THE HORNS OF THE MOON
(A
Quantum Romance)
By Gavarre Benjamin
© INDAUTOR
Cd. De México
Contact: bengavarre@gmail.com
gavarreunam@gmail.com
THE HORNS OF THE MOON
(A
Quantum Romance)
By Gavarre Benjamin
English Version: The Horns of the Moon
Production Notes
The
Concept: A quantum romance where the only constant is the connection between two
men, André and Ben, across different versions of reality.
Set
Design: Minimalist. Use of lighting to define spaces. A "void" stage
with reflective floors.
Production Notes: The Horns of the Moon Introduction This work is a map of
the invisible. It explores the idea that love is not a chance event, but a universal
constant that manifests itself even when the laws of physics or memory fail. Through
sharp dialogues and absurd situations, André and Ben show us that, even if the world
changes color, constellations or history, the connection between two souls is a
knot that no one can untie.
Costume Proposal: "The Base Uniform" To facilitate jumps between
worlds without breaking the rhythm, a neutral base costume (wildcard) is proposed
on top of which key accessories are added.
André (Philosopher): Dark dress pants and a light linen shirt (always with
the possibility of wearing it backwards).
Accessories: A wool jacket (house/café), reading glasses (bookstore), an
elegant but unkempt scarf (subway).
Ben (Actor): Dark jeans and a quality black turtleneck or basic t-shirt.
Accessories: A leather jacket (motorcycle/premiere), a yellow umbrella (rim), a
book under the arm (bookcase).
Scenery and Spaces (Suggested) The staging must be minimalist and conceptual.
We don't need an actual subway car, but the feel of one. The Device: An empty stage
with a floor that slightly reflects light (mercury effect). Furniture: Two designer
chairs that move and reconfigure to be the sofa, the coffee tables or the subway
seats.
Lighting (The Silent Narrator): Coffee: Warm amber. Meter: Cool, flashing
white light (soft strobe effect). Beach: Cobalt blue and silver. Bookcase: Dusty
overhead light. Music and Soundscape Transitions: An electronic glitch sound or
low-frequency hum that denotes the quantum leap.
The Leitmotif: A version of Go WEST (or similar) that sounds "slightly
distorted": perhaps with a distorted electric guitar in the background or a
strange reverb. Atmosphere: Distorted (metallic) sounds of the sea and the rattle
of the subway that merges with the sound of the wind.
THE HORNS OF THE MOON
(A
Quantum Romance)
By Gavarre Benjamin
Characters:
- ANDRÉ: A
philosopher.
- BEN: An
actor.
ONE-ACT
PLAY
OPENING
SCENE: Domestic Shift
(A
cosmopolitan apartment. André is cleaning a bookshelf. Ben is staring fixedly
at a floor lamp in a corner by the sofa).
BEN: André... has that lamp always been there?
ANDRÉ: (Without looking) Since last Tuesday. We bought it at the garage sale,
remember?
BEN: No. Last Tuesday we had dinner with your parents. That dinner where
your mother smiled with her mouth but stabbed me with her eyes.
ANDRÉ: My mother is a professional of hypocritical courtesy. What... don’t you
like the lamp you chose anymore?
BEN: I don’t like it and I don’t remember buying it.
ANDRÉ: (Stops, looks at him) Too much stress over the premiere? Once the
season starts, you’ll remember you even asked for a discount on your precious
Art Nouveau lamp. Honestly, you’re such a snob.
BEN: (To himself) It’s not stress. I’m going crazy.
(The
light changes abruptly to a warm amber café tone. We enter the first knot).
SCENE
1: The Snake Eating Its Tail (Bookstore-Café)
Ben
is sitting in a wing chair, reading aloud with theatrical projection, ignoring
that it is a public space. André is two tables away, trying to concentrate on a
Heidegger text.
BEN: (Reading intensely) "...because in one possible world I am a
figure skater, but in another, I’m a low-paid bellboy in an expensive hotel in
Cancun. Here, well, I’m an actor, as we know. What is reality but a bad
rehearsal for a premiere that never arrives?"
ANDRÉ: (Without looking up, sharp) Hey, actor... take it down a notch with
that stentorian voice— Or rather... shut up, or speak softly. You’re not in
your living room, buddy.
BEN: (Lowers the book slowly. Stares intensely at André and says nothing for
five seconds).
ANDRÉ: (Uncomfortable under the gaze, looks up) What? Is there something on my
face?
BEN: (Gets up with electric audacity. Walks to André's table and sits
opposite him without permission). Up close, your eyes are even more expressive.
You have the eyes of a man in love.
ANDRÉ: (Stunned, but ultimately flattered) You wish... It wouldn’t be with
you, friend.
BEN: I’m sure we knew each other from other lives. In one, you were a monk
and I was the demon tempting you with forbidden fruit.
ANDRÉ: (Gives a cynical chuckle) Ah, what an unoriginal way and what a
terrible seducer. Using that whole story to skip protocol. But I’ll forgive
you... if we go to the pier right now for ice cream.
BEN: (Smiling triumphantly) I’d like that. Chocolate and...
ANDRÉ: ...and raspberry.
BEN: (Stops dead for a second) How did you know?
ANDRÉ: (Gets up and closes his book) I don’t know. As Plato said... we are
only in this world to remember who we were and, besides... it seemed logical.
Let’s go.
SCENE
2: The Pier of Borrowed Memories
They
walk along a pier. The sound of creaking wood under their feet sets the rhythm.
BEN: It’s funny. You always put your t-shirt on inside out when you’re
trying to look intellectual in front of a stranger.
ANDRÉ: (Looks at his collar, astonished) How the hell do you know...? This is
the first time I’ve seen you, Ben.
BEN: I know. There are things floating in the air. Like knots. Time isn't a
line, André. It’s a fisherman’s knot. We’re all squeezed into the same point,
believing we’re moving forward.
ANDRÉ: (Looks at him with sudden tenderness) You are the strangest man I’ve
met in my forty years of meaningless life. But I feel that if I let you go,
I’ll start floating into space.
BEN: (Chanting) Bon, bon, bon, bon, bon.
ANDRÉ: (Between horrified and ecstatic) Though I don’t know, I think knowing
you or not knowing you has to do with a very rabid and messed-up karma.
BEN: Hey, I could say the same.
ANDRÉ: Of course, you know what they say: Karma is a bitch.
BEN: Exactly.
TRANSITION
SCENE: André’s Monologue
(Back
at the apartment. Ben has vanished from the stage).
ANDRÉ: (To the audience) There are days when I wake up and I don't recognize
him. I watch him sleep and wonder if the Ben next to me is the same one who
complained about the lamp yesterday. Reality flickers. We are fools to believe
we are the same all the time. Every instant we are someone different: every
breath, every heartbeat…
(Sound
of torrential rain. The apartment fades away).
SCENE
3: The Tire and the Rain
World
B. It’s pouring rain. André is next to his car, with a flat tire, soaked and
furious, kicking the tire. Ben passes by with a yellow umbrella.
BEN: Need some help, neighbor?
ANDRÉ: (Hostile) No. I already called the insurance. They say it’ll take two
hours because the world is sinking. Go, before my bad luck splashes on you.
BEN: (Undeterred, closes the umbrella) Insurance won’t make it. Give me the
jack.
ANDRÉ: The what?
BEN: (Kneels, starts loosening the nuts with a skill that doesn’t seem his)
I’m not going to let you die of galloping pneumonia. Pass me the spare,
Professor.
ANDRÉ: (Surprised by the sudden empathy) "Professors don't know how to
change tires," is that what you’re telling me? Or how did you know I’m a
teacher?
BEN: (Finishing the tire change, gets up and wipes his hands on his pants)
You have the face of a Philosophy teacher: "Why does the car stop if it’s
made only to roll?", "Why do cars and people exist?", "If
we didn’t exist, what would Nothingness be like?"… If Nothingness existed,
it would be something… so all existence is a total absurdity. (They
look at each other. The hostility evaporates).
ANDRÉ: You’re a philosopher too, Ben. Thanks for helping me.
BEN: And that?… Did I tell you my name?
ANDRÉ: (Confused) I don’t know. Is your name Ben?
BEN: (Smiles) Benjamín, supposedly, yes. In this world, at least.
ANDRÉ: (Given the eerie atmosphere) Right… this is the only world I know… I
think. My name is André.
TRANSITION
SCENE: The Constellation
(Clear
night. André and Ben are on a terrace).
BEN: What a night. Look at the sky... you can clearly see the fifteen stars
of the Chimiceront.
ANDRÉ: (Tense) I only see three stars… three. The very famous and well-known
constellation "The Three Wise Men."
BEN: (Puzzled) Kings and Magi? Look… the wings of the Chimiceront almost
touch the horn of the moon.
ANDRÉ: (Puts his hands to his face) The rhinoceros? The horn of the moon? It’s
a full moon, you moron. (Laughs, forced) It’s called the "horn of the
moon" when it’s waning or waxing.
BEN: (Hugs him) I don’t know… I was referring to the volcano.
ANDRÉ: (Whispers) I think you’re high without having taken anything or… you’re
going crazy. The moon is a very cold rock and it does not—listen to me—it does
not have volcanoes.
BEN: Not even a tiny volcano?
ANDRÉ: Not a single one.
(Cold
light of a theater lobby).
SCENE
4: The Knot in the Last Carriage (World C)
(The
stage becomes the interior of a subway car. Cold, flickering light. The muffled
rattle of the rails. It’s the last train of the night. Ben and André are
sitting at opposite ends. The atmosphere is orphic, heavy).
(Several
seconds of silence pass. They look at each other. They take time to react, as
if waking from deep anesthesia).
BEN: (In a hoarse voice) I don't know why you’re staring at me.
ANDRÉ: (Slowly) I wasn't looking at you… I was thinking I’m not the only moron
who thought of traveling by subway at this hour.
BEN: (Moves a bit closer, his gaze cloudy) I know you…
ANDRÉ: (Gives a sad laugh) That’s the most cliché way to hit on someone…
BEN: From before. I know you from before… I feel we were even friends, at
least neighbors, or schoolmates.
ANDRÉ: That could be it… you have the air of a classmate I always wanted to
talk to…
BEN: (Shakes his head) And why didn't you? You lost the opportunity of a
lifetime. I’m getting off at the next one.
ANDRÉ: (Feigning indifference) Don't think I’m getting off with you. I don’t
know you at all, we were never classmates, and this is a shitty carriage.
BEN: (Gets up as the train brakes with a screech) If you say so... Come with
me, idiot.
ANDRÉ: In your dreams, moron.
(The
doors open. Ben leaves. André hesitates for a millisecond and runs out after
him. The carriage remains empty).
TRANSITION
SCENE: The Mercury Dream
(Silver
light, orphic).
ANDRÉ: I dreamed we were on a beach. But the water wasn't water. It was a sea
of mercury.
BEN: Yes… it was heavy. Brilliant. With that tone only mercury has… like an
alchemist’s… it didn't make a sound when it broke. If you went into the sea…
you turned into a gold statue.
ANDRÉ: Sure, a statue, of course, of course… Gold? I doubt it. I remember the
sky was cobalt blue.
BEN: And there was a small moon next to the large one. There were two moons.
ANDRÉ: And we were satisfied that the stars were the same, even if they had
unpronounceable names.
BEN: Cariótida, Nemnósida,
Sáxila…
ANDRÉ: Yeah? What nerd names!
(Modern
art museum. Ambient light).
SCENE
5: Surprise at the Museum
World
D. Both are in a modern art museum in front of a painting that is just a white
canvas called "The Entwined Void."
ANDRÉ: (To himself) It’s the perfect representation of nothingness.
BEN: (At his side) It’s not nothingness. It’s a mirror. If you look closely,
in the center there is a mercury-colored dot that can only be seen if you stop
breathing.
ANDRÉ: (Looks at him) Yes, I can see a mercury-colored dot, but only if I
squint.
BEN: Yes, that’s how it works… that triggers the quantum function of the
canvas… mercury has a special shine… like alchemical, don't you think?… it can
turn into gold… Let’s close our eyes and when we open them, the mercury will
have transformed into gold.
ANDRÉ: (Falsely aggressive) No… that sounds a bit too weird to me…
BEN: (He closes his eyes tightly and opens them quickly) You broke the
spell… the mercury was about to turn into gold.
ANDRÉ: (André puts his hand to his chest, feels a déjà vu that takes his
breath away). Will you let me buy you a coffee? I feel that if you leave, this
painting will be erased from my memory. Ben... (Come...)
BEN: How do you know my name is Ben?
ANDRÉ: No… I didn't know. I said "come," like "come
here"... Are you coming? Ben... Come...
BEN: I'm coming… You know?... You have the face of an Andrés.
ANDRÉ: Almost. André, as if it were French… you know: the style…
BEN: Ugh, I don't know if it's a good idea to go out with you, but let's go.
TRANSITION
SCENE: An Encounter at the Bookstore
(A
dusty bookstore).
SCENE
6: The Bookstore (Possible World E)
(A
second-hand bookstore, silent and dusty. BEN is behind the counter, but he’s
not working; he has a small chessboard in front of him and is checking an app
on his cell phone, lost in fierce concentration. ANDRÉ enters, walks through
the aisles without looking at the books, his eyes fixed on BEN. He approaches
the counter).
ANDRÉ: Are you playing chess with yourself?
BEN: (Without looking up, in a sharp tone) What’s it to you? Are you going
to buy a book or just come here to ask stupid questions?
ANDRÉ: (Offended, takes a step back) Hey, you don't have to be so
discourteous. I was just trying to be nice.
BEN: (Imitating him mockingly) "Discourteous"... What are you,
from the nineteenth century? What’s next? Are you going to challenge me to a
duel at dawn?
ANDRÉ: (Remains silent, staring at him. Suddenly, he covers his mouth with his
hand, his eyes wide) Wait! I know you.
BEN: (Sighs, annoyed) Here we go again... Why does this karma haunt me? My
God, what did I do wrong in other lives!
ANDRÉ: No, seriously. You were in the movie A Hundred Tomes of Ponson du
Terrail… You were Rocambole.
BEN: (Stops dead. Looks up for the first time and stares at him with a mix
of horror and respect) I didn't remember that pompous name anymore… who can be
named Ponson in this world… Ponson du Terrail… Am I pronouncing it right?
Ponson… blah blah blah… Well, you just made my day, friend… (Short pause, scans
him from head to toe) Maybe you're not so much of an idiot.
ANDRÉ: (With a timid smile that takes ten years off him) I'm not. Or at least,
not today. Hey... would you like to... (hesitates) do you say "have"
an ice cream or "eat" an ice cream?
BEN: (A side smile appears, closing the chess app) Whatever. Come on then,
would you like an ice cream?
ANDRÉ: I’d love to. I want a raspberry one...
BEN: ...and chocolate.
ANDRÉ: (Stunned) How do you know?
BEN: (Gathering his things, with a familiarity that scares him) You’re
predictable... I didn't say boring, eh? Let’s go. I’m going to order a
chocolate with raspberry… or better, raspberry and chocolate, what do you
think?
ANDRÉ: (Playfully) Walk on, Ponson.
BEN: (Mockingly) Ha, ha,
ha.
FINAL
SCENE: The Mercury Camping
(We
are in an open camping tent. The horizon is visible. The sea is a dense mercury
color, the sky is a dark, deep blue. The moon shines with a volcanic relief
that looks like a horn. There is a second moon with a curious way of orbiting
around the large moon).
ANDRÉ: (Satisfied) The stars... there they are. The Three Kings, the
Chimiceront... and what else?
BEN: Cariótida, Nemnósida,
Sáxila…
ANDRÉ: Your mother… Ha, ha… Well… the stars are spectacular. Names don't matter. It’s
wonderful to think that each one of them is burning and that we can see them
millions and millions of light-years away.
BEN: (Holding his hand, smiles) Sure, but look at what’s in front of us and
not millions of light-years away… this sea of mercury is so peaceful. And do
you see how dark the blue of the moon is? That’s why it’s a source of creation
for all poets and blues singers.
ANDRÉ: (Looks at him with an endearing connection) You could be a poet if you
didn't talk so much nonsense.
BEN: Do you realize? ...we always end up on the same beach. A deserted beach
and a blue moon… and the moon’s moon.
ANDRÉ: The same beach, always the same beach. Always.
(They
look at each other, smile. The glow of the blue moon floods the stage as they
hold hands).
THE END
