Copyright © James Hale

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note: Space is of critical importance in this play. space between the characters, between the beats, even between the lines. All intimate spaces, whether physical or regarding delivery, should be taken as close to discomfort as possible without reaching it. Conversely, let there be an almost uncomfortably large space between beats, both in an immensity of physical distance between the characters, and in length. it is allowable for the play to speed up noticeably towards the end, if desired.

 

[The holding cell at a federal prison. A metal table, a couple metal chairs. Bare walls, bare floor, a single window overlooking the yard, presumably. A heavy, swinging door opens and PETER enters, getting his shackles removed by an unseen guard at the threshold before the door closes loudly behind him. PETER is in his mid-30s, handsome, with eyes that used to smile.]

PETER

Well.

[PAUL enters, 40s, a man of faith haunted by doubt, wearing a clergyman’s collar. The door again clanges, both opening and closing. Keys are heard, bell-like, locking them in.]

PETER

Well. Continue reading