Love, Et Cetera
By Gavarre Benjamin
© INDAUTOR
Cd. De México
© BENJAMÍN GAVARRE SILVA
Contact: bengavarre@gmail.com
gavarreunam@gmail.com
Love,
Et Cetera
(The
Indifferent Geometry of Desire and the Unreal Light)
by Benjamín Gavarre
INTRODUCTION
"Love,
Et Cetera" is not just a comedy about the
intellectual bourgeoisie; it is a surgical dissection of codependency and
existential void in the age of over-intellectualization. The author places us
in an environment where language—philosophy, psychoanalysis, translation—serves
not to communicate, but to build walls and trenches.
I. Anatomy of the Protagonists
- Francesca and
Julian (Power and the Parasite):
Francesca (Fran) is the backbone. As a psychoanalyst, she possesses the
"clinical eye" but suffers from selective emotional blindness.
Her relationship with Julian is a modern take on the tragedy of displaced
motherhood. Julian, the "composer" without music, is the eternal
puer aeternus; a manipulator who uses his immaturity as a defensive
weapon.
- Henry and Helen
(Cynicism and Absence): Henry represents
the exhaustion of reason. He has replaced life with concepts and affection
with alcohol. Helen is the one who suffers most from loneliness. Her role
as a "supposed" translator is metaphorical: she tries to
translate Henry’s silence into something resembling love, without success.
II.
The Ontology of the "Unreal Light"
The
central technical device is the rupture of realism through the Unreal Light.
These passages are moments of visceral truth. Everyday reality is the mask,
while the dreamscape is the manifestation of the unconscious that dares not
speak in the real world.
G.
STAGING PROPOSAL
- Space:
Minimalist design. Francesca’s apartment suggests cold elegance. A home bar is the central axis.
- Lighting:
Chiaroscuro. Rapid transitions (switches) between reality and the Unreal
Light (saturated violet or amber tones).
- Music:
A solitary and discordant piano blues during transitions.
SCENE
1: THE BAR
[Francesca’s
Apartment. Home bar. Warm interior light. HENRY and JULIAN on one side; HELEN
and FRANCESCA on the other. A clear visual divide between the two groups.]
JULIAN.
― Women... Do you actually get them?
HENRY.
― I make an effort to understand Helen.
JULIAN.
― No, not me. I don’t even try... Getting Fran.
HENRY.
― (Finishes his drink) I’d like another one. On the rocks.
[RAPID
LIGHTING CUT: The men’s side goes dark.]
HELEN.
― She said, “Is your husband’s name Henry? How funny!” I told her, “He’s not my
husband and I don’t see the joke.”
FRANCESCA.
― Julian wanted us to get a pet, a dog, can you imagine?... But I wasn't having
it. Taking care of something, of someone... Out of the question.
[UNREAL
LIGHT - VIOLET]
HELEN.
― (Toward Francesca) I’m not your friend; I’m the mirror where you
confirm that you aren’t quite as broken. You absorb other people's lives like a
vampire. "Translator"? For God’s sake, Fran... You can’t even
translate your own desires. Your "career" is the cheapest costume in
this room.
FRANCESCA.
― (Gélida) You are my pet, Helen. I keep you close to remind myself that
I’m not an unfinished draft like you.
[SWITCH
TO NORMAL LIGHT - PC HYPOCRISY]
HELEN.
― You see, I’m actually quite good at taking care of things. I’d love to have a
child right now.
FRANCESCA.
― (Takes her hands gently) That’s magnificent, darling. Your work as a
translator is so spiritual, so invisible... I understand you’re in that
creative "sabbatical" period. Having this safe space to talk without
judgment is vital for our mental health.
HELEN.
― I value your selfless guidance so much, Fran. You’re such a great person.
SCENE
2: SMOKE AND DESIRE
[Light
switch to the men. JULIAN opens a metal tin.]
JULIAN.
― For as long as I can remember, I’ve been tied to women. They’ve dominated my
life. (Rolls a joint) Anyone?
HENRY.
― Always.
JULIAN.
― Me neither... Ha, ha.
[Amber
spotlight on the smoke. Switch to the women.]
FRANCESCA.
― Julian... he’s not as sexual as he claims to be. He flirted with you, didn't
he? He does it as a prank. Meaningless flings.
HELEN.
― Why do you say he’s not sexual?
FRANCESCA.
― Not with me.
[The
light expands to both groups. Melancholy piano.]
JULIAN.
― “I cannot hold you, nor let you go...”
HENRY.
― “Nor know why, in leaving or in keeping...”
JULIAN.
― “Some strange 'I-don’t-know-what' makes me love you...”
HENRY.
― “And many an 'I-know-well-why' to forget you...” Cheers, Professor... How
does the rest go?
HENRY.
― Take it easy... don’t ask for that much.
SCENE
3: THE DUEL OF MIRRORS
JULIAN.
― She makes a pretty good living. She doesn't mess with me in a professional
way.
HENRY.
― I see. She doesn't analyze you.
JULIAN.
― Hardly ever. She says I’m a classic case of “Don Juan Syndrome,” that I’m
unconsciously trying to resolve a homosexual conflict.
HENRY.
― I think the same thing.
JULIAN.
― Whoa, Professor!
[UNREAL
LIGHT - DENSE AMBER. They lean in close.]
HENRY.
― Think about it, Julian. What you feel for me isn't desire; I’m your safety
net. You’re using me as your first exit strategy.
JULIAN.
― (Grabs him by the lapels) That’s a hell of a way to deny what you feel
too… Why don't you have the balls to kiss me and end this theater?
HENRY.
― (Gélido) Because if I kiss you, you become real. And I’d rather you
keep needing my help.
[SWITCH
TO NORMAL LIGHT - PC HYPOCRISY]
JULIAN.
― (A "bro" laugh) You’re too much, Henry! Seriously,
philosophy is drying out your brain. You almost had me convinced you were
actually analyzing me.
HENRY.
― (Cynical smile) Occupational hazard. One gets used to theorizing about
the nonsense our friends desire. Don’t take it to heart; it’s just drunk
dialectics. Cheers.
JULIAN.
― Cheers, Professor. But you’re one step away from asking me to lie down on
your couch.
HENRY. ― You wish.
SCENE
4: DINNER AND THE ANIMAL
[Uniform,
white dining room light.]
FRANCESCA.
― What are you thinking about so deeply, Professor? Any new theory on the human
condition?
HENRY.
― I was wondering if man is a creature of habit.
FRANCESCA.
― And?
HENRY.
― I think... just to keep up the habit, man behaves like a creature.
FRANCESCA.
― Speak for yourself.
JULIAN.
― Want to hear a preview of the blues track I’m writing?
FRANCESCA.
― I already know the lyrics… When are you adding the music?
SCENE
5: AFTER DINNER AND INVISIBILITY
[Bluish
dawn light. Francesca and Henry alone.]
FRANCESCA.
― And what does Philosophy say? Still teaching?
HENRY.
― Those are two different questions. Are you actually interested?
FRANCESCA.
― No.
HENRY.
― What a relief.
FRANCESCA.
― You’re very lucky to have Helen.
HENRY.
― She is. (Pause) I just wish she had some idea of what to do with her
life.
[UNREAL
LIGHT - AMBER. Helen appears behind Henry.]
HELEN.
― Liar. You don't miss being alone; you miss the right to be an idiot without
witnesses.
HENRY.
― (Toward the void) I liked being an idiot without witnesses. Touché.
[SWITCH
TO NORMAL LIGHT - PC HYPOCRISY]
HENRY.
― Forgive me, Helen. I’m sorry if my silences hurt you.
HELEN.
― (Understanding) I deeply respect your need for isolation, love. It’s part of your inner richness.
SCENE
6: THE REFLECTION OF THE MOTHER
[Flashback
/ Unreal Light. Francesca at the mirror. Julian in the chair with the Times.]
FRANCESCA.
— He acts like a child. And me, I’m the perfect fool who indulges his every
whim. Like I’m his mother!
JULIAN.
— Shut up.
FRANCESCA.
— We don’t even make love anymore.
JULIAN.
— What about last night?
FRANCESCA.
— That was an excellent massage, Julian, thank you.
JULIAN.
— I’m fed up!
FRANCESCA.
— He’s fed up? Your "many" lovers call ME at my own house. You
could at least apologize.
JULIAN.
— You’re with me, aren't you? That should be enough.
FRANCESCA.
— You’re an idiot. You’d starve
without me.
SCENE
7: THE CLIMAX AND THE SHADOW
[Back
at the bar. Everyone present. Tense atmosphere.]
HELEN.
― I feel sick. Disoriented. I wake up with this inexplicable pain.
FRANCESCA.
― It’s called anxiety.
HELEN.
― Fran... you’ve become very important to me. You’re my best friend.
FRANCESCA.
― (Without standing up) You too...
[JULIAN
and HENRY enter drunk.]
JULIAN.
― We’re back! Helen felt sick and took an Uber. Come on, Fran, we brought
tequila.
FRANCESCA.
― No, thanks. I’ll leave you two to it. (Exits).
[UNREAL
LIGHT - JULIAN AND FRANCESCA]
JULIAN.
― (Toward Henry) Look at me, Professor. Stop quoting dead books; please
tell me what you feel for me.
FRANCESCA.
― (Enters and observes) You two are a disaster. You're perfect for each
other—the old and the young, completing the circle. How tedious. My destiny is
to be alone. I have it resolved. It’s only a matter of time before the final
solitude.
[TIME
JUMP - MONTHS LATER]
FRANCESCA.
― Is the child Henry’s, Helen?
HELEN.
― Whose else would it be?
[The
doorbell rings. JULIAN and HENRY enter.]
JULIAN.
― Hey Fran, good to see you. Helen invited me.
FRANCESCA.
― She invited you to MY house?
JULIAN.
― Calm down, we’re leaving soon. We just came to pick up Helen.
FRANCESCA.
― (Explodes) I don’t know why you had to come here. Haven't you people
heard of phones? Just go… leave me in peace! (She cries).
JULIAN.
― (Approaches) I’m sorry, Fran. I didn't call because I wanted to see
you—in person. I’m an idiot who still loves you... in my own way. Don’t push me
away.
FRANCESCA.
― Hell of a way to love me.
JULIAN.
― It’s the only one I’ve got.
[They
hug. Henry and Helen nod.]
HELEN.
― Let’s toast! To love, and to my son.
FRANCESCA.
― That sounds lovely, but let’s toast to all of us instead! Because we’re
here... together.
[A
sharp, metallic bell rings.]
FRANCESCA.
― Julian, go open the door; that must be the pizza.
JULIAN.
― Like old times, Fran?
FRANCESCA.
― Yes, Julian. Like old times.
[Julian
and Francesca kiss. Henry and Helen look at each other and approve.]
[SOUND:
The doorbell rings again with a strange, deep musical note. LIGHTING: Suddent,
blinding white light over the door.]
[Julian
opens the door. A man enters, dressed entirely in white with a mask. His hands
are as white as milk. He remains static.]
[The
two couples stare at him with dread and disbelief.]
[SOUND:
The piano plays a final, dry, powerful chord.]
TOTAL BLACKOUT.
THE END.
