Plays on the 5,6,7,8,9,10 people. Collection №4

Music plays as loud as possible.

The light gradually begins to fade.

The end of the scene ends with a rapid fading of the music volume.

ZTM.

MISTRESS'S APARTMENT

Yulechka lies in her crib, moaning and basking, gets to the edge of the bed, tries to get up. But her legs are shaking feverishly, and there are obvious problems with her balance.

YULECHKA: (staggering) Oooh, no-no-no… not now, but later.

Lies back down, enjoys the state. She holds out her pen, picks up the phone next to her, and calls her friend.

JULIA: (enough, stretching like a cat) Hello, girlfriend. How is it? (Listening to the phone) Yes? What's just like that? (Listens) Hmm… And I'm just fine… (Listens) Well, Yes, I was… (smiles tenderly, nostalgically, on a languid exhalation) I just left. (He listens, changes face, indignantly) Yes, what Philip, no, I'm not telling you about him. I had Vasily, Vasily. What did you forget? No, not this one. I've only met him a couple of times, and that was it… I remembered, too… it must have been three days, maybe four. (He listens to the phone) Oh, no, not that one. The one you're thinking of, he can barely fit under the bed. In General, an inconvenient lover, not practical, I would say! I won't meet him again… (hesitantly) probably. But this one isn't, this one is smaller, but it's more solid and hardy. How would you like to do that?.. In a word, I went to the root, you know…

Yulechka smiles intricately.

YULECHKA: (into the phone, proudly) This, girlfriend, musiiiiic! Yes… I'd go to hell for that… Why didn't you go? So because he earns little. What are we going to do with his salary in this fire and water? (He listens to the phone) No, it's like that, but it's like that, you know… not exactly like that. Something like that. Did you explain it clearly?

Yulechka stretches her lips in a smile, makes a face in the style of "CE La vie»

YULECHKA: (into the phone) What about Philip? Everything is fine with Philip. I milk it like a pretty unmarried girl should. While the feeder is working, we will meet. (Listens to the phone, indignantly) Come on, noooo. I don't give a shit about him. Not my passenger at all. (Listens to the phone, indignantly) Listen! Don't spoil my mood, huh? It was so good… Philippa's got something on her mind. (Gently, in anticipation) Let me tell you about Vasily!

The doorbell rings.

Plays loud rhythmic music of a panicked nature (recommended Intro to "Hymn of the jester»)

JULIA: (anxiously) Another time I'll tell you, sorry, business!

The girl slams down the phone, jumps out of bed, as if limping, bent over, with hardly stretching muscles, expressing a difficult female fate, rushes to open the door.

Philip steps into the apartment dressed warmly, he is wearing a raincoat, Yulechka is transformed in an instant! She is fresh, light, gentle and inspired again!

Philip drops the call on his mobile phone, and the music stops abruptly.

The girl jumps on Philip in the usual way, wrapping her arms and legs around him.

JULIA: (gently) My love, I missed you so much, you finally came!

Philip looks suspiciously at his mistress, listens to her thoughts, but they are silent. After listening for a while, he happily hugs the girl, stroking her back.

PHILIPP: I'm so glad I have you, Julia. You have no idea how happy I am to know that I have you. You're so good… so good.

The girl sinks to the floor and gives Philip another trembling hug.

JULIA: (gently) Thank you, Filechka, it is very important for me to know that you are still interested in me.

Philip listens.

YULIA's VOICE in the recording: It's really important for me to know this. So – loves, it's very good.

Philip smiles, takes off his outer clothing, and settles down.

Yulechka goes to the kitchen, brings out a plate of fruit, and puts it on the table in front of Philip.

JULIA: (gently) I'm sorry, I didn't have time to cook anything serious, eat some fruit while, I'll quickly figure something out.

YULIA'S VOICE IN THE RECORDING: I don't have time to do anything with my schedule, and I'm already very hungry myself. So… scrambled eggs, scrambled eggs or porridge for five minutes to cook? I'll put the horns on, it's only eight minutes after boiling, and I'll open the canned food now, it'll make a nice dinner.

Philip rubs his hands together contentedly, even happily, takes an Apple from the plate, takes a bite, and looks longingly at his mistress, who leaves the room.

A little "warming up with fruit" Philip calls Yulechka.

PHILIP: Little one, can I have you?

Yulia runs into the room.

PHILIPP: I wanted to… (thinks) I wanted to discuss a very serious matter with you.

JULIA: Philip shakes his

head regretfully.

JULIA: (anxiously) God, you're scaring me. Tell me quickly, WHAT happened?

: Understand… I suddenly found out that you're the only one I can trust. That everyone around me is a traitor, a hypocrite, and … No matter. I may be out of a job and out of a place to live for a while. Can I stay with you during this period?

Yulechka is silent, and her thoughts are silent. The girl's face lights up with a dazed expression.

PHILIPP: Don't worry, it won't be long. Maybe two months, maybe three. A maximum of six months, while I solve all the organizational issues in the company and at home. And there with the wife we exchange… well, we'll see, maybe… I'll stay here forever.

Yulechka raises her eyebrows in surprise, but is silent, the state of shock does not leave her, but only increases.

PHILIPP: The money will be needed for start-up capital in a new business. I will have to do something else, because in this area for me, as it turned out, already smells fried. Both in the company and in the family. So that… we can finally not hide from anyone. We'll live together, maybe organize a common cause. It will not be easy and at first it will not be very profitable, but we will work hard and in three or four years we will probably have more or less serious results.

Yulechka stretches her lips in confusion, looks away.

PHILIPP: (enthusiastically) honey, are you happy? We can finally be together! We will build a family and family business not on lies and deception, but on feelings! On the truth! On sincerity! We'll get up from our knees together, and then we'll think about having a baby or two… Isn't it great?

Yulechka shows her hand in confusion in the direction of the kitchen, trying to get there somehow without an answer, taking advantage of the situation.

JULIA: (anxiously) Sorry, the noodles are probably overcooked on the stove. I'll sort it out and we'll talk.

Yulia runs to the kitchen in a panic.

Philip picks up his half-eaten Apple and dreamily imagines a possible not-too-distant future as he leans back on the bed. And all of a sudden he is changing in the face; he hears the thoughts of Julia.

YULIA'S VOICE IN THE RECORDING: Hell, it looks like the store's closed. I'm the one who's going to have to find some other fool with money. I don't want to work myself, really… Ah… I feel so sorry for him, like a woman, because the man himself is not bad, he loves me, trusts me. He's making some plans for the future. These men are as naive as children… "candy" beckons, and then it's all yours. .. all right, I'll tell him something about an urgent County. I'll change my phone number and rent an apartment, and then I'll start looking for a new daddy…

A growing lyrical composition is played (recommended by Linkin Park "Runaway" – Intro 30 seconds).

Philip gets out of bed, heartbroken. Puts the half-eaten Apple on the table, takes his clothes, and leaves the apartment.

ZTM.

PHILIP'S HOUSE

Yana is standing in front of the mirror, setting up a marathon. Chooses the perfume that would create your current fragrance. Determined with a choice.

Yana is fresh, in a great mood, dancing. Dressed quite nice and attractive. Not at home.

Philip enters the house, his face reflecting not the most beautiful feelings. He looks at his wife reproachfully.

The wife turns her gaze to her husband and continues to preen.

YANA's voice in the recording: (with a sneer) The beloved…

PHILIP has arrived: (with background) how far are you going, my love?

YANA: we agreed TO meet with our FRIENDS. Let's sit and chat…

YANA'S voice in THE recording: (with self-congratulation) Don't say anything, but you need to be able to lie. I'm telling my husband the truth. I was actually going to see a friend… a little later, but first… hmm… well, that's all right.

YANA: (without looking up from the mirror) I've prepared everything for you there. If you want something sweet, I've got some cakes on the microwave. By the way – delicious.

PHILIPP: (incredulously) yeah…

Yana looks at her husband with a smile. She approaches him with genuine curiosity.

YANA: (genuinely surprised and happy at the same time) Come on.? Can't be? Are you jealous? No, really, it was just jealousy, wasn't it?

PHILIPP: (incredibly) Not at all, I just… I just didn't hear you. You said it with your friends, didn't you? "

Philip scratches his ear defiantly.

PHILIPP: (incredibly) Perhaps the tube in the middle ear, something not so good was to hear it.

YANA: (enough) Well,well…

Philip looks seriously at the back of his wife, who is walking away to the mirror and is beginning to put her earrings on her ears.

PHILIPP: (seriously, softly) I wanted to ask you…

Yana catches an earring, tilts her head questioningly in the direction of her husband.

PHILIPP: Tell me honestly, do you still love me a little?

The wife looks at her husband thoughtfully.

The husband looks at his wife questioningly.

The pause drags on.

YANA: (seriously) SINCE when are you interested

in this? : (sincerely, extremely interested)

Yana carefully twitches her shoulders, returns to the mirror, and grabs the second earring.

YANA'S VOICE IN THE RECORDING: (thoughtfully) Do I still love you?.. I haven't asked myself that question in a long time, and you want me to answer it. Love in General is a very strange thing. Sometimes it is not enough to understand it for a century. (Dreamily) It's easier to be in love. As soon as I introduce Kostya, my school friend… my so-called "first love"…

Lyrical music starts playing (recommended by Gaitana "The best" – the last chorus from the time of 2min. 10 sec. and to the end)

Yana dances, approaches her husband, asks for help with gestures to fasten the zipper on the dress, stays there with her thoughts… with this very Kostya, the husband dutifully zips it, but he hears everything, he understands what is happening.

He reluctantly undresses, and Yana happily gathers herself on the rise.

The husband goes into the room, the wife goes to the exit, automatically kisses him on the cheek, completely senseless, "robotically" and goes to the door, with a great mood and lust puts on graceful boots, a fashionable jacket… Yana soars… her

Husband goes into the room, sits down in a chair, puts his head in his hands, realizing the drama of the situation as a whole.

Yana leaves the apartment.

The music ends.

ZTM.

STREET

A beggar crouches against the wall.

He looks as if at the sky, but the cap has moved so that you can't see the face. In front of the beggar is a box containing several bills.

Philip walks slowly, hands in his pockets, head down, himself hunched, broken.

He is equal to a beggar. Stops.

PHILIPP: (beggar) How are you, buddy? the

beggar gestures "OK" while continuing to sit in his pose.

Philip takes a crumpled pile of bills from his pocket and tosses them to the beggar without counting them.

PHILIPP: How about now?

The beggar bends down, opens the space for the eye on the cap with his hand, sees the amount, returns to the starting position. She holds out her hand to Philip and introduces herself.

MARK: mark!

Philip shakes his hand in return.

Philip: Philip!

MARK: shall We sit down?

Philip, without thinking twice, sits down next to him in the same position, looking somewhere in the sky.

PHILIPP: I'm in no hurry, so why not sit down. What are you doing here?

": The fate of the villain. No health, no documents, no connections… nothing. But apparently, today and even tomorrow I will live, thanks to one generous person.

Mark offers his hand, and Philip shakes the beggar's hand in return.

MARK: Thank you.

Mark frees his hand and sits with his mouth closed. Philip can hear his thoughts.

MARK's voice in the recording: interesting… when I had everything, I hardly met any good people. I was surrounded by thieves and hypocrites. And when I found myself on the porch, I began to meet beautiful people almost every day. It may not be so straight beautiful, but they open up to me in the best qualities. And the most interesting thing… I'm still alive, even though I've been fighting for survival every single day for a long time. Amusing… It makes sense to know.

Philip gets up, looks at the beggar with respect and interest, and takes a few steps back.

PHILIPP: (to the viewer, as if to himself) That's really interesting.

Philip leaves with his head down again and his hands in his pockets.

FOREST

Twilight, rain.

Philip goes on stage in a windbreaker, with a rope, looking for a place to put it, ties it to something at the top, is going to hang himself. The rope gets tangled, he can't untangle it, he throws it. Takes out a large blade, looks at it as the last thing he sees in his life.

PHILIPP: (heartfelt) Somehow everything is not right in my life… Somehow everything… senselessly. Deceive me…, deceive me…, what is the meaning of this cycle of lies? And I can't stop it, and I don't see any other way out of this cycle.

A lyrical philosophical composition begins to play (recommended by Felix ilinykh "White snow as white captivity").

Philip swings with a sharp movement, raises the blade above him with both hands, ready to plunge it into his own chest. And then the snow begins to fall.

Philip freezes, his paradigm shifts.

He is distracted by this phenomenon as a child, completely carefree looking at the snowfall, as if he sees it for the first time in his life. He automatically lowers the blade, forgetting about it and about his former intention.

The composition fades for Philip's words.

Philip: (doomed) Here is the first snow… the

Music is gaining strength again.

Philip changes his mind about committing a tragedy. Music is playing. Philip plays a scene of silent experiences of the last events of life.

Lightning flashes, thunder rolls, all this goes in parallel with the loud playing composition. The light flickers like lightning. Vachagan walks slowly across the stage in the same attire with the dogs on a leash.

Philip does not see him, he just grabs his head, falls to his knees, shows maximum emotional experiences.

The song sounds. Vachagan stops for a moment near Philip, looks at him, shakes his head, passes on, slowly leaves, taking the dogs with him.

The lights are still flickering, and the thunder and lightning are fading into the background. The composition remains on the main background. Clear weather is gradually beginning to set in on the stage.

The song ends.

Philip stands up. His hair is wet, and so are his clothes. He is exhausted, exhausted, but he smiles, sanctifying the audience with his Holy eyes.

ZTM.

STREET

It's raining. Twilight.

Plays a soft sad lyric composition (recommended by Terry "don't Talk about love" up to 1min 29 sec)

A few seconds after the start of the loss, Philip slowly enters the stage. He's all wet, exhausted, and drops of water are dripping off him on the floor.

The wife comes on the stage from the other side the same, all wet, exhausted, having experienced all the same things that her husband experienced. They approach each other slowly with the last of their strength, looking into each other's eyes with a plea and forgiveness. They lean on each other to keep from falling.

The allotted time passes for the lyrical component in the composition, the music subsides.

PHILIPP: (extremely tired of everything) Yana… do you think there's anything else we can do? Do we have any more "we"?

YANA: (extremely tired of everything) I knew you cheated on me… a woman always knows, feels, notices when she shares her husband with someone… At first I endured, hoped for something, and then… I became no different from you in the matter of loyalty, and off we go. But happiness is not everything as you can see has brought neither you nor me… And one day I met a man with two dogs… with a very strange name…

Philip is wary.

YANA: after that, I learned to hear the thoughts of my entire environment… And the masks fell! I saw the true faces and was horrified.

Philip looks at his wife with a guilty, surprised, and at the same time exhausted look.

YANA: (extremely tired of everything) And it was with you that I once learned what a woman's happiness is…

PHILIP: (extremely tired of everything) And I've never been as happy with anyone as I've been with you… Then something happened… something went wrong… me… I broke down.

Philip lowers his head guiltily.

Yana gently, with a tired hand, strokes her husband's head, and in this movement you can read real unconditional love.

YANA: I don'T hear anything else…

PHILIP: And I again became ordinary…

YANA: (extremely tired of everything) Then… let's just start with a clean slate. Let's fix what's broken and try to remind each other of what happiness is… Looks like… what besides you and me for you and me… no one can do this!

Philip looks up, looking hopefully at his wife.

PHILIPP: (extremely tired of everything) Think… can we still fix it?

YANA: (extremely tired of everything, but with hope) I think so… We will restore the Foundation, and everything else will be added…

PHILIPP: (with hope and a rapidly forming plan in his eyes) Then… we'll go up ourselves, and then… I know a beggar who will also need help! Let's do it, Yana!

Philip and Yana look at each other, guiltily lower their heads to the floor, and then defiantly with the last of their strength, with the remnants of rage and all the remnants of feelings, they throw themselves into each other's strong arms, so that the spray flew from them in all directions. (Perhaps, for greater effect, it makes sense to provide some bursting containers with water – explosive packages that are safe for actors or use laser graphics).

Fireworks begin to sparkle along the edges of the stage (it is highly desirable to implement this).

A growing lyrical composition is played (recommended by Vengaboys "Boom Boom Boom»

Bright lights on the stage.

The music is playing in full force, and the actors begin to bow on the stage.

A CURTAIN

In the play "Hear or see?» the following compositions were recommended for musical accompaniment: the

King and the jester "the jester's Hymn" Intro – as Philip's call

Passion Fruit «The Ring Ding Dong Song»

The king and the jester "the sorcerer's Doll"

Linkin Park "Faint" – Intro (30 seconds)

Felix ilinykh "White snow as white captivity»

Terry "don't Talk about love" up to 1min 29 sec

Vengaboys «Boom Boom Boom»

Play for 10 people "Temporarily in adekvat"

duration 1 hour 40 minutes.

ACTOR

The doctor is a woman about 55 years old;

DINA – a woman about 55 years old, a school friend of the doctor;

JULIA – about 35 years old, Vicki's mom;

VIKA – Julia's daughter, capricious, cunning, spoiled, about 10 years old;

ZHANNA – about 30 years old, Rudik's mother;

RUDIK – Jeanne's son, a quiet, scolded boy, about 10 years old;

NELLY – Marina's mom, about 30 years old;

MARINA – Nelly's daughter, an ordinary child, about 10 years old;

KIRILL is Dima's handsome, charming dad, about 40 years old;

DIMA is Kirill's son, a nice little boy, 8-9 years old.

Act one

Typical situation of a state children's polyclinic.

A corridor with a flickering fluorescent light. A tortured door to the office with a large crooked number "5" nailed on it. A ceiling light hangs over the door. The "do not enter"sign lights up.

There are only two chairs for visitors near the office. There are no people.

Julia runs into the room, looking around warily, pulling the child's hand, which whimpers and resists.

JULIA: Vika, hurry up. Vaughn (pointing to the burning ceiling light with the inscription do not enter), while the cart was moving, someone already slipped through. We're in a terrible hurry. Did you forget that you have practice at three o'clock?

Mom opens the door to the office, looks in. From there comes the wild growl of the doctor: the

DOCTOR (furiously): Close the door…those, I'll call!

JULIA (sternly): We're two fifteen!

DOCTOR (furiously): Who is the "Do not enter"sign for? What if I had a man standing naked? Mother, are you adequate?

Julia closes the door with an indignant look.

JULIA: You will be adequate here… Well, what to do, you have to be… we'll have to wait.

VIKA: Mom, I'm sick.

JULIA: Are you ill? You'll tell the doctor how sick you are, but you won't fool me, I've already stepped on this rake many times. So like Tuesday and Thursday, you immediately get sick, and characteristically, the disease suddenly hits you exactly a few hours before the choreography.

Vika is sulking, silent.

JULIA: So what? Are you still sick or are we going to practice? Or do we go first to the doctor, and only then after exposure to training?

VIKA (sincerely indignant): I think you suspect me of something.

JULIA (playing along): What are you, my daughter, how could you think such a thing about me?.. I firmly believe that there are such coincidences in life. At least, no one has ever had it, but you have.

VIKA: I don't know what's going on. That's just like training, so this ache attacks. Straight twists all (shows how it turns), shivers, turns out. My throat aches, my nose squishes, my ear shoots, my knee crunches, my side aches.

JULIA: and the head?

VIKA: does it hurt!

YULIA: AND here (shows), under the ankle?

VIKA: Does it hurt!

YULIA: Left hand (raises her left hand)?

VIKA: Hangs like a whip (shows)!

JULIA: And of course my ass hurts… my

Daughter is thinking…

VIKA: Pop? No, there's nothing wrong with my butt, it doesn't hurt.

JULIA (in all seriousness): Does it hurt? Are you sure?

VIKA: Absolutely!

JULIA: so, now it will hurt!

Starts whipping her daughter with her purse on the soft spot.

They run around the stage, Vika tries to Dodge, screams, and her mother catches up with her, completing her aim.

The door of the office opens, and a stern doctor in a medical gown looks out.

THE doctor (in a rough, indignant voice): Can you keep it down? People work here! I can't hear what's going on in a person's lungs because of you! I can't even hear your breath, so scream.

The doctor slams the door behind him.

Mom, taking advantage of the opportunity, while the daughter was distracted a couple of times hits her purse on a known place.

Jeanne's moralizing, authoritative voice is heard behind the stage.

JEANNE (instructive): Vooot! That's right! Children need to be raised!

Jeanne goes on stage, leading the boy by the hand.

JEANNE: They must be kept in a tight grip from the very childhood, otherwise they will bloom, then it will be too late.

Jeanne goes to the study, opens the door, and looks in.

From the office, the doctor can be heard growling:

DOCTOR (furiously): Close the door, I'll call!

The son of Jeanne starts at such a furious cry.

The lady closes the door, looks skeptically around the corridor, stops her gaze on the mother with the child.

JEANNE (busily): Also in the fifth?

JULIA: Yes! I here is so, too, looked, so me inadequate called!

JEANNE (busily): Not adequate?

JULIA: Yes!

ZHANNA: This is still tolerable. Follow me!

Jeanne passes by like a hostess and sits down on the chair closest to the office.

JULIA (indignantly): Why on earth would that be? You came after me, but you're getting ahead of me?