THE SHADOW SPEAKS

By Chance Jones
SETTING: Somewhere nearby, over there, or here.
(Prior to the plays beginning, the actor playing the
SHADOW should enter onto the stage and make
small-talk with the audience. This interaction
should not be colored by the character of the
SHADOW in any perceivable way and the actor
may even present his own self to the audience
during this time. At the scheduled on-set of the play,
a confederate planted in the audience should loudly
ask, How are you? The play begins at this point
and the actor should now move to center stage
where a large mirror is placed. For the rest of the
play, the actor becomes the SHADOW by turning
his back to the audience and interacting with them
through their reflection in the mirror. Even when he
moves around the stage, the SHADOW should
remain fixated on the audience reflected in the
mirror.)
SHADOW
You dare ask me a question? Do you even know my name?
(Gestures toward himself.)
It doesnt matter, anyone can learn meaningless labels. Whats lacking is understanding
of the meanings which cause labels to be applied. Asking about the condition of a subject
necessitates acquiring an understanding of the nature of that subject, otherwise the
context of that condition becomes meaningless. Do you ask a man about his height while
he stands in front of a funhouse mirror? Absurd! How tall he looks is nothing compared
to how tall he is.
(Pause, SHADOWs demeanor resets to cold, but he
becomes agitated as he speaks more.)
SHADOW
How am I? Im not any different than I was yesterday. The existential lump in my throat
that kept me awake in bed for two hours last night is still there, but the suns up so I have
to swallow it down and pretend to be a human again.
(The SHADOW begins to walk slowly to the right
while building to a frenzy.)
Thats right, you probably think its just no big deal. Thats why you can bridge the
interpersonal chasm as though just stepping over a tiny puddle of despair.
(Takes a larger step over a puddle on the stage,
looks at the same spot in the audience again.)

But not for me. From the moment I stepped out my door, Ive been looking over my
shoulder.
(Gestures in the relevant directions as he speaks.)
Both shoulders, and ahead too.
SHADOW
Across the street or right next door, I never know when someone is going to exist. Thats
why I have to always be vigilant, so that I get seen as little as possible. Leaving or
entering my front door is an especially vulnerable time. If Im seen too often, the
neighbors, or other nearby residents, or vile thieves, or twisted stalkers, or the
government, or otherworldly forces, the universe itself will become aware of where my
hideout is and the schedule I keep. Just last week the guy next door said hello to me twice
in three days. He knew it too, I could see the wheels churning behind his lifeless eyes as
he processed the memory of the first greeting. That disgusting look of recognition is what
I abhor the most. It has to be false, no way can anyone see whos really here and
recognize me for me. No, its the end if they can because of what they are and what Im
not. Mistaken camaraderie at best and dangerous understanding at worst. Its actually
invisibility that is the best defense against the Medusas gaze.
(The SHADOW has become increasingly worried,
now casting glares in all directions and recoiling
from the audience.)
Thats the way I came here, avoiding as many prying eyes as possible by hiding in the
shadows of my mind.
(He starts to tip toe across the stage in short bursts,
looking around between movements.)
Each person I fail to fool is another weight slowing me down. Another liability too close
to the truth. Another non-entity thats become an entity, an enemy of my peace.
(He stops again, becomes complacent before loudly
launching into
his next rant.)
SHADOW
And if one of the collections of molecules were to speak to me, how can I respond? Just
before, just now, didnt one of you try? How are you? An impossible to answer
question. The truth cant be related to this universes paradigm, and the lies are the truth
of this world already. Shutting up, saying nothing, thats the correct response.
Every syllable I could utter would resound and rend the fabric of existence, my existence.
Each sound must be carefully measure for the effect it might produce once unleashed.
Saying too little is the same as saying too much. Only by silence can the illusion be best
maintained. Otherwise, whats the point in being silent?
(Calming down.)
Loose lips sink ships.
(The SHADOW begins to walk around the stage in
circles that become increasingly erratic and random.
When he speaks again, he does so in a manner of
fact fashion.)

SHADOW
Never take the same path twice, patterns make you noticeable. Walk without rhythm.
(He grows more agitated as he speaks.)
But bills and taxes and the desecrated remains of a thousand million dead trees chewed
up and spit out by advertisers arent fooled like worms.
(He turns suddenly, freezes while looking to stage
left. Then resumes with the same level of intensity.)
If I dont hold my breath when the mailman comes, hell feel life through that letter slot.
Letter slots
(The SHADOW makes the sounds of a slot machine
ending in a violent snarl before miming balling up
papers and ingesting them.)
Just more mass for the bolus that wont go down. Thats the human game, chew it
dumbly like a cow and wait for sunrise or the slaughterhouse.
(With that, the SHADOWs frenzy has peaked and
he returns to stand where he began. His demeanor is
now placid and calm. He addresses the same spot in
the audience.)
SHADOW
So how am I? Im fine, nothing out of the ordinary today. You see, youve already
forgotten the true question and therefore cannot see the answer in front of your own
faces. Information that cant be processed is just as deceptive as information that is
withheld. All I have to do is turn around and youll face my back as if it were my face.
Its easy, it looks like you and for the most part it sounds like you, so it must be like you.
Ill never tell a lie, and youll never hear the truth.
(The SHADOW turns to look at the audience
directly and the play ends. The actor should
continue staring impassively at the audience until
lights come down, and then for a little while
longer.)