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“Postmortem Reanimation”

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Fleming, Michael David (American playwright, student, restaurant service person, 1980-____), “Postmortem Reanimation,”

a 30-minute comedy-drama in English in eight scenes, set in a very small studio apartment, in the East Village, New York City, 6:30 p.m., Friday, spring (month is unimportant),

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; • © 2002 by Michael David Fleming; • in Michael David Fleming’s Postmortem Reanimation (Chicago, Illinois, U.S.A.: The Author, 2002); • script available from Michael D. Fleming, c/o Wilam Fleming, 644 West Wrightwood Avenue #15, Chicago, Illinois 60614, U.S.A.; • rights available from Michael D. Fleming, 230 East 7th Street #2A, New York, New York 10009, U.S.A., e-mail MichaelDFleming@hotmail.com, telephone (home) 773-857-7180, (work) 773-380-1010. • Cited by Michael David Fleming via ftp October 24, 2003; Fleming says,

§ Dramatis Personae Charlie (m), 22, a rough outlawed-looking young man; Gavin (m), 21, the complete negation of the stereotypical “real man,” Amanda’s brother; Amanda (f), 18, an incredibly beautiful girl, Gavin’s sister and friend.

§ Synopsis “Amanda lies on her stomach on the futon in its couch position. She leafs through a magazine that holds as much interest for her as if she were watching her fingernails grow. Charlie bursts in. He throws off his bag, his shoes and socks, and falls onto his bed like a corpse being dropped into its grave. Amanda casually looks up at him but almost immediately goes back to her less-interesting magazine. Charlie drags his body off his bed, goes to the enormous pile of CDs, and desperately searches for a specific one. Upon finding it, he puts it into the stereo, turns up the volume all the way: Pantera’s The Great Southern Trendkill, Track #1. Amanda jumps up and slams off the stereo. She returns straight to her bed, sits on the edge, and stares straight into Charlie's eyes. Then, and only then, they talk. Amanda and Charlie, amidst conversation, broach the subject that Charlie is basically stealing money from his parents: they are paying entirely for his college tuition, yet he hasn't been going to school for the past four years, and his parents don't even pay enough attention to him enough to realize that he's stealing their money. Gavin enters, carrying is wonderful charm. After some joking, some tension, Charlie receives a call on a drug assignment: he's the supplier for a big party and begins to leave. Exiting, Gavin and Amanda engage in a very lengthy but multi-leveled conversation about many topics; philosophy, pessimism, ethics; pot. Obhiously, they've known each other for a long time and just enjoy the others company. They both find themselves locked in each other's arms and kiss. This evolves into a makeout session in which they have nothing on but their underwear. Their motions, the placement of the hands, the sounds, the muscular tensions, all transpire as if they were actually having intercourse. Charlie bursts into the room. An argument ensues discloses that Charlie has secretly desired Gavin for a while, never admitting it to himself or anyone else. But, in his anger, Charlie expresses his disgust that Gavin and Amanda were virtually engaging in sex, because they are siblings, brother and sister. The tension eased, Charlie exits with melancholy and contentment. Gavin picks up his clothes and heads for the door. Amanda blocks him with her body while protestint that he should stay, that nothing’s wrong with it. Gavin silences her, not with a word, but a gesture. He exits, without saying a word. Amanda, unable to control herself, runs to her futon. The second she hits its surface, she breaks into a torrent of tears that would make Hecuba's seem a mere droplet. Through tears she says, "But I love you, my dear sweet brother.” Lights fade to black.

§ Comment “Charlie is a rough outlawed-looking young man with tussled blond hair. He is the epitome of the ‘metal-head’ persona: black clothes, bad posture, and frighteningly strong emotions. He possesses a great deal of latent anger and a lack of knowledge as to how to deal with that. There are things about him that only he fails to notice; and whether that’s from too much pot or too much inattention to the world around him, only Charlie knows. • Gavin is a devastatingly-attractive man, very well dressed, and possessing an overwhelming charisma with his beautiful smile. He is sincerely and deeply sensitive, the complete negation of the stereotypical ‘real man.’ He’s as good a listener as he is a speaker and is a lot smarter than probably he even realizes. And the light of his life, the beating of his heart, is Amanda. He loves her, purely, platonically. He loves her like a sister; both for who she is and who she’ll become. He has every intention of being a lifelong friend to her. • Amanda is an incredibly beautiful girl whose face would freeze time; but too often she’s so caught up with the thoughts and events that are constantly occurring in her head that she forgets the wheels that constantly turn in the real world around her. Whole days pass without her realizing it. However, her intelligence is not unnoticed by her friends or her school, despite her protestations to the contrary. But her one contentment and comfort is Gavin, who is, without a doubt, her friend for life. • The apartment contains a bed, a tiny 13" TV, a futon, a VCR, a stereo, countless piles of CDs, magazines, and clothes scattered haphazardly and chaotically over the entire floor so that nothing is seen but the incredible mess. Upstage right, the TV, VCR, and stereo crowd the top of a dresser. Downstage left, in front of the futon, is an untouched ‘off-limits’ area in which a hot plate is decomposing along with its partner, the fridge. Upstage left, a door leads to the studio. Downstage right, in front of the bed, a door leads to the bathroom. • No changes of any kind mark scene from scene. • The song at the opening of the play before any dialogue must be Pantera’s The Great Southern Trendkill, Track #1 (n.p.: Label: Elektra/Asylum, 1996), UPC 075596190824. • Cast call: (scene i) Amanda; (scene ii) Amanda and Charlie; (scene iii) Charlie and Amanda; (scene iv) Charlie, Amanda, and Gavin; (scene v) Amanda and Gavin; (scene vi) Amanda, Gavin, and Charlie; (scene vi) Amanda and Gavin; (scene viii) Amanda. • NOTE: There is, in at least three scenes, the smoking of pot. This is essential to both how the play progresses in action, and how the characters eventually react to each other because of the smoke. Elimination of this would be antithetical to the play's message.”

§ Themes angst, aspiration, brother-sister relationship, confusion, desire, elation, disappointment, hope, family, foreplay, homosexuality, hunger for closeness, hurt, intellectual duplicity, living with intense egomania, loneliness, loss, lovers forever out of reach, needs, pain, questions, self-criticism, superiority, rapture, wanting to be wanted, youth, youth bonding.



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1/2/3/4 for the Show: A Guide to Small-Cast One-Act Plays

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