Now available: Seventeen Stitches, a one-act dark comedy thriller for 2 actors
In this one-act dark comedy/thriller, Rachel and Peter meet in a vortex-like space between opposing lines of people. While Rachel is simply passing the time before she returns to her place in line, Peter has stepped out of his line in protest. As the lines begin to close in on them, he must make a life-altering decision by choosing to continue forging his path in his father’s line, or join the haunting allure of Rachel’s line, the “line of diamonds.”
This play is written for a male and female actor and perfect for teens or young adults. It’s unique, memorable and fun to direct, perform in, and watch!
10 Reasons to check out this one-act play if you’re looking for:
1. A play with an intriguing mix of suspense and dark comedy.
2. A play with 2 fantastic equal parts for both actors.
3. A one-act thriller.
4. A play fitting for Halloween drama.
5. A play that keeps people on the edge of their seat.
6. A play with thought-provoking ideas, themes and images that will leave you asking questions (and hopefully talking afterward!).
7. A play that does not require an elaborate set; it really doesn’t require any kind of set at all! (But while it doesn’t require a set, you could have a creative blast designing and making one!).
8. A play that is fun to direct and design (there are so many exciting and dramatic ways a director or designer could take this production.).
9. A play that includes some disturbing/violent imagery (told in a nonchalant absurd way).
10. A 2-person play perfect for competitions, showcases, productions.
To get the complete digital copy of the one-act play, Seventeen Stitches, click below.
And if you’d like to read an excerpt of Seventeen Stitches first, click here, or read below!
EXCERPT FROM SEVENTEEN STITCHES
At Rise: A girl, RACHEL, of about 14, stands near one side of the stage, as though waiting in a line. A boy, PETER, of a slightly older age enters. He does not notice her, wipes his eyes, as though he’s been crying and paces a bit. She gets out of the “line” and comes closer to him.
RACHEL
You saved my life once, right?
PETER
I—what?
RACHEL
You don’t remember me?
PETER
Not really.
RACHEL
First grade.
PETER
I don’t think I know you. Look, I’m really—
RACHEL
We weren’t in the same class, but we had recess together. Play time. I’m Rachel. You’re Peter, right?
PETER
How do you know my name?
RACHEL
Of course I remember the name of someone who saved me. I was on the teeter totter with Becky Hill—she was really big, remember? She was my age—maybe six, or whatever age you are in first grade.
PETER
I really have to—
RACHEL
I think she weighed over a hundred pounds already. I weighed maybe 40, or whatever you’re supposed to weigh at that age. Hey, are you crying?
PETER
No—I—just leave me alone, okay? I have, I have things I need to work out.
RACHEL
Oh, okay. Fine. (walks back toward her line) But I’m telling you the tale of why I know you and I really think you ought to be listening to me.
PETER
Well, I’m not going to, okay? I came over here because I didn’t want to talk to anyone.
RACHEL
(pause) Well, you can just listen then. So maybe Becky didn’t like me because I stuttered when I read Dr. Seuss, or she was jealous that I still wore kids’ t-shirts or maybe she didn’t like me because I was just who she didn’t want to like—I don’t know. But when I was way up high and she was way down low, when her totter was touching the pavement, she pointed out that my hair was falling down. My dad put it in a ponytail every day—that’s all he could do. She kinda laughed when she told me, and I felt embarrassed so I put my hands up to sorta smooth it back. It was really windy that day. Then, when she was sure my hands were off my totter, she grinned at me—I could see she’d lost her front vampire tooth. And then she jumped off the teeter totter.
PETER
So you fell off?
RACHEL
Good, you are listening.
PETER
I was just—
RACHEL
I toppled right over. I cracked my head open on the black top.
PETER
Were you okay?
RACHEL
I had to get seven stitches. Or maybe seventeen. I can’t remember. But when I was on the ground, feeling the burning heat from the pavement scorching my face, you came over to me.
PETER
I did?
RACHEL
You touched the crack on my head, then you went to Becky and hit her hard in the stomach.
PETER
I don’t remember that.
RACHEL
Well, that’s what you did.
PETER
How is that saving you anyway?
RACHEL
(pause) C’mon. Let’s get back in line. (turns to leave)
PETER
I’m not in a line anymore.
RACHEL
What?
PETER
I was in that line (points to line opposite Rachel’s) but I got out.
RACHEL
You left your line?
PETER
I need to rethink things now. Weigh things.
RACHEL
Well, I wouldn’t stay in the middle too long. They don’t like it when you get out. Those lines are gonna close in on you.
PETER
I know.
RACHEL
They’ll trap you and spit you out.
PETER
I know.
RACHEL
You’ll be lost and alone forever.
PETER
I know! (pause) That’s why I have to clear my head and figure this out quickly. And you’re not helping.
RACHEL
(pause) Well, my dad told me that’s the best line—(points to line near her) and it is—so that’s where we are!
PETER
You’re not there now. You got out of line too!
RACHEL
No, it’s different for me. I don’t need to wait in the line to still be of the line. I have a number. We all have numbers over there so we can just go around and do whatever we want. Then we can check in later to make sure they aren’t up to us yet. It’s like the Deli. Neat, huh?
PETER
What number are you?
RACHEL
487-651. My dad’ll tell me when we’re close to mine.
PETER
Well, you can’t walk around like that in the other line. You have to stay there the whole time, trying to clear a path for yourself, so you can make it to those little doors for the one minute they open them.
RACHEL
Sounds like discrimination to me. I knew we got the best line! I’m glad you lost your place in it. It hurts my eyes to look over there. You know you’re gonna ruin your eyes if you keep staring at that awful line. Stare at my line instead. It’s prettier anyway—so many jewels lining it. Hey, I’m gonna start calling my line Diamond! What should we call that other line?
PETER
I’m not naming it. Rachel, it was nice to see you, but I really need to—
RACHEL
I should check my number. Don’t let the lines swallow you, okay? (RACHEL runs off. There is a loud painful scream off stage. PETER turns. The screaming stops. RACHEL enters, skipping, and carrying a piece of cake on a paper plate) We’re getting closer!!
PETER
What was that?
RACHEL
Closer! Closer!
PETER
Stop skipping!
RACHEL
(giggling) Closer! (PETER grabs her and stops her from skipping. He stares at her. She stares back.)
Closer.
PETER
(releasing her) What was that scream?
RACHEL
(begins eating the cake) What scream?
PETER
When you left—there was a loud scream. I heard it.
RACHEL
Um . . . oh, after the number was called?
PETER
I didn’t hear the number.
RACHEL
Yeah, that must have been it. It was Mrs. Comber. (holds up piece of cake to him) Do you want any? (he shakes his head) Yeah, she’s had a hard life. Mmm, this is so good! Such moist buttery cake and the frosting is so creamy, rich, chocolatey.
PETER
Why did Mrs. Comber scream?
RACHEL
Peter, stop calling it that. That’s not what she did. (takes a bite of the cake) Her husband died in the war and that made her mad because she didn’t even get a prize for it. So I told her, and I think this is true too, that if any woman loses her husband in the war, the government really ought to give her a silver, or maybe even gold, platter. And they should really put the head of person who killed the husband on that platter.
PETER
Rachel!
RACHEL
Well, it’s not easy living the rest of your life without your life partner!
PETER
What happened in—
RACHEL
Well, Mrs. Comber thought it was a good idea and said she was glad there were people like me coming up to rule the universe someday.
PETER
Tell me—
RACHEL
Mmm, sure you don’t want a bite?
PETER
No—tell me what happened to Mrs. Comber!
RACHEL
I don’t remember all the details, Peter. Just stuff. Like her husband dying and her sons maybe killing people or something about war. I can’t keep it all straight.
PETER
So why was she—
RACHEL
I’m telling you! (pause) Anyway, she got to be quite sad, but most of all mad and full of hate toward the world. So when her number was called and she was let in, she just cried out in such joy at all the beauty she saw.
PETER
I heard a scream of pain.
RACHEL
Pleasure and pain often sound the same.
PETER
No, this was not pleasure.
RACHEL
Well, that’s the only noise that came from there. I can’t believe you’re not trying this cake. It’s soooo good. I’ll save you a bite.
PETER
Where’d you get it from?
RACHEL
Mrs. Comber sent it to us after she went in. She must have been so happy. We get lots of prizes from my line. Did you get any prizes in your old line?
PETER
No. They make you wait until after you go through the doors to get your prize. They should’ve given me one before though. I cleared part of that path by myself. It was hard work moving all those boulders and trees out of the way.
RACHEL
You moved a tree?
PETER
Well, my dad helped me.
RACHEL
You definitely deserved a prize.
PETER
I know.
RACHEL
(pause) Hey, I don’t stutter anymore. Wanna read a book with me?
PETER
No. I don’t have time.
RACHEL
That’s true. You are running out of time. Are you gonna start crying again?
PETER
I don’t wanna stand here with you anymore.
RACHEL
Okay, okay. Wait! I’m sorry. I just—I’m sorry you were crying before.(pause) Did that other line make you cry? (pause) Look, Peter, I have an idea that will solve all of this—why don’t you just join my line?
PETER
I don’t know.
RACHEL
There are only two lines. You’re either with my line or with that one.
PETER
I know. . .
RACHEL
My dad brought me here and he knows what’s best. And my line won’t make you cry.
PETER
Stop saying I was cry—
RACHEL
Look, those lines are getting closer. It’s probably getting hard for you to breathe already, isn’t it?
PETER
I don’t—I don’t think I should be talking with you anymore.
RACHEL
Why not?
END OF EXCERPT
For more information on the play, visit here.
For the complete digital copy of the one-act play, Seventeen Stitches, click below: