The Story of the Lost Castle

Attention! ALL COPYRIGHTS TO THE PLAY ARE PROTECTED BY THE LAWS OF RUSSIA, INTERNATIONAL LEGISLATION, AND BELONG TO THE AUTHOR. ITS PUBLICATION AND REPUBLICATION, REPRODUCTION, PUBLIC PERFORMANCE, TRANSLATION INTO FOREIGN LANGUAGES, MAKING CHANGES TO THE TEXT OF THE PLAY WHEN STAGED WITHOUT THE WRITTEN PERMISSION OF THE AUTHOR IS PROHIBITED. THE PRODUCTION OF THE PLAY IS POSSIBLE ONLY AFTER THE CONCLUSION OF A DIRECT CONTRACT BETWEEN THE AUTHOR AND THE THEATER.

Comedy. Drama. Horror. In two acts. Duration 2 hours.

WARNINGS!!!

For theaters that focus this production on horror!

During the production, it is desirable to have two law enforcement officers or two theater administrators in a constant field of view of the viewer (along the edges of the stage), because at certain moments of the production, panic is possible in the hall. We need those who will be aware of the events and will remain calm, thereby setting an example to the viewer, explaining, if necessary, that everything that is happening is staged.

The viewer should be warned about shocking episodes and be ready emotionally and physically to perceive them!

If the emphasis is on drama, and shocking scenes are not exaggerated, then warnings in the production can be ignored.

ACTORS

Callista is the main character (about 20 years old).

Erast is the owner of the castle (about 30 years old – in appearance).

Maina is the girlfriend of the main character (about 20 years old)

Ermolai is the father of the main character (about 60-70 years old).

Elena is the mother of the main character (about 20 years old – in appearance).

Polycarp is the father of a friend (the natural age of the parent).

Vera is the mother of a friend (the natural age of the parent).

Antip is a servant (a role without replicas).

The production involves extras (20-30 people).

Act One

The viewer should not see the scene before the action begins! The curtain must be closed before the performance begins!

Before the beginning of the action of the first scene (about 10 seconds before the start of the action), we give a loud, angry roar of Venom (or something similar, but very bloodthirsty and spectacular)!!!

Scene 1. Polycarp's Barracks

A remote village. Evening. Barracks.

It's dark in the hall and on the stage. I can't see anything, but I can hear something.

Some household sounds are heard on the stage. Someone walks, someone knocks something, moves something. The sound of a spoon on an iron bowl. Heavy dissatisfied male exhalations.

In the auditorium a few people can linger and fidget in their chairs impatience understandably, the excitement and expectations of the unknown (this issue can be partially solved decoy actors, but the viewer to the point until the light on the stage does not illuminate, usually rustles, rustling, etc., that's what we need).

Polycarp (suddenly loud, strictly to the viewer chills ran down his back, and there was mixed feelings, to whom and from whom the appeal, or to the viewer, whether it already is the play). So what? How long are you going to get in?

We give a small pause of 3-4 seconds before the next remark, so that the viewer does not have time to understand anything.

Vera (nervously). Yes, what is it? Don't you know what yourself? The traffic jams must have been knocked out again! Maina – drag the lantern, so you can't see anything.

Polycarp (strictly). Okay, don't make any noise there! Not for the first time!

Myna (excitedly). I don't see it, Mom! There is no lantern in place. Petrukha, come on, he's taken it again! He spends the night at his grandmother's, constantly takes it with him. There is no lantern in place, no – that's the cross!

Vera (nervously). The dog is with him with a lantern, bring matches, light up with something already!

Rustling, walking, movement, the clink of a spoon against an iron bowl.

Myna lights a match.

In the light of the match, the faces of the mother and daughter are barely visible, who are trying to see something at the electric panel.

Myna (hesitantly). No, everything seems to be in place… Something I don't understand then…

at this moment the light turns on.

The viewer sees a cozy, rather poor house. The atmosphere is rural, modest, habitable. In the corner of the house there is a large backpack assembled. Dinner is in the house. The table is set for all family members. The father is sitting at the table, calmly eating soup from an iron bowl, in fact, he taps the spoon on this very bowl, bites a piece of bread. Mother and daughter are bridging at the electrical panel. Myna blows out the match.

Mother and daughter transfer dissatisfied glances to the head of the family. He continues to eat calmly, and clink a spoon.

Polycarp (calmly, without looking up "from the case"). And …, well, that's right. The announcement hung on the building of the village Council. Short-term outages are possible. I completely forgot.

Vera (throws up her hands nervously). No, I am so touched by this imperturbable calmness! As he ate, so he eats. At least for the sake of appearances, whether the place of deployment has changed. My daughter and I are trying something here, trying, and he, you see, is eating!

Polycarp (calmly, without looking up "from the case"). Nervous worries for health do not contribute much. And then – the guy came home from work! Don't you dare touch the man! This law has been honored for centuries in the families of our village. That's how it should be. And there's nothing for me to stir up trouble!

Polycarp turns to the ladies.

Polycarp (calmly). Well, what are you standing for? Let's get to the table before the lights go out again. It's not so convenient to have dinner in the dark. I tried. So hurry up, ladies, hurry up… Don't waste your time.

The father of the family hands his bowl to his daughter.

Polycarp (in a masterly manner). Come on, Myna, give me another splash! And then the mother, something is not in the spirit today.

Myna takes her father's bowl, goes to the pot, pours the soup.

Vera, dissatisfied, goes to her place at the table. But before she can reach it, Polycarp grabs her playfully and pulls her to him. Vera squeals in surprise. The daughter turns around, smiles, understanding what's what.

Vera (playfully, through resentment). Let go, crazy! Polycarp, let go, the tea has decided the wrong moment!

Polycarp (cheerfully). Don't puff, you're Vera. All is well! Look at how my daughter was raised! The hostess! Hooch soup folder pour, hooch…

Vera (interrupts). She can do everything! My school!

Vera breaks out of the embrace and sits down at her place, starts eating.

Maina brings her father a bowl.

Everyone sits down at the table, dinner continues, as, apparently, before that, before the lights go out.

They eat quietly for five to ten seconds, without excesses. Suddenly Vera throws up her hands, groans, takes off, runs into the hall.

Vera (wailing and running into the pantry). Ugh! I almost forgot!

Father and daughter calmly watch Vera, exchange glances, are silent.

Vera returns with a flask in her hands, carries this flask to her backpack, and puts it inside there.

Vera (pointing to the flask). That's it! I prepared it in advance, but I almost forgot. It seems that she prepared everything, provided for everything, and almost left the flask in the hallway.

Vera returns to the table.

Polycarp (daughters). So what, you say, for a hike you have? Where are you going?

Myna (indifferently). Into the woods, Dad!

Polycarp (daughters). Heh, it's clear that in the forest. We have a forest here and there is nothing. And why did you suddenly get carried away with the guys?

Vera (with understanding, to her husband). Well, what are you, Father, don't you understand? The case is young. Hiking, bonfires, romance. While young – we need to move! We must live to the fullest. And then there will be no time to walk. Now he will stay at home – then there will be nothing to remember.

Polycarp (to his wife). I'm not forbidding it at all. I understand everything. Of course, you have to live your life, and not sit by the stove. I'm just worried about making sure everything is on the mind. (Daughters) Which of the guys is coming with you?

Myna (unconvincingly). Yes, our guys won't be there almost, they will be from a neighboring village, but we know them well with Callista. Do you remember Miron, Vadka with bangs like that… Andrey and his brother, well, and their rural girls will also be there… They are good guys, we have been friends with them for several years …, so to speak …

Polycarp (wary, daughters). How is that, friends? What else does it mean, so to speak?

Vera (with understanding, to her husband). Why are you attached to a girl? She's not a child, tea! It's high time to show your nose to the light from under your mother's hem. Let him go, they'll figure out what's what. Ali weren't we like that?

Polycarp calms down, nods his head condescendingly, concealing a certain trick of memories.

Polycarp (daughters). Well, good-good. So, on the road in the morning? At dawn? Come on, I'm spending a little time…

Myna (unconvincingly). No, Dad, thanks. Callista will come for me in the morning, and together we will go to the guys. Don't worry about me, everything will be fine!

Polycarp looks at his mother, and his mother nods approvingly at him. Polycarp discreetly nods approvingly to his daughter.

ZTM.

Scene 2. Barrack

Morning. No one in the house is visible. There is a knock on the door.

Polycarp's voice (you can't see him yet, you can only hear him). Who else is there with urban habits? Come in, why are you knocking? We don't have locked doors! Callista

enters with a backpack on her shoulders, her clothes are hiking. Polycarp comes out to meet her, girds himself.

Callista (cheerfully). Hello, Uncle Polycarp. And what about the Lane? Still sleeping?

Polycarp (kindly). Hello, hello. No, I'm up already. (Calling her daughter, loudly) Maina! Callista has spoiled me, come on!

A swarming Lane minces into the room for a few seconds, it's almost ready.

Maina (to a friend). Hello. I am now.

Myna runs away again. Vera enters the room.

Callista (cheerfully). Aunt Ver, hello!

Vera (kindly). Hello, Callista. So what? Are you ready?

Callista (quite). Gathered.

Vera (kindly). Well done. Maybe a cup of tea on the path?

Callista (with warmth). Oh, no, thanks, I'm just from the table. So, if you give me some water to drink– I won't refuse.

Polycarp is busy at the stove at this time, he has a kettle at hand. He pours for himself and Callista. He gives the girl a glass of water.

Callista drinks, hands over the glass.

Callista (with warmth). Thanks.

The Lane comes out. She's completely ready. He approaches his girlfriend, stands facing his parents (both are facing their parents), waiting for some kind of blessing.

Vera (kindly). Well…, come on, girls, with God!

Maina hugs her father goodbye, who is passing by her at this moment on some business of his own. He is not very fond of tenderness.

Myna throws her backpack on her shoulders, the girls approach the exit (to the door, if there is one on the stage), once again look at Myna's parents.

Polycarp looks at the girls with restraint. He is not very happy about this idea.

Maina (to her father, ingratiatingly, a little as if guiltily). Dad?

Polycarp (kindly, "stepping over himself"). Yes, go already, go …

the girls are happy to leave in a hurry.

ZTM.

Scene 3. Forest

Musical accompaniment, preferably coupled with the sounds of nature.

A dense forest, a person here is an infrequent phenomenon.

We give the viewer to get acquainted with the scenery, sounds, and surroundings.

Here are two girls showing up, Maina and Callista. They are already pretty tired of dragging their backpacks. But they are still walking, sighing heavily, examining the place they have reached at this stage.

The music stops.

Maina (with a tear from fatigue). Callista, I don't know about you, but I find it appropriate to take a break. The "Y" is stressed, I clarify. Let's make a halt, eh?

Callista (also pretty tired). Come on, I wanted to suggest it myself. The place seems to be nothing. All. Halt!

The girls throw off their backpacks.

Maina (in a tired voice). You know, I wouldn't mind a snack. How are you?

Callista (delighted). Sure. Unpacking. What did they pick up for you there?

They begin to unpack backpacks. They get simple provisions peculiar to the area (bread, lard, vegetables …). They share with each other, who is much. They settle down, have a meal.

They communicate during the meal.

Callista (with interest). How did it go?

Maina (almost cheerfully). You mean the parents?

Callista (with interest). Yeah. How did they let you go? To be honest, I didn't really hope, I thought I would have to go alone.

Myna (deliberately indignant). Doubted me?

Callista, Maina (together, playfully, meaningfully). Mmm…

Callista (with interest). I didn't doubt you. But in your parents… Well, judge for yourself who will let her daughter go to a remote forest for a few days. You have a full-fledged family, and full-fledged views on life. In theory– they shouldn't have let you go. How did you persuade them?

Maina (with intrigue). It is necessary to be able to resort to female cunning. In order for your parents to give you their consent to something, it is enough to convince your mother of this. And she, in turn, will influence both her father and everyone else, if there are others and if they need to be influenced. Well…, Petrukha is still small, and his grandmother has him now. There is no need to influence him. And so in general – keep it in mind, girlfriend.

Callista (surprised). That's it, then?

Myna (complacently). Yeah… Well, she lied, of course. She said that we were going camping with the boys from a neighboring village, that you know them well, and so do I. Young people, movers, back and forth… Everything is like that… And so (he spreads his hands quite, claps, and rubs his palms) – Ala result!

Myna snaps her fingers pretty!

Callista thinks about it.

Callista (with interest). And what … is it true, like this, through mom, you can easily solve all the issues?

Myna looks at Callista somewhat ironically, but then quickly pulls herself together.

Myna (somewhat guiltily). Oh, yeah, sorry. I didn't think. You don't have a mom, how do you know.

Callista (retreating into memories). I don't remember my mom very well. Saves only a snapshot of an old non-color photo.

Callista takes out a small shuffled photo of her mother, looks at her with great warmth and love, and tremblingly passes the photo to her friend.

Callista (retreating into memories). How old was I then? I just learned to walk, as my father told me later. Mom sat with me for a long time, like all mothers with children at such an early age. And as soon as I got back on my feet, my mother asked my father and her friends to go to the forest for a while, to unwind a little… So none of them came back.

Maina (after a short semantic pause, sadly). It's strange that you, though a little, but still remember Mom. So many years have passed. Usually children do not remember anything from their early childhood. I don't remember anything from my childhood at all.

Callista (sad, measured). Strange, I agree, but I remember a little. I remember her eyes, nose, cheeks… But the outlines are already blurred. In the photo, she looks a little different than in my memory… This is ten or twelve years before I was born, she was filmed by her uncle. He was fond of photography.

Callista looks with warmth at the photo in her friend's hands.

Callista (tremulously). She's still very young here… Such as you and I are now about. I remember her a little differently.

Mina looks at the photo and gives it back to Callista.

Callista takes the photo, looks carefully.

Callista (sad, measured). And so… All these years I have been living with one thought that never leaves me – to find my mother. Thank you, Mina. Thank you so much for supporting me in this decision. It would be much more difficult for me alone, at least emotionally.

Maina (after a short semantic pause, sadly). Girlfriend, I will honestly tell you that I am ready to support you in everything and always, just like now and today. But I'm sorry, I don't believe we'll find your mom. Well, judge for yourself, if she were alive-wouldn't she have come back? After all, her beloved child and beloved husband are waiting for her at home. Who wouldn't come back in her place? I think that our campaign with you is doomed to failure, and, nevertheless, I am here with you. I'm sorry…

Callista warmly hugs her friend, she reciprocates.

Callista (with warmth). Thank you so much, Mina. How grateful I am to Heaven that God sent you into my not too easy life. Without you, I would have been lost long ago. Thank you for your support, for your shoulder and for your faithful friendship …

He pauses a little, lets go of his girlfriend, the girls sit down again as they were sitting.

Callista (with warmth, quietly). And about Mom… It's hard for me to explain it, but I'm not what I believe… I can feel her, you know? I feel like she's alive! I can't describe this feeling myself, it's very strange, not like it was before, with my mother. Something has obviously changed a lot, but she is alive – I know it somewhere deep inside for sure. She's alive!

Callista looks cautiously at her friend. Myna is being cautious. Of course, she doesn't believe in all this nonsense, but she doesn't want to offend her friend either. She nods her head vaguely and shares with her friend the provisions that have been born again from the backpack.