Philip freezes, his paradigm shifts.

He is distracted by this phenomenon as a child, completely carefree looking at the snowfall, as if he sees it for the first time in his life. He automatically lowers the blade, forgetting about it and about his former intention.

The composition fades for Philip's words.

Philip: (doomed) Here is the first snow… the

Music is gaining strength again.

Philip changes his mind about committing a tragedy. Music is playing. Philip plays a scene of silent experiences of the last events of life.

Lightning flashes, thunder rolls, all this goes in parallel with the loud playing composition. The light flickers like lightning. Vachagan walks slowly across the stage in the same attire with the dogs on a leash.

Philip does not see him, he just grabs his head, falls to his knees, shows maximum emotional experiences.

The song sounds. Vachagan stops for a moment near Philip, looks at him, shakes his head, passes on, slowly leaves, taking the dogs with him.

The lights are still flickering, and the thunder and lightning are fading into the background. The composition remains on the main background. Clear weather is gradually beginning to set in on the stage.

The song ends.

Philip stands up. His hair is wet, and so are his clothes. He is exhausted, exhausted, but he smiles, sanctifying the audience with his Holy eyes.

ZTM.

STREET

It's raining. Twilight.

Plays a soft sad lyric composition (recommended by Terry "don't Talk about love" up to 1min 29 sec)

A few seconds after the start of the loss, Philip slowly enters the stage. He's all wet, exhausted, and drops of water are dripping off him on the floor.

The wife comes on the stage from the other side the same, all wet, exhausted, having experienced all the same things that her husband experienced. They approach each other slowly with the last of their strength, looking into each other's eyes with a plea and forgiveness. They lean on each other to keep from falling.

The allotted time passes for the lyrical component in the composition, the music subsides.

PHILIPP: (extremely tired of everything) Yana… do you think there's anything else we can do? Do we have any more "we"?

YANA: (extremely tired of everything) I knew you cheated on me… a woman always knows, feels, notices when she shares her husband with someone… At first I endured, hoped for something, and then… I became no different from you in the matter of loyalty, and off we go. But happiness is not everything as you can see has brought neither you nor me… And one day I met a man with two dogs… with a very strange name…

Philip is wary.

YANA: after that, I learned to hear the thoughts of my entire environment… And the masks fell! I saw the true faces and was horrified.

Philip looks at his wife with a guilty, surprised, and at the same time exhausted look.

YANA: (extremely tired of everything) And it was with you that I once learned what a woman's happiness is…

PHILIP: (extremely tired of everything) And I've never been as happy with anyone as I've been with you… Then something happened… something went wrong… me… I broke down.

Philip lowers his head guiltily.

Yana gently, with a tired hand, strokes her husband's head, and in this movement you can read real unconditional love.

YANA: I don'T hear anything else…

PHILIP: And I again became ordinary…

YANA: (extremely tired of everything) Then… let's just start with a clean slate. Let's fix what's broken and try to remind each other of what happiness is… Looks like… what besides you and me for you and me… no one can do this!

Philip looks up, looking hopefully at his wife.

PHILIPP: (extremely tired of everything) Think… can we still fix it?

YANA: (extremely tired of everything, but with hope) I think so… We will restore the Foundation, and everything else will be added…

PHILIPP: (with hope and a rapidly forming plan in his eyes) Then… we'll go up ourselves, and then… I know a beggar who will also need help! Let's do it, Yana!

Philip and Yana look at each other, guiltily lower their heads to the floor, and then defiantly with the last of their strength, with the remnants of rage and all the remnants of feelings, they throw themselves into each other's strong arms, so that the spray flew from them in all directions. (Perhaps, for greater effect, it makes sense to provide some bursting containers with water – explosive packages that are safe for actors or use laser graphics).

Fireworks begin to sparkle along the edges of the stage (it is highly desirable to implement this).

A growing lyrical composition is played (recommended by Vengaboys "Boom Boom Boom»

Bright lights on the stage.

The music is playing in full force, and the actors begin to bow on the stage.

A CURTAIN

In the play "Hear or see?» the following compositions were recommended for musical accompaniment: the

King and the jester "the jester's Hymn" Intro – as Philip's call

Passion Fruit «The Ring Ding Dong Song»

The king and the jester "the sorcerer's Doll"

Linkin Park "Faint" – Intro (30 seconds)

Felix ilinykh "White snow as white captivity»

Terry "don't Talk about love" up to 1min 29 sec

Vengaboys «Boom Boom Boom»

duration 1 hour 40 minutes.

ACTOR

The doctor is a woman about 55 years old;

DINA – a woman about 55 years old, a school friend of the doctor;

JULIA – about 35 years old, Vicki's mom;

VIKA – Julia's daughter, capricious, cunning, spoiled, about 10 years old;

ZHANNA – about 30 years old, Rudik's mother;

RUDIK – Jeanne's son, a quiet, scolded boy, about 10 years old;

NELLY – Marina's mom, about 30 years old;

MARINA – Nelly's daughter, an ordinary child, about 10 years old;

KIRILL is Dima's handsome, charming dad, about 40 years old;

DIMA is Kirill's son, a nice little boy, 8-9 years old.

Act one

Typical situation of a state children's polyclinic.

A corridor with a flickering fluorescent light. A tortured door to the office with a large crooked number "5" nailed on it. A ceiling light hangs over the door. The "do not enter"sign lights up.

There are only two chairs for visitors near the office. There are no people.

Julia runs into the room, looking around warily, pulling the child's hand, which whimpers and resists.

JULIA: Vika, hurry up. Vaughn (pointing to the burning ceiling light with the inscription do not enter), while the cart was moving, someone already slipped through. We're in a terrible hurry. Did you forget that you have practice at three o'clock?

Mom opens the door to the office, looks in. From there comes the wild growl of the doctor: the

DOCTOR (furiously): Close the door…those, I'll call!

JULIA (sternly): We're two fifteen!

DOCTOR (furiously): Who is the "Do not enter"sign for? What if I had a man standing naked? Mother, are you adequate?

Julia closes the door with an indignant look.

JULIA: You will be adequate here… Well, what to do, you have to be… we'll have to wait.

VIKA: Mom, I'm sick.

JULIA: Are you ill? You'll tell the doctor how sick you are, but you won't fool me, I've already stepped on this rake many times. So like Tuesday and Thursday, you immediately get sick, and characteristically, the disease suddenly hits you exactly a few hours before the choreography.

Vika is sulking, silent.

JULIA: So what? Are you still sick or are we going to practice? Or do we go first to the doctor, and only then after exposure to training?

VIKA (sincerely indignant): I think you suspect me of something.