Lucid by Dana Hall

This Play is the copyright of the Author and must NOT be Performed without the Author's PRIOR consent

SCENE ONE
At Rise: The stage is dark. IMA enters lit just enough to see her face. There are birthday balloons and a small wrapped present with a large tag ‘to Ima’. She is drawn to it. She holds it. CLAIRE and MARK enter from opposite sides of the stage. CLAIRE and MARK act as though they are holding a cake but there is nothing in their hands.
CLAIRE and MARK walk towards each other not noticing IMA.

CLAIRE
(entering singing)
Happy Birthday to you/

MARK
(entering singing)
Happy Birthday to you/

CLAIRE
Happy Birthday, dear Ima/

MARK
Happy Birthday to you.

CLAIRE
Make a wish.

MARK
Blow out the candles.

CLAIRE and MARK stop and stand motionless. IMA unwraps the present. It is a music box. She winds up the box and it plays softly. She moves to the music. The music begins to skip beats. As the music fades, so too does IMA. She melts to the ground as the spotlight washes over. CLAIRE and MARK exit. CLAIRE takes the balloons. MARK steps over IMA.

IMA
(She begins crawling, rocking, shifting)
What is, when there is no more?
I am.
I am unbroken. I am underneath.
(She rises to her feet)
I. Am. What is...when there is no more...
(Confidently)
The remaining piece that is unshatterable. I am/

CLAIRE enters.
CLAIRE
(Cheerful)
I see you’ve finally gotten yourself together. I’ve been calling you.

IMA
I must’ve fallen asleep doing homework.

CLAIRE
Well, let’s get downstairs. We’ve been waiting. You know your father doesn’t like to be kept waiting. Come on- dinner is on the table.

CLAIRE exits.

IMA
I am unbroken.
BLACKOUT

SCENE TWO
At Rise: Lights up on center stage. MARK sits at what would be the head of a dining room table. CLAIRE enters with two plates of food. She serves MARK and sits opposite him. IMA has but a piece of meatloaf sitting in front of her on her plate. She sniffs it. She is disgusted.

CLAIRE
How was school?

(IMA answers after a long pause.)

IMA
Fine.

CLAIRE
That’s all?
(IMA does not answer.)

MARK
Your mother asked you a question.

CLAIRE
It’s fine. She’s had a long day and was up late studying /

MARK
(visibly upset and growing angry)
Answer your mother’s question!

(IMA doesn’t answer.)
MARK gets up and walks behind IMA.

MARK
Who does she think she is?/

CLAIRE
Mark, she’s just a child. She’s a good kid/

MARK
Keep making excuses for her and see what she turns out to be/

(IMA has her knees to her chest. She covers her ears. She chants aloud, “I am unbroken. I am underneath.” She is ignored.)

CLAIRE
Stop! Stop it Mark/

MARK
You’re going to tell me what to do?

CLAIRE
No, I wasn’t- I mean- it’s just that she’s...I’ll handle it, is all.

MARK
Then handle it. Or I will.
(MARK returns to his seat. IMA chants to herself. CLAIRE watches a moment then touches IMA’s hair gently.)

CLAIRE
Ima. Ima honey, you’ve barely touched your food.

MARK
(under his breath)
This is what you’ve raised.

CLAIRE
(to IMA) Can you just try to eat a little?

MARK
First, she’s late to the table. Now, this- what? A hunger strike? Like she has it so hard/

IMA
But I/ (don’t eat meat)

CLAIRE
(blurts out)
Eat! Just eat. Eat-Ima!

IMA
(pleading)
Mom/ (why won’t you listen)

MARK
(irate)
Enough. I’ve had enough. (to IMA) Don’t you run your mouth to her-You hear me? Hands folded-Now!

IMA
They are /

MARK
Are you trying to be cute? If you’re not going to eat you’ll sit there like you have some common decency! She’s making me have to raise my voice at dinner. Do I like raising my voice Claire?

(CLAIRE shakes her head ‘no.’)

MARK
On- the- table, Ima -Now!
(IMA puts her hands up closer to the table they float above it as she cringes at nearly touching the meat.)

MARK
Is your daughter trying to piss me off?
(MARK starts to walk towards CLAIRE.)

CLAIRE
(fearful)
No! No, she wouldn’t do that- right Ima? Hands, on the table dear you know that’s what Daddy wants.

(IMA rests her hands on the table.)

CLAIRE
That’s right. Good girls do what they’re told.

(MARK is back in his seat. He pokes at his food.)

MARK
(Disgusted)
Claire, my food is cold. Claire! I said my supper is freezing.

CLAIRE
Sorry dear, I’ll get you another plate/

(CLAIRE moves quickly towards him. She goes to reach for his plate. She nearly has it when he moves the plate with his other hand.)

MARK
(leans in)
Make it quick.

CLAIRE
(apologetic)
Of course.

(CLAIRE exits. IMA is uncomfortable as she continues to sit with her hands folded. Eyes forward. Silence then...)

MARK
(frustrated)
What’s taking so long? (MARK yells) Claire! Claire!

CLAIRE
(shaky voice)
Coming dear!

(MARK grunts angrily, throws down his napkin and storms off to the kitchen.)

IMA
(She begins rocking)
I am unbroken. I am underneath. I am what is when there is no more.

(SFX: Kitchen drawers slamming closed.)

The remaining piece that is unshatterable. I am/

(SFX: Glass shatters.)

(IMA is startled. She runs off to the kitchen.)

BLACKOUT
SCENE THREE
At Rise: IMA’s bedroom. Minimal set. A chair. She is sitting wrapped in a blanket writing in a journal.

IMA
I’m not sure what to write about these days. Mom says that things will get better once work settles down and dad can relax. Ever since he lost his job and started working at the factory he’s been -different. She says he loves us and wants to provide a nice life for us. But then why is he the way he is? What’s the point if we’re miserable. I don’t understand why we just can’t be normal, you know, like a regular family.

(We experience IMA’s writing come alive around her. CLAIRE and MARK enter and act out IMA’s words as she narrates. She enjoys the story so much she loses herself in it.)

IMA
If I could go back I would. I don’t know how we got here. A few years ago things were so different. In the early evening, Dad would come in from work, take off his jacket. He’d call for mom. They’d embrace. He’d ask what was for dinner and how her day was. She’d leave to get dinner started while he’d relax in his chair, put on the news, and take a nap. Then, I’d come downstairs from my room.

(IMA puts down the notebook and enters where MARK is sleeping in his chair. She covers him. He stirs.)

MARK
Hi, honey. How was school?

IMA
Same old. I don’t get why I have to take algebra.

MARK
Not this again/

IMA
Well, I’ll never need to know how to solve a trinomial. 2+2 is one thing, knowing how to expand (7x-6) to the 8th power is so useless.

MARK
We’ve been over this, algebra teaches critical thinking. It’s about expanding horizons- it’ll give you options, honey. Options so you don’t end up like me- working in a factory with no air conditioning twelve hours a day. You’ll use your mind- make a difference, not be a schlub like your old man.

(MARK kisses IMA’s forehead.)

MARK
Now go start on your homework it’s nearly dinner.

IMA
Fine, but it’s still dumb.

MARK
You’re strong-willed like your mother. Now go- and do not stomp up those stairs.

IMA
What if I do?

MARK
You’re not to old for the tickle monster.

IMA
Dad, you’re so lame. I’m too old for that stuff/

MARK
(fun and innocent)
Tell that to him.

(MARK makes a puppet with his hand.)

Oh, looky here he brought his friend- Mr. Driller/

IMA
No! No not him, anything but him. I think when I was 5 I nearly peed my pants!

MARK
(playful)
Then you’re gonna want to get out of here because Mr. Driller is...oh no, he’s....taking over...he’s winding up.

(MARK makes his pointer finger whirl in circles. He starts jabbing towards IMA as he speaks as if possessed.)

MARK
Must tickle...must...(as DAD) Sorry, I can’t stop it... too powerful must/

IMA
DAD! (laughing) Ok. Ok! I’m outta here.
(IMA swats at MARK playfully and exits the way she came into the scene.)

IMA
(to us) Dad would shake his head like dad’s do as I walked away. He’d call after me/

MARK
Love you. (beat) Ahh... now where was I?

(MARK reaches for the remote and starts to close his eyes. IMA heads back to her original seat in her room she picks up her journal.)

IMA
I long for these and a thousand more mundane moments. I dream in vibrant colors about everyday things. I promise if they were to become my truth I would hold them sacred. I’d never complain, like my friends do about their parents.
(SFX door slams off stage.)

IMA
(startled)
I have to go. Dad’s home.

(IMA stands up and tucks her journal under a blanket. She nervously tries to ready herself. She takes a deep breath and heads towards the door.)

BLACKOUT