STRING THEORY

A Romantic Dramedy

By

Christian Z. Montalvo

Copyright © 2015 23 W. 31st Street

By Christian Z. Montalvo Apartment 5

czmgrace@gmail.com NY, NY 10001

cmonta21@student.scad.edu (917) 975 8782

2.

2.

CAST OF CHARACTERS

NATASHA DEYLING 16. Bored with love. In search of the world.

PENELOPE DEYLING 21. Bored with the world. In search of love.

AGATHA DEYLING 49. Scared of the world. Scared of love.

THEODORE MORRIS 16. Pushing away the world. Grasping onto love.

WILLIAM MORRIS 25. Grasping the world. Pulling away from love.

THE TIME

The present.

THE PLACE

A world where fate will choose soul mates through the bond of a

red string, attached at the wrist of each party in a coupling.

The interior of an apartment building, focusing on the fifth

floor apartments of the Deyling's and Morris'.

DEBUTE CAST

NATASHA DEYLING…………………………………………………………………………………………… _____________

PENELOPE DEYLING………………………………………………………………………………………… _____________

AGATHA DEYLING……………………………………………………………………………………………… _____________

THEODORE MORRIS…………………………………………………………………………………………… _____________

WILLIAM MORRIS……………………………………………………………………………………………… _____________

3.

3.

ACT ONE

Scene One

SETTING: The fifth floor of an apartment in an unknown time

and unknown place. On one side, there is the apartment

of the Deyling's; on the other side, the eccentric and

always messy apartment of the Morris Brothers. The two

apartments are separated by a sizable hallway that

connects the resident’s slice of life to the rest of

the world.

AT RISE: A red string stretches across the stage. It moves as

each end are pulled and tugged at from offstage. It is

early morning, music and chatter from other apartments

can be heard.

NATASHA DEYLING, one half of the string attached to

her wrist, enters carrying in a pile of books. She

walks uncaring through the apartment, letting the

string get tangled up in furniture.

AGATHA DEYLING enters from the hallway in pajamas

holding groceries, as Natasha settles into a chair,

opening a book.

AGATHA

(out of breath)

I can't wait until your sister is back; poor Ms. Chesterfield is

picking up all the slack.

NATASHA

I could get the groceries you know?

AGATHA

No. And you know why . . . My God Natasha, you would think after

sixteen years you would learn how to walk without tangling every

damned thing up in that string.

NATASHA

Sorry Ma. I- Wait- listen to this "Yet you poison me with a book

once. I should not forgive that. Harry, promise me that you will

never lend that book to anyone. It does harm." To think Ma, that

someone thinks books could harm.

4.

4.

AGATHA

You need to get your head out of those books. Sweetie, it's not

good for you. They are distracting.

NATASHA

Yes because there is so much to do around here. And Ma, this is

not just a book, its Oscar Wilde and it's beautiful.

AGATHA

Natasha. Please. This mess is clouding my mind. Get it fixed up

before your sister gets home.

NATASHA

We still have days mom. Days.

AGATHA

Stop being dramatic, please. This whole thing is giving me a

migraine.

Agatha takes the groceries to the kitchen and Natasha

makes no move. She goes back to reading.

AGATHA

(off stage)

Natasha you better be cleaning!

Natasha begins to clean, trying to untangle herself

from the furnishings.

Scene Two

THEODORE MORRIS, the other end of the string, enters

still in pajamas and stands in the living room of his

apartment, looking around for something. He lets his

arm dangle loosely at his side, letting the movement

of Natasha pull at his arm.

WILLIAM MORRIS enters from another room in the

apartment in a rush, he is wearing a lab coat and has

his messenger bag slung over his shoulder.

THEODORE

Have you seen my—

WILLIAM

(cutting Theodore off)

5.

5.

Shhh-

William looks around the room as well.

WILLIAM

Do you know where that box of stuff Nell gave to us is? She's

going to be back soon and I thought we could actually put it

out.

THEODORE

I'll check and see if it's over at Nat's. And tell me if you see

my puzzle ball.

WILLIAM

Right. Okay, I have to head out but remember to fill out your

stats.

THEODORE

How could I forget? I wouldn't dare get in the way of science.

William gives Theodore a sardonic look before exiting

the apartment.

BEAT.

Natasha, in her apartment, trips, causing her to

shriek.

William pauses, and from his apartment Theodore rushes

across the hallway to Natasha's.

THEODORE

I GOT IT!

William, amused, exits.

Natasha is on the floor in a tangle of string as

Theodore walks in.

NATASHA

Good morning sleepy head! Help me up would you?

THEODORE

And what makes you think I've been sleeping?

NATASHA

You're still in pajamas. . .

6.

6.

Theodore helps Natasha up, and picks up the books she

has dropped.

THEODORE

What would you do without me?

NATASHA

Not be as tangled up.

THEODORE

Oh come on Nat—

NATASHA

Physically I mean. I wouldn't be as tangled up physically, but

trust me emotionally I would be all over the place. It's the

tradeoff for love, my love.

THEODORE

I love you.

NATASHA

I love you too. Oh! So I had this crazy dream last night that we

got to go outside and it was beautiful. We went all the places

that Nell has told me about and . . . god, Theo, you can't even

imagine . . .

THEODORE

Natasha. Don't do this to yourself.

NATASHA

Right, I forgot that you are on her side.

Theodore shakes the string that connects them and

looks at her.

THEODORE

I'm always on your side. Nat, your mother just wants what’s best

for us.

Agatha enters during the last seconds of Theodore's

speech. She stands in the doorway.

AGATHA

He's a smart boy.

THEODORE

7.

7.

Hey Agatha. . . I'll just let you guys talk.

NATASHA

Theo- don't-

Theodore backtracks out of the apartment, making his

way back to his own home.

AGATHA

You haven't made much progress.

NATASHA

Ma! I will get it done, I just . . . tripped.

AGATHA

It would be easier if you two just lived together. You know you

should be use to walking around without tangling everything up

by now. Your father and I we were always in sync.

NATASHA

(Muttering.)

And look how well that turned out.

AGATHA

Pardon?

NATASHA

I don't want to live with Theo yet Ma, I just want one second to

be me. I love him. I really do. And I know you don't want me to

but I really want to go outside!

AGATHA

Absolutely not.

NATASHA

Nell gets to go outside.

AGATHA

Penelope doesn't have everything to lose. Listen you have

everything. God gave you everything you need to be happy right

under this roof. The love of your life Natasha, you can't throw

that away. You have to protect yourself and protect Theodore,

because it hurts when the outside world takes away the person

you love.

NATASHA

Me and Theo aren't you and Dad.

8.

8.

AGATHA

You don't understand. I don't ever want you to have to

understand.

NATASHA

Ma, nothing bad will happen.

AGATHA

And that's what I thought- I am going to lie down. Just please

clean up for your sister.

Agatha exits before Natasha can find the words.

Natasha cleans the living room and walks out into the

hallway. She walks up to Theodore's door, and then

walks away. She does this several times.

Theodore enters.

THEODORE

Nat?

NATASHA

How did you know I was out here?

THEODORE

(amused)

We are kind of connected.

NATASHA

Right. I'm sorry if I disturbed you.

THEODORE

You could never disturb me.

NATASHA

. . . I love you.

THEODORE

I love you too. So much.

THEODORE

Now what happened?

NATASHA

9.

9.

She's so controlling! I understand what happened to her and my

Dad, but we are different.

THEODORE

Of course we are.

NATASHA leans forward and presses her forehead against

Theo's.

THEODORE

We can get through anything, I promise. This is a gift.

Theodore places a protective hand on the string

between them.

NATASHA

Now you sound like her.

THEODORE

Is that what you two were talking about again?

Natasha turns away from Theo.

THEODORE

Nat- I don't understand. Why are you so obsessed with the idea

that this bond isn't important?

NATASHA

It is important! Theo . . . You don't understand.

THEODORE

Obviously not, you won't explain it to me.

NATASHA

I want to go outside. I want to live. I haven't been outside

this apartment building since I was five. The outside world

isn't too messy- it's too beautiful, too large not to know.

THEODORE

You have every book; you have every world real or not, bound

inside your apartment. And I love you desperately-

NATASHA

And I love you! But Theo I've never felt the rain.

10.

10.

THEODORE

What's so great about rain?

NATASHA

Well you, who can hardly enjoy showers wouldn't understand but

Theo, I want to dance in the rain! I want to sing in it, I want

to kiss you in the rain. I have so many books- so many ideas and

experiences that I get to read about I want them- to live them.

THEODORE

Outside is dangerous. Nat, why risk it? We are meant to be

together, why test that?

NATASHA

Because this string isn't my love for you. My love for you is in

here.

She gestures to her heart and Theodore steps forward

and takes her hands in his own.

He stares at her and there is a moment of

contemplation.

NATASHA (CONT’D)

I should go.

THEODORE

So you’re just going to run away?

NATASHA

(angrily)

I’m kind of attached to you.

Natasha looks at Theodore who is too stunned to say

anything and walks out of Theodore’s apartment and

into her own.

THEODORE

Great.

Theodore sits down on his couch as Natasha sits down

on hers. The string attached to each of their wrists

is stretched between them. They sit still for a few

moments. Theodore shakes his wrist causing the string

to move between them. Natasha after a beat returns the

gesture. They have a secret conversation through

11.

11.

gesture, feeling the pull of the string between them.

Theodore stands up and walks across the hall, and

stands in the doorway of Natasha’s apartment. Natasha

stands up and walks to stand in front of him.

NATAHSA THEODORE

I’m Sorry I’m Sorry

They both laugh, and then hug.

THEODORE

We will go outside. If it's this important to you we can get

through this . . . right?

Natasha pulls away from Theodore and smiles widely,

every ounce of joy she feels broadcasted on her face.

NATASHA

Yes! Oh gosh- When will we go Theo?

THEODORE

Next week- Friday. William will be at the lab and your mother

will be knitting with Ms. Chesterfield.

NATASHA

Friday! Venus's day- the day of lovers. How beautiful and

romantic!

THEODORE

Right of course. I knew that.

NATASHA

Shush, you dork!

Before Theodore can say anything Natasha kisses him

lightly. Theodore takes her by the hand and drags her

into the apartment. They exit.

BLACK OUT.

12.

12.

Scene Three

LIGHTS FADE IN.

William enters the hallway, getting home from work.

PENELOPE, a woman of the world, enters. She stands

admiring William for a moment before putting her

suitcase down with a lough THUMP. She wears a

headscarf and sunglasses.

PENELOPE

Hey there, stranger.

William turns around and grins widely.

WILLIAM

(joking)

I’m sorry . . . Who are you?

PENELOPE

Oh Willy, I haven’t been gone that long.

WILLIAM

Don’t – Don’t call me Willy.

PENELOPE

Ah, yes. I forgot, you got a fancy new science job and all of a

sudden you are Mr. William.

WILLIAM

Dr. Morris actually.

PENELOPE

You will always be a loser to me.

WILLIAM

Yeah, yeah, yeah. I know Nell. Whatcha doing home so early?

PENELOPE

What, sorry to see me?

WILLIAM

13.

13.

Never! But is everything okay?

PENELOPE

Of course- Thailand is just boring this time of year. Get over

here.

Penelope holds her arms out and William smiles before

going to her and pulling her into a hug.

WILLIAM

Everyone has missed you.

PENELOPE

Everyone?

WILLIAM

Yes, everyone.

PENELOPE

No one in particular? No one especially missed me?

WILLIAM

Nell . . . don't start this already.

PENELOPE

Fine, fine. I'm just the best friend.

WILLIAM

Nell- Come on. . .

PENELOPE

I'm going to go inside. But here I got you this—

Penelope hands him a gift wrapped in brown packaging.

William wants to say something but before he can

Penelope is already inside the other apartment.

William pockets the present and heads inside his own

apartment. He sits on the couch and turns the gift

over in his hands for a moment. He then grabs a

journal from somewhere in the room and reviews it.

14.

14.

Scene Four

Penelope lays her suitcase down and opens it, she

starts going through her things, pulling out paper

wrapped gifts and setting them aside.

Agatha enters. She is startled.

AGATHA

Penelope! You scared the crap out of me.

PENELOPE

That’s not hard to do mama.

AGATHA

What happened? You had a few more days left in Thailand.

PENELOPE

I’m starting to think no one wanted me back.

AGATHA

Who else have you seen?

PENELOPE

I ran into William in the hallway.

AGATHA

Oh. I was hoping you had seen your sister. You need to talk some

sense into her. Maybe we could have a family talk, now that your

back.

PENELOPE

I thought we could just do a normal dinner tonight mama.

AGATHA

Penelope, your sister has been driving me up the wall. She just

doesn’t understand the importance—

PENELOPE

—Of the bond.

AGATHA

Don’t you start with me too.

PENELOPE

15.

15.

No mama, you know what I mean. The bond is important but Nat

isn’t as appreciative. I wish I had what she had but I can’t

make her realize how lucky she is.

AGATHA

I just can’t do it anymore, what am I doing wrong?

PENELOPE

Mama, calm down please. Let’s just have a normal dinner and I’ll

talk to Nat.

Agatha looks at her daughter and tries not to cry.

PENELOPE (CONT’D)

Let’s get you into bed; I’ll wake you up for dinner. And I’ll

take care of things.

Penelope puts her arms around her mother and helps her

into the bedroom. They exit.

Scene Five

William sits on the couch, flipping through the

journal.

16.

16.

WILLIAM

Theodore?

There is giggling coming from offstage. Theodore and

Natasha appear looking disheveled.

WILLIAM

Oh— uh. Sorry. I just needed to ask you some questions for the—

William cuts off as he gestures to the book he is

holding and Theodore nods his head.

NATASHA

I'm going to go. . . I love you.

THEODORE

I love you too.

WILLIAM

Bye Natasha. Oh, Nell is here.

NATASHA

Nell? Already?

WILLIAM

Thailand is boring.

Natasha looks at William with disbelief and exits the

apartment, the string getting tangled in the process

and both of them jerking in response.

Natasha heads to her apartment but freezes when she

hears the conversation that is happening on the other

side of the door. She listens intently.

Natasha turns around and looks at Theodore's door.

She tugs the string softly and then looks to the

hallway exit.

Natasha sits down in the middle ground between the two

apartments and fiddles with the string.

THEODORE

So Nell is back . . . how are you feeling??

WILLIAM

I was going to ask you the same question.

17.

17.

THEODORE

I think it’s radical that Nell is back.

WILLIAM

Smart ass, I meant how are you feeling about Nat? You didn’t

fill out that section yet.

THEODORE

I don’t know how I feel. Nat is being Nat and I wish I knew what

that meant.

WILLIAM

I’ll write down, “Confused”.

THEODORE

I’m not confused. I know exactly what I want.

WILLIAM

Then write it down.

THEODORE

The book is getting a little redundant, William.

WILLIAM

I promised dad that I would keep the study going.

THEODORE

Well maybe if dad hadn’t shot himself in the face he could have

kept the study going himself.

WILLIAM

You’re being rash.

BEAT. Theodore sits down.

THEORDORE

Old people are tragic. Invent a serum so I can stay young

forever, would ‘ya?

WILLIAM

Unfortunately it’s less to do about your age and more about how

long you’ve been around. The longer you live, the more bad

things happen.

THEODORE

18.

18.

Great talk, very reassuring.

WILLIAM

What can I say? I am a great older brother.

THEODORE

Shut up.

WILLIAM

Seriously, write in the journal and then we’ll call it a day.

THEODORE

Yes Dr. Morris.

Theodore salutes William, who rolls his eyes in

return. Theodore picks up the journal and flips

through it.

WILLIAM

Oh, and Theo- it works the other way too. The longer you’re

around, the more good things happen.

William exits to elsewhere in the apartment.

BEAT.

Theodore walks out of his apartment and into the

hallway.

THEODORE

What are you doing out here?

NATASHA

I could hear her crying.

THEODORE

Who? Penelope.

NATASHA

Of course not! My mother, I made my mother cry. What type of

person am I?

THEODORE

You know what you want.

19.

19.

NATASHA

I’m selfish.

THEODORE

Everyone is a little bit selfish.

NATASHA

I love you. This is why I love you.

THEODORE

I thought it was my impeccable fashion sense.

NATASHA

Yes, you are practically a sex god in your pajamas.

THEODORE

I love you too, so much.

NATASHA

I’m glad we are in love.

THEODORE

Really?

NATASHA

Of course, I love you. I wouldn’t give that up Theo. It feels

like everyone we know is either in love, dead, or scared.

BEAT.

THEODORE

You’re going to have to explain that one Nat.

NATASHA

(Frantic. Bitter.)

Just think about the people who are around us. My father died

while still attached to my mother, and your mom ran away to love

someone else so you dad couldn’t live with it. My mom is

basically dead inside because she only lives in fear and

Penelope is head or heels for William, who is too scared to do

anything . . .

Theodore holds Natasha and rocks her slightly.

THEODORE

It’s terrible. But it’s going to be okay. I’m not going

anywhere, you’re my everything.

20.

20.

NATASHA

You don’t listen!

Natasha gets up and pulls away from Theodore.

NATASHA (CONT’D)

I love you, but I don’t want you to live for me. People die

because of love and that’s awful, don’t live for me. We’ve

watched too many people die to think that people living for love

and ending up dead or wasting away is romantic.

BEAT.

THEODORE

It’s okay to be scared.

NATASHA

I’m not scared, and I’m not dead. I’m in love with you Theo, but

I think that you’re scared.

BEAT.

THEODORE

I agreed to go outside. I don’t know what else you want me to

do.

NATASHA

Be excited! Or anything really— do it for more than me.

Theodore closes the distance between him and Natasha

and takes her face in his hands.

THEODORE

Listen, I love you. I am doing this for you, because I want to

make you happy. You are important to me, so important. But I

also have William, and Penelope, and even your mother, who are

important to me.

NATASHA

Promise?

THEODORE

I’ve never lied to you before.

NATASHA

You are annoyingly nice.

21.

21.

Natasha wraps her arms around Theodore and hugs him.

She breathes deeply and appreciates the moment of

silence.

PENELOPE (O.S.)

(Calling out.)

NAT!

NATASHA

And that’s my cue. Do you want dinner?

THEODORE

I have a feeling that this should be a family thing.

NATASHA

You are family.

THEODORE

I still think that this should just be you girls. Sort some

stuff out.

NATASHA

Fine, at least talk to William about Nell.

Penelope walks into the apartment from off stage and

walks over to the door, sticking her head out.

PENELOPE

Nat, can we eat before I die of starvation.

NATASHA

I’m coming, jeez.

THEODORE

Goodnight.

Natasha and Penelope go into their apartment, while

Theo returns to his.

BLACK OUT.

ACT TWO

22.

22.

SCENE ONE

SETTING: The fifth floor of an apartment in an unknown time

and unknown place. Everything is physically still the

same but time has passed, people have changed.

AT RISE: Natasha sits on the couch in her apartment. Her mother

sits across from her. In the apartment opposite

Theodore lays on the floor, trying to solve a puzzle

ball, the motion of his arms jerking the string in

every which way. Penelope enters holding groceries.

PENELOPE

I’ve been home for a week and those stairs still kill me.

NATASHA

I would kill for those stairs to kill me.

PENELOPE

Real subtle, Tash.

NATASHA

Gross, don’t call me that.

PENELOPE

Whatever you say Tash.

NATASHA

. . . Thanks so much for getting the groceries Penny.

AGATHA

Girls! I have no clue as to why you two insist on nicknames.

PENELOPE

Blame the boys.

AGATHA

Every single day.

An alarm goes off. Agatha gets up off the couch.

PENELOPE

Are you going to see Tammy?

NATASHA

(mumbling)

23.

23.

No she’s going on a nice long walk outside.

AGATHA

Pardon?

PENELOPE

I’ll just put these away and make sure lunch is ready.

Agatha pulls her robe closed and exits.

PENLOPE (CONT’D)

What is your problem?

NATASHA

What do you mean?

PENELOPE

You’re acting like a child. Be kind to mom, please.

NATASHA

It’s so weird that you call her “mom”.

PENELOPE

What do you mean? Never mind, Natasha, seriously, you are going

to kill her with all of your defiance.

NATASHA

I mean we were raised to call her Ma, and really, I’m going to

kill her? Seriously, Penelope, she wants me to die here in this

apartment.

PENELOPE

Quite being dramatic. You have everything you need right here.

Your family, the love of your life, a home, all the books you

could ever ask for.

NATASHA

Well don’t I sound like the life of the party.

PENELOPE

Oh whoop-de-do Nat, you don’t get to hang out with people who

learned to call their mother “mom” and you don’t get to smell

the pollution in the air and see the homeless people on the

street.

NATASHA

No I don’t, and what kind of person does that make me?

24.

24.

PENELOPE

A lucky one.

NATASHA

No, and ignorant person. One who knows of the struggles of the

world but has never seen them, therefore can never possibly help

fix them.

PENELOPE

You really have gotten older.

NATASHA

What’s that supposed to mean?

PENELOPE

Well I just remember when you use to tie Barbie dolls together

with red string and pretend they were madly in love.

NATASHA

Sometimes it feels like I do that anyways. Except I’m the Barbie

doll.

PENELOPE

Are you trying to tell me that you don’t love Theo—

William comes running into the Deyling apartment, from

his apartment, dragging a half dressed Theodore along

with him. In his hand he is holding a composition

notebook.

WILLIAM

I HAVE MADE A DISCOVERY!

THEODORE

No you haven’t.

WILLIAM

I have!

THEODORE

You really haven’t.

WILLIAM

Yes I have—

25.

25.

PENELOPE

Boys! Out with it William, I better not be having to look at all

of this (gesturing to Theo) for no reason.

THEODORE

(sarcastically)

Thanks Nell.

WILLAIM

So, anyways, I have established that there is a direct

correlation between the amount of times Theodore and Natasha

interact and the types of dreams that Theo has.

William opens the notebook and flips through pages,

pointing at different columns. Natasha

WILLIAM (CONT’D)

You see, this is where we were recording positive interactions

vs. negative interactions and this is where we were recording

positive dreams vs. negative dreams. Since last January there

has been a fourteen percent increase in negative drams, that

correlates with some of the weight loss he’s seen and his

urination patterns.