MAN (compassionately) Then leave it all to me. (going to her; as they exit together; teasing her pleasantly) Maybe--just maybe--we can get you to the deli in time for lunch with William. WOMAN Oh, surely he's left by now. MAN (chiding her good-naturedly) Now, now. I know the way-- (checking his watch) --and I know the time. They exit together. Stage lights down. House lights up. ---------------- COPYRIGHT NOTICE ---------------- This script is Copyright (C) 2012 David S. Lampel. This data file is the sole property of David S. Lampel. The data file may not be altered or edited in any way. It may be reproduced only in its entirety for circulation as "freeware," without charge. All reproductions of this data file must contain the copyright notice (i.e., "Copyright (C) 2012 David S. Lampel"). This data file may not be used without the permission of David S. Lampel for resale or the enhancement of any other product sold. This includes all of its content. Brief quotations not to exceed more than 500 words may be used, with the appropriate copyright notice, to enhance or supplement personal or church devotions, newsletters, journals, promotions, or spoken messages. Permission is hereby extended for this script to be printed for rehearsal and performance use. Copies may be reproduced in sufficient number for the director, actors, and technical personnel, as long as each copy contains the copyright notice (i.e., "Copyright (C) 2012 David S. Lampel") ----------------- USING THIS SCRIPT ----------------- For electronic distribution, the Internet version of this script uses the following conventions: * character names are in ALL CAPS. * stage directions within a character's line are enclosed in parentheses (e.g., "(with anger)"). * stage directions without are enclosed in brackets (e.g., "[They exit.]"). * the plus sign (+) indicates when to cue trax or begin intro for next song ---------------------------------------------------------------------- These plays and musical resources are made available free-of-charge, without obligation, in service to our Lord and to His glory. ---------------------------------------------------------------------- David S. Lampel Winterset, IA 50273 USA Complete resources at http://hc.dlampel.com/ "For from Him and through Him and to Him are all things. To Him be the glory forever. Amen." (Rom 11:36) 20120305