A play for two people. Comedy. Desire. Nikolay Lakutin

to Plato). Listen…, yes! Yes, everything was not always good between us. We quarreled, we reconciled. They moved away and moved in. And you and I don't have the most accommodating character, but! But listen to what I'm going to tell you, Plato! I declare to you with all responsibility that if I had a choice now, to go the same way with you, or some other, but without you, then I would wish to go this way again, with you! Do you hear? It would be my conscious choice, knowing that there will be disagreements and squabbles, but I love you and I want to be with you.

      Kira changes her attitude and serve. Her manner of speaking becomes playfully aggressive, it is clear that the girl has caught fire, and Plato sees this. He already understands what all this is going to and is even getting ready, sitting further away and more comfortably on the bed.

      Kira (boldly, with a spark, with passion). So you are my conscious choice. Tomorrow we are going to apply to the registry office, and today I will shake the last of your strength out of you, regardless of whether you want it or not! (As audaciously as possible and as emotionally, passionately as possible) So pray if you want to to all your gods, but you won't be able to make it tonight!!!

      Sounds the loudest audacious charged music (the same), the light is dimmed, but at the same time everything is clearly visible on stage.

      Kira furiously runs to the bed, on which a ready-made Plato is already waiting for her. Kira boldly jumps on top of him, but somehow manages to fall awkwardly, so that the heroes bump their heads hard.

      This episode should be played very carefully, it is necessary to show the viewer very clearly this moment of unplanned and unexpected by Kira and Plato a strong blow with their heads. Perhaps it makes sense to apply some kind of sound impact effect in order to attract additional attention of the audience to this moment.

      The music stops abruptly at the moment of impact, Kara and Plato cry out in pain, both holding their heads, each for his own. Kira, gasping, groaning and squinting in pain, barely gets out of bed, but after taking a couple of steps, falls the same on the floor and loses consciousness.

      Plato, seemingly overcoming the pain, tries to get off the bed to help Kira, lift her up, but he loses consciousness and passes out there on the bed, not having had time to get off her.

      ZTM.

      Scene 2. Oblivion

      The actions take place in the apartment.

      Morning is coming!

      The light turns on smoothly. Our heroes are in the places where they stayed in the last scene.

      Here is Kira with a disheveled head, all out of herself and out of shape at all, begins to slowly move her leg …, then her hand. Here she is already starting to move little by little, to wake up somehow. "Grunting and mooing" from the inconvenience, from the ringing in her head, she rises. He puts his hand to his head and writhes. She still does not see the bed with Plato, the bed is still out of Kira's viewing area.

      Here she stands up smoothly, carefully. Staggering, she examines with sincere surprise her strange, as it seems to her, outfit, which is unclear (for her) why of a sexual nature.

      And so Kira smoothly, surprised by everything that is happening, heads towards the bed where Plato is lying. Kira sees Plato on the bed, shudders and at the same moment begins to scream hysterically and fearfully!

      Kira (frightened, loudly). AAAAAAA!!!

      Plato jumps up on the bed from such a squeal, mechanically, still not having understood from sleep, tries to run somewhere, but since he is sleepy and his attention is still somewhere far away, then Plato in confusion in his unknown race hits some jamb and falls.

      Kira stops screaming. Plato finally wakes up, gets up on the floor, but still sits on it, shakes his head and looks with surprise at Kira, who looks at Plato with no less surprise and apprehension.

      Plato (coming to himself, but in a different way, busily, to Kira). So! My dear, please take the trouble to explain a couple of things to me. First, why the hell are you yelling like that! And the second – …who are you anyway?

      Kira (indignantly, putting her hands on her hips). Huh!?

      Plato is holding his head, a little distracted from Kira.

      Plato (as if to himself). And I also wonder why my head hurts so much…

      Kira (indignantly, nervously, but cautiously, to Plato). Who am I? Who are you? He's lying down, you know, on my bed, and he's acting so cheeky.

      Kira indignantly throws off her hands, takes a breath.

      Kira (trying to pull herself together). Listen, man, I don't know what's in there… it happened here yesterday. And whether you and I had anything or not. It doesn't matter, I don't know you. So… As they say… Thank you for a pleasant evening, everything was great, I'll call you sometime. And now it's time for you.

      Kira points Plato to the door.

      Plato grins, takes Kira's words quite calmly. He gets up, stretches his neck, shakes his head, wipes his face, "throws off the last remnants of sleep." After that, he approaches Kira, takes her by the hand and pulls her without words – leads her to the door (exit).

      Kira resists, is indignant.

      Kira (indignantly, resisting). Eeeee! What are you doing? Let go! What are you doing?

      Kira breaks free. Plato turns to her and now points to the girl at the door, and supports this pass with an unambiguous gesture (a nod of the head).

      Kira (indignantly, surprised). I don't understand.

      Plato (calmly, without losing his composure). We've made a joke and that's enough. I do not know how you ended up in my apartment, but believe me, it's better for you to leave now. I will check things, and God forbid, something will not be in place. Keep in mind, there are cameras on the entrances. If anything, you'll be tied up today.