A Dreamer Under the White Vacuity
Yuncheng (Tony) Liu
Cast of Characters
ALENZI— 16, high school student. Imaginative, detached from reality, a misfit at school. NOCEN— 16, high school student. Alenzi’s best friend. Vigilant but pretending to be complacent. SOMINA— 16, She only exists in Alenzi’s imagined world (Raloran).
RAINA—15, Somina’s friend.
KORRIN—17, Somina’s friend.
IDO— Adult, any age. Neighbor of Alenzi. A man fond of inventions and literature. STUDENTS— 15, high school students if numbers permit.
DR. ROGERS — Adult, any age. Psychiatrist.
GOVERNMENT AGENT— Adult, any age. Manages society’s central police intelligence. POLICEMEN— 5 adults, any age.
Note: 2356 CE, 200 years after the Great Defense. That night, the Government ordered all research in technology and humanities banned. Schools were shut down and recreated. Labs were neutralized. Books were burned and rewritten. The entire education system was altered. No one outside of the government knew why.
The stage will present two world settings—the real world and Alenzi’s imagined world, communicated through lighting, sound effects, and props. All imagined world scenes are brightly lit with full stage lightning. Scenes in the real world are dimly lit with candles and shadowing. At times when Alenzi is
firmly in the real world, the stage should be characterized by stormy sound effects indicating a continuous, rainy weather.
SCENE 1
Setting: A mental hospital. There is one desk center stage. ALENZI and DOCTOR ROGERS face each other, profiles to the audience. DOCTOR ROGERS has a pile of paper next to him. A single candle burns on the desk. There is a wall on wheels at the back to give an impression of a room; it is adorned with images of the brain.
Doctor Rogers
Could you tell me a little about the girl?
Alenzi
The girl?
Doctor Rogers
Yes. The girl. Your school sent me your drawings. (holds up a pile of papers with doodles on them) These are illustrations of things not from our reality. Landscapes. Jungles. Cities. All different. Except in each one is this girl. Can you tell me about her?
Alenzi
What if I don’t?
Doctor Rogers
Then I’m afraid the institution will make you stay here. Your teacher believes these drawings distract you. Deter your academic progress. You don’t want to stay in hospital, do you? (beat) Then cooperate.
Alenzi
These are parts of a world I imagine. I drew them. When I was bored in class.
Doctor Rogers
Tell me about this world.
Alenzi
I call it Raloran. It’s like a continent with many … realms. Each different. Some have advanced technology, some have harnessed arcane magic. Others have developed mysterious religions. Basically, it’s a world with color.
Doctor Rogers
What do you mean by color?
Alenzi
It’s metaphorical. Obviously. Raloran offers choices and (beat) freedom. You know – color.
Doctor Rogers
How?
Alenzi
I imagine myself having a different sort of life there. I live in one of the realms. You see (leaning in)… I live. I don’t just survive.
Doctor Rogers
Could you specify the difference between to “live” and to “survive?”
Alenzi
To live means existing for something that makes you want to be alive. Passion. A goal. To survive is basically fulfilling biological needs. No intention. Perpetual nothingness. Pretty much what I do every day now. I’m starting to hate it. That’s why they sent me to you, right? Because I scratched my drawings during class, so they think I’m vulnerable? At risk? Dangerous?
Doctor Rogers
I wouldn’t claim that. (beat) Let’s return to my earlier question. Who is this girl?
Alenzi
That’s Somina. She’s from Raloran.
Doctor
Is she special to you?
Alenzi
I created her for fun. I don’t have a lot of friends, so I made her. Special? I mean… I guess.
Doctor Rogers
(leaning in) Does this girl feel real to you?
Alenzi
What does ‘feel real’ even mean? She’s in my head. But I see her clearly – blue hair and eyes. She’s beautiful, in an otherworldly sort of way. No one here looks anything like her.”
Doctor Rogers
Tell me, Alen. (pause) May I call you, Alen?
Alenzi
Would it matter if I said no?
Doctor Rogers
(ignoring his response) Alen, have you experienced anxiety recently?
Alenzi
No, not really.
Doctor Rogers
Hallucinations? Depression?
Alenzi
No, no. Of course not. Why are you asking me this?
Doctor Rogers
Your school believes the extensive imagination you now demonstrate seems psychologically (beat) deviant.
Alenzi
I’m not a maniac! Those’re just drawings.
Doctor Rogers
I know. Your thoughts and imagination of Raloran and that girl are fascinating (beat) but peculiar. (moves even closer to Alenzi and whispers) You know what happens to maniacs who are sent to this hospital to be “treated,” I’m sure?
Alenzi
But those are just made-up things from my head. They’re fake. Why would anyone care?
Doctor Rogers
The system cares. Listen. The system cares a lot. I’m supposed to report every detail of our discussion. Given that you haven’t used your imagination for any anti-social purposes, I don’t see the value in doing that. Don’t do it again. I can’t be merciful next time.
Alenzi
I still don’t understand. Did I commit a crime?
Doctor Rogers
It is not for me to say. I’m here to assess your mental wellbeing. Unfortunately, I also can’t give you back your drawings. This is an order from the school.
SCENE 2
Setting: This scene takes place in the backstage of a concert hall in a Raloran high school. There is a sofa center stage with a table in front of it. On the table are drinks and small music instruments. A wall with wheels is at the back of the stage with posters for the concert and popular bands hung on it.
KORRIN, RAINA, and SOMINA enter stage right. KORRIN holds a pair of drum sticks. RAINA has a guitar hanging on her back. She is starring at her phone chatting with someone. SOMINA paces, worrying about something.
Korrin
Everyone ready?
Raina
Yep.
Somina
Can we wait for a sec?
Korrin
What’s wrong?
Raina
I bet it’s because of him.
Somina
He promised me. He promised he’d be here to see our performance.
Raina
I mean, boys. Duuhhh.
Somina
Stop it, Raina. He’ll be here soon.
Korrin
It’s fine, Somi. We can wait. But we will have to start soon, even if he hasn’t arrived.
Somina
I know, Korrin. I know.
Alenzi enters stage right in a hurry.
Alenzi
I’m so sorry I’m late.
Somina
Where were you? You know how important this concert is for me?
Alenzi
I’m sorry. I got caught up in (beat) something at home. But I’m here now…Don’t be mad?
Somina
Fine. (beat) What? (noticing that ALENZI is starring at her)
Alenzi
You look nice today. I mean, professional, like a singing star.
Somina
(shyly) …thanks.
Alenzi
Hey, what’s wrong? You nervous?
Somina
It’s my first time. I’ve never been on a stage in front of so many people.
Alenzi
It’s fine. You’ll do well. You have the voice of…an angel.
Raina
Like an angel. (mimicking Alenzi) That’s pretty outdated, dude. Nobody says that to win a girl’s heart anymore.
Korrin
Alright, girls. Time for our show.
(Raina and Korrin leave the stage.)
Somina
Ok. I’m going. Wish me luck.
Alenzi
I’ll wait for you outside of the auditorium.
(ALENZI walks away from SOMINA, presumably to take his seat with the audience. Somina walks opposite him and in the same direction as Raina and Korrin earlier. SOMINA stops before walking off the stage and turns around.)
Somina
Alen?
Alenzi
Yes?
Somina
Thanks for… supporting me.
Alenzi
That’s what friends do.
SCENE 3
Setting: Three desks are placed at the front of the stage facing the audience. More desks appear behind them; they each hold a burning candle and a pile of textbooks. A long poster that reads “New is Sin” hangs at the back. NOCEN sits on one of the desks at the front, stage left. The middle desk, belonging to ALENZI, is empty. All other desks are occupied by a STUDENT. All wear the same white school uniform and sit in the same position holding their textbooks in the same gesture. The scene begins as ALENZI enters the classroom and sits down.
Nocen
So, will he make you go back to the hospital?
Alenzi
Worse. He sent me back to school. And confiscated my drawings.
Nocen
That was kind of him, actually.
Alenzi
Really?
Nocen
You must’ve heard about what goes on in that hospital. It’s a jail. It’s the real hell.
Alenzi
Lucky me then.
Nocen
Dude, I’m serious. If you keep playing with these things in your head, you’ll get arrested or killed.
Alenzi
I don’t get it. Since the Great Defense, people are just so hostile against (beat) thinking.
Nocen
This is exactly our world right now. Philosophers. Inventors. Poets. Painters. Our creatives. They’re no longer allowed to exist.
Alenzi
Dumb choice. Why would you intentionally abandon progress and civilization?
Nocen
My grandparents used to work for the government. They said it was for our protection. (beat) From aliens. That’s the most popular theory.
Alenzi
Aliens?
Nocen
I don’t know, man. I heard it was a discovery several centuries ago. They called it C-A-D something.
Alenzi
I don’t see how this is a way to protect us from aliens.
Nocen
Who knows?
Alenzi
I heard before the Great Defense, hospitals actually treated patients instead of imprisoning them.
Nocen
Of course. There was a lot that happened differently before the Great Defense. (looks at the candle on the table) They used to have electricity to power up lights. There were even rockets to send people to outer-space. Imagine that!
(The boys are interrupted by a voice over from their teacher.)
Teacher (V.O.)
TURN TO PAGE 125. READ OUT ALOUD! NO CHATTING.
(The synchronized turning of pages of the textbooks as all STUDENTS respond to their instructions like machines. When the pages are turned, they stare ahead, looking over the audience. They speak in unison.)
Students
New is sin. May constancy guide everything. May constancy preserve…
(The STUDENTS repeat this mantra as the lighting slowly dims on the stage. Even when the stage is in complete darkness, the chanting of the STUDENTS continues.)
SCENE 4
Setting: A bench is placed at stage center. IDO sits on it holding a diary. White stage light focuses on him.
The scene begins with ALENZI’s entrance, stage left.
Ido
You seem depressed, young man.
Alenzi
Oh, hello, Mr Ido. I didn’t see you.
(ALENZI sits beside IDO.)
Ido
School?
Alenzi
Yeah. Of course.
Ido
Things will get better.
(ALENZI stares at IDO’s diary.)
Alenzi
What are you writing?
Ido
Diary recording. A pretty old habit of mine.
Alenzi
I heard people did that several centuries ago.
Ido
Yes. They used to record experiences and observations. What they did. What they saw. What they felt. I’m different. I record my muse.
Alenzi
You mean your imagination?
Ido
Yeah. Now-days, there is really nothing observable in reality. Everything’s the same. So, I focus on my perceptions of our world or maybe another ideal world that could exist. Anything that my mind fancies.
Alenzi
I do too.
Ido
Really?
Alenzi
But I draw them down.
Ido
Tell me about it.
Alenzi
It’s an imagined world in which I have another life. And I’ve got a very good friend. A girl.
Ido
Do you love her?
Alenzi
That is very direct, Sir. But, maybe. She makes me feel less alone.
Ido
There is nothing shameful about it, boy. Before the Great Defense, boys like you did engage with girls, even in reality. It’s natural, these feelings.
Alenzi
Really? Now-a-days girls in school don’t talk at all. Spare-time conversation is not allowed.
Ido
Nothing is allowed these days.
Alenzi
True. (sigh) But in the end, that girl exists in my imagination. She’s not real.
Ido
She’s not real. (beat) Tell me. What defines real? Everything we sense could be divided into space and mind. And we call the former one reality. Why?
Alenzi
Because we could see and hear it? Like with our basic senses?
Ido
Alright, basic senses. What about your mind?
Alenzi
It can’t be sensed because it exists in your head.
Ido
Going back then, what is the destiny of the information your basic senses collect that help you feel space?
Alenzi
The Brain. I guess. Inside our head.
Ido
Same place with mind, right?
Alenzi
I never thought of that.
Ido
They are two existing worlds. But the institution prefers the former and represses the latter. At least, it seems to me now that people like us are the keepers of the realm of mind, the keepers of humanity. (laughs)
Alenzi
What do you mean by humanity?
Ido
There’re billions of things about humanity. But I think it all comes down to imagination, which is our mind. I mean, what really differentiates us from all other animals is our ability to visualize and generate things that do not exist in reality. It is our imagination to tell stories. That drives us forward to civilization. (beat) But the ministry seems to hate it a lot. It tries to erase it. So, people like us are the keepers of the power. We record it down to preserve it. Quietly…of course. And with those we trust.
Alenzi
But for whom? For the future, the unborn? If the future remains what the present has been, then your diary will eventually be destroyed or dismissed. Just like how they confiscated my drawings.
Ido
I don’t know. It may not always be for preservation. At least, because of our imaginations, we make our lives more our own, so they can’t be replicated.
SCENE 5
Setting: The stage now shifts to a police station. A desk is placed center stage; it has handcuffs and a pile of notes and books belonging to IDO on it. On the back, moveable wall posters of suspicious figures and criminals hang. The stage is dimly lit again.
GOVERNMENT AGENT sits behind the desk. IDO is handcuffed, and stands facing him. Two POLICEMEN stand behind IDO, holding him in place.
Government Agent
Mr. Ido. You do know why you’re here, of course.
Ido
I… I don’t know. I’m sorry.
Government Agent
These (shows the notes)... were found in your apartment. They’re not from legal sources.
Ido
I created them. For me. They have nothing to do with the government.
Government Agent
Create?! Now, that’s the problem. (pointing at a picture on the paper) What is this?
Ido
A-a-a rocket design. It was really just an idea.
Government Agent
Design? You’re aware of our laws, I’m sure. And what are these? (points at pile of books)
Ido
Just poetry. Literature. I wrote them myself like, like those ancient writers. Shakespeare, Mark Twain, Charles Dickens. Harmless. Again, to keep me company.
Government Agent
Those poor victims of the past. Alright. Gentlemen (turns to the POLICEMEN). We need to save this man from the C-A-D.
Ido
What?
Government Agent
Tear them all. And burn them.
(The POLICEMEN tear IDO’s notes and papers apart and then light them on fire. IDO struggles but
is subdued by the POLICEMEN who continue to hold on to him until the end of the scene.)
Ido
No! Those are my things. My THINGS!
Government Agent
Relax, Mr. Ido. Those things are detrimental to your mind. We are saving you.
Ido
This is madness!
(GOVERNEMNT AGENT approaches IDO and stares at him for a moment.)
Government Agent
I see your mind has become corrupted because of them. (turns to the other policemen) Send him to the hospital.
Ido
Hospital? I’m not a maniac! I’m fine. Please. Anywhere but the hospital! I beg you.
Government Agent
You will be fine, Mr. Ido. Always remember, the institution is protecting you. Protecting your mind from corruption by the most villainous power in this universe. Trust us.
(POLICEMEN grab Ido and pull him off the stage, leaving one POLICEMAN and the GOVERNMENT AGENT on the stage.)
Government Agent
I need you to search for the boy.
Policeman
The boy?
Government Agent
Yes, Ido’s neighbor. Bring me all the information you could find about him.
Policeman
Yes, sir.
SCENE 6
Setting: At a coastal port in ALENZI’s imagined world of Raloran. A handrail is placed center stage to indicate the separation of the coastline from the sea. It is dusk, and the stage is lit with pink, neon lights coming from a metropolis. Sound effects of sea waves constantly hitting the beach.
ALENZI and SOMINA lean against the handrail facing the audience. They wear high school uniforms. Different from the uniform of students in the real world, these contain colorful patterns.
Alenzi
Your performance was gold.
Somina
Well, thanks. How about the song?
Alenzi
I love it. And… also your voice.
(They look at each other and smile.)
Somina
Remember you said you were late because of something going on in your world?
Alenzi
I’m sorry for that.
Somina
What was it?
Alenzi
I was arrested for drawing you.
Somina
Really? People in your world are so (beat) repressed. I bet you did that cuz you miss me. (smiles)
Alenzi
Yep. I wish I could stay here and never return to my reality.
Somina
How bad is it, really?
Alenzi
Boring. Redundant. Oppressive. We can’t even think differently.
Somina
But don’t you have family over there?
Alenzi
Biological, yes. But “family”? Nah. They were brainwashed and expect me to obey. When I complain, they tell me to adapt.
Somina
Families don’t work like that. They should care. Like what we do, for each other.
Alenzi
I know, right? That’s just my reality. Everyone’s a machine. They obey the same set of rules. It is like a world without a soul. (beat) Unlike here.
Somina
You’re right. We could explore the deepest jungle, view the stars on the highest mountain, or live in the coolest metropolis. Or we could even sail the ocean in front of us.
Alenzi
My life belongs here. Somehow.
Somina
(gently grabbing Alenzi’s hand) Does it bother you…that I’m not totally real?
Alenzi
But my friendship to you is more realistic than any experience I’ve ever had.
SCENE 7
Setting: Same as in scene 2. All STUDENTS, including ALENZI and NOCEN, are silently reading, all holding the text book again in the same gesture. STUDENT 1 sits next to NOCEN.
Alenzi
This is dumb. All we ever do is repeat the same sentences from this textbook.
Nocen
Pretty much so. You memorize. You write them down.
Student 1
Chapter 1: New is sin. May constancy guide everything…
Alenzi
I chatted with her yesterday at the port.
Nocen
You mean with your imagined girl in your imagined world? Whatever.
Alenzi
It feels so real. Sometimes I find it hard to believe that it’s all my imagination.
Nocen
How come?
Alenzi
I know it’s in my mind, but it feels like I have another life. In a parallel universe that actually exists!
Nocen
Bro… if they find out you’re imagining again, you’re screwed.
Student 1
Number 9: divergence in thought is detrimental to order…
Nocen
Have you heard the news? Ido was sent to the hospital. They found his inventions.
Alenzi
No! I was speaking with him just the other day. Dammit. I knew it.
Student 1
Number 25: concealment of private ideas irrelevant to the standard rules is against the law.
Nocen
Yes, cuz it’s illegal to do that… (towards STUDENT 1) Will you SHUT UP?
Student 1
The test is come. We all must write. I need to memorize. I cannot forget.
(The GOVERNEMNT AGENT enters the classroom with several POLICEMEN following him.)
Government Agent
May I have your attention, everyone? (looking around) Who is Mr. Alenzi?
Alenzi
(beat) I’m here. (stands up slowly) Who are you?
Government Agent
There you are, my friend. It took me a long time to find you. We’ve got important business waiting for us.
(Stage light fades with ALENZI and the GOVERNMENT AGENT looking at each other.)
SCENE 8
Setting:
This scene contains both a setting in reality and a setting in ALENZI’s mind. The stage is divided in half with a thin, moveable wall to demarcate these two halves.
The setting in reality is the same mental hospital from scenes 1 and 3. A table is placed center stage with the GOVERNEMNT AGENT sitting on one side of it. Two POLICEMEN stand behind ALENZI who stands up on the other side of the table. The setting in ALENZI’s mind is in SOMINA’s bedroom. A bed is placed in this part of the stage. The moveable wall at the back of the stage now holds colorful posters and ALENZI’s drawings of SOMINA from scene 1. SOMINA stands on her bed facing the wall
that divides the stage.
Characters on opposite sides of the wall are unable to see each other. However, ALENZI and SOMINA can communicate to illustrate ALENZI’s internal struggle. Their conversation cannot be heard by the GOVERNMENT AGENT. Stage lighting that focuses on ALENZI and the GOVERNMENT AGENT is white while the one focusing on SOMINA is pink. When the scene opens, SOMINA’s bedroom remains in darkness.
Alenzi
Why am I here?
Government Agent
Please, take a seat.
(Sound effects indicate that the POLICEMEN lock the door. ALENZI looks nervous.)
Government Agent
Let us get straight to the point. Raloran. Your world of Raloran. And your little friend over there. Fascinating, but lethal, young man.
Alenzi
What?! How do you know about…?
Government Agent
(ignoring him) What do you know about the Great Defense?
Alenzi
But how do you know those things?
Government Agent
Answer the question please. The Great Defense. Tell me everything you know.
Alenzi
Not much. I heard it was for protection from aliens. Or something.
Government Agent
Partially correct. But we don’t identify them as aliens. They are the C-A-D, Creative Allusion Destruction civilization. A civilization that lives in an unidentified, spiritual realm.
Alenzi
What…what is that?
Government Agent
Before, humans associated creativity as a gifted, in-born power. This changed when ancient scientists discovered the occupation of C-A-D beings on our minds. They found all our creative imaginations are actually the presentation of this civilization’s existence.
Alenzi
You mean things we imagine are actually from this C-A-D civilization?
Government Agent
Close. Notably, C-A-D beings don’t exist in a physical form like humans. They alter their forms into creative ideas in our mind, and adjust them based on individual preferences. For someone like you, the C-A-D converts itself into your world of Raloran. Because you longed for friendship, C-A-D formed that girl Somina to address that.
Alenzi
I’m confused. You’re saying all original ideas in our minds are real but are also the doings of another civilization?
Government Agent
Our imaginations are not the doings of that civilization, but rather, they are that civilization. (A long, deep silence overcomes the stage for a moment.)
Alenzi
Is it true?
(Pink stage light focuses on SOMINA, and the stage light on the GOVERNEMNT AGENT turns off.)
Somina
Yes.
Alenzi
So, you are real and alive.
Somina
Yes.
Alenzi
You are the C-A-D.
Somina
I am. (beat) Sorry.
(Stage light on SOMINA turns off. Stage light over the GOVERNMENT AGENT is on again.)
Government Agent
This discovery would be such a shock to humanity, that the government has kept it confidential. And yes, this does mean your imagined world is real; C-A-D is corrupting your mind.
Alenzi
Corrupting? (beat) Why would you call creativity corrupting?
Government Agent
It comes down to consequences, young man. We have limited knowledge about the C-A-D’s intentions, but we do know that their existence in our minds is detrimental. Creativity drives creation, and creation drives innovation to bring advancement to our society. But advanced civilization only becomes more fragile.
Alenzi
But C-A-D must have been doing this to guide us… or to help us progress.
Government Agent
Progress? Take Harrendinger. The Father of the Black Hole bomb. The C-A-D in his mind generates his ingenuine idea of utilizing energy from a black hole. Guess what? A single drop sank the entire continent in that old war. Then take Gina Granger. No doubt the C-A-D in her mind must have provided her creative literary approaches in demonizing our government. Her works spurred the most massive civilian rebellion. Tell me young man, in what way is the product of our creativity progressive?
(Another long, deep silence overcomes the stage.)
Government Agent
C-A-D pushes us to progress so we are capable of annihilating ourselves. Pushing us to different solutions to a problem to destroy uniformity. That is why the institution outlawed creations.
(Pink stage light on SOMINA is turned on, and the stage light on the GOVERNEMNT AGENT is turned off.)
Alenzi
Why didn’t you tell me?!
Somina
Tell you what?
Alenzi
Tell me you were always real! Tell me you’re not just a product of my imagination! (beat) Is he lying?
(The stage light on the GOVERNMENT AGENT is turned on. In the following dialogue, SOMINA is able to hear what the GOVERNMENT AGENT is speaking but the GOVERNMENT AGENT cannot hear her. Both of their lines are delivered to ALENZI and become his internal struggle.)
Somina
I…we never meant to do any harm to you. This is just the way we exist. We are the things in your mind. And we thought…if we could make ourselves into all those wonderful ideas, we might persist together. (slow) We might be embraced.
Government Agent
Boy, what are you thinking now? About your little friend in your head? You do understand she is the C-A-D and will control your mind.
Somina
Alen, don’t listen to him. I’m your friend. I can’t do anything like that.
Government Agent
Look at me, young man. I am talking to you.
Somina
Alen, you have to avoid him. He is trying to control you. Not me.
Government Agent
They will destroy you.
Somina
No, we will not!
Government Agent
They will destroy us.
Somina
Stop listening to him!
Government Agent
Mr. Alenzi, talk to me.
Somina
Alen, no!
Alenzi
SHUT UP! BOTH OF YOU! (beat) YOU’RE WRONG! (beat) Creativity is the only thing that makes me want to live. From it, I see other worlds, life forms, and inspirations. I don’t care what the real intention of C-A-D is, they make my life more “my life”. (stands up)
(SOMINA sits on her bed in relief.)
Government Agent
You speak from a child’s understanding. (speaking now as if to someone off stage) Prepare the equipment. (SOMINA stands up again, her relief short lived.)
(DOCTOR ROGERS enters stage right with camera-like equipment in his hands.)
Alenzi
You?! (beat) What’re you gonna do to me?
(DOCTOR ROGER adjusts the equipment in front of Alenzi.)
Doctor Rogers
I’m sorry it has to end like this, kid. They forced me to tell them your stories.
Alenzi
But you said you wouldn’t!
Government Agent
Calm down. Leave the Doctor alone. It’s time for that C-A-D world in your mind to vanish. This equipment shall do you no harm but delete those memories.
Doctor Rogers
We have to begin the process.
(The GOVERNMENT AGENT holds ALENZI in place so he faces the equipment.)
Alenzi
No, no, nooooooo! You’ll kill her and her world!
Somina
(panicked) Alen, are you alright?! What are they doing?
Alenzi
Just go. Get out of my mind. They’ll kill you!
Government Agent
What’s wrong with you? You’re mumbling to yourself.
Somina
No, I won’t. (There is a loud click played by the audio that indicates the equipment has been turned on. All stage lights in the reality setting go off so the room becomes submerged in darkness.) It is okay, Alen. I’ll always be here with you no matter what. That is what friends do. And if they really clear your memory of me, I’ll come find you.
(A loud, thunderous noise plays across the stage, symbolizing the destruction of her world from ALENZI’s mind.)
End Play.
