Author: Lewis Chanel

A Different Show Process

The show, I feel, went without a hitch, in that the acting and the technical issues were non existent; arriving around 1.10pm, I came in to find the beautiful set already laid out and proceeded to get into costume. My costume consisted of black socks and underwear, black trousers, black shoes, a black tie, a black blazer and a white shirt; this obviously made my character look very formal and smart, even more so when the make up was done (my hair was combed over and I was made to look older with drawn on wrinkle lines and my skin and hair shaded pale).  With still a fair few hours before show start and during the cue to cue of the lighting/sound and transitions between stages, I was able to think of last minute changes etc. to my character development. Originally, during the start of the module, I actually played the part of the blind piano tuner, and at the time, done limited research on how blind people are portrayed in the theatre and on screen. This was changed however, when it was decided that the original actor who was portraying the Count, suited the role of the Piano Tuner better and so our roles were swapped.

Since I became the Count, there were many things that I needed to Consider; with the help of our Director, we partook in a workshop on developing our characters through a backstory. Even though, it was in a very short amount of time in that we had to improvise a backstory (and that I’m not good at improvising at all), I was able to root a connection within my characters past and begin to find out what made my character the person he is and why he does those things. Because the Count seems like a strong imposing man at first, it was obvious he had a certain emotional state about himself that drove him towards his goals and into getting his own way; it is stated at one point in the script by the housekeeper that the Count had a connection with his father, and so I came to feel like that they had done more together in the past than just what normal father and sons do. I came up with in fact, that the Counts father had been doing the same kind of thing with women, as what the Count does in the present of the time of the play; I had made a story up in that the counts father had influenced the Count and made him an accomplice in the murder of the Counts mother, which in turn starts the root that the Counts madness and depravity grew from. Disturbed by what he had done and ideas’ being distilled to him from his father is what created the Count as he is at the time of the play.

Trying to be a strong imposing character in a play, can be greatly helped by posture and vocal projection; standing up straight with the chin slightly tilted up can create an atmosphere about the character and coupled with a strong deep voice can help set the mood and is instantly recognisable to the audience that the character is important and/or evil. I knew from the point in which my character was changed that I wanted the Count to have an air of importance and mystery about him; when we first meet the Count during the play, he seems quite solemn, keeping himself to himself and speaking short sentences-this helps to keep his agenda hidden. Quite soon though we realise that there is more to the Count than meets the eye; when scene 5 starts at the end of page 5 in the script, the Count and Countess are taking a walk through the forest. The Countess tries to explain about a situation that had just happened but the Count becomes more vocal telling her to be quiet and starts reminiscing about his father. During this whole scene we see a change happen in the Count, two in fact; the first is that he becomes more hostile towards the Countess, telling her to be quiet and generally ordering her to do things, which in turn sets other things in motion for the plot to evolve-the second thing is when he first meets the Snow Child and is engrossed in her apparent perfection.

Even though I had never really thought about why he kills his wives in the first place (apart from the influence with his father), I still wonder why my character becomes so attracted to the Snow Child and lets his weaknesses slip into being known. One theory could be and is said earlier in the same scene is that, the Counts father always used to bring him to the forest and tell him stories, mainly involving the snow; since the Snow Child is found outside in the snow, and that her skin is just as white as it, it seems highly possible that the connection lies between his past memories and the pure innocence that only a child can exhibit. As the story went along, my character loses the Snow Child, because of the cold, and this is the turning point for when he shows who he really is; obviously disgruntled over the loss of the one he truly loved, he starts to slip up and his anger becomes more apparent, with him shouting at the housekeeper and the Countess. By the time the last scene came around, my character had pretty much devolved and his sanity was almost completely lost; his whole persona had changed and any regal attributes he had had disappeared. Despite the fact that I was one of the writers of the play, I feel that the characters and what they do is up to interpretation and no one thing can be exactly right as many other minds had at least some influence over the events that occurred; so while I think of certain backstories to characters, other people have their own ideas, and play their characters accordingly.

The whole process of finally being able to go through the show and do a run through, with all the props, lighting/sound and costumes etc. is exhilarating yet panic can ensue especially when things on the technical side seem to be off. At one point, when the Countess’ dream scene is happening, the song ‘Mr Sandman’ is playing throughout; as we were a tech heavy show we relied on music being played throughout certain scenes, and it had gone without a hitch thus far, but when the song was played the file became corrupted in a way that was obviously noticeable and needed to be fixed as soon as possible. For an actor when things go wrong on stage, such as someone forgetting a line, improvisation can come quick and the scene can be saved, but if a technical difficulty cannot be helped and so becomes very worrisome for an actor especially if things start to go wrong about an hour before the show. Luckily the problem was fixed and the technical side of things seemed to go perfectly.

The DSM set up the props and placed them on two tables on either side of the stage in the wings, although it was made clear to us that we ourselves, were in charge of our own props and we had to make sure we put them back once used and remembered to bring them on in the first place, unless it was someone else’s job to do. One instance in the production where things seemed out of place to me was during scene 15 on page 26 of the script; a chair was supposed to be placed in the ‘bedroom’ next to the bed a couple of scenes earlier, but when I came on stage to do the scene I came around the sides of the wings to see that the chair had instead just been taken offstage. In a split second decision I decided to just sit on the bed and act it out from there; looking back at it now I think it worked better than if I did sit on the chair, so that issue was technically solved and improved which is always a helpful thing to happen.  There were instances within the performance where I felt quite awkward, mainly it was the undressing and dressing back up again; at times my fingers became stuck and I wouldn’t be able to undo buttons or pull my shirt off without it being highly noticeable; the scenes in which I had to make out with someone or have sex onstage were fine to me, it was just as long as I could take my clothes off or on without a problem and end up looking foolish in front of a hundred plus people.

There were many moments within the play where people were laughing at points where, we in rehearsals did not find anything funny with the scene; it was always a surprise when this happened and in ways we changed how we acted. During the final scene for instance my first line is said in a way which I find funny; to myself that was fine but as soon as I said it the entire audience laughed and this helped me because I needed to find the situation on stage funny. Near the end of the scene, my character was stabbed and I needed to collapse to the floor with a small vial of homemade fake blood (corn flour, water and red food colouring); the process of tipping the vial in my mouth was unfortunately very hard, and so I had to sit up with my back facing the audience, in a strange cross legged position in order to be able to tip it in my mouth; this process became much harder however, when I had to keep it in my mouth without it spewing everywhere, the taste being awful and nearly gagging on it all the while.

By Lewis Chanel

Trying To Process

Given the fact that three of us were tasked to write and adapt a fully realised script; it came to be noticed that ideas could wildly vary and that they could become compromised with loose ends cropping up throughout, the inconsistencies making the whole process that little bit more frustrating. It was our plan from the start to actually write the script for our performance rather than take an already published script from those such as Steven Berkoff or David Campton. Even though the script was fully wrote by ourselves we had much influence over the novelist and journalist, Angela Carter. Angela Carter wrote the ‘Bloody Chamber’ and the ‘Snow Child’; two stories which we created the backbone of the plot to within our performance.

The ‘Bloody Chamber’ is the story of a teenage girl who is forced to marry a French Marquis. During the story she realises the Marquis is a twisted, perverted man and clearly has something to hide especially when he tells her not to go to a specific place. For the plot to evolve, obviously the girl enters the room, finds loads of dead wives (as you do), and for romantic purposes begins an affair with the blind piano tuner who loves her musical talent. Marquis comes back, finds out the girl has been in the chamber and subsequently tries to kill he, for interfering with his dastardly plans; the story takes a turn as the girls mother comes to the rescue and shoots the count in the face, which in turn allows them to live happily ever after and make a school for the blind. The ‘Snow Child’, which being completely different yet still has disturbing events, is based on two characters, the Count and Countess, who on a ride through the forest, and the Count noticing the snow, wishes for a girl made out of one; at this point he comes across a pool of blood with a raven in it and makes the same wish. Lo and behold, the Snow Child appears and the Count falls madly in love with her, much to the Countess’ disdain.

Eventually the Countess becomes fed up with the Counts attraction towards the Snow Child and orders the Child to pick up a rose which pricks her and she dies. The Count see’s this as an opportunity to literally ‘rape’ the corpse of the Snow Child and after he’s done, her body melts into the snow and the Count and Countess go on with their lives. The way in which we adapted the two stories was actually in just taking the biggest things from each; the Count and Countess was taking from the ‘Snow Child’, along with the Snow Child herself, whilst the Piano Tuner and the Bloody Chamber itself, was taken from the ‘Bloody Chamber’. Focusing more on the ’Bloody Chamber’ the ‘Snow Child’ was implemented to secure the plot, the Count falling in love with her, practically becoming the undoing of everything that he has done. This complemented the narrative, without making it too complicated, and allowed us to create an entirely new story with just the elements of each. The first draft scene I wrote is something we all wrote, separately and with our own ideas:

COUNTESS. Once upon a time there was honour. That is what my marriage means to my family. An idea bought on by my mother as a way to gain respect from the other families. She told me that this was the only way we would ever get out of the gutter, ever since…my father passed away. I felt no point in protesting; my feelings for who I wanted to love and who I wanted to marry were out of the question, so I sat and listened to my mother’s words. She explained to me that the Count was a graceful, powerful man, who could solve all our problems, someone who had the coin to make sure we lived wealthy for the rest of our lives.

I believe my mother was speaking about herself at this moment.

She also told me about his first wife; everyone, even I, had known that his late wife had died a couple years prior, but I had never known he was married before…harlot ran off with another man, is how my mother put it. I don’t know what a harlot is, but I felt sorry for him. So I agreed to the marriage.

So my family could live happily.

So we could regain our honour.

 

The Count and Countess enter the bedroom with the Countess in front. She stops in the middle of the room and stares at the bed.

 

COUNT. Sit

 

The Countess sits on the bed as the Count strides over to a nearby dresser and starts fumbling seemingly looking for something. The Countess looks around timidly; she first notices the mirror beside the bed, then slowly observes that all around the room is a myriad of mirrors all shapes and sizes. She is breathless.

 

COUNTESS. Shyly My Lord, this room is…is amazing

 

The Count turns. In his hands we spy a necklace.

 

COUNT. Yes

 

At this moment he examines the room for himself then turns his attention back to the Countess

 

COUNT. Sternly But refrain from calling me ‘my lord’

 

COUNTESS. Embarrassed I apologise

 

COUNT. Pleased Very well…now come here

 

The Countess hesitantly stands up and walks towards the Count. He stops her in the centre of the room

 

COUNT. Beautiful

 

The Countess shows an embarrassed smile, while the Count moves behind the Countess. Gracefully he puts the necklace he has been holding around the Countess’ neck.

 

COUNTESS. Surprised Oh…what is this?

 

COUNT. A gift

 

The Count takes a step back admiring the form of the Countess

 

COUNTESS. My…but it is so pretty

 

COUNT. Still staring yes…yes it is

 

The Countess turns to find the Count glaring at her body

 

COUNTESS. Wary My Lord, what is wrong?

 

COUNT. Master…call me Master

 

COUNTESS. A little scared Master?

 

COUNT. Come over here with me

 

The Count leads the Countess over to the bed

 

COUNT. Greedily Now take off your clothes

 

The Countess is taken by surprise as her innocent nature gets the better of her. She once more becomes very timid

 

COUNTESS. I…I erm…

 

COUNT. Take your clothes off

 

The Countess just stares at the Count. After a few moments she begins to take off her gown very slowly. In his impatience, the Count rips off her gown, leaving the Countess half naked. She tries to cover herself but to no avail

 

COUNT. Now get on the bed

 

The Countess shuffles quietly on the bed while the Count circles around to the other side taking off his shirt in the process. He comes up behind the Countess and starts to kiss her neck, biting gently as he does so. The Countess is unsure of what to do at this moment so just lets him do as he pleases. As his hands move around her body, this is when the Countess loses her nerve and she starts to cry, shaking as she does. The Count moves back quickly from this, slightly disgusted of her.

 

COUNT. What is this mockery? Then realisation kicks in Ah but of course, you still retain your innocence, your flower.

He laughs

No matter, we will address this matter later. Seeing as how I am no longer in the mood I suggest a ride in the forest will better clear our heads…mayhap it will give you some time to think over the contract that we are binded in, to prepare.

 

The Count picks up his shirt and begins dressing himself as he heads towards the door offstage. He stops and turns back round to the Countess before he goes off. He stares for a few moments at her and then speaks

 

COUNT. Get dressed; I expect to see you in the foyer before four of the clock

 

The Count leaves. The Countess weeping quietly to herself stands up from the bed. She walks over to her gown and slowly puts it back on. She stares at her reflection in the mirror for a few seconds. Then she follows suit and heads offstage the same way as the Count.

 

This scene has very few stage directions, and it is the same with all my drafts; the reason behind this is because I figured there was no reason to add directions because the Director would have wanted to see things in her own way. In the final edit, my draft script had a lot of influence, even though the scene was shortened and the characters had a lot less to say.

With my next script I wrote we can see the changes before and after the editing was done:

Before

The Piano tuner is playing a soft melody on the piano, stopping every now and again like he is adjusting it. He is humming along with his tune when the Countess walks in. She stands there for a few moments then slowly starts to walk over to him. He stops playing which instinctively halts the Countess in her tracks. There is a pause.

 

PIANO TUNER. Who is there?

Another pause. The Piano Tuner smiles.

It’s okay. Don’t be shy…what is your name?

 

At this point the Piano Tuner starts to look more uncomfortable from the silence. He starts playing the piano again. The Countess, now sure that there is something wrong with the piano tuner speaks up.

 

COUNTESS. Your piano doesn’t sound right.

 

PIANO TUNER. Yes, I know. It’s my task to tune it. I don’t believe we have made acquaintance, Miss…?

 

COUNTESS. With the air of importance I am no Miss, I am the Counts wife.

 

PIANO TUNER. Oh, begs your pardon ma’am, I did not mean to offend uncomfortable I will mind my place.

 

COUNTESS. Oh no, I did not mean to sound like that embarrassed I am still getting used to the role myself, please do not be disheartened.

 

PIANO TUNER.  Thank you ma’am.

 

The piano tuner looks towards the Countess, slightly off to one side, which is when the Countess notices his disability.

 

COUNTESS. My God; your eyes…

The piano tuners smile becomes troubled

At first I thought something was wrong but I did not know you were…

 

PIANO TUNER. Uncomfortable by her reaction Blind…yes…

 

The piano tuner resumes focus on playing the piano, which in turn makes the Countess realise that she may of offended him.

 

COUNTESS. I am sorry.

 

PIANO TUNER. Don’t be sorry ma’am. I have learned to live with it.

 

At this point the housekeeper appears in the shadows, silently watching them.

 

COUNTESS. Shyly May I sit next to you?

 

The piano tuner’s smile returns

 

PIANO TUNER. Happily Of course ma’am.

 

The Countess sits down next to the piano tuner

 

 

COUNTESS. Are you a teacher too?

 

PIANO TUNER. A teacher? Yes, I suppose I am.

 

COUNTESS. Will you teach me?

 

PIANO TUNER. Happy It would be a pleasure ma’am. The Count isn’t found of playing himself. I expect he only keeps me around for when he hold parties.

 

COUNTESS. Will you play something for me?

 

PIANO TUNER. Certainly ma’am.

 

COUNTESS. Please do not call me ma’am; my name is Elizabeth.

 

PIANO TUNER. Certainly Elizabeth.

 

The piano tuner starts to play a melody never minding about the corrupt sound coming from the untuned piano

 

COUNTESS. Breathless That…that was beautiful.

 

PIANO TUNER. Nervously May I, may I see you?

 

The Countess seems confused at first but when the Piano Tuner raises his hands in the air, she understands what he means.

 

COUNTESS. Yes, you may.

 

The piano tuner gently touches the Countess’ face and starts to smile.

 

PIANO TUNER. I think pause I think it’s you who is beautiful.

 

At this the Countess removes his hands from her face

 

COUNTESS. Please, don’t.

 

The housekeeper withdraws offstage

 

PIANO TUNER. Oh no, ma’am I didn’t mean to…

 

COUNTESS. No please, I’m just…I’m sorry.

 

PIANO TUNER. Tell me what is wrong…please.

 

COUNTESS. I don’t really know myself.

 

PIANO TUNER. Try.

 

COUNTESS. I…I met this woman in the forest.

 

PIANO TUNER. A traveller?

 

COUNTESS. No, she was filthy…but not just her appearance, the things that were coming out of her mouth were, they were…

 

PIANO TUNER. What? Tell me.

 

COUNTESS. Lies…I’m not sure, she seemed hysteric; but the thing is…she seemed to know the Count; she seemed to know the castle.

 

PIANO TUNER. How can that be?

 

COUNTESS. I’m not sure, but she mentioned a certain room…a room I have been forbidden to enter…a room on the west wing…a chamber.

 

PIANO TUNER. A room like that was never mentioned to me…

 

COUNTESS. That’s because the count doesn’t want anybody entering that chamber.

 

PIANO TUNER. But why?

 

COUNTESS. The woman…I could feel the madness emanating from her; whatever she saw in the chamber, whatever happened…it broke her mind.

 

PIANO TUNER. My God…

 

COUNTESS. What? What is it?

 

PIANO TUNER. I remember hearing stories when I was younger…about a woman…

 

COUNTESS. Yes?

 

PIANO TUNER. They say she came to town once in the middle of the day, covered in blood. They say she was ranting about horrors at the castle, horrors of which nobody had ever before seen.

 

COUNTESS. Why didn’t anyone do anything?

 

PIANO TUNER. They did…but the Count was just as powerful back then as he is now; the castle was investigated but nothing was ever found.

 

COUNTESS. Well for God’s sake, rooms just don’t disappear!

 

PIANO TUNER. But that’s what I mean. He’s a man of influence; many were and are still scared of him. Everything was dismissed once the blood was found to be the woman’s own coming from a wound on her head. The story goes that she hit her head in the forest and imagined the whole thing.

 

COUNTESS. And what became of her?

 

PIANO TUNER. It is said she retreated into the woods, where she became lost in her own insanity. She became something of a myth, terrorising those who get lost in the forest, like the monsters of old embarrassed but that’s just kids scaring other kids.

 

COUNTESS. If what you say is true, then that woman is the one from the story. I think I need to find her.

 

PIANO TUNER. Elizabeth, you must be careful.

 

COUNTESS. I will be…as long as you will look after me?

 

They start to get closer

 

PIANO TUNER. Yes

 

COUNTESS. You will help me?

 

She brings him closer

 

PIANO TUNER. Yes

 

COUNTESS. You will love me?

 

Their faces are centimetres away now

 

PAINO TUNER. Yes

 

COUNTESS. Yes what?

 

PIANO TUNER. Yes…Elizabeth

 

They kiss passionately

 

End Scene

 

After

The Piano tuner is playing a soft melody on the piano, stopping every now and again like he is adjusting it. He is humming along with his tune when the Countess walks in. She stands there for a few moments then slowly starts to walk over to him. He stops playing which instinctively halts the Countess in her tracks. There is a pause.

 

PIANO TUNER. Who is there?

Another pause. The Piano Tuner smiles.

It’s okay. Don’t be shy…what is your name?

 

At this point the Piano Tuner starts to look more uncomfortable from the silence. He starts playing the piano again. The Countess, now sure that there is something wrong with the piano tuner speaks up.

 

COUNTESS. Your piano doesn’t sound right.

 

PIANO TUNER. Yes, I know. It’s my task to tune it. I don’t believe we have made acquaintance, Miss…?

 

COUNTESS. With the air of importance I am no Miss, I am the Counts wife.

 

PIANO TUNER. Oh, beg your pardon ma’am, I did not mean to offend uncomfortable I will mind my place.

 

COUNTESS. Oh no, I did not mean to sound like that embarrassed I am still getting used to the role myself.

 

PIANO TUNER.  Thank you ma’am.

 

The piano tuner looks towards the Countess, slightly off to one side, which is when the Countess notices his disability.

 

COUNTESS. Will you play something for me?

 

PIANO TUNER. Certainly ma’am.

 

COUNTESS. Please do not call me ma’am; my name is Elizabeth.

 

PIANO TUNER. Certainly Elizabeth.

He plays piano

He makes a mistake, becomes flustered and starts apologising – the countess is confused and tries to reassure.

I’m sorry it’s out of tune.

 

COUNTESS. Breathless That…that was beautiful. Will you teach me?

 

 

The Countess sits down next to the piano tuner

 

PIANO TUNER. Happy It would be my pleasure Elizabeth. It’s nice to have someone to teach. The Count isn’t fond of playing himself. I expect he only keeps me around for when he holds parties.

 

 

Pause

PIANO TUNER. Nervously May I, may I see you?

 

The Countess seems confused at first but when the Piano Tuner raises his hands in the air, she understands what he means.

 

COUNTESS. Yes, you may.

 

The piano tuner gently touches the Countess’ face and starts to smile.

 

 

At this the Countess removes his hands from her face

 

COUNTESS. Please, don’t.

 

The housekeeper withdraws offstage

 

PIANO TUNER. Oh no, ma’am I didn’t mean to…

 

COUNTESS. No please, I’m just…I’m sorry.

 

PIANO TUNER. Tell me what is wrong…please.

 

COUNTESS. I don’t really know myself.

 

PIANO TUNER. Try.

 

COUNTESS. I…I met this woman in the forest.

 

PIANO TUNER. A traveller?

 

COUNTESS. No, she was filthy…but not just her appearance, the things that were coming out of her mouth were, they were…

 

PIANO TUNER. What? Tell me.

 

COUNTESS. Lies…I’m not sure, she seemed hysteric; but the thing is…she seemed to know the Count; she seemed to know the castle.

 

PIANO TUNER. How can that be?

 

COUNTESS. I’m not sure, but she mentioned a certain room…a room I have been forbidden to enter…a room on the west wing…a chamber.

 

PIANO TUNER. A room like that was never mentioned to me…

 

COUNTESS. That’s because the count doesn’t want anybody entering that chamber.

 

PIANO TUNER. But why?

 

COUNTESS. The woman…I could feel the madness emanating from her; whatever she saw in the chamber, whatever happened…it broke her mind.

 

PIANO TUNER. My God…

 

COUNTESS. What? What is it?

 

PIANO TUNER. I remember hearing stories when I was younger…about a woman…

 

COUNTESS. Yes?

 

PIANO TUNER. They say she came to town once in the middle of the day, covered in blood. They say she was ranting about horrors at the castle, horrors of which nobody had ever before seen.

 

COUNTESS. Why didn’t anyone do anything?

 

PIANO TUNER. They did…but the Count was just as powerful back then as he is now; the castle was investigated but nothing was ever found.

 

COUNTESS. Well for God’s sake, rooms just don’t disappear!

 

PIANO TUNER. But that’s what I mean. He’s a man of influence; many were and are still scared of him. Everything was dismissed once the blood was found to be the woman’s own coming from a wound on her head. The story goes that she hit her head in the forest and imagined the whole thing.

 

COUNTESS. And what became of her?

 

PIANO TUNER. It is said she retreated into the woods, where she became lost in her own insanity. She became something of a myth, terrorising those who get lost in the forest, like the monsters of old embarrassed but that’s just kids scaring other kids.

 

COUNTESS. If what you say is true, then that woman is the one from the story. I think I need to find her.

 

PIANO TUNER. Elizabeth, you must be careful.

 

COUNTESS. I will be…as long as you will look after me?

 

They start to get closer

 

PIANO TUNER. Yes

 

COUNTESS. You will help me?

 

She brings him closer

 

PIANO TUNER. Yes

 

COUNTESS. You will love me?

 

Their faces are centimetres away now

 

PAINO TUNER. Yes

 

COUNTESS. Yes what?

 

PIANO TUNER. Yes…Elizabeth

 

They kiss passionately

 

End Scene

 

Between the scripts there isn’t that much difference, maybe a hundred words or so, but in the final edited script, the latter half seems to of changed much more drastically. Another scene that I had the pleasure to create was the confrontation between the Housekeeper and the Count, going onto the Countess and the Count. Within this scene very little had changed between it and the final draft:

 

The housekeeper and the count are alone. The count is sat pondering to himself while the housekeeper observes silently. Finally after a few seconds the housekeeper speaks up

 

HOUSEKEEPER. Where is she now?

 

Silence. The atmosphere is uncomfortable.

 

Where is the girl?

 

COUNT. Girl?

 

HOUSEKEEPER. The Child.

 

COUNT. The chamber.

 

The housekeeper is shocked

 

HOUSEKEEPER. What? Why have you put her in there?

 

COUNT. I…I didn’t know what else to do.

 

HOUSEKEEPER. You’re going to have to be more careful; you’re starting to slip up.

 

The Count stays silent. The Housekeeper starts to get impatient

 

Are you listening to me? Be cautious.

 

COUNT. It doesn’t matter anymore.

 

The Housekeeper is now infuriated

 

HOUSEKEEPER. angrily Are you insane? Your sorrow for that girl is infuriating; she’s dead, dead you hear me. And while you’re here feeling sorry for yourself that wife of yours is out there sneaking around asking questions.

 

COUNT. Where is she now?

 

HOUSEKEEPER. I observed her leaving the grounds; she has gone to the forest.

 

COUNT. Leave her, she knows nothing.

 

HOUSEKEEPER. I wouldn’t be so sure of that.

 

The Count says nothing

 

Listen to me; she’s been seen in the woods.

 

The Count becomes intrigued

 

COUNT. Who has?

 

HOUSEKEEPER. The one who escaped.

 

COUNT. I thought she died…faded into oblivion.

 

HOUSEKEEPER. Well she’s still alive.

 

COUNT. unsure What harm can she do? She’s insane.

 

HOUSEKEEPER. What is wrong with you?

 

COUNT. Nothing, I’m fine.

 

HOUSEKEEPER. You’re a disgrace. Your power is waning and your mind has become corrupted by ideals of love. Let go of that little harlot and do something about this hindrance.

 

COUNT. Get out.

 

HOUSEKEEPER. If you won’t do anything then I will remove the poisoned one.

 

COUNT. he stands I SAID GET OUT!

 

The Countess enters. She stops when the Housekeeper turns to face her. The Count sits back down. The Housekeeper turns back to the Count.

 

HOUSEKEEPER. I will take care of this predicament.

 

The Housekeeper leaves. The Countess watches as she goes then approaches the Count. He doesn’t look at her or even move.

 

COUNT. Where have you been?

 

COUNTESS. In the garden.

 

COUNT. That’s amusing; I don’t remember the woods being a part of the garden.

 

COUNTESS. taken aback I…How did you…?

 

COUNT. What were you doing?

 

COUNTESS. There has been rumours…there’s a woman in the forest.

 

COUNT. to himself So it’s true then…

 

COUNTESS. What?

 

COUNT. he stands This woman, what did she say?

 

COUNTESS. She…she…

 

COUNT. angrily SPEAK WOMAN!

 

COUNTESS. She told me about a room…

 

COUNT. temper flaring What room!?

 

COUNTESS. nervous A room that stunk of hate. A room of death….

 

COUNT. Well this is just perfect.

 

COUNTESS. distressed She told me she was not the first, that there were others before…

 

COUNT. Oh really please do go on.

 

COUNTESS. terrified that you were evil, that you were going to kill me…

 

COUNT. To kill you…

 

COUNTESS. She said that you didn’t love me!

 

The Count stops what he’s doing and stares at the Countess

 

COUNT. Love you?

 

COUNTESS. Yes.

 

COUNT. Oh my darling, I loathe you.

 

COUNTESS. No…

 

COUNT. What’s this? You don’t like that?

 

COUNTESS. You’re lying to me…

 

COUNT. Oh no, I think you’re lying to yourself.

 

COUNTESS. You are horrible.

 

The Count laughs. She goes to leave. He stops her

 

COUNT. You are mine.

 

COUNTESS. No, I’m not…

 

The Countess leaves

 

COUNT. And so it ends.

 

End Scene

By Lewis Chanel