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Posts Tagged ‘Original Play’

WMSP, Part II: a further entertainment

In Fantasy, Fiction, Horror, Sci-Fi, Uncategorized, Writing on April 24, 2019 at 1:12 pm

Act I, Sc. 2

(The Reader is alone in the forested darkness of the outdoors night time.
She is searching near an ancient monument. This monument looks at once familiar and out of place.
Nearby, a spot that looks as though it should be occupied. It remains, for the moment, empty.

A gentleman, the Interlocutor, enters. It is possible he wears a three-piece suit. You will not remember, therefore it is also possible he wears a four-piece suit.
The Interlocutor steps into the empty space. Theatre Majors, you’re welcome.)

INTERLOCUTOR
(Always speaking directly to the audience, unless otherwise noted.)
Good evening, Ladies and Gentlemen.
I am not here.
It is at this point in the narrative that I am obliged to offer the following warning: the events you purport to be witnessing are not, in fact, occurring. Further, should you endeavour to describe what you’re about to not see to anyone, anywhere, at any time or place, you are obliged to begin with the following caveat:
“The first thing you need to know is that nothing I’m about to say actually happened.”
Remember that phrase, please.
Now, to our heroine—not of the opioid variety, though potentially just as addictive. We’ll call her the Reader, or simply Reader, where appropriate. She is an attractive young woman of whatever ethnicity you please. As you can see, she is appropriately attired in outdoorsy khaki and a campaign hat, the sleeves of her button-down rolled up because she’s ready to get to work.
Her neckerchief is from Camp Clever Redwoods in Trevarno, California; the slide has an emblem that is hard to see in this darkness—in full light, it is clearly two crossed diagonal upward-pointing arrows with strange symbols in the resulting four quadrants.
Trevarno does not exist. Do not go looking for it.
This is a young woman of parts.
On her back is a bedroll pack; a sensible and possibly weaponized walking staff leans against a nearby tree.
On her belt are an assortment of pouches, each containing necessities of the life-and-death variety.
It is unfortunate that, despite her being so well-equipped, she will—eventually—be devoured.
A waning gibbous moon shines down from above, illuminating the monument as best it can in its lessened state.

READER
(Speaks directly to audience.)
The first thing you need to know is that nothing I’m about to say actually happened.

(Interlocutor turns to us; single external take recommended.)

INTERLOCUTOR
Oh my. It appears I may have tampered with the text.
You will perhaps later understand that I have done so with your best interests at heart, ladies and gentlemen.

READER
(To herself, as she examines the monument.)
Long have I searched in vain for that which is hidden. Dark and desolate, the reaches I’ve trekked. Uncertain the path and treacherous the pass, my journey has been fueled by rumor and whispers, stymied by obscurances and sudden lackings. It is now, under this waning gibbous Scorpio moon, that I have come to this place in the dark of night to delve secretly for the first part of a lost book, a hidden book, a book that does not exist—yet sits at the center of a web of shadow.

(In the darkness beyond the fitful moonlight, we hear a sound.)

INTERLOCUTOR
Pause for a moment, ladies and gentlemen, as you can see our Reader has done; for, indeed, there was a sound in the darkness beneath the surrounding trees. Was it a night bird?
Observe her poise, listening over one shoulder.
Do you suppose she will maintain that poise when her belly is ripped open by the splintry teeth of whatever waits for her in the darkness?
Watch now as she shakes off her dread and attempts to reassure herself and, by extension, all of you.

READER
(As she speaks, Reader draws on the monument with chalk: four symbols at upper left, lower right, upper right and lower left.)
It is the custom of whatever forces seek to prevent the book’s discovery to sound dark warnings and foreboding cries in the night. These grunting warblers and howls of rending occur all along my path, which tells me two things:
The first is that they do not want me on this path.
The second is that they know—of my deepest heart—that which fills me with terror. For each time I believe I am close to that which I seek, they step in to suggest the approach of some—puppy nestled in the comforting crook of my grandmother’s arms.

(Reader stops, shakes head, disorientated.)
I did not mean to say that. Something is amiss.

INTERLOCUTOR
Observe: even as she turns to look around, I step forward to down center stage, gesturing with my left hand to lower the light on Miss Reader, thus obscuring the full nature of the symbols and whatever else she does in the darkness. None of this matters because / it is not real—

(/A gigantic, tattered and shadowy horror—the Bat-winged Hog—erupts, screaming, from the trees beyond the monument.
Interlocutor disappears, quiet; we are distracted by the horror of the Bat-winged Hog, its leathery wings beating as it claws its way through the branches.
Reader steps forward, executing a graceful yet complex reverence (in the balletic sense) as she drops her pack and arms herself with her staff.)

READER
Bat-Winged Hog! Thine is not the head I wish to impale upon a pike this night! Long my path and dark my days, but never under the shadow of thy impressively foul leatherflaps!

(Bat-Winged Hog shits a wad of leech-tar at Reader.
She steps easily from harm; the tar splatters on a tree, burning and wriggling as the tree screams; all beetles and bugs on or around the tree flee the leeches. Fungi lean toward the tree and begin a visible mycelium migration toward the tree.
Reader sees this and begins, while speaking the following, a desperate search of the surrounding forest floor.)

READER
Dark this night and dim this moon—if we are to battle, let us battle under a full moon in a sign less toxic to thy most undead and yet porcine self! Terrestrial scorpion’s sting may hold no danger for your farmstead cousins, O Harbinger of the Rotting Trough, but Luna in Scorpio may prove fatal for one who lives only by night!

(Bat-Winged Hog shits another wad of leech-tar in the crook of a tree, then begins chewing one of its front feet off.)

READER
Bat-Winged Hog! I see thy plan: self-chewed foot planted in leech-tar shite grows Hogling Toothface! Even as you struggle with this foul endeavor, I scour the forest for your doom!

(True to her word, Reader drops to her knees and, lighting a small oil lantern from within her pack, begins searching at the bases of trees. She continues this throughout the following, until otherwise noted.

Meanwhile, Bat-Winged Hog nods, delighted and giddy at its clever plan; the foot is fully chewed; gouting poisoned blood, this creature of night plants its severed foot in the leech- tar.
Immediately the leech-tar quivers and spurts, like a lanced pilonidal cyst.
Hogling Toothface begins to emerge, face-first: its visage entirely of teeth, with one or two eyes misplaced and a rapacious digit, of profound interphalangeal artiuclarity, which protrudes from its forehead and spastically beckons: come-hither.

Interlocutor appears.

During the following, Hogling Toothface is thoroughly birthed with many splats and a final, massive plorp. He screams and bawls and makes his way down the tree toward Reader like a baby bird seeking its nest.)

INTERLOCUTOR
A word or two about Hogling Toothface.
As you can see, he is ugly and small.
His eyes, such as they are, do not easily stay within his skull. Ah, there we go: one of them has gotten snagged on a twig and—plorp—how unpleasant. Ah, but see? It does not merely dangle: it
watches.
The face which lost that eye, while made entirely of teeth, might be mistaken as merely horrific—but not necessarily dangerous.
This is incorrect. Should you encounter him on your night hikes at Audubon Canyon Ranch, my friends, be not mistaken: the bashing of his head against your hip or pelvis will not merely
break but will immediately pulverize bone. The teeth of his face churn against one another, turning in and biting, ripping from their sockets to pierce further with their twisted roots.
This causes him excruciating pain. Which can only be relieved by the use of that peculiar cranial protuberance you see jutting from his forehead. This is known as his Toothface Poker … his Naughty Dentist … or his Fingerling Potato.
All of which are comparatively innocuous euphemisms for what is, as clearly described in the stage directions of this text and reinforced by the words I speak, a rapacious digit. Meaning that is its sole purpose: the indiscriminate penetration of the penetrable.
This is a digit of profound interphalangeal artiuclarity. Meaning it has bones and it can move all sorts of ways.
As you can see, it spastically beckons: come-hither. Why? Because, seeing that gesture, you are more likely to run. And by all means, do. Run! Run away, fast as you can.
Yes, for you see: the fact is, no matter how fast you run, Hogling Toothface is faster. Because Hogling Toothface wants you more than you can possibly imagine. Male, female, gender neutral, gender switched, no matter!—whatever flavor you represent, you have holes. And running, you present
at least one of them.
So if you’re out and about on the trails of an evening and you feel eyes on you, or you hear the thumping patter of little cloven-hoofed babyfeet, know that you will soon be the very special friend of Hogling Toothface.
See now how close he is? See now how he reaches for her? Watch now and see her story end in screaming, in anguish, internal ripping audible in the cold forest of the night, her body discovered by park rangers in two weeks, assumed to have been fed upon by carrion eaters.

(Hogling Toothface is indeed just above Reader, reaching for her hair, his digit dripping leeches from the tip. He is grabbing her hair—

Reader leaps to her feet, her actions fitting her words as follows.

Bat-Winged Hog reacts, enraged, to all that follows; its wings get tangled and torn, stuck in the branches of the trees.)

READER
False Parasol! Thus do I raise this mushroom above me, its toxicity shading me from the dark sun of your evil origins, Bat-Winged Hog!
Only a fool runs from Hogling Toothface! See now how I grasp him by this foul protuberance! See how he is disabled by his pleasure at the contact, but, O! See now his doom!, for indeed this mushroom can be stuffed into the dribbling hole of his unnatural pene
traitor, spelled with an ‘I’ because I see that his very existence is a betrayal of all things good and right in this world!
With this broken twig I shove and stab the false parasol into his fallacy of a phallus!, tamping it deep past his un-mushroomed tip like the poisonous charge of a fiendish cannon, I seat the round in the breach and prepare to fire! Cannoneers to your posts!

(Reader wedges screaming, struggling, near-orgasmic Hogling Toothface in the crook of a tree, facing Bat-Winged Hog, readying a box of strike-anywhere matches.)

INTERLOCUTOR
She cannot possibly succeed.

READER
Friction-primer set! Sergeant, fire!

(Reader strikes the match, igniting Hogling Toothface’s anus.

Hogling Toothface screams in ecstasy and pain, his digit clogged with poisonous mushroom, the screech building until with a plorping FWOOM, the False Parasol and much of Hogling Toothface’s strange digit shoot like a cannonball at Bat-Winged Hog.)

READER
To Hell with you and your foul progeny, Infection of the Nightmare Barnyard!

(Reader’s aim is true: Bat-Winged Hog is blasted from its place in the trees, ripping from its wings and disintegrating into smoke and dust. In its place is a harmless, beautiful moth.
At the same time and in the same manner, Hogling Toothface disintegrates. In its place is nothing.
The leech-tar in the tree has been covered over by healing fungi; the trees will thrive.

Interlocutor is staring, incensed, at Reader, who crouches, wary, catching her breath. After a moment, Interlocutor remembers the audience. He turns to us and smiles.)

INTERLOCUTOR
It appears that our entertainment will last an entire evening, ladies and gentlemen. Allow me now to summon a truly diverting amusement—

(Music fills the glade.
Interlocutor is halted in his speech by its beauty.
The moth moves through the trees, appearing now i
n a shaft of oddly bright moonlight (considering that this is a gibbous moon).
If a moth can appear dazed, it does. [Note to directors: consider puppetry; training moths is perilous at the best of times.]
Reader executes a deeply graceful reverence in the moonlight.
The moth dances in the air to Reader’s speakings.)

READER
Hyalophora Euryalus, I salute you. In your eternal spiral quest to reach the moon, you have been waylaid this night by forces most unpleasant. It was never my intent that you would be used in such shadowy crabblings.
Go now and flutter thy glorious wings, for someday thy offspring shall feast upon Ceanothus! Pseudotsuga Menziesii! Ribes! Salix
!

(The moth bows and flutters up toward the Scorpio moon.
Its music continues through the rest of the scene.
Reader kneels to the moth and the moon, then moves her pack and staff to the base of the monument, making notes in a leatherbound journal during the following. It is clear she expected a different outcome.)

INTERLOCUTOR
Ladies and Gentlemen, thus do we conclude this portion of the evening’s entertainment. Little does our Reader know she has spoken the words which open a gateway to the moon. And, on levels yet to be discovered, her words may have echoed toward other gateways. Would that this were enough to save her. Alas. The next scene will, I suspect, prove most diverting—even to those among you whose tastes are more, shall we say, European? Splendid. Now / to change the scene—

(/One of the symbols on the monument glows blue, a deeper music thrumming from the monument itself, harmonizing with the music of the moon moth.
Reader is startled, stepping back, journal in hand, to observe.
Interlocutor stares in shock.)

READER
Cold my nights and shadowed my path, but now I know which new path to take! Thank you, little Moon Moth! I am inspired by your in-spiral-ation!

(Reader dons her pack and takes up her staff, heading off upstage left, exploring once again this dark forest.
Watching her go, the Interlocutor gestures. From under the ground comes a crooked figure in a tattered black hooded robe. It is under the thrall of the Interlocutor.)

INTERLOCUTOR
I bring you, now, from deepest dark
To run and fetch a prize;
You’ll scour and scathe this wooded park
Until you behold with your eyes
The slender girl with shapely thighs
Whose trek you’ll halt until she dies
And, left to rot in leaves and bark,
Her knowledge with her lies.

HOODED THING
I will halt her, choc’late malt her.

INTERLOCUTOR
Halt her first in little ways,
Frustrate every breath;
Then take her toes and split her nose,
Pull the petals from her rose,
Bite her ’til her mind quite goes
Then halt her quite to death.

HOODED THING
I’ll halt her in the darkest ways, I’ll pleasure me, she’ll scream for days.

INTERLOCUTOR
Go now!

(The Hooded Thing bounds off, grunting and growling, after Reader.
Interlocutor turns to us.)

INERLOCUTOR
(Continued.)
Let us change the scene.

(Interlocutor exits; as he does so, the scene changes to … )

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Woodminster: South Pacific, Part II; a brief entertainment

In Fiction, Horror, Theatre on August 13, 2018 at 12:06 pm

Act I, Sc. 1

The Reader is alone in her room at night. She is reading the story. Her room is lit by a single bedside lamp, enough to light what she’s reading, but not enough to dispel the shadows in the rest of the room. There are curtains on her dark windows. The curtains are not quite closed. Behind the curtains, in the darkness of the night outside her windows, there is a hint of movement. She does not see what is moving outside her windows in the darkness.

She speaks as she is reading, without looking up.

Reader: I have been reading this story for a long time. It has been hard to find. There are portions hidden in different locations.
I am the girl who had to fight goblins.
I am the girl who ran from werewolves.
I am the girl who deceived the hags and bested their rotting minions.
I have at last gathered all chapters of the story in one place at one time.

Reader continues reading through all that follows. If she speaks, it is again in this manner: as she is reading, without looking up.

In the gap between curtains, an eye appears. This is the eye of the Looky-Loo. It is bright in the night time. It is not in the Reader’s line of sight. We see it. She does not. (If she saw it, this would be a scene of the screaming. Oh, yes. The screaming scenes are the best scenes. But this is not that scene. The eye is peeking in the window.)
It speaks.
To us.

Looky-Loo: She has been reading this story for a long time. And for longer than that, I have been waiting to bite her. Oh my yes, to bite and to yum yum yum taste her. Did I know it was she? No. I did not. I knew I was waiting for whomever found it.
When she found the first part of the story, I was wakey-wakey-eggs-‘n-bakey.
When she found the second part of the story, I was sneaky-sneaky, take a peeky.
Third part found, make no sound.
Fourth part read, dead man’s tread.
Fifth part taken, shades awaken.
Sixth part nicked, I was tricked.
Seventh part: break your heart.
Eighth part written, nightmare bitten.
Final part: where to start?
That’s the part I must find first. Unwind the mind, get fit to burst. Secret sigils, lasting vigils, Sybils murmur in their sleep the mournful dirge of Peeky-Peep. It’s not the same for her or you, ’cause you’ve been peeped by Looky-Loo.

Looky-Loo is right next to you in your seat. This is your last night in the theatre. You will finally know the answer to that question Lucy Pimm asked at your 10th birthday party.

Lucy Pimm enters. She’s 10 years old, dressed for the classic mid-century birthday fete.

Lucy Pimm: Hello it’s me, Lucy Pimm. On your tenth birthday, at your party, I asked a question.

Looky-Loo: Oh hello, Lucy. Welcome, welcome. Tell us your question.

Lucy Pimm: What does it feel like to get your eye ball bitten out of your skull?

Looky-Loo regards you in your theatre seat. Big, friendly smile.

Looky-Loo: Soon you, avid viewer, will know the answer to this question. But not before Miss Lucy Pimm will scream so prim, my proper chopper will hack and lop ‘er.

During the following, Looky-Loo produces a sack from which he pulls a variety of lethally rusty cutting tools, as improbable as they are terrifying. Among the tools are childish costume pieces suitable for transforming a Lucy into a Looky.

Reader: Thus alarming, bells are ringing: someone in the pain is singing. No umbrella, raining frogs, witches shrink from cats and dogs! Now my heart beats dark and grim, for I remember Lucy Pimm!

Lucy Pimm: Looky-Loo, I’m ‘fraid of you.

Looky-Loo: As you should be, wouldn’t good be, getting caught and sliced for nought.

Lucy Pimm: Do not slice me, chop or dice me!

Looky-Loo: One escape the chance you have: speak to Reader, lift the gavel, break the wall and thus unravel separation of her story from her fate (which will be gory).

Reader: This imaginated story gives me chills and blains of fear. It is fiction, yes, but frictive lines have drawn me ever near. Lucy Pimm and Looky-Loo have filled this unexpected drama with the face of most unpleasant and unwelcome childhood trauma.

Lucy Pimm: If I wake her you will take her!

Looky-Loo: Take her, shake her, rake and bake her.

Lucy Pimm: This is bad. I am sad.

Looky-Loo: Trick her, treat her, beat and eat her.

Lucy Pimm (to audience): Why are boys so mean to girls?

Looky-Loo is terrified by this question.

Looky-Loo: Shut your gob or goblins come, cease your words or taste their turds!

Lucy Pimm: Now I must, in fear and doubt, wake the reader from without.

Lucy Pimm approaches Reader, standing next to her bed and facing us. As she speaks, Looky-Loo gives her various pieces of the childish costume to make her into a Looky. As Lucy Pimm dons the pieces, she transforms physically – and her physical actions match her words. Looky-Loo continues to hand her the pieces until she is fully accoutered, terrified that Lucy Pimm might inadvertently break the spell (what spell, you ask? Ho-ho-ho, say I), but also erotically delighted at her physical transformation.

Reader: This story is a paging turner, a shiv’ring midnight candle burner.

Lucy Pimm: Because your bed is low-to-floor, I snap my neck – make room for more.
I dislocate my shoulders left and right to fit in spaces tight.
Upon my knees I snap my hips to hush the fears upon your lips.
And though I know it prob’ly rankles, I shatter, now, my girlish ankles.
My crunches echo in your head, but now I fit beneath her bed!

Lucy Pimm, now completely dislocated and fully attired as Lucy-Looky-Loo, pulls herself by the fingers of one hand beneath the bed. She is smiling directly at you. Looky-Loo crouches nearby, in terrified arousal.

Looky-Loo: If Lucy-Looky-Loo, née Pimm, can wake the reader with her grim and broken self, I’m poised to take my fiendish pleasure – at my dark and dev’lish liesure. But if, I fear, she warns the Reader, I lose my chance to roughly breed’er. How then to lurk and scare and bite more secret readers in the night? For it’s my bite that spreads my seed, and it’s your fear that fuels my need. The news that turns you sickly green is: I will bite you with my penis.

Lucy-Looky-Loo’s head appears among pillows or from above or within headboard.

Lucy-Looky-Loo: He will bite you with his penis.

Reader: What?

Looky-Loo: What?

Lucy-Looky-Loo: Nothing.

Reader & Looky-Loo: Okay.

Reader and Looky-Loo look directly at each other. They scream, retreating, each bumping against a wall or other barrier.

Looky-Loo: You were not supposed to see me!

Reader: You were not supposed to be me!

Looky-Loo: I’m not you, I’m Looky-Loo!

Reader: It’s true, you’re you; it’s true, I’m me – but in my darkest heart of hearts, where I admit I like my farts, I see in you a part of me.

Looky-Loo: Dear Reader, that you recognize in you this size of appetite to lurk and pounce in dark of night, be it to scare in innocence – or rend and tear in recompense for passing slights and feelings hurted, I am surprised that you have blurted out that we’re more same than not.

Reader: Despite what I’ve been told and taught, in smoking splurge or drunken bender, I’ll go against the common plot and state that evil has no gender. A penis from Mars or a vulva from Venus does not make you more or less inclined to meanness. It’s equal parts nurture and nature that shape us, and also that shape those who maim us or rape us. I thrill at the kinky, the dark and taboo – I tingle when watching the Dragon Tattoo. If thoughts are as actions, then lock us all up: I’ve fantasized evil and flooded my cup. And though all my crimes remain in my head, who knows what I’d do with unlimited powers? What dread have we done with our secretest hours when certain they’d never be lit be the sun? Light makes the shadow. The knowledge of light is what’s driving us mad, perceptions of binaries sinking our Ark, conflicted with humankind craving the dark.

Looky-Loo: I disagree. You go to far. I will not get into your car. I’m bad, you’re good – that’s how I like it. My path is dark; alone I’ll hike it.

Reader: You may not hide from me henceforth; I know you, now: and North or South, each time your mouth encloses some forbidden fruit, I’m there in mind to follow suit.

Looky-Loo: NO NO NO NO NO NO NO!

Looky-Loo leaps from the stage into the seats, jaws open wide, toothed tongue biting at your eye, O Penetrable Audience of One.

The last thing you see with both eyes before Looky-Loo bites your eye ball out of your head is Lucy-Looky-Loo whispering to Reader and handing her a note.

Looky-Loo sees you seeing and turns toward the stage.

Reader gets up, running to her bedroom door. Will she make it in time?

Reader: No human heart can see what’s dark unless it knows that darkling spark.

Looky-Loo leaps at the stage, gets tangled in seats, falling.

Lucy-Looky-Loo: Go! If you can get out before he gets you, you can escape to wherever thought lets you!

Reader is fumbling with locked door.

From outside the window:

A jingle.

A giggle.

Reader stops, turns toward window.

Looky-Loo leaps, landing on the stage, claws extended.

The lights go out.

End of Scene 1.
A note: You, dear Audience, have entwined your fate with that of the Reader. Looky-Loo has eaten one of your eyes, the best and favoritest of the two. If you have more than two eyes, Looky-Loo still ate the best one. This play does not exist. This scene does not exist. Nothing in this scene is real or has ever happened. These words are not here, this title-less play cannot be named. If you try to search for it, you will find only dust and spider legs.
Stop looking.
Stop looking.
If you want to have sleeping, stop looking.
For he will come leaping to lurk when you’re sleeping, to Look and to lure you each time you are sure you are safe, yet alone. He bites to the bone.
Enjoy of your day. Go sit in the sun.

 


Forget of this play or he’ll have the most fun.

 

 

 


Remember these words but forgetting the text,
Or he will come Look you

and

you

will

be

 

 

 

 

 

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