Gaspar Green, de Benjamín Gavarre. Comedia de Ciencia ficción

 

 

Gaspar Green

de Benjamín Gavarre

Comedia de Ciencia ficción

Contacto para  puesta en escena: gavarreunam@gmail.com

Personajes

 * Gaspar: (el protagonista, con piel verdosa, un "Gaspar Hauser" de la ciencia ficción).

 * Aura: (hermana menor, 8 años. Es ingeniosa y sarcástica).

 * Clío: (hermana mayor, 17 años. Es la voz de la razón, aunque se burla de su hermano).

 * Mamá: (dueña de la tienda de flores, es paciente y cariñosa).

 * Cacho: (patinador estrella, el amor platónico de Gaspar. Es una fantasía, pero aparece en videos y fotos).

 * Cachi: (patinador del Planeta Verde, amigo de Gaspar que lo ayuda a descubrir su identidad).

 * Doctora Sirisa: (médica del centro de salud en el Planeta Verde).

 * Familia y amigos en la Tierra: (en el Planeta Azul, están en un hospital).

Planetas: Planeta Azul (Nuestra tierra) Planeta Verde (Mundo alienígena)

 

Acto 1: (Planeta Azul) La piel, la tienda y el misterio

ESCENA 1 (En la tienda de flores. Mamá está terminando un ramo. Gaspar entra pensativo y Aura lo mira.)

AURA: (Con voz de ultratumba) Miren, ahí viene el Grinch del espacio. Con esa piel, parece que se tragó una ensalada de algas.

GASPAR: (Suspira y se mira la mano) Me gustaría saber si esta mano es mía o si me la prestó un alienígena. Lo que sí sé es que dibujar no puedo y que me encanta patinar. Cuando patino me siento como si fuera parte del aire.

CLÍO: (Se ríe) No tienes remedio, Gaspar. Primero la piel, luego los delirios. En esta vida, las flores nos dan de comer, no las piruetas.

GASPAR: (Mira una foto de Cacho en su teléfono y suspira) Cacho patina como si el hielo fuera parte de su alma. Y yo... yo solo soy un soñador.

MAMÁ: (Le da un golpecito cariñoso en el hombro) ¿Es amigo tuyo?

GASPAR: Sí, no. Ya quisiera.

MAMÁ: Ya me doy cuenta… tú sueña, pero ayúdame a bajar unas cajas, ¿sí?

 

Acto 2: El amor platónico y la pista de patinaje

ESCENA 2 (En un parque. Hay un cartel que anuncia un evento de patinaje. Gaspar está en su patineta haciendo trucos. Se le cae el teléfono y se detiene en un video de Cacho. Se siente una profunda tristeza. Un niño lo patea y se tropieza.)

GASPAR: (Se susurra a sí mismo, frustrado) ¡Cinco años de diferencia! Él es una estrella y yo apenas sé mantenerme en pie.

AURA: (Con una voz de ultratumba) No te preocupes, si no lo puedes alcanzar, puedes enviarle una postal. ¡O mejor aún, mándale una selfie de tu cara verdosa! (Se ríe y sale corriendo.)

GASPAR: (Se acerca al cartel del evento y ve a Cacho hablando con una chica. Siente una profunda soledad.)

CACHI: (Parece como si saliera de la nada. Se acerca con sus patines. Lo mira con una curiosidad genuina. Le ayuda a levantarse. Y le habla al oído como si no oyera bien) ¿Estás bien, Gaspar? , Yo estoy contigo…  Siempre estoy aquí.

GASPAR: (Se sorprende por la familiaridad con la que le habla.) Sí, pero... ¿cómo sabes que me llamo Gaspar?

CACHI: (Se ríe.) Tu mamá siempre me dice que eres un misterio.

GASPAR: (Se queda pensativo y luego sonríe.) Es que a veces, las personas que crees que no puedes alcanzar, están más cerca de lo que imaginas. Y… ella, cómo te conoce… Y te dónde la conoces… Mi mamá, ¿mi mamá?

Cachi desaparece sin dejar rastro. Gaspar se siente todavía más confundido de lo habitual.

Acto 3: El enigma y la revelación

ESCENA 3 (En el Planeta Verde. Una clínica minimalista. Algunas cosas son diferentes a la tierra. Por ejemplo, todos son un poco verdosos, y las flores son frutas. Gaspar está en una cama. La Doctora Sirisa, con tapabocas verde, revisa unos monitores.)

DOCTORA SIRISA: (Hablando por teléfono.) Ya está en fase final. Solo esperamos que el paciente despierte.

(Se escucha un pitido. Gaspar abre los ojos lentamente. Por un instante, empieza a hablar en otro idioma… Gligli… Glico… Gli gli…que es el idioma que se habla en el planeta verde, luego recupera su lengua del planeta azul, como convención para que lo entendamos.)

GASPAR: (Se toca la cara, confundido.) Gli.. Glico… Glicol li…¿Dónde estoy? ¿Qué... pasó?

DOCTORA SIRISA: (Tambien en lenguaje Glicoli, pero inmediatamente pasa al lenguaje humano azul) Galu, Galu… Gaka, caca, lulu, li: Bienvenido, Gaspar. Tu estado es todo un misterio. Has estado en coma semanas enteras.

GASPAR: (Mira sus manos.) ¿Y mi familia?

DOCTORA SIRISA: Tu tío y tus hermanitos… Ah… Ellos... se han ido. Tienen que atender la tienda de frutas. Pero tu amigo Cachi no se ha despegado ni un segundo. Bueno… Ahora no está. Pero volverá. Glikon, Gli… Con la ayuda de Glik.

GASPAR: (Mira sus manos.) Sigo estando verde… Siento que me voy a…

DOCTORA SIRISA: Oh, el paciente entró en coma otra vez… Kiglo, kili, kli. Es una muy mala noticia.

Acto 4: Planeta azul. El reencuentro y el déjà vu

ESCENA 4 (En la tienda de flores, Mamá y Clío hablan en la calle.)

MAMÁ: Donde se habrá metido este muchacho. Sabía que tenía que ayudarme con las cajas, pero no. Se ha de haber ido a patinar.

CLÍO: Pues ya se tardó eh… Si yo anduviera desaparecida durante dos días seguidos… Seguro y me mandas a hacer el trabajo de Gaspar.

MAMÁ: Ah, mira, qué buena idea me has dado… Sube a buscarme unas cajas…

CLÍO: Pero mamá…

 

(En el Planeta Azul, Gaspar camina por un parque y ve a Cachi, que está parado sobre su patineta. Se le acerca.)

GASPAR: Sabes, Cachi… A veces siento que estoy como dentro de una realidad diferente a la de los demás. Por ejemplo, tú… Por qué no sé quién eres y sé que te conozco.

KAI: (Le sonríe.) Sabes que me llaman Cachí…

GASPAR:  Ves, es lo que te digo… ¿Crees que hay otros mundos? ¿Y que en ellos habitan personas parecidas a nosotros? ¿Tú eres tú? (Cachi se ríe. Es como un ser fantasmal, nadie más se da cuenta de que está ahí.) Digo, no te rías. ¿Tú eres real?

KAI: Tal vez sí. Tal vez estoy muy lejos… y muy cerca… (Se ríe, pero hay algo de verdad en su voz.)

 

Acto 5: La revelación y el adiós

ESCENA 5 (En el Planeta Azul. Gaspar y Cachi están en el parque. Gaspar le muestra un video de él patinando.)

GASPAR: Mi piel es extraña, mi vida es extraña. A veces me siento como si no fuera de aquí.

CACHI: Yo te conozco de toda la vida. Crecimos juntos.

GASPAR: Naa. Eso sí no me lo creo. (De repente, en el Teléfono de Gaspar hay una notificación.) Dice que espere, una importante noticia me será Gli, gli, Klag, gluk… ¿ Gli, gli, Klag, quéee?

 

Una pantalla holográfica se enciende. La inteligencia artificial aparece en forma de Ser Cuántico del planeta Verde… Les muestra a los chicos dos imágenes en una proyección. En la primera imagen, hay un hospital en el Planeta Verde. En la otra, el Planeta Azul es el hogar temporal de Gaspar. Las imágenes muestran a Gaspar en el Planeta Verde, en coma, y a Cachi cuidándolo junto a su cama. La IA le explica que Gaspar que es una sola persona pero que su Glik Gluk se desprendió y vino a pasar una temporada al planeta azul, pero que pronto deberá regresar a su planeta.)

GASPAR: (Confundido.) Glik… Glak… Glu, glu… ¿Cómo es posible? ¿Y yo por qué hablo tan raro?

IA: Gluk, gli, gli, gluko, gliko… Es decir… Cuando caíste en coma, tu mente se separó de tu cuerpo. Ahora debes volver a él para poder despertar.

(Gaspar le sonríe a Cachi que lo abraza y ambos desaparecen).

 

Acto 6: El Despertar y el Eco de un Sueño

ESCENA 6 (EN EL PLANETA VERDE)

Gaspar se despierta en el hospital del Planeta Verde. Su piel sigue siendo verde y le han salido unas manchas rosas en las mejillas. A su lado, Cachi, con la cara verde, lo abraza. Gaspar lo mira con una mezcla de reconocimiento y asombro.

GASPAR: (Con voz débil) Cacho... ¿estás aquí? Creí que eras... inalcanzable.

CACHI: (Sonríe, aliviado) Allá soy el Carlos inalcanzable. Aquí me llaman Cachi, pero es como un apodo para Cacho, bueno, para Carlos… (Mira al desconcertado Gaspar) Bueno… Siempre estuve aquí. En el hospital, esperando a que despertaras.

 

ESCENA 7 (EN EL PLANETA AZUL)

Aura se despierta en Planeta azul. Va a la cocina, Clío y su madre la miran. Aura tiene una expresión triste.

AURA: (Con la voz de ultratumba) Se fue, ¿verdad?

MAMÁ: (La abraza) No sé de qué hablas, mi amor.

AURA: (Suspira) Se fue, pero se llevó un pedazo de mi corazón.

CLÍO: (Confundida) ¿De quién hablas?

(Clío los mira a todos, sintiendo que algo falta, pero sin poder recordarlo. El ambiente está cargado de una extraña melancolía).

 

Acto 8: La Conexión Silenciosa

ESCENA 8 (EN LA TIENDA DE FLORES DEL PLANETA AZUL)

Aura está sentada en el mostrador. Toma una taza de café que Clío acaba de dejar. La taza se vacía misteriosamente.

AURA: ¡Clío! ¿Qué hiciste?

CLÍO: ¿Qué cosa?

(La radio que está en el mostrador empieza a sonar. Es la canción favorita de Gaspar, una canción que nadie en el Planeta azul conoce, Tiene algo de Gli, Gli, Gluki, Gluki, pero muy dulce y nostálgica. La melodía llena la tienda. Aura y Clío se miran, confundidas. Sienten una extraña tristeza, pero también alegría, como si la canción les recordara algo o a alguien, pero no saben a qué o a quién).

AURA: (Se ríe) Es la canción que le gustaba a... a alguien. Kil, Kul…

CLÍO: (Sonríe) Sí, a alguien. Seguro.

(Ambas se quedan escuchando la canción en silencio. Se sienten tranquilas y felices, sin saber por qué).

ESCENA 9 (SUEÑO DE AURA EN EL PLANETA AZUL)

Aura se encuentra en un sueño. Gaspar, con su piel verdosa y un brillo especial, se le acerca.

GASPAR: (Con voz tranquila) Todo está bien, Aura. Estoy en casa, sano y salvo.

AURA: ¿Eres tú? Creí que te habías ido para siempre.

GASPAR: Siempre estaré con ustedes. Te visitaré en tus sueños y te recordaré con una taza de café que se vacía, o con una canción que te haga sentir feliz.

(Gaspar le da un beso en la frente y se desvanece).

ESCENA 10 (FINAL)

Aura se despierta con los ojos llorosos. Se dirige a la cocina, donde Clío y su mamá están desayunando.

AURA: ¡Mamá! ¡Clío! Tuve un sueño muy extraño. Era Gaspar... y...

CLÍO: ¿Gaspar? ¿Quién es Gaspar?

AURA: (Se detiene. Se da cuenta de que no lo recuerdan.) Eh... nada. Era un sueño tonto. No se preocupen.

(Aura se sienta en la mesa. Mira a su madre y a su hermana. Se siente tranquila y en paz. Sabe que, aunque ellas no lo recuerden, Gaspar siempre estará con ellas).

FIN.

 

 

 

 

 

 

Gaspar Green By GAVARRE BENJAMIN

Gaspar Green

By GAVARRE BENJAMIN

This work has been published for free and open dissemination, although all intellectual property rights are reserved. Public use of this work requires permission from the author and for permission contact bengavarre@gmail.com or gavarreunam@gmail.com (Reg. Prop. Int. Expte. Inbox)

Characters

 * Gaspar: (The protagonist, with greenish skin, a "Gaspar Hauser" of science fiction).

 * Aura: (Younger sister, 8 years old. Witty and sarcastic).

 * Clio: (Older sister, 17 years old. The voice of reason, though she teases her brother).

 * Mom: (Owner of the flower shop, patient and affectionate).

 * Cacho: (Star skater, Gaspar's platonic crush. He is only a fantasy).

 * Cachi: (Skater from the Green Planet, Gaspar's friend who helps him discover his identity).

 * Doctor Sirisa: (Doctor at the health center on the Green Planet).

 * Family and friends on Earth: (On the Blue Planet).

Planets: Blue Planet (Our Earth) Green Planet (Alien world)

Act 1: (Blue Planet) The Skin, the Shop, and the Mystery

SCENE 1 (In the flower shop. Mom is finishing a bouquet. Gaspar enters, lost in thought, and Aura stares at him.)

AURA: (In a spooky voice) Look who's here, the space Grinch. With that skin, it looks like he swallowed an algae salad.

GASPAR: (Sighs and looks at his hand) I wish I knew if this hand is mine or if an alien lent it to me. What I do know is I can't draw and I love to skate. When I skate, I feel like I'm part of the air.

CLIO: (Laughs) You're hopeless, Gaspar. First the skin, now the delusions. In this life, flowers feed us, not pirouettes.

GASPAR: (Looks at a photo of Cacho on his phone and sighs) Cacho skates as if the ice were part of his soul. And me... I'm just a dreamer.

MOM: (Gives him an affectionate tap on the shoulder) Is he a friend of yours?

GASPAR: Yes, no. I wish.

MOM: I can tell... you can dream, but help me bring down some boxes, okay?

Act 2: The Platonic Crush and the Skating Rink

SCENE 2 (In a park. There's a sign announcing a skating event. Gaspar is on his skateboard doing tricks. His phone falls and lands on a video of Cacho. He feels a deep sadness. A kid kicks him and he stumbles.)

GASPAR: (He whispers to himself, frustrated) A five-year age difference! He's a star and I can barely stay on my feet.

AURA: (In a spooky voice) Don't worry, if you can't reach him, you can send him a postcard. Or even better, send him a selfie of your greenish face! (She laughs and runs off.)

GASPAR: (He walks up to the event sign and sees Cacho talking to a girl. He feels a deep loneliness.)

CACHI: (He appears as if out of nowhere. He walks up to him on his skates. He looks at him with genuine curiosity. He helps him up. And he talks into his ear as if he can't hear well) Are you okay, Gaspar? I'm with you... I'm always here.

GASPAR: (He is surprised by how familiar he is.) Yeah, but... how do you know my name is Gaspar?

CACHI: (He laughs.) Your mom always tells me you're a mystery.

GASPAR: (He thinks for a moment and then smiles.) It's just that sometimes, the people you think you can't reach are closer than you imagine. And... she, how does she know you... And where do you know her from... My mom, my mom?

Cachi disappears without a trace. Gaspar feels even more confused than usual.

Act 3: The Enigma and the Revelation

SCENE 3 (On the Green Planet. A minimalist clinic. Some things are different from Earth. For example, everyone is a bit greenish, and the flowers are fruits. Gaspar is in a bed. Doctor Sirisa, wearing a green face mask, checks some monitors.)

DOCTOR SIRISA: (Speaking on the phone.) He's in the final phase. We're just waiting for the patient to wake up.

(A beeping sound is heard. Gaspar slowly opens his eyes. For a moment, he starts speaking in another language... Gligli... Glico... Gli gli... which is the language spoken on the green planet, then he returns to the language of the blue planet, as a convention for us to understand him.)

GASPAR: (He touches his face, confused.) Gli... Glico... Glicol li... Where am I? What... happened?

DOCTOR SIRISA: (Also in the Glicoli language, but immediately switches to the human Blue language) Galu, Galu... Gaka, caca, lulu, li: Welcome, Gaspar. Your state is a complete mystery. You've been in a coma for weeks.

GASPAR: (He looks at his hands.) And my family?

DOCTOR SIRISA: Your uncle and your little siblings... Ah... They've left. They have to run the fruit shop. But your friend Cachi hasn't left your side for a second. Well... He's not here now. But he'll be back. Glikon, Gli... With the help of Glik.

GASPAR: (He looks at his hands.) I'm still green... I feel like I'm going to...

DOCTOR SIRISA: Oh, the patient went into a coma again... Kiglo, kili, kli. That's very bad news.

Act 4: Blue Planet. The Reunion and the Déjà Vu

SCENE 4 (In the flower shop, Mom and Clio talk on the street.)

MOM: I wonder where that boy went. I knew he was supposed to help me with the boxes, but no. He must have gone skating.

CLIO: Well, he's taking his time, huh... If I were to disappear for two days in a row... You'd probably make me do Gaspar's job.

MOM: Oh, look, what a good idea you've given me... Go up and get me some boxes...

CLIO: But Mom...

(On the Blue Planet, Gaspar walks through a park and sees Cachi, who is standing on his skateboard. He walks up to him.)

GASPAR: You know, Cachi... Sometimes I feel like I'm inside a different reality than everyone else. For example, you... Why don't I know who you are, but I know that I know you.

CACHI: (He smiles.) You know they call me Cachi...

GASPAR: See, that's what I'm telling you... Do you think there are other worlds? And that people like us live in them? Are you really you? (Cachi laughs. He's like a ghost-like being; no one else notices he's there.) I mean, don't laugh. Are you real?

CACHI: Maybe. Maybe I'm very far away... and very close... (He laughs, but there's a hint of truth in his voice.)

Act 5: The Revelation and the Goodbye

SCENE 5 (On the Blue Planet. Gaspar and Cachi are in the park. Gaspar shows him a video of himself skating.)

GASPAR: My skin is strange, my life is strange. Sometimes I feel like I'm not from here.

CACHI: I've known you my whole life. We grew up together.

GASPAR: Nah. I don't believe that. (Suddenly, there's a notification on Gaspar's phone.) It says to wait, an important message will be Gli, gli, Klag, gluk... Gli, gli, Klag, what?

A holographic screen lights up. The artificial intelligence appears in the form of a Quantum Being from the Green Planet... It shows the boys two images in a projection. In the first image, there is a hospital on the Green Planet. In the other, the Blue Planet is Gaspar's temporary home. The images show Gaspar in a coma on the Green Planet, and Cachi taking care of him by his bed. The AI explains that Gaspar is a single person but that his Glik Gluk broke off and came to spend a season on the blue planet, but that he will soon have to return to his planet.)

GASPAR: (Confused.) Glik... Glak... Glu, glu... How is that possible? And why do I speak so weirdly?

IA: Gluk, gli, gli, gluko, gliko... In other words... When you fell into a coma, your mind separated from your body. Now you must return to it to be able to wake up.

(Gaspar smile to Cachi,  and they both disappear.)

Act 6: The Awakening and the Echo of a Dream

SCENE 6 (ON THE GREEN PLANET)

Gaspar wakes up in the hospital on the Green Planet. His skin is still green and he has some pink spots on his cheeks. Next to him, Cachi, with a green face, hugs him. Gaspar looks at him with a mixture of recognition and astonishment.

GASPAR: (In a weak voice) Cacho... are you here? I thought you were... unreachable.

CACHI: (He smiles, relieved) Over there I'm the unreachable Carlos. Here they call me Cachi, but it's like a nickname for Cacho, well, for Carlos... (He looks at the bewildered Gaspar) Well... I've always been here. In the hospital, waiting for you to wake up.

SCENE 7 (ON THE BLUE PLANET)

Aura wakes up on the Blue Planet. She goes to the kitchen, Clio and her mom are looking at her. Aura has a sad expression.

AURA: (In a spooky voice) He left, didn't he?

MOM: (She hugs her) I don't know what you're talking about, my love.

AURA: (She sighs) He left, but he took a piece of my heart with him.

CLIO: (Confused) Who are you talking about?

(Clio looks at everyone, feeling that something is missing, but she can't remember it. The atmosphere is charged with a strange melancholy.)

Act 8: The Silent Connection

SCENE 8 (IN THE FLOWER SHOP ON THE BLUE PLANET)

Aura is sitting at the counter. She takes a cup of coffee that Clio just left. The cup mysteriously empties.

AURA: Clio! What did you do?

CLIO: What thing?

(The radio on the counter starts playing. It's Gaspar's favorite song, a song that no one on the Blue Planet knows. It has a bit of Gli, Gli, Gluki, Gluki, but it's very sweet and nostalgic. The melody fills the shop. Aura and Clio look at each other, confused. They feel a strange sadness, but also joy, as if the song reminds them of something or someone, but they don't know what or who.)

AURA: (She laughs) It's the song that... someone liked. Kil, Kul...

CLIO: (She smiles) Yeah, someone. I'm sure.

(They both stay listening to the song in silence. They feel calm and happy, without knowing why.)

SCENE 9 (AURA'S DREAM ON THE BLUE PLANET)

Aura is in a dream. Gaspar, with his greenish skin and a special glow, walks up to her.

GASPAR: (In a calm voice) Everything's okay, Aura. I'm home, safe and sound.

AURA: Is that you? I thought you were gone forever.

GASPAR: I'll always be with you all. I'll visit you in your dreams and I'll remind you with a cup of coffee that empties itself, or with a song that makes you feel happy.

(Gaspar kisses her forehead and vanishes.)

SCENE 10 (FINAL)

Aura wakes up with tears in her eyes. She goes to the kitchen, where Clio and her mom are having breakfast.

AURA: Mom! Clio! I had a very strange dream. It was Gaspar... and...

CLIO: Gaspar? Who's Gaspar?

AURA: (She stops. She realizes they don't remember him.) Uh... nothing. It was a silly dream. Don't worry.

(Aura sits at the table. She looks at her mom and her sister. She feels calm and at peace. She knows that, even though they don't remember him, Gaspar will always be with them.)

THE END.

The Bargain with the Fiend (Writer's Cut) A Comedy in One Act (and Several Modern Annoyances) GAVARRE BENJAMIN

 

The Bargain with the Fiend

A Comedy in One Act (and Several Modern Annoyances)

by GAVARRE BENJAMIN

Characters:

 * Eleanor Ainsworth (formerly a struggling playwright): A sharp-witted writer in her late 30s, accused of witchcraft due to her unconventional plays and independent spirit. She's weary of the constant scrutiny and limitations placed upon her.

 * Nick (formerly Mephistopheles): Of indeterminate age. He sports a sharply tailored, though slightly outdated, doublet and hose, with an air of theatrical flair. He speaks with a mix of Elizabethan English and modern business jargon. Charismatic, charming, and utterly terrifying.

 * William Shakespeare (the Analyst): In his early 50s. A renowned playwright with a keen understanding of human nature and a surprisingly modern approach to analyzing the human condition. He carries a well-worn notebook and quill.

 * Brynhild (the Muse): A powerful Valkyrie, appearing in shining armour, though occasionally sighing with boredom at earthly affairs. Only Eleanor and Shakespeare can fully perceive her supernatural nature.

 * Lady Beatrice (formerly a disapproving noblewoman): A woman of society in her early 30s, known for her beauty and sharp tongue, though not easily impressed by superficial charm.

 * Professor Davies (the Modern Scholar): A bewildered professor of Dramatic Literature, prone to misinterpretations.

 * Students (Chorus): A couple of university students, looking confused.

SCENE 1

Setting: A secluded part of a forest, rumored to be a place of witchcraft. Late afternoon.

Eleanor laments her stifled creativity and unjust accusations. Nick appears suddenly, adjusting his ruffled collar.

NICK: The soul, good mistress, is a most underperforming asset. Nick, at your service – Acquisitions of Spirit and Advancement of Potential, that’s my purview.

ELEANOR: (Startled) Who are you? Some kind of… forest sprite?

NICK: Think of me as a patron of the arts, a fallen investor, if you will. In exchange for a certain… intangible commodity, I offer you the world: acclaim for your plays, the wit to silence your critics, the very quill of inspiration itself.

ELEANOR: And the catch?

NICK: A simple contract. A handshake will suffice. No parchment, no tedious scribbling.

(They shake hands. Eleanor feels a strange jolt.)

ELEANOR: I feel… strangely invigorated, and yet vaguely sticky.

NICK: Welcome to the premium version of yourself! Now, to our first investment: let us repair to the nearest tavern. You need to network.

SCENE 2

Setting: Shakespeare's study – cluttered with books and manuscripts.

Eleanor, still slightly dazed, recounts her encounter to Shakespeare. Nick hovers invisibly nearby, rolling his eyes.

SHAKESPEARE: So, Mistress Ainsworth, if I understand aright, you have entered into a “business arrangement” with a fellow claiming to be an “acquirer of spirits”?

ELEANOR: Aye, Master Shakespeare! And it works! Ideas flow like ale at a festival. I penned a sonnet and outlined a new tragedy before breakfast! And at the tavern, I met Lady Beatrice. This… Nick… whispered the most persuasive words, and she actually laughed at my rather weak jest about a toothache. I believe she took a liking to me!

SHAKESPEARE: (Raising an eyebrow) And do you not consider that this “Nick” might be a figment of your imagination? A personification of the very confidence you have long sought? A touch of melancholy turned… manic, perhaps?

ELEANOR: Nay, good sir! He is real enough. He smells faintly of brimstone and expensive pomade. When I complained of the local gossip, he suggested we “reframe the narrative” regarding those who spread it. It is the Devil himself, Master Shakespeare!

SHAKESPEARE: My dear Eleanor, in matters of the human mind, we tend to avoid such… theological diagnoses. Let us consider this a… dissociative coping mechanism. Now, tell me more of this “intangible commodity” and the termination clause… Have you experienced any… unusual urges?

(Suddenly, visible only to Eleanor and Shakespeare, Brynhild appears, leaning against a bookshelf, looking slightly bored.)

BRYNHILD (V.O.): (To Shakespeare and Eleanor) Another mortal making deals with the underworld. Honestly, they never learn. At least this one has some spark.

NICK (V.O.): (To Brynhild) Oh, look who it is. The drama queen of Valhalla. Here to offer some thunderous platitudes?

ELEANOR: (To Shakespeare) I see… a rather imposing woman in armour… glaring at something I cannot perceive.

SHAKESPEARE: (Calmly) Indeed? Perhaps it is a… manifestation of your inner strength, Eleanor. Now, about these urges…

SCENE 3

Setting: A bustling tavern.

Eleanor and Lady Beatrice are talking and laughing. Nick hovers, prompting Eleanor. Brynhild observes with a detached air.

NICK (V.O.): Tell her her beauty eclipses the stars! Lay it on thick!

ELEANOR: (To Lady Beatrice) My lady, your… countenance… possesses a certain… stellar quality.

LADY BEATRICE: (Looking slightly bewildered) Good heavens, Eleanor, are you feeling quite well? You’ve been reading too much Marlowe, I fear.

NICK (V.O.): Abort mission! She’s losing interest! Initiate Plan B! The spilled wine gambit!

ELEANOR: I am not spilling wine on her.

(Nick snaps his fingers. A clumsy serving wench promptly trips and spills a tankard of ale over a nearby patron, creating a minor commotion.)

BRYNHILD (V.O.): (Sighing) Amateurs. Such crude tactics. A true enchantment requires finesse.

SCENE 4

Setting: Shakespeare's study.

Eleanor is more thoughtful. Shakespeare observes her. Brynhild polishes her spear with disinterest.

SHAKESPEARE: …and so, this tavern mishap caused you to realize that this “assistance” has… consequences.

ELEANOR: Aye. Everything Nick “fixes” feels hollow, false. The wit he gave me sounded ridiculous coming from my own lips. What worked with Beatrice was simply being myself – awkward and a little too fond of metaphors.

SHAKESPEARE: A vital realization, Eleanor. Your authenticity is your own. You need no “acquirer” to manage it. You have been outsourcing your very soul.

ELEANOR: But the bargain… it feels real, Master Shakespeare. How does one break a pact with the Devil? I doubt there’s a complaints department in Hell.

NICK (V.O.): (Appearing briefly, polishing his fingernails on his sleeve) Our customer satisfaction surveys are hellish, I assure you.

ELEANOR: (Ignoring Nick, to Shakespeare) What do I do?

SHAKESPEARE: The same as one does with a troublesome thought or a persistent habit. Acknowledge it, accept its presence… and choose not to act upon it. You take away its power. You say, “Nay.”

BRYNHILD (V.O.): (To Nick) See? Even mortals understand the concept of free will, you melodramatic fiend.

NICK (V.O.): Easy for you to say, winged wonder. You don’t have quarterly soul quotas to meet.

ELEANOR: (Closes her eyes, takes a deep breath) I am afraid. Afraid of failure, of ridicule, of never being truly heard. And I used this… delusion… to escape.

SHAKESPEARE: Excellent. Now, what do you wish to do, Eleanor? Not the enhanced version. You.

ELEANOR: I want… to invite Lady Beatrice for a walk in the gardens, and offer her my own verses, however clumsy they may be. And I want to feel the uncertainty of whether she will accept. Because that uncertainty is also part of living.

(Nick rolls his eyes with dramatic flair. Brynhild stifles a yawn.)

NICK (V.O.): How dreadfully sentimental. How… human. Are you certain? Think of the power! Never to feel doubt again!

ELEANOR: (Opens her eyes, looking at the empty space where Nick had been) No. I no longer require your… services. I am cancelling my subscription.

(For the first time, Nick looks genuinely surprised. A faint, crackling sound fills the room for a moment. Then, silence.)

SHAKESPEARE: Eleanor?

ELEANOR: (Smiles, a small but genuine smile) I believe… I have just hung up on the Devil.

SHAKESPEARE: (Writes in his notebook, a slight smile playing on his lips) A significant step. Now… let us discuss your tendency towards the dramatization of internal conflict through theological metaphors. We have much to explore.

(Eleanor laughs. It is a laugh that is entirely her own.)

SCENE 5

Setting: A modern university lecture hall. Present day.

Professor Davies, looking dishevelled, stands before his students.

PROFESSOR DAVIES: (With dramatic intensity) …and so, she said to me, “I no longer require your services. I am cancelling my subscription.” I saw her, students! Eleanor Ainsworth! She manifested before me! I swear! She gave me the key to understanding her subtext! The bargain with the… muse! It was all a metaphor for artistic struggle!

STUDENT 1: (Echoing Nick's earlier tone) Professor, are you alright?

PROFESSOR DAVIES: Perfectly alright! Eleanor and I had a breakthrough! In fact, she told me that if I have the courage, I can do anything! Even finish the syllabus on time… without resorting to… drastic measures!

STUDENT 2: (Echoing Brynhild's earlier weariness) Professor… this is the third time this week. Maybe you should take a break? We saw you trying to… reason with the statue of Shakespeare outside.

PROFESSOR DAVIES: Nonsense! The statue is wrestling with its own dramatic arc!

STUDENT 1: Professor, please take some time off. We’ll tell the Dean you’re needed at a conference.

PROFESSOR DAVIES: A break? Preposterous! I have a scholarly duty!

(The students gently guide him towards the door.)

PROFESSOR DAVIES: No! Lady Beatrice awaits! And Shakespeare! The academy calls! Eleanor! My muse! Don’t leave me!

(The students lead him out of the lecture hall as he calls out, his hands raised dramatically. End of play.)

edy in One Act (and Several Modern Andanzas)

Characters:

 * Eleanor Ainsworth (formerly a struggling playwright): A sharp-witted writer in her late 30s, accused of witchcraft due to her unconventional plays and independent spirit. She's weary of the constant scrutiny and limitations placed upon her.

 * Nick (formerly Mephistopheles): Of indeterminate age. He sports a sharply tailored, though slightly outdated, doublet and hose, with an air of theatrical flair. He speaks with a mix of Elizabethan English and modern business jargon. Charismatic, charming, and utterly terrifying.

 * William Shakespeare (the Analyst): In his early 50s. A renowned playwright with a keen understanding of human nature and a surprisingly modern approach to analyzing the human condition. He carries a well-worn notebook and quill.

 * Brynhild (the Muse): A powerful Valkyrie, appearing in shining armour, though occasionally sighing with boredom at earthly affairs. Only Eleanor and Shakespeare can fully perceive her supernatural nature.

 * Lady Beatrice (formerly a disapproving noblewoman): A woman of society in her early 30s, known for her beauty and sharp tongue, though not easily impressed by superficial charm.

 * Professor Davies (the Modern Scholar): A bewildered professor of Dramatic Literature, prone to misinterpretations.

 * Students (Chorus): A couple of university students, looking confused.

SCENE 1

Setting: A secluded part of a forest, rumored to be a place of witchcraft. Late afternoon.

Eleanor laments her stifled creativity and unjust accusations. Nick appears suddenly, adjusting his ruffled collar.

NICK: The soul, good mistress, is a most underperforming asset. Nick, at your service – Acquisitions of Spirit and Advancement of Potential, that’s my purview.

ELEANOR: (Startled) Who are you? Some kind of… forest sprite?

NICK: Think of me as a patron of the arts, a fallen investor, if you will. In exchange for a certain… intangible commodity, I offer you the world: acclaim for your plays, the wit to silence your critics, the very quill of inspiration itself.

ELEANOR: And the catch?

NICK: A simple contract. A handshake will suffice. No parchment, no tedious scribbling.

(They shake hands. Eleanor feels a strange jolt.)

ELEANOR: I feel… strangely invigorated, and yet vaguely sticky.

NICK: Welcome to the premium version of yourself! Now, to our first investment: let us repair to the nearest tavern. You need to network.

SCENE 2

Setting: Shakespeare's study – cluttered with books and manuscripts.

Eleanor, still slightly dazed, recounts her encounter to Shakespeare. Nick hovers invisibly nearby, rolling his eyes.

SHAKESPEARE: So, Mistress Ainsworth, if I understand aright, you have entered into a “business arrangement” with a fellow claiming to be an “acquirer of spirits”?

ELEANOR: Aye, Master Shakespeare! And it works! Ideas flow like ale at a festival. I penned a sonnet and outlined a new tragedy before breakfast! And at the tavern, I met Lady Beatrice. This… Nick… whispered the most persuasive words, and she actually laughed at my rather weak jest about a toothache. I believe she took a liking to me!

SHAKESPEARE: (Raising an eyebrow) And do you not consider that this “Nick” might be a figment of your imagination? A personification of the very confidence you have long sought? A touch of melancholy turned… manic, perhaps?

ELEANOR: Nay, good sir! He is real enough. He smells faintly of brimstone and expensive pomade. When I complained of the local gossip, he suggested we “reframe the narrative” regarding those who spread it. It is the Devil himself, Master Shakespeare!

SHAKESPEARE: My dear Eleanor, in matters of the human mind, we tend to avoid such… theological diagnoses. Let us consider this a… dissociative coping mechanism. Now, tell me more of this “intangible commodity” and the termination clause… Have you experienced any… unusual urges?

(Suddenly, visible only to Eleanor and Shakespeare, Brynhild appears, leaning against a bookshelf, looking slightly bored.)

BRYNHILD (V.O.): (To Shakespeare and Eleanor) Another mortal making deals with the underworld. Honestly, they never learn. At least this one has some spark.

NICK (V.O.): (To Brynhild) Oh, look who it is. The drama queen of Valhalla. Here to offer some thunderous platitudes?

ELEANOR: (To Shakespeare) I see… a rather imposing woman in armour… glaring at something I cannot perceive.

SHAKESPEARE: (Calmly) Indeed? Perhaps it is a… manifestation of your inner strength, Eleanor. Now, about these urges…

SCENE 3

Setting: A bustling tavern.

Eleanor and Lady Beatrice are talking and laughing. Nick hovers, prompting Eleanor. Brynhild observes with a detached air.

NICK (V.O.): Tell her her beauty eclipses the stars! Lay it on thick!

ELEANOR: (To Lady Beatrice) My lady, your… countenance… possesses a certain… stellar quality.

LADY BEATRICE: (Looking slightly bewildered) Good heavens, Eleanor, are you feeling quite well? You’ve been reading too much Marlowe, I fear.

NICK (V.O.): Abort mission! She’s losing interest! Initiate Plan B! The spilled wine gambit!

ELEANOR: I am not spilling wine on her.

(Nick snaps his fingers. A clumsy serving wench promptly trips and spills a tankard of ale over a nearby patron, creating a minor commotion.)

BRYNHILD (V.O.): (Sighing) Amateurs. Such crude tactics. A true enchantment requires finesse.

SCENE 4

Setting: Shakespeare's study.

Eleanor is more thoughtful. Shakespeare observes her. Brynhild polishes her spear with disinterest.

SHAKESPEARE: …and so, this tavern mishap caused you to realize that this “assistance” has… consequences.

ELEANOR: Aye. Everything Nick “fixes” feels hollow, false. The wit he gave me sounded ridiculous coming from my own lips. What worked with Beatrice was simply being myself – awkward and a little too fond of metaphors.

SHAKESPEARE: A vital realization, Eleanor. Your authenticity is your own. You need no “acquirer” to manage it. You have been outsourcing your very soul.

ELEANOR: But the bargain… it feels real, Master Shakespeare. How does one break a pact with the Devil? I doubt there’s a complaints department in Hell.

NICK (V.O.): (Appearing briefly, polishing his fingernails on his sleeve) Our customer satisfaction surveys are hellish, I assure you.

ELEANOR: (Ignoring Nick, to Shakespeare) What do I do?

SHAKESPEARE: The same as one does with a troublesome thought or a persistent habit. Acknowledge it, accept its presence… and choose not to act upon it. You take away its power. You say, “Nay.”

BRYNHILD (V.O.): (To Nick) See? Even mortals understand the concept of free will, you melodramatic fiend.

NICK (V.O.): Easy for you to say, winged wonder. You don’t have quarterly soul quotas to meet.

ELEANOR: (Closes her eyes, takes a deep breath) I am afraid. Afraid of failure, of ridicule, of never being truly heard. And I used this… delusion… to escape.

SHAKESPEARE: Excellent. Now, what do you wish to do, Eleanor? Not the enhanced version. You.

ELEANOR: I want… to invite Lady Beatrice for a walk in the gardens, and offer her my own verses, however clumsy they may be. And I want to feel the uncertainty of whether she will accept. Because that uncertainty is also part of living.

(Nick rolls his eyes with dramatic flair. Brynhild stifles a yawn.)

NICK (V.O.): How dreadfully sentimental. How… human. Are you certain? Think of the power! Never to feel doubt again!

ELEANOR: (Opens her eyes, looking at the empty space where Nick had been) No. I no longer require your… services. I am cancelling my subscription.

(For the first time, Nick looks genuinely surprised. A faint, crackling sound fills the room for a moment. Then, silence.)

SHAKESPEARE: Eleanor?

ELEANOR: (Smiles, a small but genuine smile) I believe… I have just hung up on the Devil.

SHAKESPEARE: (Writes in his notebook, a slight smile playing on his lips) A significant step. Now… let us discuss your tendency towards the dramatization of internal conflict through theological metaphors. We have much to explore.

(Eleanor laughs. It is a laugh that is entirely her own.)

SCENE 5

Setting: A modern university lecture hall. Present day.

Professor Davies, looking dishevelled, stands before his students.

PROFESSOR DAVIES: (With dramatic intensity) …and so, she said to me, “I no longer require your services. I am cancelling my subscription.” I saw her, students! Eleanor Ainsworth! She manifested before me! I swear! She gave me the key to understanding her subtext! The bargain with the… muse! It was all a metaphor for artistic struggle!

STUDENT 1: (Echoing Nick's earlier tone) Professor, are you alright?

PROFESSOR DAVIES: Perfectly alright! Eleanor and I had a breakthrough! In fact, she told me that if I have the courage, I can do anything! Even finish the syllabus on time… without resorting to… drastic measures!

STUDENT 2: (Echoing Brynhild's earlier weariness) Professor… this is the third time this week. Maybe you should take a break? We saw you trying to… reason with the statue of Shakespeare outside.

PROFESSOR DAVIES: Nonsense! The statue is wrestling with its own dramatic arc!

STUDENT 1: Professor, please take some time off. We’ll tell the Dean you’re needed at a conference.

PROFESSOR DAVIES: A break? Preposterous! I have a scholarly duty!

(The students gently guide him towards the door.)

PROFESSOR DAVIES: No! Lady Beatrice awaits! And Shakespeare! The academy calls! Eleanor! My muse! Don’t leave me!

(The students lead him out of the lecture hall as he calls out, his hands raised dramatically. End of play.)

...y Todos los Diablos me lleven. Comedia. Por GAVARRE BENJAMIN.

 

...y Todos los Diablos me lleven

Por GAVARRE BENJAMIN

Personajes:

 * Don Javier: Hacendado hastiado.

 * Mefi: Mefistófeles con aire de dandi.

 * Sor Juana: Sabia y perspicaz monja.

 * Atenea: La diosa griega, con un aire de catedrática de la UNAM.

 * La Marquesa Mariana: Dama de sociedad, inmune al encanto vacío.

 * Profesora Altagracia: Maestra de Literatura Dramática en la UNAM.

 * Alumnos (Coro): Un par de estudiantes con gorra y sudadera.

ESCENA 1

Lugar: Una arboleda. Tarde.

Don Javier se queja de su vida aburrida, y aparece Mefi para ofrecerle un trato. Se dan la mano.

DON JAVIER: Siento como si me hubiera bañado en agua bendita y vinagre.

MEFI: ¡Bienvenido! Ahora, a la pulquería. Necesitas socializar.

(Mefi le da un golpe en la espalda que lo hace toser.)

ESCENA 2

Lugar: La celda de Sor Juana.

Don Javier, agitado, le cuenta a Sor Juana que hizo un trato con un hombre. Mefi aparece, invisible para la monja, y la mira con desdén.

SOR JUANA: ¿Y no cree que este "Mefi" es un delirio? Una personificación de su confianza, quizás.

MEFI (Voz off): (A Sor Juana) Dile que tu diagnóstico es simplista. ¡Psicología barata!

(De la nada, solo visible para Sor Juana, aparece Atenea con una toga impecable. Mefi la mira con fastidio.)

ATENEA (Voz off. En adelante V. O. Puede usarse otra convención): (A Sor Juana) No caigas en su trampa, hermana. Su propuesta es banal. La verdadera sabiduría no viene del Diablo, sino del estudio y la razón. Yo, Atenea, te lo digo.

MEFI (V.O.): ¡Oh, mira! La sabelotodo del Partenón. ¿Vas a recitar el mito del minotauro o a dar un sermón sobre la métrica griega? ¡Fuera de aquí, diosa de la papelería!

ATENEA (V.O.): (Le lanza una mirada de desprecio) Mefistófeles, no me tientes. Ya tuviste suficiente con Fausto. Además, este humano es un caso perdido. Es más difícil de diagnosticar que el síndrome de Estocolmo de la Iliada.

DON JAVIER: (A Sor Juana) Veo un parásito existencial con pésimos modales y una señora que le regaña. ¿Quién es la señora?

SOR JUANA: (Confundida) ¿Señora?

ESCENA 3

Lugar: Una pulquería.

Don Javier y la Marquesa ríen, pero Mefi, impaciente, susurra a Don Javier.

MEFI (V.O.): Dile que su belleza trasciende las limitaciones del espacio-tiempo.

DON JAVIER: (A la Marquesa) Tu belleza... trasciende...

MARQUESA MARIANA: ¿Eso lo leyó en un pergamino de la fortuna? Relájese.

MEFI (V.O.): ¡Abortar misión! ¡Activa el plan B! El truco de la cuchara.

DON JAVIER: No voy a hacer el truco de la cuchara.

(Para evitar la autenticidad, Mefi chasquea los dedos. Un mozo tropieza, arruinando el momento. Atenea aparece.)

ATENEA (V.O.): (A Mefi) ¡Tramposo! ¡Usas trucos bajos! Típico de los villanos del drama. Yo le daré al muchacho la elocuencia verdadera, la de la razón, no la de tus versos huecos.

MEFI (V.O.): ¡No, la mía es más rápida! ¡Es la elocuencia del Diablo!

ATENEA (V.O.): (A Mefi) Ah, pues yo... Le daré todo el conocimiento de la Antigüedad.

MEFI (V.O.): ¡Aburrido!

(Se enfrascan en una pelea invisible de argumentos y rayos de energía, sin que los humanos se den cuenta.)

ESCENA 4

Lugar: La celda de Sor Juana.

Don Javier entiende que la "ayuda" de Mefi tiene consecuencias.

DON JAVIER: Lo que funcionó con la Marquesa fue ser yo mismo. Pero, el contrato es real. ¿Cómo lo cancelo?

SOR JUANA: (Hablando sola) Debo ser firme... no ceder a la tentación del poder... la razón...

ATENEA (V.O.): (Le susurra) Así se hace, hermana.

MEFI (V.O.): (Le grita) ¡Cierra el pico, Atenea! ¡Dile que no le dé falsas esperanzas! ¡Él es mío!

DON JAVIER: (A Sor Juana) Veo que no está de acuerdo. ¿Está usted peleando con usted misma?

SOR JUANA: (Cansada) ¡Sí! Un par de parásitos existenciales pelean por mi alma, pero mi voluntad está en las manos de Dios. ¡Y de nadie más! (A Don Javier) Suelte la mano del Diablo y su contrato se anulará.

DON JAVIER: ¿Así de fácil?

SOR JUANA: Así de difícil. Debe tener el valor.

DON JAVIER: (Respira hondo) Ya no quiero tu ayuda. Cancelo el contrato.

(Mefi desaparece con un chasquido. Atenea asiente con la cabeza y desaparece también.)

ESCENA 5

Lugar: Aula de la UNAM. Hoy.

La Profesora Altagracia, desaliñada y con ojeras, se para frente a sus alumnos.

PROFESORA ALTAGRACIA: (Con voz dramática) ...y así, me dijo: "Mi voluntad está en las manos de Dios... y de nadie más". La vi, jóvenes. A Sor Juana Inés de la Cruz. Se me apareció. Lo juro. Me dio la clave para entender a la Marquesa. ¡Y al Diablo! Todo era una puesta en escena... una alegoría...

ALUMNO 1: (Con la voz de Mefi en la escena anterior) Profesora, ¿se siente bien?

PROFESORA ALTAGRACIA: ¡Claro que sí! ¡Sor Juana y yo tuvimos una epifanía! Es más, me dijo que si tengo el valor, puedo hacer lo que quiera. Incluso terminar el programa de estudios del semestre... ¡Y sin ayuda del demonio!

ALUMNO 2: (Con la voz de Atenea en la escena anterior) Profesora... es la tercera vez esta semana. ¿No debería tomar un descanso? La hemos visto haciendo un ritual con la planta de plástico del salón.

PROFESORA ALTAGRACIA: ¡Cállate! La planta tiene el alma atormentada.

ALUMNO 1: Profesora, váyase de vacaciones, por favor. Nosotros le decimos a la directora que la necesitamos.

PROFESORA ALTAGRACIA: ¿Vacaciones? ¡No! ¡Tengo una misión divina!

(Los alumnos la toman de los brazos y la guían hacia la puerta.)

PROFESORA ALTAGRACIA: ¡No! ¡La Marquesa me espera! ¡Y Don Javier! ¡La academia me está llamando! ¡Atenea! ¡Sor Juana! ¡No me dejen!

(Los alumnos la llevan fuera del aula mientras ella grita, sus manos al aire, como si estuviera declamando una tragedia. Fin de la obra.)