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EYE FOR AN EYE

(Lights out on CATHERINE and halfway up on the portion of the stage that stands for MARCUS’s classroom. MARCUS, whistling, heads back to his classroom. The eerie inroductory music begins for “Eye for an Eye” as MARCUS enters the dim pool of light. He feels a chill. He discovers the open window. He closes it. He notices the toppled desk. He walks toward it. He looks up toward the fourth wall, out over the audience’s heads. A look of horror darkens his face. Blackout. A spotlight strikes the back of the wall, framing the silhouette of the swaying, lifeless body of OPHÉLIE, wearing her school uniform, hanging by her scarf. We hear MARCUS’s astonished sobbing as a shrill, dissonant chord breaks out. Screams, cries, shrill sounds, sirens, commotion. Blackout. Silence.)

[Afternoon. Weeks later. The classroom is empty, save for MARCUS’s desk and some painting supplies.]

(Music resumes. Lights up on MARCUS as he finishes painting over a wall. He goes to his desk. He pulls the custody papers out of a drawer. He leafs through them. GEORGES appears in the doorway, seething. He stares daggers at MARCUS.)

MARCUS
(after a moment, sensing the stare)
Oh. Monsieur Crier. Bonjour. What can I do for you?

GEORGES
(maintaining a glacial calm, shutting and locking the door)
Mister Doran. I would ask you to grant me five minutes of your time. Would you do that? Yes or no?

MARCUS
Actually, Monsieur, I...

GEORGES
(a cold, coiled spring)
Would you give me one minute?

MARCUS
It’s just that I’m on my way out the door.

(Throughout the following GEORGES , laser focused, inches closer to MARCUS.)

GEORGES
I just visited my daughter, Mister Doran.

MARCUS
Yes. I’m so sorry. A terrible loss. She was such a, er, sweet little girl.

GEORGES
She was. Do you know I never heard my daughter utter a foul word until she came to your class, Mister Doran?

MARCUS
(biting back a retort)
Is that so?

GEORGES
Dancing on desks. Hitting teachers. Carrying on like a lunatic. That wasn’t my Ophélie. That was something new.

MARCUS
We had nothing but love for her, Monsieur. The children all thought she...

GEORGES
Where do you think she learned to do those things, Mister Doran?

MARCUS
Look. Monsieur Crier, you’ve been through a lot. Can I get you a tea or something?

GEORGES
Those papers in your hand. Are those your custody papers?

MARCUS
Yes. Yes they are.

GEORGES
(the spring trembling)
I want you to sign them.

MARCUS
Sign them?

GEORGES
(ready to pounce)
Right now.

MARCUS
I can’t do that.

GEORGES
You will do that.

MARCUS
I can’t.

(GEORGES springs into action, pouncing on MARCUS and pinning him against the wall with his forearm pressed against MARCUS’s neck. After a tense moment, trembling, through gritted teeth, he tries again.)

GEORGES
(all steel hand, no velvet glove, trembling)
Do I need to spell it out for you, Doran? Sign the papers.

MARCUS
No.

GEORGES
Sign them! I’m going to take your daughter from you. Just like you took mine.

MARCUS
(choking, hardly able to breathe)
I’m not signing them.

GEORGES
Sign them!

(Music intensifies as GEORGES growls and punches MARCUS in the stomach, then hurls him to the ground. As soon as MARCUS hits the ground the lights strobe. MARCUS tries to crawl away, tries to defend himself, but GEORGES overpowers him, kicking him in the ribs, then, in a fit of bloodlust, GEORGES jumps on MARCUS and proceeds to thrash him. Throughout the following, GEORGES beats the ever loving crap out of MARCUS, administering blow after blow in the spaces in the melody. All the while, MARCUS cries out in pain.)

AS GOD IS MY WITNESS
I’LL CARE FOR YOUR DAUGHTER
AS IF SHE WAS THE DAUGHTER THAT I ONCE KNEW.
THIS I PROMISE.
I’LL BE HER FATHER.
I’LL PROTECT HER EVEN FROM YOU.
I’LL RAISE HER HOW SHE OUGHT TO BE.
I’LL RAISE HER AS THOUGH SHE CAME FROM ME.
THIS MUCH I GUARANTEE.
NOW, SIGN THEM, WILL YOU?

MARCUS
No!

GEORGES
DON’T MAKE ME KILL YOU.

MARCUS
(through sobs)
I’m not signing them!

GEORGES
(at the top of his lungs)
SIGN THEM!

(The music climaxes and then suddenly grows soft and sinister as the lights stop strobing and GEORGES steps off of MARCUS, who is by now a bloody heap, whimpering, barley able to move.)

GEORGES
(horrified, as if waking up)
LOOK WHAT YOU MADE ME DO.
SEE HOW YOU BRING OUT THE WORST
IN THE PEOPLE AROUND YOU?
I’M NOT THIS PERSON.
I’M NOT THIS GUY.
THIS IS JUST AN EYE FOR AN EYE.

(While MARCUS writhes in pain, lying on his stomach, whimpering. GEORGES goes to the desk. He gets the custody papers and a pen. He uncaps the pen. He takes a rag from the painting supplies. He wipes MARCUS’s hand with the rag. He signs the papers with MARCUS’s practically lifeless hand. He verifies the signature against one of MARCUS’s checks that he brought with him. Satisfied, he leans in close.)

GEORGES
(in a harsh whisper)
I’m going now. But I’m warning you. If you tell a single soul about this. If you try to contact my family. If you dare come around. One way or another––assuming you survive the experience––you will never see your daughter again.

(From backstage in the darkness, the cast sings as GEORGES stands up, pockets the papers, and leaves MARCUS whimpering on the ground. GEORGES exits.)

COMPANY
IN THE BEGINNING THERE WAS NOTHING.
DARKNESS ON THE FACE OF THE DEEP.

Words and Music by Michael Johnson
© 2022, Zubsongs, Ltd.