Thomas Kent: An Art Book by Eliza Witte - HTML preview

THE CROWD

48

Darkness. The curtain opens slowly in the background of the sounds of wings and coos of pigeons. There’s a big, attic, skylight, garret window.

One of the windows is slightly open. The prologue starts in the background of the coos.

Prologue:

About obedience, and orders, and demands, About the choice when there is none, About the drive that through the mortals runs, About the poem that has begun, About vocation which one fights against, And the rhythm living in one’s veins, And the weakness that the body will possess, And love that will destroy and will obsess, About the devil and the angel in ourselves, About the pride locked in the books upon the shelf...

Cursed thousands times and always begged to stay -

About Talent is our modest play.

Scene 1:

A white feather falls slowly down from the slightly open window in the ceiling. It is in the spotlight. The moment it reaches the stage, a loud music begins and the whole stage gets lit. Elise’s birthday party.

Interior – the attic studio of Elise: the couch is in the middle, in front of it, there is a table with a telephone on it, the armchairs are beside the table, left and right sided. At the back of the stage, behind the couch there’s a cupboard and a door. By the door there’s a rack of clothes with Elise’s coat. To the right – a desk, a chair and above them 49

a bookshelf. The party is at its peak. The guest communicate between each other, presenting different sketches of the general vision of a birthday party. The scene is left to director’s decision as long as the same sketches repeat in the exact same way in Scenes 3 and 4. For instance – Man 1 and Woman 1 passionately clarify their relation, Women 2, 3

and 4 gossip, a company of drunk men and women have already started a drinking song, Woman 5 sits alone on the floor and cries. There are also people dancing as if in a total trance. Elise enters, a cake with a candle in hand. She carries it through the chaos and nobody even notices her. The party escalates. Elise leaves the cake on the table, takes a look at every group of people and with an explicit gesture of disagreement she makes the entire crowd of mad people disappear. Elise’s gesture “erases” her birthday party from the present moment. Elise is alone. She goes to the cake and blows the candle. The lights go out.

Scene 2:

Elise is asleep on the couch. Someone rings the door bell. She gets up and opens the door. Cain enters – he is dressed up in a suit and carries a big bunch of roses and a big box - a present.

Cain represents a man from the elite, the expensive type.

CAIN:

Hi, darling! Sweety!

His attitude changes as he sees the debris of the party.

CAIN:

(angry)

There was nothing special going on here last night, was there?

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ELISE:

I had a birthday party, didn’t I?

Cain walks through and picks up a tie off the floor.

CAIN:

I asked if anything special has happened here.

ELISE:

No, no, Cain, darling…

CAIN:

(mad)

You understood me, didn’t you?

ELISE:

Yes, darling.

CAIN:

I’ll ask again – has something happened here last night?

ELISE:

No.

Cain decides to believe her.

CAIN:

“No, darling”!

ELISE:

No, darling.

Cain approaches Elise.

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CAIN:

Happy birthday, darling! I’m sorry I couldn’t come last night. I was busy – work you know.

But to compensate for it, I’m taking you to

“Rouge” for lunch. You like this bistro, don’t you, darling?

ELISE:

Yes, darling.

CAIN:

I want you to wear this.

Cain hands the present to Elise and leans to kiss her. Elise opens it – there is a beautiful red dress inside.

CAIN:

(cont’d.)

OK, I’ll see you there.

ELISE:

Yes, you’ll see me there.

CAIN:

“Yes, darling, you’ll see me there.”

ELISE:

Yes, darling, you’ll see me there.

Cain exists. The coo of the pigeons is heard again. HE enters (appears). In this scene the real actor does not present. He acts as a VOICE ONLY – deep-toned, beautiful voice. Technically this can be achieved through His voice playedthrough the different amplifiers on the stage – back, forth, left or right. Each time Elise reacts to His voice and turns towards it as she knows 52

it only too well. This voice is her second nature, but the entire concept of the play up to Scene 5 is that Elise is not aware of His presence; she simply accepts His voice as a part of her own self and Him as a part of her own life.

HE:

Where?

Last night I really felt ignored!

ELISE:

(she reacts as if to a thought of hers, to herself) Oh, no! Not again!

Elise starts nervously tiding up around.

HE:

And where is “please, my Lord”?

ELISE:

No! There’s no time for this - I don’t want this now!

HE:

How rude! And these unpleasant sounds...

ELISE:

(holds her head in her hands, interrupting) Stop it! Stop! I don’t want this now!

Silence. The attic garret window bangs and pieces of paper litter from Elise’s desk. Elise goes to pick them up. She starts reading while trying to put them in order.

HE:

Do I see obedience, my dear?

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ELISE:

What now? OUT! Leave! Leave me alone!

She throws the paper back on the floor.

HE:

Oh, these unsophisticated tones

which I fail to understand!

Look, the pencil in her hand,

her face - so earnest and inspired,

and ugly tones, and undesired

words of melody deprived!

Please, tell me! If in your life

‘twas to be the last day of them all

what would you do? What would overthrow your sense, your wishes and yourself?

What would you long for? Where would you dwell?

No, don’t answer! Please, let me guess!

Words! You’d write, my poetess.

Enough of your obstinacy!

Enough sick sounds - they’re for the fools!

This game does not stand mutiny!

So, you must observe the rules!

When He says “You’d write, my poetess” she starts slowly to pick up the paper for He had His way - she’s given in.

ELISE:

I... I’m sorry... I felt tired,

and it was thus that uninspired I felt.

HE:

Oh, this sounds so much better!

54

HE:

(cont’d.)

Afraid of taming down the letters?

Uninspired? This is my work!

Set free emotions that would lurk,

and listen to their lovely plea!

Oh, please, sit down! So... Where were we?

She sits down at the desk and prepares herself for work. There is a black camera (black box) around the desk in order to help Him “work” too.

ELISE:

Thomas Kent.

HE:

(annoyed)

Yes, Thomas Kent!

A new life to an old refrain!

Each time so different but still the same!

What if I try to change this game?

ELISE:

(thoughtful, to herself)

Thomas Kent...

HE:

Go ahead!

ELISE:

...your passion was...

HE:

(interrupting)

No! What on Earth are you trying to say?

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He takes the paper from her hands through the black camera. The paper moves by itself.

ELISE:

You’re not rhyming?

She takes the paper back from Him.

HE:

This is absurd!

I change the rhythm.

ELISE:

Oh, faul play!?

HE:

OK! OK! But don’t forget -

You’re a poet. Now, go ahead!

From this moment on, they enact an argument. She turns towards the voice always, but she also gets up, walks around and reacts to his criticism.

ELISE:

Thomas Kent, your passion was...

HE:

(interrupts again)

What’s that now?

ELISE:

I yield to verse!

HE:

I asked what you would like to say.

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ELISE:

My fantasies - I let them play.

HE:

No! Why don’t you start again?

What’s Thomas’ story? What’s his pain?

And what is yours?

ELISE:

He is not here.

HE:

Is he dead or has he disappeared?

ELISE:

All right, laugh! Go on! Have fun!

But to me... he is the one

I loved, I love... or... I will love...

HE:

Approach it differently from above,

like “Sometimes death is too substantial”.

ELISE:

He is not dead! The rhyme is “sensual”!

HE:

Oh, primitive! Another word!

ELISE:

But the sense - it won’t be hurt:

“Sometimes death is too substantial...”

HE:

(dictating)

“I’ll defeat it a hundred times”

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ELISE:

(writing)

“I’ll... defeat it... a hundred times”(She thinks for a while) “Still the tears are as sensual...”

HE:

(interrupting again)

You are again misusing rhymes!

ELISE:

“times” and “rhymes” - a good suggestion!

She puts this down.

HE:

You did not answer my question!

“Sensual” is far too plain!

Don’t test my patience! Once again!

ELISE:

But the sense is what’s essential!

HE:

Not in poetry! “Credentials”

is the rhyme!

ELISE:

“Credentials”? Sorry!

Now I distracted all my poetry!

HE:

Just write it! I won’t keep offense!

You’d be surprised - a different sense

occurs! Come on! Just put it down!

And please, surrender to the sound!

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ELISE:

“Sometimes death is too substantial.

I’ll defeat it a hundred times... (pause, she thinks) And I’ll never... ask... for credentials (surprised) For the beauty of the rhymes!”

HE:

And different rhythm! Satisfied?

You’re describing him unborn...

Here, He appears for the first time as a shadow on the garret window.

During His monologue that follows, the sound effect of angry steps could be heard. Elise, in the meantime, is working hard.

ELISE:

(interrupting)

“Unborn”?

HE:

The remains of swallowed pride

in the bird with breast in thorns

will make you sing.

ELISE:

“Unborn”? No - “Be reborn”.

HE:

Your glance so full of dreams and verse, and he is there! Oh, lovely curse!

ELISE:

(dictating to herself)

“Oh, be reborn! Please be reborn!...

(she thinks and writes)

Once again in ... every verse...

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ELISE:

(cont’d.)

that elusive angels’ chorus

sends to me ... (thinks)... like... a lovely curse”

HE:

Be blessed, my dreamer! Your emotions

for Thomas Kent - a world occurs,

so beautiful... Oh, I will poison you (she is writing) with words, and words, and words, and words!

(angry) Thomas Kent! I’m here barefooted and naked begging for love again!

The dream of you is the only soothing

ointment for my deadly pain!

Oh, love me! Do I have to spend

eternity with love divine

that’s not for me - for Thomas Kent,

for your dreamed hero of all times?

Elise writes a little longer afterwards, then reads what she wrote while He was talking.

ELISE:

“Sometimes death is too substantial!

I’ll defeat it a hundred times,

and I’ll never ask for credentials

for the beauty of the rhymes

that describe you. Be reborn

once again in every verse

that elusive angels’ chorus

sends to me like a lovely curse!

Be blessed! To my upset emotions

you give life and sense occurs,

and, happy, I will take the potion

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ELISE:

(cont’d.)

of words, and prayers, and more words.

And when naked and barefooted

in Paradise I’ll walk again,

the dream of you will be the soothing

ointment for my deadly pain!

In the land where two suns send

their blissful rays of love divine

I’ll still recall my Thomas Kent

for he’s my hero of all times!”

The garret window bangs again and breaks.

ELISE:

(cont’d.)

Oh, my God! It’s 12 o’clock!

I am late - I wrote too long!

Shall I call him? I shall not -

Excuses on the telephone -

no!... Why do I talk in rhymes!?

I need some prose!

HE:

(appears back)

Another line,

another verse - “The wise pilgrim...”

Where are you going? Out with him?

What about your Thomas Kent?

During the following dialogue her coat from the rack slowly disappears.

ELISE:

(as if to chase away a thought)

He is not real!

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HE:

Oh, he is planned

to hurt me only? Take the pen,

and let us do it once again!

ELISE:

Let me go!

HE:

One moment, please!

ELISE:

Set me free!

HE:

Elise! Elise!

Please listen: “Silent, the pilgrim,

in a kingdom where flowers grim

in colours...”

In the meantime Elise is looking for her coat.

ELISE:

(she interrupts)

Don’t dictate to me!

HE:

Do I feel pride or dignity?

ELISE:

Today I’ve had enough of you!

Elise exits without the coat. She did not manage to dress up in Cain’s present either. The coat gets thrown on the armchair. During the following monologue the armchair gets lifted and banged against the floor several times – a sketch with 62

an object that expresses anger.

HE:

You’ll be back! Adieu! Adieu!

Whom she’d be with? Thomas Kent

I could fight, but other man

who’s real? Dreams of near and far...

I’m a fool to be jealous of

her dreams. For they are only dreams!

Thomas Kent has not been seen.

He is nothing but myself...

Oh, Elise, please let me help

you find him! Surprised you’ll be

to see he’s I, and I am he.

I have a body - I am not

surreal, elusive! I’m a thought

that craves for life! Oh, let me be

him, if not... Oh, jealousy!

And if you can’t then I’ll pretend

to be your dearest Master Kent,

as you call him by this name.

Am I possessive? Maybe, it’s true!

But then happiness will envy you

for you’ll be mine! I promise you this.

And you - you’ll be my sweetest bliss

because THEM ALL, I’ll fight!

Lights go out.

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Scene 3:

Cain enters the bistro. It is a first class place. Susie, the waitress, comes and takes his coat. Susie is a young, energetic and charming girl, always full of positive emotions. Cain feels sincerely entertained by her.

SUSIE:

Good afternoon, Mr. Cain! Will it be your usual table?

CAIN:

Of course, Susie. The usual table, please!

Susie leads him through the tables and gets him seated at his usual place. Cain greets his acquaintants at the other tables around exchang-ing rants. They are the same people from Elise’s birthday party. It is always the same thing again as per scene one – for instance, Man 1 and Woman 1 clarify their relation, Women 2, 3 and 4 gossip, a company of men and women have started “A Jolly Good Fellow”, celebrating an anniversary obviously; Woman 5 sits alone, drinking coffee. However, everything this time is too well disguised by impeccable manners. Like in Scene 1, the Crowd’s acts are absolutely up to director’s imagination as long as they represent enough clear the feel for cold for Elise.

SUSIE:

And will it be the usual bottle of wine?

Cain laughs.

CAIN:

Of course!

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SUSIE:

And which of the usual ladies you will be today with, Mr. Cain?

Cain laughs again.

SUSIE:

(cont’d.)

I liked very much the lady with the purple dress yesterday. She was very beautiful. However, the lady with the red suite is my favorite. She was great. You haven’t brought her here for a long time, Mr. Cain. Oh, what a necklace she wore last time. I wonder how much it costs.

Cain laughs and looks very entertained. Elise enters. Cain sees her, takes money out of his wallet and gives it to Susie.

CAIN:

I can rely on your discreteness as usual, can’t I, sweetie?

Meanwhile Elise approaches the table. Susie disappears. Cain has totally changed his attitude. From that moment on till the end of the scene, he represents the evil of the non-talent against the talent.

CAIN:

(angry)

You’re late again!

ELISE:

I apologize. I was ready on time but…

CAIN:

Yes, there is always “but”! Always! Your muse 65

CAIN:

(cont’d.)

came, didn’t it?

ELISE:

The poem just appeared. I simply had to write it down.

CAIN:

I am really tired of your attitude. You constantly ignore me. I also work, but I manage to find time for you. And you don’t wear the dress I asked you to.

ELISE:

But…

CAIN:

You are boring me, but we are together after all. And I’ll let you off this time.

ELISE:

Thank you.

CAIN:

“Thank you, darling.”

ELISE:

Thank you, darling.

CAIN:

(self-content)

This is much better! However, I decided that we put Paris off. If you want us to go, you’ll have to change your attitude. I am trying to make a lady out of you, but you are absolutely irresponsible. You come here – badly dressed. You are not wearing any make up…

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CAIN:

(cont’d.)

No, don’t start crying now! You will ruin even my plans to make a nice birthday for you by being permanently in a bad mood! You annoy me, really!

Elise gets up and leaves. Susie comes with the menu.

SUSIE:

This lady was very sweet, but where did she go?

CAIN:

A little lesson on taming, sweetie!

Cain laughs. Susie’s assessment – she is disgusted.

CAIN:

Ah, what shall I order now?

SUSIE:

I’m sorry, Mr. Cain, but my shift is over. Could you order with the colleague?

Susie leaves him alone.

Scene 4:

On the street. Elise is upset by the scene Cain made in the restaurant. She walks on bumping into people from the Crowd, all of them complete strangers. She is alone in the crowd. Elise recollects again the nightmare of her birthday party and the bistro, which represents now the street and its people. Man 1 and Woman 1 passionately clarifying their relation, but this time they reach to a fight. Women 67

2, 3 and 4 gossip. They cannot decide whose version of the story is true, and they get into fight. A company of drunk men and women walk singing a drinking song. Woman 5 sits alone on the pavement and cries. A hobo passes by. There are also businessmen rushing to and fro, yelling on their mobiles. Elise starts running. Again, this scene is absolutely up to director’s imagination as long as it represents clear enough the isolation of the main character.

Scene 5:

The attic studio of Elise. Elise enters through the door very upset, gets on the couch and starts crying. He, as a real actor already, is sitting in the armchair motionless. The concept here is that the audience sees him, but Elise doesn’t. He is waiting for her, and she slowly gets better after a good cry. She goes to the desk and prepares herself for work. He doesn’t move. The coo of the pigeons can be heard. The actor uses a small pin-microphone that slightly changes his voice.

HE:

Oh, well! We are back to work!

He gets up from the armchair, and approaches her slowly. He takes a good look at her, but it is more like He speaks to Himself then to her.

His monologue is to Himself/to the audience, but not directly to her, as she doesn’t react anyway.

HE:

(cont’d.)

Strange! To feel ignored by her

is a punishment, still I am blessed!

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HE:

(cont’d.)

Where is this gift that you possess

when I’m silent, when I’m hurt?

You can no longer write - an absurd

that easily you cannot take.

My freedom - an abyss, a dark lake -

you block when you are not with me!

Now words unsung, in agony,

will die. They’ll become estranged.

A kind of joke - my small revenge,

when there’s no love... or gratitude,

and there are worse things that I could do - like being silent for too long.

I am strong, yes, very strong!

I guess, you call it “writer’s block”!

(angry) Release some feelings you have locked!

Or I challenge you to sing a song

for Cain, whomever... You belong

to me. And you will not prevent

my anger! I am your Thomas Kent,

but I will not answer your call,

until I see your tears fall,

until I hear you beg for me!

Maybe then I will agree

to embrace you once again,

for I will see that you’re in pain,

you’ll be humble and devoted too.

I’ll have you then! The entire you!

Parallel to His monologue it becomes clear that Elise’s work doesn’t go well at all. She is trying to write in the meantime, crunching pieces of paper one after another. She gets upset and annoyed.

ELISE:

My Goodness! What happened?

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ELISE:

(cont’d.)

Am I burned out?

Where are these sounds - silent, yet loud enough so I can hear them? Where’s Thomas Kent?

The rhymes are coming, but they don’t make sense!

And where is the feeling that makes me sing?

HE:

(again he refers more to himself, not to her) Why don’t you ask Cain? Write about him!

ELISE:

(she also speaks to herself; she simply considers her own problems aloud) Cain... He is here, but I do not see

when I’m on my own, that Cain could be He.

Do I live too much in my dreams -

so that I cannot accept my relation with him, and I keep searching for my Thomas Kent.

Isn’t it silly? I have no strength

to accept Cain the way that he is

and to see in somebody real that my plea has been answered. I always compare him with Him, whose other name’s love, and my vision unseen, who lives in my heart in the castle I built...

and letting myself go brings a strange sense of guilt for... I miss him so, and I feel He misses me too.

Unreal, untouchable like the early morn dew -

still handsome and wonderful! Answer me, please!

(she turns directly to Him)

For without you there will be no more Elise!

It’s useless! I will only sigh with this pain, for you’re only locked up inside of my brain!

Through the monologue that follows, His whole expression and grace is 70

affectionate and fondling, but there is no any physical contact. He tries to hold her – in fact He could express a hug but without actually touching, He is by her, beside her, He might even kneel while talking.

HE:

Have you really been so lonely?

Have you recognized love, dear friend!

A white swan’s feather solely

upon your palm will slowly land!

Your shyness often talks about

caress that has not yet appeared.

Your tender soul is full of doubts,

your lovely eyes are drowned in tears.

And you will beg again each time

for another chance to be

with happiness, you can’t define

the next attack of agony.

And weak, at last you’ll quiet down,

I’ll be the one who you’d call again!

You’d cry on my chest for the swan,

and I’ll be singing out your pain.

This lovely song I’ll give to you,

so you can make love to it,

and then I’ll vanish... like the dew,

and you’ll enjoy my fairy gift!

You will sigh and close your eyes

as refrains will hang above.

I sing to you, you like my lies

for they’re your substitute for love.

While He was talking she began to write. He leaves her alone for a while, then returns to whisper something in her ear. She continues writing. He whispers again. She crosses something out and continues writing. It seems that her work 71

is done. She reviews it and turns directly to Him again, but this time she is searching for Him in her room.

ELISE:

What are you? A breath deep within me,

or a physical body that calls me and pleads?

What am I? Flutes that sing in my spirit, or forests full of rhythm and lyrics, or words that will appear from under my pencil, or pictures, always elusive but handsome, or...

He explains it all to her like to a blind human. He makes her stand up, walks her on the stage, He leads her, makes her sit on the couch, expresses a hug, and expresses taking her hand but without any physical touch. Then he may take a pullover to cover her but without touching it.

The pullover covers her by itself. Then he goes to the cupboard and pours a glass of wine – again with no touching. All the practices are unreal/

surreal but the effect is well-accepted by Elise. She gets up to take her glass.

HE:

All that you mentioned is what you are, dear!

And I’m the one, who always appears

in front of you. I AM YOU; still I’m Thomas Kent, or Faustus, or Hamlet, or any other name, or hero, or story, which through the centuries came...

You long for words, yet you lock them in a frame.

ELISE:

(thoughtful)

I thought for poetry there was no place.

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HE:

Marlowe and Emily, they sigh. Just embrace them! You long for words to come to you from the air, but they get sick from your mediocre despair for you want to live too. This is my wish as well!

Look at the books that are on the shelf!

They’re yours. The mortals’ memory is ungrateful: what counts is only what’s left on a paper, so that they can re-read it once in a while and remember this or that innocent child to which once they also refused to give place.

Vincent and Mozart... They all were my mates, like you are. You all are so different and strong.

For some of you it was easy to accept they belong to me and me only. Forget your small fight!

Obey! And you’ll write all day and all night.

These books are yours. You’ve been chosen by me!

Follow me! I will show you my reality

which isn’t less real than yours, but the pain will subside. You’ll be mine again and again, and all your sins in the past will be forgiven. I’ll find peace at last.

The telephone rings. He makes the receiver move by itself, in order to hand it to Elise - again without touching it. Elise picks it up.

ELISE:

Yes?... Cain! Hi!... I am writing... or sort of... Well, please... Yes, call me later! Yes, bye!

Here He stops using the pin-microphone. The actor begins to talk with his own voice. She orientates to His voice and walks directly to Him, but the actress’ task is to represent a blind person: Elise cannot see Him.

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HE:

Oh, a small victory! This was so much better! (pointing at her books) Is temptation the only thing that does matter?

Is it the thing to take you where you belong?

These papers, these words that I give you, along with my company - moments to contemplate at, moments devoted to me and to belated desires and wishes. Your Thomas Kent

is here, my dear. You need to take my hand and let me guide you through time and space!

My body and soul are a wonderful maze

of songs and visions that will only be known to you - if you give me the rest of YOUR soul, for one part of it always belonged here with me...

ELISE:

I can hear you!

HE:

You always can hear me, indeed!

ELISE:

I hear you! Always?

Yes, I’ve got moments like these

but now it’s so clear! Oh, speak to me, please!

Who are you? Where are you?

HE:

Oh, still blind to see!

Soon this will also happen. My plea

has been heard! Elise, oh, don’t be afraid!

You know me. No need to be really acquaint-ed to me - we’re old friends.

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ELISE:

Have I gone mad?

HE:

You only remembered your talent and let it released this time at one hundred percent -

What you are doing is giving me the chance to be reborn.

ELISE:

Oh, God! I don’t want these rhymes!

HE:

No need to fear! You never declined

them before, or almost ne’er, I agree.

And now I’m all yours, and you’re here with me.

Hear my stories and please, take the pen for neither the time, nor the space exist when you write while I sing - like it’s always been.

Poetry will be born of the kind not yet seen.

He leads her tenderly to the desk – again no physical contact. In fact, He directs her to the desk. The concept of the next dialogue is the discovery of two people. The scene is meant to be beautiful. It is the task of the actress to express the unlocking of senses and perceptions, the feel of touch and her positive attitude towards this. Elise takes some paper and a pencil. Then, He leads her to the couch where they sit together.

HE:

(cont’d.)

Thomas Kent.

Silence - to give Elise the time to clarify her own perceptions.

75

ELISE:

Your breath is the tenderest music!

HE:

(watching her)

On your eyelashes melodies dance!

He takes her hand (physically) for the first time, Elise feels it.

ELISE:

Your hands are sounds most elusive!

He makes her stand up. Music – they both start dancing.

HE:

And beyond music wanders your glance!

(He looks at her) Your eyes! Oh, Goodness - your eyes!

Symphonies of light now appear!

ELISE:

Just say a word and I’ll happily die!

HE:

With the melody of my voice in your ear!

They dance.

ELISE:

A lot of pain, my Thomas Kent!

HE:

Yes, fools within a crowd with fears.

He touches her hair, she surrenders to the feeling.

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ELISE:

And the steps that we have made

towards finding ourselves...

HE:

They’re unforgiving!

They stole love away from us,

extinguishing it like a danger!

Immortality is hurt

for seeing us become two strangers...

ELISE:

They took it from us, Thomas Kent!

HE:

They couldn’t use it all the same.

Because you dared, with pain you paid,

and got the change - a sense of shame.

But now I’m here. I shall not

allow you to be hurt again:

the rhymes, the words, the sound, the plot will be your sure hideaway.

Here the music fades a bit, and the dance should stop to give Him time directly to swear His love.

HE:

(cont’d.)

I take you in my arms, you love me.

Be mine - on you the pain won’t slot

again, and all the stars above me

will witness this, and I shall not

misuse your feelings like they do!

Believe me, love! For you I’ve sent,

and here you are. Emotions true

77

HE:

(cont’d.)

gave birth to your Thomas Kent!

The music amplifies again; they keep on dancing. Lights fade.

Scene 6:

Lights turn on. Elise is sleeping in His arms. He wakes her up tenderly.

HE:

I need your affection! You’ve slept for too long!

ELISE:

The time?

HE:

Doesn’t matter! I felt so alone!

ELISE:

I’m so tired!

HE:

Oh, who needs to sleep?

The emotions you dream of

have sense much more deep!

And there is no time where I have come from, and words ageless and fame is where you also belong!

ELISE:

I’m tired!

78

HE:

I beg you, Elise, please wake up!

ELISE:

It’s quarter past three!

HE:

 

No, it is not!

Let us make love - the sounds and the rhymes are me and the time... Who cares about time?

Elise, please, wake up!

ELISE:

I’ve had enough!

HE:

Elise, is this what you would call love?

Lovers should be together all night and all day!

ELISE:

Lovers? A-ah! (trying to fall asleep)

HE:Please! Are you afraid?

OK! I’ll prove to you - my breath is alive:

“The castle in sadness was dreaming - deprived of its Master. In spite of the silence there, the willows and the river whispered a prayer, and thousand of sounds together did bend in only one name: Thomas Kent.”

Elise gets up, takes a pencil and a paper from under a pillow and puts His words down right away.

79

HE:

Oh, now it works, no matter how late

it is. Will you realize that I am your fate!

And don’t fight each time because I get hurt!

And love me, Elise! Forget mortals’ dirt of primitive needs. It is so plain -

take pen and paper and let’s do it again and again - I am yours!

Only open the doors

to fantasies and let them real

and free run out! Follow them in a madly chase!

My power then, I will reveal

and safe you’ll feel in my embrace

and only there!

Elise stops writing in the meantime and lies down again, turning to the other side.

HE:

(angry)

Elise! OH, LOVE ME! Wake up! Now!

I shall no more wait! The sounds

do not have patience!

ELISE:

Oh, these rhymes!

Stop! For them there’s also time,

but it’s not now!

HE:

YOU ARE NOT MORTAL!

You love their chat, you love their chortle!

You love me! Why do you deny it?

It’s I and only I! The sky is

dark, and there is no more sun

for you without me! I’m the one

80

HE:

(cont’d.)

that you need the most! You know it’s me!

Then, why the hell, no harmony

could be reached with you? The pen!

Your hand and body I do rent

to serve a purpose greater than

you can imagine! Take the pen!

You’ll love me and I’ll love you too!

ELISE:

I’ll no longer fight you!

I promise!

He sighs, swallowing his anger. Elise sits at the desk, and covers her head with her hands.

ELISE:

(cont’d.)

Where does this gift come from?

HE:

(ironically)

Where does this gift come from?

ELISE:

In my head blow thousand horns,

and I’ll go mad if I don’t write...

Sometimes I wish that I could hide

away from them for I’m not ready

to take them all... Where.. this ... comes... Daddy!

Daddy will take out the paper

where I struggled with words.

He’ll look at it in silence and later

81

ELISE:

(cont’d.)

when we will be just the two of us,

he’ll correct my mistakes criticizing,

for I’m not as strict as he is,

then he’ll hold me tenderly sighing,

and in his blaming look I will see

that he loves me for I am his girl.

“My dear, you don’t read enough!”

“Daddy, what must I do?”

“Here!” - his voice will be hard -

“Let me read to you from this book.

No colours or pictures - just words!”

And he will read them to me,

and as I will surrender the verse,

he’ll smile secretly for he’ll see

that I am really his girl.

“This is the craft of perfection!

It lives in your palm and your heart!

Words have different complexion;

Put together they make Art,

and you can create it, my girl!”

HE:

How touching! What you don’t know, dear, is that this gift of yours appeared long before you even lived.

The stars have crossed their ways. Your gift searched them all - just one by one until it chose yours. Then it calm—

ly stopped there, and its destination

was recognized for its temptations

were safe with you: you’ll love and wait, you always suffered but obeyed its demands, and you still praise

82

HE:

(cont’d.)

the kiss it left upon your face.

ELISE:

I don’t believe a single word!

HE:

As strange as it may sound! Absurd

is sometimes true. A star upon your brow has shone the moment you were born.

I searched the skies for a star like this for I knew that it will be your kiss that will make me real and alive!

Yes, you will kiss me! Now you’re too shy but we belong together since you were born

and the throne

of Heaven will be in your feet

for you will make me live. The sweetest happiness then in your hand

I will lay for Thomas Kent

will be alive.

The telephone rings. Elise hesitates for a moment then picks it up.

ELISE:

Yes? Hi Cain! I cannot believe it’s already morning! Well... (she feels Him embracing her shoulders) I... I can’t... No, I can’t!... OK. Bye.

HE:

What did he say?

83

ELISE:

He’ll call me back!

HE:

You will obey true feelings, dear!

Now when you know that I am here,

and when you hear my voice

believe me, love, there is no choice

to be made. At least no more!

Cain’s not the one who you adore!

Being still blind, you have not seen

your Master Kent, but in your dreams

how many times have you spoken with him?

How many times your senses were dimmed

when you two kissed? How many times,

breathless in its run, your heart

would cease to beat when you made love

to him... His eyes, his lips, his hand, his touch... You feel the burden when you cannot find him in the crowd

you walk in every day. He’s the sounds

you think you hear in your head.

But you embrace him not, instead,

you cry and blame him saying he’s not real.

Is it unreal the love you feel?

The melody that your heart sings...

ELISE:

(interrupting)

Stop! It’s a torture! You lead me in -

far beyond my real life!

It eats me up - awaken strive

that has no future - no today, and no tomorrow!

My pillow’s poisonous with sorrow.

I lay each night in my bed,

84

ELISE:

(cont’d.)

and my dream is so upset!

I crave to dream and not to wake,

but the dawn, so cruel and fake,

it comes each time, and he is gone,

gone from me and I’m alone!

He is poetry, he’s love:

a handsome dreamer, aware of

his talent only, my other self!

Above the vicious thoughts he dwells,

above hate and pride and strife!

He is made of light, yes, light!

With the Sun he should be compared!

His eyes are lit, and even the air

around him glows! Master Kent,

can you hear me praying when

I come back home from outside,

and I feel choked by thousand lies,

and I feel drowning in the dirt,

I’m hurt and sick is every word

of poetry and beauty pure...

And who I am, I’m no more sure,

and I gather all my strength

to build from scratch my world again -

my world of harmony and love

where even the rain is pure enough

to make the golden valleys gleam,

in the kingdom where He is the king!

Master, do you hear me pray

about this lovely hideaway?

HE:

I do. Believe me love, you’ve hurt enough!

What this world’s given you from your birth 85

HE:

(cont’d.)

is homelessness, mud on your face.

Oh, come with me and leave this place!

I promise you another world!

Each sigh of yours, each tear like pearl which comes out from your eye: a living soul killed with a lie

or intrigue and envy - mortals’ dirt,

as I said - now what’s absurd:

life outside in its chains of vanity,

or Thomas and his harmony?

What is more real - the fading star

of a world with thousand scars

of feelings fake, misunderstood

vocations, violence and rude—

ness, or the touch of light

upon your brow when you first cried,

taking your first breath of air,

the mark that gives you the power to dare and see the things the way they are in perfect worlds, upon stars

of perfection. These little suns

you will visit...

Interruption, the phone rings. Elise picks it up and shouts.

ELISE:

What? NO!

Elise slams down the phone. Pause - she cannot believe what she did; HIS assessment – He is absolutely surprised. Elise goes to the cupboard, pours a drink and sits down on the floor. The dialogue that follows has to be intimate.

86

HE:

He shall call no more!

ELISE:

I closed another door

Forever! And alone, and cold,

ashamed of dreaming, I will roll

on the floor again. What did you do?

HE:

You slammed down the phone!

ELISE:

It’s not true!

Each time I find my way to them

you come with your lies, and then

I’m left with poems and sighs suppressed!

HE:

I require loneliness!

You will not manage to derive

and learn your lesson as their pride

and their ego, these are not

made for you, my love. A lot

more different you are from them,

and I’m too jealous to let you stand

among them. They’ll cover you with their dirt, they’ll call you “weird”, “introvert”, they’ll laugh enviously behind your back, but deep inside they wish instead to be like you!

ELISE:

Now I hate what I am!

To be so different...

87

HE:Look! A pen.

A simple object - in the hand

of someone ignorant like them

it will be silent, but in yours

it brings the songs of fairies’ chorus

to life - this very pen.

What means then “difference”? For you can be different just if you’re in love with me, but lovers hurt in agony so often. It is only love

that can bring you far enough,

with its cheating tricks and sorrow,

to dig the feelings you would follow

and reach perfection - poem, prose

about a nightingale and a rose.

ELISE:

Thomas Kent! If you are real

I command you now - reveal

yourself, your face and let me see

you, in light and dignity,

and let me love you as I can!

Reveal yourself NOW, Thomas Kent!

HIS Revealing – left totally to director’s decision. Now she can see Him.

HE:

Well, I’m here!

ELISE:

Master Kent!

HE:

Don’t be afraid of who I am!

88

ELISE:

I know you! Like...I saw you once...

HE:

Through the years we had the chance

to be together.

ELISE:

(interrupting)

Yes! Many times!

You sang beside my bed the lines

of tales beloved when as a child,

I was afraid to fall asleep. “Wild

imagination” - mom used to say

when I’d tell her the next day

all about my Prince of Stories,

and she would get upset and worried,

and later on she’d make me feel

like I was lying. This sense of guilt

chased you away. And bit by bit

I’ve forgotten you and your sweet

lullabies.

HE:But now I am here!

And I’m surprised that you don’t fear

of seeing me!

ELISE:

I know your face.

I know your eyes. I know the shades

of your gentle voice. It’s deja-vu:

the way you move, and your smile too

I know. Why did you keep me waiting

for so long before I can embrace you

89

ELISE:

(cont’d.)

and reach at last my promised shore?

HE:I was here but ignored.

Aren’t you afraid at all?

I thought that you would scream or... fall unconscious... I was not expecting this...

Will you kiss me? Just one kiss!

But this will mean another world!

ELISE:

And by your side I will be curled!

Believe me, I am not afraid.

I love you.

HE:

I love you too. (Elise wants to kiss Him) No! Wait!

You love this world too. You are

a part of it. This is your star...

ELISE:

(interrupting)

With thousand scars. My farewell

will be sweet if you will tell

me tales again. In your embrace

I’ll be. The light upon your face

will warm me. Then, my dreamer, then

“goodbye” means nothing!

HE:And you can

just go with me? Oh, this is wrong!

I’ve longed for this since you were born 90

HE:

(cont’d.)

but now I fear. Oh, this face

I craved so long to touch. The space,

the time, the distance I will ride

to make you once again my bride!

But now...

ELISE:

Are you the one I hear?

Are you the one who’s always near?

Are you the one who takes my hand

and loves me on the rainbow when

I’m hurt and bleeding. Are you the one

sitting next to me when swans

would fly upon the piece of paper?

Are you the one who years later

when I grow old will stay with me.

HE:

Yes, I’m the one.

ELISE:

Then break me free!

Kiss me and lead me ahead!

HE:

Poetry that’s never read

by human is my wedding gift for you!

A passionate kiss. Elise gets ill. He takes her in His arms.

ELISE:

Adieu, adieu!

Please guide me!

91

Elise dies in his arms; He takes her away, and they leave the stage.

Pieces of paper spill around. Lights go out. The sound of wings flying away can be heard. Again only one ray of light. The paper rolls on the floor. The white feather is blown up and makes slowly its way from the floor to the semi-opened widow in the ceiling where it flies away.

Epilogue:

There is something greater than

what we can fight although the pain

sometimes makes us scream and cry.

A world in exchange for a single try...

The morn a peaceful craving holds,

Rest and freedom for the soul

that always searched too far ahead

in beauty it could not forget -

To follow words in a lovely lace...

Is there for poetry a place

around?

92

List of Illustrations by Simeon Spiridonov in Order of Appearance: “The Two of Them Asleep”

“Phoenix”

“Elf”

“Mermaid”

“The Dream”

“Stealing Beauty”

“Icarus”

“Air”

“Pegasus”

“Through The Distance”

“Fire”

“Impression III”

“Impression IV”

“Water”

Thomas Kent An Art Book

Eliza Witte (c) 2008

Editor:

Nadya Emanouilova

Consultant:

Kalina Petkova

Technical Consultant and Computer Design: Stanislav Petkov Imprint:

www.izdavam.com

A Note From The Author:

Special thanks to my mom who was my senses while I was writing this.

Eliza Witte was born in 1973. Simeon Spiridonov was born on She has been writing poems 20th August 1944 in the town of since the age of 5. Although her Sevlievo, Bulgaria. He graduated mother tongue is Bulgarian and from the Prague Academy of Fine she is Austrian from her father’s Arts and soon after his graduation, side, in 1995 she started writing he established his name as an poetry in English, which was a illustrator and a painter with his foreign language to her without own unique style. His works have an equivalent in either Bulgarian been displayed in exhibitions or German.

around the world - Spain, The

Czech Republic, USA, Russia,

Apar t from poetry, Eliza’s Mexico, to name a few.

literature activities involve writing

for the theater as well as screenplay He has recently been nominated for writing. She also acts as a signed “100 Top Painters of 20th Century”

lyricist and develops her skills selection of the biggest French in the genres of rock and pop publishing houses. The artist shows music.

distinct interest towards talented

children. He is an initiator and a

donor to the first small-town school

gallery on the Balkans.

 

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