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Encounters
Fighting Words
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Encounters
Fighting Words
Thursday 02 April 2015
St.andard
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Talk theatre wit
Twitter -@abbeytheatre
Facebook - Abbey Theatre
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2:00 PM
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ENCOUNTERS
8 SHORT PLAYS
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FIGHTING
WORDS
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The Plays
What you could have done, you did not do.
by Aloisia King
Brushstrokes
by Cian Nugent McGealy
Noir 2000
by Luke Shanahan
Salt
by Robyn Gill
Absolution
by Emily Gallagher
Spiderweb
by Ruairi Nicholl
A Cup of Tea and Papayas
by Dove Curpen
Possession
by Sean Farrelly
,

What you could have done, you did not do.
by Aloisia King.

Setting:
A lane.
Characters:
Frances: 16-17 years old
Peter: 19 years old

Pro/offY:_e:
A lane. Warm lights come up. Frances is lying facing the ceiling centre-stage. Her underwear
is around her ankles. We see Peter exit, we only catch a glimpse of him just enough sight to
know it's him, (minimum sight as possible). There is a broken bottle beside her head Smoke
comes from centre-stage right. She wakes up, touches her eye and she acknowledges the
audience and looks around her. She pulls up her underwear and runs off stage right; as she
leaves we see blood on the front of her dress. Light holds on the bottle.

Scene 1:
Peter enters and stops centre- stage. The bottle remains on stage as symbolism for the
broken, abusive relationship he had with Frances. Peter begins to read a letter.
Peter:
Dearest Peter,
Wednesday 14 th July 1950
I am ever so proud of you, my son. I always knew you would be our priest.
Ever since the day you were born. I knew you'd choose the greater good in sacrifice of all the
other pestering indulgences that would try to disrupt your path and hinder your progress. We
are having dinner Friday and would love you to return home and sit with us, as we celebrate
our greatest achievement. Myself and your father bought you a gift.
Looking forward to greeting you,
Your dearest,
Mother.
Peter scrunches up the letter and throws it away. He screams in anger. Then sits on a seat
on stage. He enters the confession booth. Frances enters and sits in another seat. Frances sits
stage-left, Peter sits stage-right. The two chairs are close to show how the two characters
aren't quite mentally apart just yet.
Frances: Bless me father, for I have sinned. It has been forever since my last confession
(pause)
Peter: Carry on.
Frances: Father, do you ever just want more of your life? , More than you are allowed, more
than what's expected of you? (Peter really listens here, as he knows he can relate. Frances has
his full attention) Father and Mother want me to marry .. (Peter goes into like a trance and
drifts away in his mind) Father I don't want to do this. I want more. I want to travel, see
places; places like Aunt Josephine told me about, the Antarctic Ocean, The Himayla's,
perhaps go to Nashville . I want to do things for myself and at my own discretion. I want to
make a difference. More importantly Father, Father are you listening to me? Are you really
there?? I want to find love and not have it forced upon me. I do not want to just be this object
of affection that needs to be posessed. Father says all girls need a husband. I certainly don't
and ifI do I need someone who's not afraid to be there and doesn't play games, because life's

not that long really. I want to find real love Father, the kind I don't need to prove or compete
to receive. I can't compete, I'm not strong enough ..... In addition Father I need to start
living, not just merely existing . I want my voice to be heard. Father will you hear me? And
can you help me? That's what you do right? What do I do Father? I'm miserable.
Father?F ATHER! aren't you going to say something?
Peter: Honour thy mother and father.
(He dismisses her)
Frances leaves and Peter remains in his seat, He is in deep thought like what Frances said
affected him. He exits the confession booth. Peter stands on stage.
Peter: Honour thy mother and Father, That's what we all should do right? Apparently I won't
put food on the table, but I'll spread the seeds of life, huh. One can wonder what are the seeds
oflife? I often believe that they are new life and I won't create that. (Peter goes into sort of
like a trance almost shaking to show him being possessed with the Holy Spirit and we see a
flashback of him being ordained) Father I swear to live a life of chastity, (pause) I swear to
live in poverty and obedience.
Peter lies prostate on the ground and the litany of the saints is played. (30 seconds). Peter
then gets up and exits the stage.
Scene 2:
Frances enters the stage and then sits centre-stage, but at the very front edge of the stage
with her legs dangling over the edge of the stage.
Frances: You wouldn't believe what I just heard! I always suspected it. That woman was
always a bit secretive and you shouldn't be secretive when you're married. You probably
shouldn't be secretive at all. Honesty is the best policy, so my father says. She ran away with
a Dublin man!, Imagine! Well ifl'm being honest I don't see the big deal about the county
business. I'm technically from Dublin whereas Father is from here. I was born there. Mother
made him bring her there so she could be with her mother while she bore me. Nana wouldn't
come down here. Mother told me she said it was "full of culchies" It is, but unfortunately I'm
one of them now. This place (her face makes a revolting expression). Nothing to do here
other than chase a few sheep, I heard the girls in Dublin get to go to dances, How fun would
that be? Ifl had my way, I'd do what Mrs Brennan did, I'd run away with a Dublin man.
(pauses for a few seconds). Father wants me to get married to this man called David ... I
don't want to get married ... haha no way. Want to hear more scandal? David doesn't like
women, I know, How Strange! I saw him kiss Mr Simons son. Now, you can't go telling
anyone because Mr Simons would kill him and I wouldn't want that (pauses) I guess the only
chance I'll get to runaway is to run away with myself. (Pauses for a moment) ..... Mrs Simons
seems pretty excited about the idea of me and David getting married of course she would be,
it was her idea and Mr Simons had to get Daddy's permission. Nobody asked for my opinion
or didn't seem to care about my response. They never do. Daddy says it'll be good for the

Farm and that the two of us will have a fine piece of land to make a life. Make a life on land
ha! Oh dear, why didn't anyone tell me? It's twelve noon.
She quickly leaves the stage and lights go down.
Scene 3:
Confession booth. Two chairs are on stage, one is over to the far stage-left and the other is
over to the far stage right. The chairs are both at the very top of the stage though. This is to
symbolise the distance that is mentally between the priest (Peter) and Frances. Even though
they are in such a small confinement they are really far away mentally in their own mind
frames. They both sit down on a chair each. Frances sits on the chair that is stage left and
there is a dark-warm light on her. Peter sits on chair that is stage right and there is also a
dark light on him.
Frances: Forgive me father, for I have sinned. It has been one day since my last confession. I
have been sick father. I have been cursed with a demon because I have not been honouring
my Mother and Father. I was hoping I was not. I tried to believe it was just a fever, but when
you told me to Honour my Mother and Father I knew I didn't have a fever. I began to realise
the Holy Spirit had left my body and something sinister had replaced it. It began with
sickness, every morning I would be ill and throughout the day I would collapse with fatigue,
often in the barn and I would dream Father. I would dream about being near the sea and
admiring its beauty. There was a cross, marking a grave amongst the sea. Then I turned my
head to the right and I saw this horse tied to a fence along the seafront. The horse pulled free
and it charged at me. I thought I was going to die an uncontrolled death. However, the horse
didn't want to hurt me. He wanted to help me, it pleased me He followed me. I walked
amongst the grass on the edge of the sand dune that was right at the edge of the sea and I
found some books. Books that somebody had hidden left behind. They were little boy's
books. I seen these books before, in David's house when Daddy had ordered me to sit with
him and his family for dinner. Then the dream would end and I would awake. I know it's
God's way of punishing me, but I don't want to marry David he will never love me and I
don't love him. It doesn't feel right. I feel this uncontrollable love for someone else, of
whom I know not, but it's real. Daddy said the wedding will take place after spring and the
preparations are already underway. This reoccurring dream, constant illness and fatigue
father this was only the beginning. My stomach soon began to swell from this strain the
demon was having. Until yesterday I felt it. I felt the demon. It kicked from within my
stomach and then last night I got an unbearable pain in my ribs. Father It's taking over my
body this demon. I don't know what to do I have tried to stop thinking these thoughts of
selfishness that I think, in hope God knows I have done wrong and banishes this demon from
within me ... but he hasn't answered my prayers. He won't listen.
Peter: God always listens.
Frances: But he doesn't. He isn't listening to me.

Peter: Frances, perhaps your sins are gone beyond the prayer of the lord.
Frances: I have begun to believe that and I am ever so lost.
Peter: (aside) the little lamb is lost.
Frances: Something else that has become of my mind is this strange remembrance. Every
time I go to place the milk outside the bakery down the lane I pass this broken bottle. I feel
like I have been the cause of this broken bottle, like it's somebody's heart and I'm about to
break it or have and I feel guilt and my body aches with pain. I feel like I've been there
before with a man, a man who says my dress is nice, that he really cares about me. He tells
me he has always loved me and always will and that I should remember that, perhaps it's him
I love, He says he will sin. He says he doesn't know why the Planets and God won't allow us
to be together. He kisses me and then it's blank. The remembrance is gone. I really feel like
this man is real, father and that it's true. I want to believe somebody can and does really love
me and care, but I cannot help to question why he wouldn't allow me really remember
(pause). Father why is it if you really love someone they can never really know? We don't
tell them and maybe they could need us and I mean I feel like I really love this man in my
dreams. Our love is always expressed in disguise. He will never know I love him though
because he will not let himself. Why can't we let people love us? I can't afford to wait
around. It's too painful.
Peter: Perhaps he is afraid Frances, in denial. Sometimes it's worth less to express love than it
is the sacrifice.
Frances: That is the answer I have begun to give myself. Although it makes no sense. What if
something happened and nobody else knew of what happened, what I feel me and my love
had, how much we had and that's now lost.
Peter: Perhaps he is mesmerised by your words of too many, perhaps this story is just a
product of your imagination. It sounds like this story is just something you tell yourself
because you know .... (Mumbling) David will never love you the way ... I do, the way I do.
Frances: Father, what did you say? I could not hear you. Did you say you loved me, Peter .. I
mean Father?
Peter: Frances see you are doing it again. You are creating what you want to believe. We all
do it Frances. However, we all do not go to the extremes you do. You are eccentric and it's a
curse, abnormal. That demon within you is making you think things that are not true and have
not happened. You are making false testimonies to yourself and concerning others around
you, the world. You need to stop.
..
Frances: Father I don't understand. I don't know what to do. Please help me.
Ouchhhhhhhh, (Frances screams)
Father: Frances you need to go. Frances you need to forget. Frances you need to leave this
church, before your demons affect anybody else.

Frances: What do I need to forget though? What really happened! Father it's really hurting
me the demon, what should I do? Father perhaps you are right. Perhaps I should leave. The
pain is becoming unbearable.
Father: Frances I am speaking the words of the Lord, the Lord is always right.

Scene 4:
It is Friday the 15 th of July. Frances turns up to confession Peter is not there. He is selfishly
gone to dinner with his family and to receive a present and is absent from his diocese and
duties.
Frances: Father are you here? Father! Can you hear me? I haven't gone yet, I thought I'd say
goodbye. Father!
Frances looks at her stomach and feels it with her hands.
Frances: I think the demon is finally starting to take me over father. I am not going to allow it
to.
Frances leaves, but really stays on stage. She has a hang man's rope and ties it around her
neck, stands on a chair (the litany of the saints is played to symbolise how Peter sacrificed
her for the priesthood) and then after a few seconds steps down. She takes her own life. She
thinks the demon is going to do it (the baby) and she will not let it have that control over her.
Frances symbolically exits through the audience descending to heaven/the beyond, as she
leaves she sings this song: "When you were born you cried, and the world rejoiced .... Live
your life so that when you die the world cries and you rejoice "

We hear Peter scream, he realises Frances has took her own life Peter returns to the
church (stage) . He himself goes into the confession booth .Sits on the chair she previous sat
on. (This shows Peter is now in her position)
Peter: Forgive me Father, for I have sinned. It has been a year since my last confession. I feel
my utmost guilt to confess this, but I will. I never felt your calling. I did not believe that a life
of celibacy and devotion to you was for me. It wasn't the decision I was meant to make. I did
not serve those around me by following you. I failed them. I failed myself. I failed her. Too
foolish to show her, too foolish to let her see all that she meant to me. I tried to make myself
forget and her too. However, love leaves traces on the heart that cannot be forgotten like the
trails in our minds especially the traces of stolen love. I ultimately swore my love would be
yours, but it can never be because it is long gone. I committed the ultimate sin. I stole, Thou
shall not steal. I was scared father and I still am. I lied and I can never be forgiven ..... I
should have told her she didn't need to compete for love, especially mine. My heart is broken
from the words I left unspoken. All the things I could have done Father, God I didn't do. The
Wolf has destroyed the poor, sweet, innocent Lamb
Frances: (Screaming in from the doors of The Peacock Theatre) FATHER CAN YOU HEAR
ME???? ARE YOU THERE???!!!!
The end.

Brushstrokes
by Cian Nugent McGealy

Set in an upper-middle class house.
Arthur - (An adult) The subject of a portrait painted by the daughter of the household.
Jack- (Late twenties) The man who is attempting to burgle the house.

Arthur wakes up.
ARTHUR: Quarter to three. God. What is it with me. I used to never be up this late you know. Ever
since I was put hanging here my sleeping pattern's been awfully disjointed. The other day
the woman who lives here was dusting. She almost knocked me right off the wall.
Madwoman. I was hanging askew for God knows how long. I don't know what she's at
sometimes. If it happens again I think I'm going to snap. Literally. I think the string holding
me up is going to snap.
At least she cleans the room. She does a good job I suppose. I don't know about her taste in
furniture though. Especially the sofa. I like my sofa. I mean whenever they're sitting in it they
don't seem particularly comfortable. Even if it is pink it should be nice to sit on surely.
He seems to like it though. The woman's husband, that is. He always sits there when he's
using his laptop. He's not the most interesting of people. I think he's an accountant. He's
nice enough though. I have a feeling they're gone out tonight actually. They'll probably
wake me whenever they come in. At whatever time that happens to be. I'll be lucky to get
any sleep between now and tomorrow evening. Especially with it being the weekend. At
least I think it's the weekend. I can't remember if they went to work today or not. Actually
you know what they did. Yes because Ellie was running late for the school.
I didn't tell you about Ellie, did I. Oh Ellie. What a girl. She's smart. Pretty too. Very artistic.
She's got a couple of her works around the room. That statuette on the coffee table is her
mother's favourite. She painted me a few years ago.
Silence
You know if it wasn't for her I don't think I'd like this place very much. Come to think of it if it
wasn't for her I wouldn't be here at all.
Silence
I think I might try and get some sleep.
What was that.
Silence. Footsteps are heard from upstairs.
Silence. Then something is heard falling down the stairs.
Jack:
Shit
Arthur: There's someone there.
Enter Jack.
Oh my God. It's a burglar.
Jack:
There better be more down here.
Arthur: This is terrible.

Jack:
Jesus, a pink couch. I could use a seat either way.
Arthur: What's he doing.
Jack:
It's not bad.
Pause.
I need a new job.
Arthur: Oh no. I just remembered. They're gone away for the weekend.
Jack:
It's been two years since I made any kind of decent money.
Arthur: He must have planned this ahead. Been watching the house.
Jack:
I just wish there was more in it, you know. I don't do it cos I want to. It's the only thing I
have.
Arthur: What kind of man does that.
Jack:
I'm good at it too. I know all tricks you see. I even invest in the proper tools. Good quality
ones like.
Arthur: If only I could do something.
Jack:
I take a backpack with me, obviously, but if I get lucky and I run out of space I bring a muslin
sack.
Arthur: I can't though.
Jack:
Some of the younger lads these days are using bin bags, but they rip too easy. They don't
suppress the sound that well either.
Pause.
Ah, sure I haven't had to use it in God knows how long. /What point is there.
Arthur: What point is there.
Silence.
They don't deserve this. They're good people. They're not even going to find out until they
get back.
Jack:
Fuck.
Silence.
Why'd I have to be such an idiot.

Arthur:
Silence
He doesn't seem to be doing much.
Jack:
This lot were smart. They have a nice house.
Arthur: I'd have thought he'd be in a bit more of a hurry.
Jack:
Nice things.
Arthur: He actually has the gall to just sit around on their furniture.
Jack:
Anything nice I ever had I stole.
Arthur: How can he just do this.
Jack:
Ah forget it.
Arthur: He looks sad.
Pause.
/I can't do this.
Jack:
I can't do this.
Silence
Arthur: Why is it that he can he can just waltz around here and do what he wants.
Jack:
It really is a hard business to be in these days. Firstly houses are harder to break into. They
all have alarms like.
Arthur: I hate it.
Jack:
But the biggest problem is the competition. There's gangs getting involved you see.
Arthur: He's got something to live for.
Jack:
You've got to be careful you don't end up in an area someone else is working on.
Arthur: Something to look forward to.
Jack:
One time I was working a house on the south side and I ended up with a knife pointing
straight at me.
Arthur: Something to do. What's he got to be sad about.
Jack:
But I've nothing to die for.

Arthur:
Silence
It's time wasted if you ask me. If I could walk out that door right now I would. I'd go see the
world. I always get to see the TV whenever it's on. My favourites are all the shows he
watches about nature and history and travel. The Galapagos islands. That's where I'd go.
Jack:
I haven't got much worth doing anything for.
Arthur: The great barrier reef.
Jack:
Certainly not worth doing this for.
Arthur: The Pyramids. See all the mummies charging around the place.
Jack:
I could have been doing something else.
Arthur: I know. I'd go to the North Pole and see Santa Claus.
Jack:
I was going to go to college.
Arthur: That'd be like a dream come true.
Jack: I fecked that up anyway, didn't I.
Arthur: All the snow. And the reindeer. And the elves.
Silence
But that's never going to happen is it. All I'm ever going to see is this room.
Jack gets up and walks around the room, perusing goods.
Arthur: What's he doing now.
Jack:
I lived with my uncle you see. He was a tough case. We lived on a farm west of here. I hated
him. He never used to let me have friends. He was afraid I'd go out drinking I guess. Get in
with a bad crowd from the town.
Arthur: He really is taking his time alright.
Jack:
I should have listened to him. He was going to send me to college. He wanted me to get into
finance so I could manage the farm's accounts. I ran away then and when I came back a few
months later he wasn't there. He'd sold the house to a man and his wife and the farm to one
of the neighbours. I couldn't find him.
Arthur: Why hasn't he taken anything.
Jack:
I should have stayed. I could have looked after him. I could have had a wife and kids. Been
living in a house like this. Had nice things like this. This lot have a bloody portrait hung over
the fireplace.

Arthur: Why's he looking at me.
Jack:
He loved me and I just didn't understand it.
Silence
Arthur: What on Earth is wrong with this guy.
Silence
Jack:
He died three months ago.
Sits down again. Pause.
I found out last week.
Arthur: There's something wrong.
Jack:
They'd been looking for someone to contact and they found me.
Silence
Arthur: I wonder what they're going to say when they get back.
Pause
I hope they're okay.
Pause
Jack:
There isn't a whole lot worth looking at down here is there.
Arthur: They've been through a lot lately.
Jack:
Anything here small enough to take is worthless.
Arthur: Especially Ellie's dad.
Jack:
There's plenty of nice stuff alright, don't get me wrong, but I can't take it.
Arthur: An old friend of theirs died a while ago.
Jack:
See my car broke down a while back and I can't afford to get it fixed.
Arthur: That's what I've managed to pick up anyway.
Jack:
And that only leaves my bike. Which isn't very convenient.
Arthur: I never saw him here but it seems like he meant a lot to him a long time ago.
Jack:
Because I can only take what fits in my backpack, and I can't make enough money of it after
rent to get my car fixed.
Arthur: I think they bought their first house off him years ago.

Jack:
And if I can't get my car fixed I can't make any more money.
Arthur: They didn't always live here obviously.
Jack:
I can't ask anyone for a favour either.
Arthur: No they only moved in here when they had Ellie.
Jack:
I've no one to ask.
Arthur: You figure out a lot from listening to these people.
Jack:
Besides if I did I'd have to give them a cut, and I can hardly afford that now.
Arthur: No they used to live in a farmhouse out to the west.
Silence.
Jack:
Not that I'd take them on this job anyway.
Silence.
No this is different.
Pause.
I did some research after I found out about my uncle.
Arthur: They like it here.
Jack:
Wasn't easy.
Arthur: I can see why.
Jack:
There were very few records for my family.
Arthur: The people are friendly. Some of them come in for tea and such from time to time.
Jack:
I found all the details about my dad.
Arthur: It's not too out of the way.
Jack:
I always thought he had died.
Arthur: Apparently the shops are only about five minutes away.
Jack:
But he actually went to live abroad.
Arthur: It's quiet.
Pause.
Jack:
So he left me with my uncle and//

Arthur: It's the dead of night here and you can't hear a single thing.
Jack:
He left my brother with a friend.
Pause.
It was him my uncle sold the house to.
Arthur: I almost forgot that he was here.
Jack:
He knew who I was that day I called.
Arthur: At least I'm not alone I guess.
Jack:
He knew.
Silence.
He got my house. My inheritance. My opportunities.
Arthur: He's not much trouble for a burglar.
Jack:
I was supposed to go to college.
Arthur: I wonder what he's thinking.
Jack:
I was supposed to live in a house like this.
Arthur: Maybe he's a nice guy.
Jack:
Supposed to have nice things like these.
Arthur: We could have been friends.
Jack:
I was supposed to have a family.
Arthur: Maybe he likes documentaries.
Jack gets up.
Jack:
I should have a fucking portrait on the mantelpiece.
Arthur: Maybe he's travelled.
Jack:
Picture frames on my coffee table.
Arthur: What's he doing.
Picks up picture frame and breaks it on floor.

Jack:
Crystal candle holders/
Picks up candle holder and breaks it on the floor.
Arthur: No.
Jack:
My kids' art should be on display/
Picks up Ellie's statuette and holds in hand, as if threatening to destroy it.
Arthur: No please. Not Ellie's statue. I beg of you.
Jack looks at the statuette. Silence.
Jack:
This is beautiful.
Arthur: Thank you.
Sets it down.
Pause.
Jack:
This isn't right.
Arthur: That would destroy Ellie.
Jack:
They worked hard for all this.
Arthur: And her parents.
Jack
I don't deserve any of it.
Jack picks up his things and leaves.
1.-i
Arthur: Where's he going.
Pause.
Is he coming back.
Pause.
I guess I am alone.

NOIR 2000
A Play by Luke
Shanahan

[A darkened alley, a dim light shines on MARK, an Irish immigrant,
heavy Dublin accent, upstage right. He's wearing a trilby hat.
Slow Jazz is being played in the background along with the sounds
of traffic (Police cars, ambulances etc.)]
MARK (walking slowly, heavily to downstage centre) (New York accent,
brief pause, then slowly) Ah yes, Fall. The leaves turn to a
weak brown crisp and crumble away one, by, one. Winter. The sharp
rains wash away the leaves and the ground freezes over. Spring.
The finches fly home and flowers begin to blossom. Summer. The sun
is in the sky and the trees are a lush green. Fall. The whole damn
thing starts again. It just keeps going round and round like the
wheels of a bicycle. I'm sick of it all, the leaves, the rain, the
finches, the sun. There's a bite in the air tonight, like poison,
like a snake, coiling round the alley ways, creeping out of the
drain pipes. I can feel it's teeth slide into my neck, gracile.
The cold air burns my eyes. This city is a mess, and so is everyone
in it. Including me. I roam the streets from dusk, taking the
law into my own hands for the benefit of others. Suspicious widows,
paranoid boyfriends, crooked cops. Oh my, yes, as I said,
everyone in this city is a mess. Pennies from Heaven, that's the
kind of money I make (MARK pauses, makes eye contact with some of
the audience, mumbles, takes a step back) Pennies from Heaven ...
( takes a step forward, coughs) [beat] Pennies ... from. .. Mm. ( deep inhale,
deep exhale, Irish accent) Feck it, this play's shite anyway
... Alright just cut out the music, just, just feck it alright?
[The lights come on, the sound effects cuts out, as MARK takes off
his hat, drops said clothes on floor, begins to exit upstage left
relaxed, quietly, without a care. At the point where MARK is
about exit the stage LUCY jumps out and starts pushing him back to
downstage centre.]
MARK Lucy? Lucy!? What do ya think yer doin'?

LUCY Get back out there and act! (LUCY picks up his hat off the
ground and shoves it into his chest)
MARK (cringes) [Condescendingly] No, alrigh?
LUCY Alright!? For God's sake Mark, could you maybe act your age
or is that too much acting for you to handle?
MARK Look Lucy -
LUCY No. Don't try to defend yourself. (LUCY looks MARK up and
down, shakes her head) Right, from the top okay?
[LUCY walks off to exit upstage left and MARK follows, LUCY realises
this and turns around]
LUCY Mark!
MARK The play's shit.
LUCY (points at Mark)You're shit.
MARK (Mockingly) I'm offended.
LUCY Mark could you please just stop thinking about yourself for
once-
MARK No, look, I'm sorry Lucy but the thing is-
LUCY Honestly could you just-
MARK (beat) Okay look, (holds out hat) what is this?
LUCY A hat?
MARK No-

LUCY Are you saying it's not a hat?
MARK No, it is a hat-
LUCY Then what's your problem?
MARK No, I mean {inhales) look at it, it doesn't make sense, I
mean how is the audience supposed to piece together that I'm a
a{flips back through script) "A flawed Private Investigator s1ash
Vigilante with a drinking problem, schizophrenia, a child he never
gets to see, a life of regret and a no-funny-stuff boss"? [LUCY
begins to interject] It's cringe-worthy, like
LUCY (gesturing towards audience) They'd figure most of that out
for themselves throughout the course of the play but (obvious sarcasm)
thanks for the spoilers-
MARK I really don't think they would, I mean if it weren't for the
character description, I'd only pick up on_not even half the stuff
I'm supposed to be-
LUCY Okay, alright, let's hope they're smarter than you are-
MARK And it's the name as well-
LUCY Right okay, the name, I suppose I should take out a notebook
at this point, what's wrong with the name?
MARK "Noir 2000"? I mean c 'mon like, "Noir 2000"?
LUCY Yes, I'm listening, enlighten me-
MARK Noir 2000 sounds like an old B-Movie, how do you come up with
a title like that and think "Oh yeah, that's an interesting title"?
What really surprised me is how many people you've managed

to entrap here (MARK walks to downstage centre, extends arms,
bends knees a bit and shouts at audience) What is wrong with you
people? What made you come here? Why would you waste your time
sitting here? I mean honestly-
LUCY Mark-
MARK Why are you still here? Why haven't you left yet?-
LUCY (losing patience ever so slightly)Mark-
MARK Wait why haven't I left yet? (MARK goes to leave)
[LUCY stands in from of him]
MARK Look I'm really not in the mood now-
LUCY (Crosses her arms) You know what they say about arguing with
idiots?
MARK (Jokingly copies LUCY by crossing his arms) What do they say?
LUCY They say it's like playing chess with a pigeon because -
MARK Wait, what?
LUCY - because the pigeon will just take a shit on the board and
strut off like it won anyways
[LUCY exits upstage left again]
MARK (bantering with audience) Hm, yeah I think I know what you
mean.
[The lights dimmer and the sound effects come back, MARK stays silent
for a while]

MARK (points at audience member) Here you, yeah you, would you
like a go, it really isn't that hard, you get paid as well, not
much but you know it's something at least. (pauses) No? Fair
enough.
[MARK starts pacing slowly back and forth upstage center]
MARK Anyone see anything good in the pictures recently? (MARK
looks at audience members one by one looking for answer) Yis
aren't mad into the whole (air quotes) "audience participation
thing" are yis?
[The light go back on again and the sound cuts out again, and we
hear LUCY's footsteps]
MARK And here we go again ...
[Enter LUCY]
LUCY Mark, could you please just-
LUCY Oh, ha ha! Very mature, now can we please take it from the
MARK (imitating LUCY's accent) "Mark, could you please just"-
top-
MARK (imitating) "Oh, ha ha! Very mature, now can we please take
it from the top" -
LUCY Honestly, just try to-
MARK ( imitating) "Honestly, just try to" -
LUCY (looking at audience) Believe it or not this is, honestly?
Some of the best acting he's ever done.

[Mark looks offended but in a over-dramatic jokey way]
MARK (Shakespearian, clears throat) ur shall be saved by my husband!
He hath made me a Christian!
Alack, what heinous sin is it in me
To be ashamed to be my Father's child!
But though I am a daughter to his blood, I am not to his manners.
0 Lorenzo,
If though keep promise, I shall end this strife,
Become a Christian and thy loving wife!"-
LUCY (Holds out hand) Sorry hold on a second there, (Leans into
earpiece) pardon could you repeat that? (long pause, MARK looks
bored) Oh right okay, we ,um , we called the understudy you can go
home now.
MARK (beat) What?
[pause)
LUCY (LUCY stands in front of MARK and faces the audience) Ladies
and Gentlemen, on behalf of the Peacock Theatre I'd like to formally
apologise -
MARK - Okay now, hang on a second there, wait just hang on a second
there -
LUCY (ignoring MARK, faster) - For the embarrassing, unprofessional,
display we have had the misfortune to -
MARK Ah hear now, hang uhh, now here look it, I've my fun alrigh?
I-
LUCY For the embarrassing -

MARK Lucy, can I speak to you for a -
LUCY (Faster) For the embarrassing, unprofessional display -
MARK (Shouting) Lucy!
LUCY Go home! And please don't come back-
MARK Wait, what? This is a little unfair don't ya think?-
LUCY Unfair? You act completely unprofessional and what? I'm just
going to let you away with that?-
MARK I'm sorry (silence) okay? I am, I'm sorry, I'm a tool, an absolute
tool, just give me a chance -
LUCY Chance?(Calm, composed) Mark, you have had your chance,
you've had many many chances -
MARK Lucy, (holds hands out) look, look you don't know how much I
need this job right now, I -
LUCY No I don't. (MARK looks surprised) Want to know why? (MARK
puts on a face that says "yes definitely go on n ) Because you've
never shown me that this matters at all to you, I have been much
too patient with you until tonight. Goodbye -
MARK (Getting a little uneasy) Lucy, Lucy, Lucy, please you don't
understand at all -
LUCY Mark, you need to pull yourself together, you're embarrassing
yourself and you're embarrassing me, the understudy is going to be
here shortly.

[MARK walks backwards and puts his hands on his head, not a crying
sad, but a defeated sad]
LUCY Sulking like a child isn't going to help M-
MARK (No longer relaxed} You haven't a clue do you? (He walks up
to LUCY, short pause} Don't you dare try to replace me, alrigh?
Fair enough, maybe I overreacted tonight, maybe I should've made
more of an effort to keep calm, maybe I should've kept my critiques
to a later date, but don't you dare replace me. This is a
just a little slip up, a minor inconvenience, the unfortunate result
of the kind of stress your-pretend-troubled-latte-drinkingwriter-self
couldn't even dream of -you, you couldn't possibly imagine
how much I've had to work to even get to here (He lifts up
the script) Have you read this at all lately? It's unbelievable.
Unbelievably shit. You act like you're a modern day Dickens, or
Orwell, or Shakespeare but you are so shit ... For example, the dialogue
is cringe-worthy and sentimental, the characters are so underdeveloped,
and the scenario or the plot or whatever is completely
unrealistic. You're a shit writer. So get off your high
horse and face reality. You're shit.
[The lights dimmer low, there is a long silence, they stand looking
at each other for a while, MARK runs his hands through his
fingers, exhales, walks over to upstage right, LUCY crosses her
arms and looks at the ground and occasionally the audience, Exit
MARK, the lights come back up]
LUCY (looking out at audience) He's one to talk. (pause) I may not
be a perfect writer but oh my god is he an horrendous actor. (Enter
MARK, LUCY doesn't see him, continues talking) He honestly
doesn't bring anything to the performance, he's too cold and detached,
he can't express emotion whatsoever. He does one antidandruff
shampoo ad and suddenly he thinks he's ... Robert DeNiro ! Oh.
My. Wait until you hear this just yesterday I was making sure he
was ready to start, the door to his dressing room was open and

here he was looking in the mirror doing that scene from Taxi Driver.
(Robert DeNiro face, pause, Robert DeNiro Voice) "You talkin'
to me? You talkin' to me? You talkin' to me?" (LUCY turns aroud to
look behind her)
MARK (continuing Robert DeNiro voice) "Well then who the hell else
are you talking- You talkin' to me? Well I'm the only one here."
(pause, Irish accent back) The tipping isn't great.
LUCY (surprised) Sorry what?
MARK Tipping?
LUCY What? At the, um, at the Golden Rooster was it?
MARK The, um, the Green Rooster yeah.
LUCY (pause) That's quite a bit of rage you've been bottling over ...
tipping?
MARK It's not just the tipping though.
LUCY Mark, I don't think this is the right time-
MARK (MARK holds up his hand, lowers his head and closes his eyes)
I know, I'm sorry, it's just-
LUCY Whatever it is it can wait-
MARK Lucy ...
LUCY [beat] Yes?
MARK They don't believe I'm an actor.
LUCY What?

MARK {slowly} The manager, the other waiters -
LUCY Mark, why are you telling me this now?
[MARK looks down at his shoes, puts his hands in his pockets,
shrugs his shoulders, and mumbles something]
LUCY {Takes a step closer, and lowers her head to listen} What?
MARK I'm sorry-
LUCY Mark, -
MARK No, really, I'm sorry-
LUCY {Decisive, with purpose} Mark. Stop telling me your sorry-
MARK But I am! I-
LUCY Mark. Seriously you need to pull yourself together. {LUCY
points at the audience} Look at them.
[MARK looks up at the audience]
LUCY Mark, this is your audience, they are going to go home tonight
to friends, family, and they will them about how you were a
complete and utter primadonna, their friends and family will then
tell their friends and so on and so forth and before you know it
what happened tonight will have reached every playwright in the
country-
MARK That's a little hyperbolic might I say but what's your point?
LUCY My point is that every minute more you stand on this stage,
you will only hurt your career as an actor -

MARK Well. .. What if I don't want to be an actor anymore?
LUCY (Tired of dealing with MARK) What are you talking about?
MARK Lucy, when people ask me what my job is now I tell them the
truth.
LUCY (sighs) Meaning?
MARK Meaning I tell them what I actually do for a living -
LUCY ... Which is acting -
MARK ... Which is a couple of things, waiting tables, ehh, driving
delivery vans, eh-
LUCY Delivery vans?-
MARK Yeah.
LUCY Okay.
MARK But I never say acting-
LUCY Why? Is it because you're in this (air quotes) shit p1ay?
MARK No it's not that-
LUCY Then what is it?
MARK (unable to find the right words, using hand gestures) It's-
LUCY Yes?
MARK [beat) I don't know.

LUCY (huge sigh whilst throws arms up in air) Oh. For. God's. Sake.
Maaark. What is so bloody important that you had to have this
this this bloody (looking for right words) therapy session right
here, right now?
[MARK gives LUCY a long stare]
MARK (Self-assured) Right. Okay. Are you happy with your job?
LUCY I guess so, why?
MARK Like ... are you happy with the way, to use your words, "your career"
is going?
LUCY Yes, yes, sure whatever, I am, Mark-
MARK Could you do this for the rest of your life?
LUCY (beat) Um, I don't see why not.
[pause)
MARK Look Lucy ... I used to enjoy acting ...
LUCY Okay.
MARK ... And I used to be able to support myself by acting ...
LUCY (inhales) Mm hm.
MARK But now, I'm doin' so many jobs to support being an actor-
LUCY So it's sort of ironic then.
MARK What?

LUCY Doesn't matter, sorry, continue.
MARK Okay, right-
LUCY (whispering in direction of audience) It's not like we have a
play to perform
MARK What?
LUCY Sorry?
MARK What did you just say?
LUCY Nothing.
MARK Jesus, Lucy I'm trying to give you an apology, well an explanation,
well something-
LUCY Mark, we've already established that this is not the time or-
MARK Can I please just explain myself? I mean I could just leave
now without any explanation whatsoever but I can't do that. I just
want to-
LUCY (throws arms up in the air) What!? This is ridiculous-
MARK I know this is ridiculous!-
LUCY Then why are you still here?-
MARK For the third time I'm trying to explain myself!-
LUCY Wouldn't it just be easier to leave?-
MARK Yes.

[pause]
LUCY Then leave!-
MARK NO!-
LUCY Why?-
MARK Because-
LUCY Because why?-
MARK Because I'm trying to explain-
LUCY Explain what?-
MARK What do you think?-
1-'
LUCY I don't know-
MARK What do you mean you don't know-
.....
LUCY Well I know you mean "this"-
MARK Well there you go-
LUCY BUT WHAT IS THIS?-
MARK It's-
....
LUCY It's what?-
MARK It'sw
LUCY Go on!-
u

MARK I-
LUCY Pardon-
MARK I can't support myself as an actor because a year ago today I
stopped caring about myself-
MARJC Because a new human came into the world that I needed to care
LUCY What!?-
for-
LUCY What does that even mean?-
MARK It means a child Lucy, a fucking child!
[Silence, LUCY just stares in awe at MARK, MARK looks more solemn
than we've ever seen him]
MARK It's not just about me anymore.
[Pause]
LUCY (inhales deeply) Right, I see, (pause) play's shite anyways.
MARJC Yeah. (inhales deeply) Yeah okay then. So can I just (points
towards exit)
LUCY Alright, yeah, yes, you may as well at this point.
MARJC See ya.
-
[Exit MARK, brief pause, LUCY goes to downstage centre]

LUCY Ladies and Gentlemen, well. On behalf of the Peacock Theatre
I'd like to formally apologise for um. .. that ... ( drifting away) display
of ... For that display of ... "that", um, thank you for your time.
[Exit LUCY, short pause]
Black.

Salt
by Robyn Gill

Characters:
David, fifty years old, author with writers block. He hasn't slept in several days.
Elliot, eighteen, a figment of David's imagination.

Waiting room of psychiatrist.
Elliot is reading a book while waiting. David walks in then stops when he notices Elliot and stares
at him. Elliot notices him staring.
ELLIOT: What the fuck are you looking at?
DAVID: I'm sorry, you just, look like someone I used to know.
ELLIOT: Must have been a long time ago.
Long Pause.
Elliot finishes reading his book.
DAVID: Have you been waiting long?
ELLIOT: Ages. They always take forever.
Long Pause
DAVID: So, why are you here?- If you don't mind me asking.
ELLIOT: Can't sleep.
DAVID: Really? Neither can I.
ELLIOT: Pain in the ass, right?
DAVID: I know. I just lie awake at night while my thoughts go round and round my head, like a
constant siren numbing my brain.
ELLIOT: I've got like one nights sleep in the last month.
DAVID: Is there any particular reason? Sorry- if you don't mind me asking?
ELLIOT: A whole bunch of stuff. I get the results for my leaving next week, and I'm worried I
won't get the points I need. Nagging from my parents, money for college and all that shit...
DAVID: It seems like only yesterday I was in the same situation. I can remember it perfectly ...
Pause. Elliot notices David seems to be upset and attempts conversation.
ELLIOT: What about yourself? Why can't you sleep?
DAVID: I'm writing a novel.
ELLIOT: Really? Wow.
DAVID: I'm having a lot of trouble with it. Writers block.

ELLIOT: How come?
DAVID: I'm having difficulty with the plot and characters.
ELLIOT: What's it about?
DAVID: A lot of things. It's difficult to explain.
ELLIOT: I have a friend who wants to be a writer. He never tells me about anything until it's
finished.
DAVID: Is he any good?
ELLIOT: He's great. I bet one day he'll be famous.
DAVID: Well, I used to write all the time when I was your age. The more practice the better.
ELLIOT: I'll tell him that.
DAVID: What about yourself? What would you like to do?
ELLIOT: Don't even get me started. I haven't a fucking clue. I know what my parents and teachers
want me to do, but I don't know what I want do myself.
DAVID: What do your parents want you to do?
ELLIOT: Law. My dad's a barrister and he thinks I'd be good at it. I'm not so sure though.
DAVID: (Pauses. Stares at Elliot). Well ... you've got to go with what you really want yourself.
ELLIOT: The problem is I don't really know what I want.
DAVID: No one does when they're your age. I still don't even know what I want.
ELLIOT: I just wish I was little again. I had it all figured out then. I was going to be a professional
football player.
Me and my mate, we used to go down to the beach and play football in the sand or even in the
street. We were both pretty shit actually, but that didn't matter because we had it all figured out.
I just wish things were still like that.
DAVID: So do I. What I would give to still be playing football with my friend.
ELLIOT: That was the life, right? Wednesday afternoons, jumpers as goalposts, running down to
the sea and chasing the waves ...
DAVID: How?
ELLIOT: Hmm?
DAVID: I used to play football on the beach too, my friend and I..
ELLIOT: Football on the beach was the best. God, I love the beach.

DAVID: The last time I was on a beach was 1982 ... (goes silent and loses himself in his thoughts)
ELLIOT: What the fuck has been wrong with beaches the last thirty three years?
DAVID: Nothing. I just... I've been busy, I guess.
ELLIOT: I don't think I could handle a month without the beach, let alone thirty three years. I need
the sea air to blow away all the cobwebs.
DAVID: Maybe that's why you can't sleep, when was the last time you went to the beach?
ELLIOT: It's not that. I was there yesterday and every other day this week. Me and my friend
made a deal that we would go to the beach everyday this summer.
DAVID: What?
ELLIOT: We went to the beach everyday this summer. We decided during our leaving cert that
once it was finished we'd go the beach every single fucking day. No matter what the weather.
DAVID: But- that's what we did. We made a promise, we said we'd go to the beach every single
day ...
ELLIOT: What?
DAVID: My friend and I. We said we'd go to the beach everyday.
ELLIOT: And did you?
,_.
DAVID: Yes. At least, most of the summer ..
ELLIOT: Why not all ofit?
DAVID: I.. we .. Something happened.
ELLIOT: What happened?
Pause
DAVID: Who are you?
Pause
ELLIOT: You know.
Pause
ELLIOT: Don't you remember?
DAVID:No.
ELLIOT: August 8 th 1982, don't you remember?

DAVID: I don't remember anything.
ELLIOT: It was the hottest day that year.
DAVID: Please. Stop talking.
ELLIOT: We went to the beach.
DAVID: Elliot, please.
ELLIOT: What's the problem? Don't you miss me?
DAVID: Stop.
ELLIOT: Don't you remember?
DAVID: I can't. I won't.
ELLIOT: We sat in the sand dunes.
DAVID:No.
ELLIOT: We walked along the beach.
DAVID: Stop it. You're not real.
ELLIOT: But I am. I'm real to you.
-
DAVID: Why? Why are you here?
ELLIOT: You're the one that brought me here.
DAVID: I haven't thought about you in thirty years.
ELLIOT: Yes you have.
DAVID: That's not true.
ELLIOT: Come on, you're writing a whole novel about me.
DAVID: No I'm not.
ELLIOT: You are. You know you are.
DAVID: It's not about you. It's about... lots of things.
ELLIOT: Me. It's about me. It's about you, it's about us.
DAVID: Maybe, but-
ELLIOT It's true. You need to write about that day. But you can't.

DAVID I don't need to write about that day. I don't need to think about it. Ever.
ELLIOT Remember.
DAVID I can't...
ELLIOT: You can. You have to.
DAVID: I don't have to do anything.
ELLIOT: Don't you want to finish your novel?
DAVID: Yes, but-
ELLIOT: But what? You still can't think about it. You have to think about it.
DAVID: I don't want to think about it. You're gone now. I haven't seen you in thirty three years.
ELLIOT: And why not?
DAVID: You know why.
ELLIOT: I sent you a letter.
DAVID: A wedding invitation.
Pause
ELLIOT: Which you didn't attend.
Pause
DAVID: So?
.....
ELLIOT: So the lack of contact was on your side. Not mine.
DAVID: I couldn't face you, not after what happened .
ELLIOT: You can't even face yourself.
._.
DAVID: I don't want to. I don't want to remember.
ELLIOT: But you loved the beach. Just like me.
DAVID: Well I hate it now. I hate even the thought of a beach now.
ELLIOT: You're missing out. Think of the dunes, think of the feeling of the sand between your
toes ...
Feet in the water, the freezing waves seeping through our jeans. Walking out and out and out...

DAVID: Stop. Don't go any further.
ELLIOT Just a little bit, just as far as the sand bank.
DAVID: There isn't any sand bank. It just gets deeper.
ELLIOT: I can swim.
DAVID: But you don't want to. Stop.
ELLIOT: I'm not scared of the sea.
DAVID: That's the problem. You should be. Come back please.
ELLIOT: I want to feel the water crushing me.
DAVID: Don't do it. Elliot, please.
ELLIOT: But I love the sea, I love the water.
DAVID: Stop. I'll pull you back.
ELLIOT: Don't save me.
DAVID: But I have to. I have to save you.
ELLIOT: You don't have to do anything.
DAVID: But I do. I save you. That's what happens next.
ELLIOT: No. What happens next is I keep walking.
DAVID: Don't.
ELLIOT: I let my head go under.
DAVID:No.
ELLIOT: The water is cool on my cheeks. It fills up my clothes and drags me down.
DAVID: Stop.
ELLIOT: I want to go down.
DAVID: No you don't.
ELLIOT: I just want darkness.
DAVID: You love the sunshine.
ELLIOT: Is that why you rescued me? So I could watch the sunshine?

DAVID: I couldn't let you die.
ELLIOT: That's what I wanted.
DAVID: I don't care what you wanted.
ELLIOT: So you just dragged me back?
DAVID: I had to.
ELLIOT: The world looked so harsh. My throat burned but I was so fucking cold.
DAVID: At least you were alive.
ELLIOT: Did my lips taste like salt?
Pause.
DAVID: I was saving you.
ELLIOT: Did it hurt?
DAVID: What?
ELLIOT: When I punched you? Did I make your nose bleed?
DAVID: I didn't care about that.
....
ELLIOT: What did you care about then? You didn't want my death on your conscious?
DAVID: You know that's not why I saved you.
Silence.
ELLIOT: I know.
DAVID: You would have done the same if it was the other way around. Wouldn't you?
ELLIOT: Of course. You were my best friend.
DAVID: And you were mine.
ELLIOT: Then why did you let me go?
Pause
DAVID: You didn't want to stay.
ELLIOT: Everyone needs to escape sometimes.
DAVID: All the way to America?

ELLIOT: I tried to put a whole ocean between me and my problems­
DA VID: That's what I was, a problem?
ELLIOT: Isn't that what I am now too? In the way of your novel.
DAVID: I don't care about the fucking novel.
ELLIOT: You do. You want to finish it so you never have to think about me again­
DA VID: But I don't want to forget you-
ELLIOT: You don't need an unfinished novel to remember me.
DAVID: At least while I'm writing it, you're still alive ...
ELLIOT: You need to let go of the past. This is your life now. This is what you chose.
DAVID: We don't have a choice in everything.
ELLIOT: Yes we do.
DAVID: That's not true. I never wanted any of this to happen. I never chose to be in love with you.
ELLIOT: Yeah well I'm just so fucking amazing. I don't think anyone can resist me.
Pause
.....
DAVID: You didn't have to disappear.
ELLIOT: It's not like I disappeared in thin air. I left for America two weeks later. Why didn't you
come see me?
DAVID: You didn't want to see me. I thought you hated me. I thought you never wanted to talk to
me agam
ELLIOT: Of course I wanted to talk to you again. You need to try and understand how I was
feeling.
DAVID: What do you mean?
ELLIOT: I had just tried to kill myself. I was drunk. I was depressed. I was so fucking confused. I
felt like everything was falling apart. And when you saved me, I.. I didn't want you to. I was angry
already. Of course I didn't react well. That didn't mean I never wanted to see you again. I just
needed time to breath.
DAVID: Did it help? Did going to America help?
._,
ELLIOT: You know it didn't. You know it couldn't help. It couldn't be fixed by going away and
pretending like nothing happened.
DAVID: Did you wish that nothing happened? Is that what you wanted?

ELLIOT: No. I couldn't live without you. But I couldn't live with myself knowing that was true.
DAVID: I would have saved you. I would have saved you over and over again.
ELLIOT: You couldn't save me from across the Atlantic.
DAVID: I wish I could. I wish I did.
Pause
ELLIOT: I'm sorry David.
DAVID: Losing you was the hardest thing I ever did, and I had to lose you twice.
ELLIOT: I was already gone David. When I left you, I was long gone.
DAVID: Why didn't you come back? Why didn't you just come home?
ELLIOT: I hated myself, I hated who I was. I was a terrible husband, I was a terrible son. I was a
terrible friend.
DAVID: You were my best friend.
ELLIOT: I know.
DAVID: I had to find out from my parents, Elliot. It was my mam who told me what happened.
ELLIOT: I'm sorry David.
DAVID: She kept going on about the poor wife this and the poor wife that. She didn't know that it
was killing me.
Pause
ELLIOT: I'm sorry. I can't change it, I wish I could.
DAVID: I wish I could too. I wish that every single day.
ELLIOT: You need to stop wasting your wishes on me.
DAVID: I have. Time passes, things change.
ELLIOT: Time passes yet here I am, still eighteen years old. You're still eighteen in your mind.
You haven't let yourself move on.
DAVID: I have. I've had a successful career. I've done a lot with my life.
ELLIOT: Then why can't you finish your novel? Explain that to me.
Pause

See, I knew I was right. I'm always right.
DAVID: And still as vain as ever. (Pause) I can finish my novel. I could finish it ifl really wanted
to.
ELLIOT: But you don't really want to.
DAVID: Fine. Forget about the novel. I'm finished with it. That's not what I want.
ELLIOT: Want do you want then?
DAVID: I just want ...
ELLIOT: What?
DAVID: I just want ... you.
David looks up and meets Elliot's eyes for the first time.
Blackout on Elliot.
Pause.
Blackout on David

Absolution
by Emily Gallagher

Setting:
Key: (cast directions) *crew directions* -personal notes-
Clara's bedroom
Characters:
Clara-Afraid of Father but has grown stronger from years apart. Mid twenties.
Father- Charming but emotions seem forced or fake. He is cold.
Max- (never present) Clara's boyfriend, late twenties
.....

Scene 1
(Clara on phone)
CLARA: A heart attack is what they said --- Yeah, the funeral's tomorrow --- no,
course you don't need to come back Max --- I'm positive --- about him? I already
told you about our ... difficult relationship --- Well, no. He wasn't so bad
sometimes. And I'm sad but I think I just regret losing the relationship we could
have had. Is that silly? --- Yeah, you're probably right. He used to tell me stories,
when I was younger. He was a perfect host, an adept conversationalist. He would
always cook dinner, wouldn't let me eat anything unhealthy ... but he was distant.
As I got older, it all got too much for him --- well, life, I guess ... Sometimes he
would snap, and when he did, he would snap your head off. That's why I had to
leave, though it was hard. He was having nightmares, you know. He just wasn't a
happy person. --- No, I don't remember Mum, I told you that. Sure I was only two
when she died. --- I'm not quite sure what of. I never thought to ask; Dad didn't
like talking about it. Her death, I mean. --- No! Why on earth would I think that?
He would never have had anything to with it, he loved her, of that I'm sure. --- I
suppose it's possible he hit her once or twice but kill, surely-look this is ridiculous.
I'm tired and the funerals tomorrow. --- Yeah, yeah, love you too. Night, Max.
*lights down*

Scene 2
-father can show no true emotion until scene x-
*Still black in Clara's room, echoes whisper Clara's name, lights up*
FATHER: Clara.
CLARA: Father?
FATHER: Oh, am I priest now?
CLARA: You're dead!
FATHER: (sighs as if disappointed at her stating of the obvious) So it would seem.
.....
I haven't seen you in a while Clara, you don't visit me anymore. How have you
been?
CLARA: I'm doing fine. Why are you here? (He steps forward) Don't.
FATHER: (Retreats, hands in front.) So tell me, what's going on in your life?
CLARA: This is a dream, why does it matter?
FATHER: Oh come now Clara, I'll start easy, shall I? What are you working as?
CLARA: (reluctantly) A coffee shop and a library for the moment but I've got
interviews lined up for a couple of firms.

FATHER: A coffee shop and a library; very romantic. I suppose you have a
boyfriend. (Pauses 1 she nods) Ah, what's his name, how did you two meet?
CLARA: (encouraged by father's interest) His name is Max and he works at the
pharmacy across the road from the coffee shop where I work.
FATHER: Do go on. Tell me how you met.
CLARA: He came into the coffee shop one day, saw me and started flirting. I went
home early. He was on the phone as I was leaving, so he didn't see me go. He
texted me later saying he hadn't finished flirting with me. We got together a week
later and have been together ever since.
FATHER: Delightful.
CLARA: What are you?
FATHER: Other than the person who raised you? I might be, as you said, a dream.
A figment of your usually poor imagination. Others might say I'm an apparition, a
ghost if you will.
CLARA: A ghost? (almost, not quite mocking) Have you some unfinished business?
FATHER: Hilarious.
CLARA: Why are you here?
FATHER: You're very like your mother; she too was blunt. She loved to dance as
well. It's such a shame you've quit.
CLARA: Father, You told me to ...

FATHER: Call me Dad, and don't interrupt me Clara. As I was saying;
your mother, Elisabeth, and I, met at a dance you know. She was extremely pretty
and danced exceptionally well. Far too well for her below average partner, so
when I asked to step in, both were only too happy to oblige. We were young
then ...
CLARA: Fa-Dad. Why are you telling me this?
FATHER: Dance with me.
CLARA: There's no music.
FATHER: This is a dream; make some.
*Music begins*
CLARA: I really don't think ...
FATHER:
Clara.
(They dance without ever touching, he leads)
*Music slowly dies*
CLARA: My mother ...
FATHER: Yes?
CLARA: How did she ... y'know ...
FATHER: Die? I don't see how that's of any importance, Clara now really.
CLARA: Well it is to me.

FATHER: Why?
CLARA: I don't-Why don't you just tell me? ... You're scared. -Statement­
FATHER: Ha. I am not scared. Why should I be scared, Clara? What is it that I am
meant to be scared of? You? Ha. Quite the contrary, Clara. Why it is you who
should be scared of me. You know what I am capable of.
CLARA: You can't touch me!
FATHER: Why are you so curious about your mother now, Clara? Why-Oh! I see.
You think I-Oh. Well, wake Clara. I'll be seeing you very soon.
(Clara wakes in tears)

Scene 3
{Clara on phone)
CLARA: Max, Max I can't do this. He's been appearing to me in dreams. He keeps
saying see you soon and I don't know what it means. I'm terrified Max; I don't
know what to do. Don't tell me it's a nightmare, I know it isn't. It feels so real, it
has to be. Every night since he died, he's come. And he's about to snap, Max, I
know he is, and I can't, I just can't do this. I think ... I think maybe he did have
something to do with my mother, with Elisabeth ... Don't make me do this again. I
feel like I'm going crazy, but you've got to believe me, I'm not. --- I'm just so
scared, please Max, please come home--- I know, I understand, tomorrow then,
please Max --- Okay, okay, one night longer --- (sniffles then laughs weakly) yeah,
I'll last. Don't you worry about me. --- Okay tomorrow. Love you.
{Ends call, deep breath)

Scene 4
*Clara is asleep*
-Rollercoaster-
FATHER: Oh Clara, sweet Clara. You were an accident you know, an out-of-theblue
baby, as Elisabeth said. Such a privilege, (sneered) but such a little brat.
Never have a child to save a marriage; well you're mother learnt that too late.
And she never even had to deal with you. Elisabeth. She was pathetic, weak; you
both had similar qualities, putting on this independent woman front but always
ruled by men; needing to be ruled by men. Your mother let herself be defined by
men her whole life: father, brothers, boyfriends and then (halts suddenly) ... me.
Of all the boys at that godforsaken dance she chose me. And I did love her, I did.
J
And she was smart and funny and she had this way of looking at a person, as if
you were her whole world. Then my job was made redundant and my brothers
were off making their fortune and I was just so ... angry. I could see that other men
were interested in her, of course they were. I took it out on her while she would
just stand there, smiling sadly. The look never left her eyes in all that time. Until
one day, you were two and crying and you just wouldn't stop crying and I shouted
at you, raised my hand and heard a cry. She was looking at me and ... it wasn't
there. That one look which always brought me to my senses, which made me feel
as if it wasn't the end of the entire universe, was gone. And it broke me ... (Longer

Scene 5
*houselights up, very dim*
(Father enters from back and hides onstage)
(Clara follows)
CLARA: No! Wait! Father, stop! Dad! Please. I need to know. (On stage)
*Houselights down* I need answers! Dad? ... Dad. (Stumbles upon his gravestone
and falls to knees in front of it, face in hands, entire body shaking)
(Father comes from behind gravestone reaches for figure)
(Clara grabs wrist, stronger this time)
CLARA: (brokenly) Forgive you for what?
FATHER: (Panics) 1...1... I can't. (Tries to break free of grip, angry now but not like
before) Let me go, Clara.
CLARA: Tell me. What happened to my mother, Elisabeth?
FATHER: Clara, let go!
(Struggle ensues, Clara is pushed into the gravestone, knocks head and falls to the
ground)
FATHER: No! God! No! It was an accident! I'm sorry. Forgive me. This can't
happen again. Elisabeth, forgive me!

ON3

Spiderweb
by Ruairi Nicholl

Enter Therapist from stage left. She is a middle aged woman from south
Dublin, she speaks with a strong south Dublin accent. She moves near to
center stage and sits down at a desk with flowers and a picture of her
deceased husband on it. She shuffles some papers and pulls a pen out of
her hair which is in a bun. Puts the pen on the desk and picks up the
phone which is also on the desk.
T: Ah yeah hiya Sarah, you can send him in now thanks, alright see you
hun.
(Therapist puts down the phone and the door at the back of the stage
opens. Enter Sean through the door, he is an average looking teenager
wearing skinny jeans and a T-shirt with a hoodie. He is 16 years old. He is
from a working class family in Dublin and has a strong north Dublin Accent.
He stands awkwardly at the door)
T: Good Morning ehm .. Mmmmm .... DDD .... a ..... sssshhh .... (fumbles
through papers)Sean! Good morning Sean!
(Sean says nothing, he glares back)
T: OK then, you can sit down on the chair there if you want.
(Sean considers this but then eventually sits down)
T: So, why don't you tell me a bit about yourself?
(Sean stares)
T:Alright, that seems like a topic to discuss at a later date, do you like any
sports? My nephew loves the rugby, goes mad for it. Always throwing balls
about and things. He's in school actually, up in blackrock, lovely school,
nice staff.
(Sean stares)
T: Oh me, I haven't asked you what school you go to?
(Sean stares)

T: OK, since it appears you won't be speaking during this session I will do
most of the talking. 1 1 II tell you a bit about myself how about that?
(Sean moves about in his seat slightly and cocks his head as if to say 'go
on then')
T: Well, I'm 38 and I'm from Sandyford in Dublin. I don't have any children
but I do have two little nieces and a nephew who are just wonderful. I was
married but I am now unfortunately a widow after my husband passed
away about 2 years ago. Eh what else, oh I love to play tennis and I go to
mass every Sunday without fail. My favorite song is "wasn't expecting that"
By Jamie Lawson and PS. I love you is definitely my favorite book. I like
what they did with the film but I'm not sure they got the characters exactly
right you know. Oh yes, I'm babbling. I do that a bit. Sorry.
(Sean rolls his eyes and sighs and adjusts his seating position again)
T: OK. I have an idea, tell me Sean what do you HATE?
(Sean looks at her as if to say ·are you actually serious?')
What do you hate? Hate? (emphasis) Hate? Chalk on a chalkboard?
L osmg • ?. ... w· inning.... • ? P ove rty? .
(This is clearly getting to Sean and the tension builds up inside him until he
bursts out)
S: PEOPLE WHO ACT LIKE l'M NOT THERE!
T: (beat) Oh, it speaks!
(Sean is obviously angry at himself for losing in the silence game and he
resets into an inverted position in his chair)
T: At least this is getting us somewhere, so tell me, do people act as if you
aren't there?
S: ..... yes ..
T: Tell me about it
S: I don't want to talk about it

T: Then why are we here?
S: I'll tell you why I'm here, because we got a letter in the post box last
Thursday saying there was a free session offered here and me ma
jumped on the opportunity. She thinks I'm fucking crazy.
T: Well, ARE you crazy?
S: ARE you seriously asking that?
T: look were getting off topic
S: Agreed
T: look I just.. feel like you aren't trusting me
S: Wow, great instincts. That's because I don't, I don't trust a lot of
people.
T: How about this,
S: oh here we go
T: We'll do a trust exercise
S: Ha! What? You want me to fall back and you catch me
T: No, I was thinking something more relaxed. I'll tell you about my week
last week and you tell me about yours
(Sean is silent)
T: Ok I'll start, Last Monday I spent most of the day at home, except for a
few hours where I went to have coffee with my brother but he got caught
up down in the station where he had some big case or something going
on.
Then on Tuesday, I went for a walk in the park. That was probably the
highlight of my day. Then on Wednesday, well I, did the shopping. And
Thursday I had to mind my brothers kids as as he was off on some guard
thing again .... Yeah ... *sigh* and Friday, well, I bought some clothes. So,
your turn.

(Sean glares)
T: Come on Sean. That was the agreement.
S: Ha, I never agreed to anything.
T: Look Sean just do it or else the exercise doesn't work.
S: Fine. (Sean opens his mouth to speak but is cut off)
T: -Off you go.
S: Wow thanks woman. I definitely wasn't just about to speak or anything.
(Goes to speak again. Gets cut off)
T: -OK fine
S: -Are you going to shut the hell up now?!
T: SEAN!
S: Well?
T: Yes, fine just go.
S: Thank you. Now, on Monday I (cut off)
T: -Anything
S: Seriously?
T: Ok, sorry. Go I won't interrupt again I promise. Just you can say
anything.
S: Yeah I know, I can't think of anything though can I? Hold on, OK on
Monday I went to Center looking for work experience but they said
(mimicking posh voice) "We are not currently in a position to hire sixteen
year olds with a criminal record. Honestly, bastards wouldn't even give me
the time of day
T: Criminal record?
S: Seriously though.( growing anger) In this society why are we still judged

y what we did in the past?
(Sean stands up and kicks over the chair. He begins moving towards the
therapist)
S: What about you?! Do you think I'm just an underachieving piece of shit?!
T: look Sean I-
S: Oh shut up! Where are you from? Fuckin posh South side prat!
(Therapist takes a stand and smacks the table with her hand)
T: SEAN MURPHY!
(Sean stops dead in his tracks)
T: Sit down and we will discuss how you feel.
(Sean sits down again)
S: (Agitated) How I feel? How I feel? How the fuck does it matter how I
feckin' feel?
T: You are a human being Sean. Say it
S: Look I'm not going to -
T: SAY It.
S: (sarcastic) I am a human being. And that makes me feel in no way
better about myself.
T: Now. What were you doing last Tuesday?
S: Honestly you make this sound like a police interview.
T: Sean. What did you do last Tuesday?
S: Can I tell you something?
T: (sigh) fine. What is it?
S: Do you ever wonder if you exist?

T: (looks out to audience in a "what did he just say" kind of fashion) Sorry?
S: If you exist? Do you ever question if you are really here?
T: no, not really why?
S: well each morning I get up I die a little.
T: Is that a quote from a Queen song?
S: Which?
T: Queen? ... You know? ... The world famous band?
S: Oh yeah. The one with the gay guy?
T: *sigh* .... Freddie Mercury, yes.
S: Yeah but anyway. As I was saying. When I get up in the morning I look
in the mirror.
T: And cry? Look what you're doing to me?
S: (pause) No .. I do that to assure myself that I do in fact exist.
T: Sean are you justs:
Do you know what it feels like, do you? Walking past a group of people
you have known for years and all they do is stare at you? I mean really,
they stare straight through me like there's a big gaping hole in my chest.
T: Why eh, why don't you tell me more about that? (Therapist picks up a
notepad.)
S: Well, how about this. This morning, as I was coming into BlackRock for
this session, I sat down on the train beside a mother and her baby.
T: Alright
S: And the baby made eye contact with me. He started reaching out to
touch me.
T: I see.
u

S: And in that moment, I felt real.
(There is an awkward silence for a few seconds.
T: .... Right, so, back to last Tuesday, what did you do?
S: (hesitation) let's skip Tuesday. How about Wednesday?
T: Alright fine. What did you do on Wednesday?
S: Well I took helped my neighbors clean the path outside their house.
T: Well, what happened on the path outside their house.
S: (secretly happy) Oh, someone gutted their cat and then left it all out on
the path. Blood, guts .... Gore ... Blood ...
T: (snaps) hello? Earth to Sean?
S: Yeah.
T: So were your neighbors grateful for that?
S: Not at all. They kept calling me "Crazy", "psychopath", "weirdo" etc.
T:(shocked) Well why were you helping them then?
S: My mother, she makes me do everything.
T: why?
S:(beat) Because she can
(Sean lies back into the chair. He closes his eyes and sighs as the
therapist writes something down in her notes.)
(Lights Down)

SC2
(Same set setup as before. Lights up on therapist at her desk speaking on
the phone.)
T: Look Derek I get that you probably have some big guardf thing
happening this week again and I get that its probably Part of this
investigation and, (beat) what? No he hasn't said anything yet and (beat)
which? (Beat) yeah no sure I know you can't talk about it but look, I already
agreed to go out with the ladies tonight I don't have time to mind the kids.
Yep. Alright I'm sorry OK. Alright bye. Bye. Bye bye bye bye bye bye bye
bye bye. ha ha Seeya.
(Puts down phone groans and then picks it up again)
Alright Sarah its that time of the week again. Send him in haha alright
thanks hun.
(Sean walks in through the door at the back of the stage closing it gently
behind him. He is moving slower today. He is wearing a large baseball cap
that covers his face with shadow. We don't see his face. He sits down in
the chair)
T: Good to see you Sean
S: hmph
T: I'm sorry Sean but you are going to have to lose the hat.
S: I'd rather not
T: Sean ...
S: I'd really rather not
T: oh just take it off.
S: Fine! (Sean takes off the cap and we see he has a black eye and other
bruising on his face)
T: (shocked) Jesus Christ!

S: (sarcastic) Oh I'm sorry do you not like my face?
T: Wha- I- how - how did this happen?!,
S: (sullen) My mom found out about the cat.
T: what? What cat? Where cat? Who's cat? When? ... What?
S: the neighbors cat.
T: Oh, (beat) that cat.
S: Yeah.
T: But what do you mean? What did you do to the cat?
(This makes Sean obviously uncomfortable and he moves about in his
seat.)
S: This is a hundred percent. ... Secure yeah?
T: What? Oh you mean-
T +S: -Confidential
T: Yeah. Absolutely the only other people that can hear this are the walls.
And eh, maybe that plastic plant over there.
S: Alright, is this the bit where I tell you about how I feel?
T: yes. Please, be 100% honest.
(Sean takes a deep breath and let's it out, closing his eyes. He slouches in
his chair then sits up. He moves around in his chair again and makes
himself comfortable.
S: Okay. I'm going to talk now and I want you to listen. Can you do that?
T: Of course.
S: Alright, when I was younger like I dunno, five or six, I didn't have any
friends. And being around my mother scared me. All I had to do was sit
around by myself. Believe me, that gets boring. And in my house there is a
room. We use it mainly for keeping old crap like bags n hangers and things
you know yourself, or maybe not. ... The room always struck me as being a
little off. The decaying green wallpaper, the rotting, wet wooden

•
floorboards. (pause) Actually, it was yellow wallpaper, yeah, with little white
flowers on it. There was no window, just a light which hardly ever worked.
But anyway, in that room there was a lot of spider webs and if there are
spider webs then that means, yep spiders. My ma would be working most
of the time in the day. So, being all alone in the house like that I had a lot
of time on my hands. So, every now and then I would go in there and find
some spiders. Then I would grab a jar and put those spiders in that jar. I'd
take the jar of spiders into the kitchen and put them in the microwave. Turn
it on for like, I dunno. Maybe 30 seconds ... (drifting away as if in a dream.
Then miming using the microwave) brrrrrrrrrrrrrr tick tick tick DING!
(becomes disgusted with self)
And so it began. And I enjoyed it! (becoming emotional) I fucking enjoyed
it! I was killing things, taking their lives away. It was like a drug. I was
enjoying killing. I didn't even know why, but that didn't stop me! It became
an addiction. I would do it (starts hitting the chair with an alarming amount
of force) again and again and again! And then I would go onto bigger
things like worms and cats and- (stops suddenly and becomes sullen and
sad like he is all out of energy)
(long pause as sean steadies his emotions, taking deep breaths)
And ... And, that's all I've got to share for now.
(Lights Down)
Sc3:
T: (on phone) Yeah. Its beginning to look like it's him. Well yeah, I mean
he's just after giving me a huge long monologue about how he used to kill
animals. Yeah. Look I'm not sure yet. Look, youre my brother Give me a bit
longer. I, I want to find out why. There is always a reason. Your

singleminded guarda-ness pulls you down. What? No. You know I don't
enjoy this. Right OK. Bye. What? You want me to mind the kids AGAIN?
Oh. Oh alright. And yeah, yeah grand I'll pick David up from rugby later.
Alright. OK bye Bye bye bye bye bye bye bye bye.
(Hangs up phone, shuffles some papers, takes the pen of her hair and
licks the nib. She then writes something on the page. She picks up the
phone again)
T: alri hiya, you can send him in now hon. Yeah. Yeah. I think this may be
his last. Alright. Bye now. Thanks.
(Door opens at the back of the stage and Sean steps through. Even slower
than last time. He slowly makes his way over to the chair and sits down.
The atmosphere in the room is tense. They both sit awkwardly for a
minute)
T: (slowly) So, last week we finished on the animals. We were talking
about the spiders and such. Would you like to continue on from there?
S: I don't feel like it.
T: Do you want to talk about why not?
S: Not especially.
T: I'm sensing there's something wrong here. I can help if you want me to?
S: What's the point?
T: What's the point in what?
(Sean gets up from his chair and begins walking around the room looking
at the walls and out to the audience)
\-I
....
S: Well. .. Everything!
T: I'm not quite sure I can understand what you mean.
S; Life, its so .. so .. fucking pointless (sean becomes emotional and
collapses into his chair)
T: It's not pointless, it's open and wonderful ands:
-And I killed two people a few weeks ago. What's changed? I still feel
the same. The same anger, the same hurt, the same passion, the same ...

same ... the same shame.
(Therapist goes very silent after this outburst)
S: The strange joy, the fulfillment it gave me to kill and destroy. It's gone.
I'm done. I'm finished. I'm broken. I mean, I would save everyone the
trouble and just kill myself but I feel like I'd probably mess that up too.
All of this, all of it! It's all my fault. I killed those teenagers, I signed up for
this, I killed my mother. I killed the neighbors cat. I killed the spiders ...
T: (weak and quiet) You killed your mother?
S: You are a really unprofessional Therapist you know that? And why do
you have a secretary? Seriously I don't get that.
T: Your mother? You, you killed your mother? Anyone else you would like
admit to murdering?
S: I suppose at least now I have someone who unmderstands my
impulses ... A few months ago, I was walking through one of them
unfinished construction sites when I saw an old dog, looked like it had
been abandoned or something. But anyway I felt something like the need
to wipe your hair away from your face. Except for me it was the urge to end
the life of a living thing. As it was a cinstruction site there was a load of
bricks n things around so i got one, went over to the dog. (miming a sort of
gleeful killing) and beat the thing to death. (Anger) That was, when I
noticed a group of poshes behind me. God fuckin knows what they were
doin in that area of town but they were taking out their phones and pictures
and stuff. (pause) I snapped. I threw the brick I was holding and they
legged it. Except for one of them, a girl, about my age, she didn't move,
she couldn't. She lay perfectly still. I felt this kind of.. peace. You know?
I.-
T: (This has upset the therapist and she is quietly, angrily, crying into her
hand. She stops long enough to speak)
Kate.
S:Huh?
T: Kate. That was her name. I remember specifically because I though of
it. (Looking at photograph of husband) Niall wanted to name her Sarah, I
told her that's a business woman's name. All the same, she was ours.
(It takes Sean a while but he begins to put two and two together)

T: You too her away from us though didn't you?! (rising anger) You little
prick, you selfish bastard! You took her life to satisfy your needs? You are
a useless, unnecessary cog in a large machine. (This is beginning to make
sense to Sean who says "I'm sorry", "I didn't know" and "It's not my fault"
from time to time)
I could kill you right now, I SHOULD kill you, Against my better judgement
(Therapist walks over to the plant and picks out a recording device.She
then walks infront of Sean and blocks the exit.)
I'm going to let the guards have you, so that all of the other fsamilies of
people you hurt can get some closure knowing this sick bastard is safely
locked away for the rest of his life.
(Sirens get louder and Sean begins to panic, he jumps out of his chair to
try and get away)
S: Fuck you! How could you do this to me? You're a therapist!!
T: (Frighteningly calm) No, I'm no therapist, just a concerned parent.
(Blackout)

A Cuppa Tea and Papayas
by Dove Curpen

Alex , a Mauritian boy aged 11
Siobhan, an Irish girl aged 10
]

Scene I.
In a classroom at school. Alex sits on a chair centre-stage, speaking directly to the audience.
Siobhan is in the background, not paying attention to Alex.
ALEX
It's so easy to watch people die. On tv of course. We've almost become numb .... so desensitized
when we talk about death, ye know. Like a film is crap if no one dies, isn't it. It's like we're all
waiting, and rooting for someone to die. Please, anyone, anywhere, just, die. Because if no one
dies then its just boring, isn't it?
Pause.
When someone dies, not on tv, now, but in real life, no one really cares anymore. We're so used
to seeing the "RIP Granda" or "Heaven got an angel today" on Facebook an' all. Like, that's so
stupid.
Pause.
"And they since they were not the one dead, turned to their affairs." Robert Frost wrote that. I
don't know much about him but I know he was right about that. No one gives a damn. It's the
natural order of things. So, go on, turned to your own affairs. It's completely normal and okay if
someone dies.
Pause. Looks at audience.
1.-
Siobhan approaches and Alex jumps at the sight of her. She caught him by surprise as he didn't
know that she was lurking in the background
Lightning speed
SIOBHAN
Eh, why do you have a girl's name? Alexandra. That's a girl's name isn't it? It is! It is a girl's
name. But you don't look like a girl. Is it because you're from a different country? So like they
name the boys after girls. I don't understand. That's weird. You're weird. Why are you not
saying anything? Come on say something. Can you not talk? Like what are you doing? I'm
Siobhan. What's your name? Oh yeah, it's Alexandra. Sorry, I forgot. Are you not allowed to
talk to me? I'm not supposed to talk to you either, but like whatever. Oh, so you can't speak
English? Do you speak English? Oh okay, no. Oh well, you'll learn. That's what school is for. I
still can't get over the fact that you have a girl's name. Are you gay? My da says that it's when
boys hold other boys hands and kiss each other and stuff. Homos. That's just gross. I can't
picture that in my head. Anyway, like, you don't talk very much. That's weird. You're weird.
ALEX
I...umm .. .I don't really ...

Blackout.
Scene 2. Outside in the yard Alex sits cross-legged on a bench reading "The Catcher In The
Rye. " His diary is on the bench. Siobhan enters skipping. Lightning speed.
SIOBHAN
Hey Alex. Oh my god! Like what are you doing? Are you reading? Are you reading during
lunchtime? You're meant to be playing. Now, I don't wanna be mean or anything but like the
kids will think you're a weirdo if you read during lunchtime. If you want to make friends, you
have to make the effort. At least try to fit in. You're asking for it if you sit here, crossing your
legs reading. It'll be your own fault. Like I'm just tryna be nice, telling you this. Just listen.
Don't hate me. My da says only D4 people read. You're not a D4, are ye? You don't wanna be
D4 around here. Da says that they're the posh ones that live in Ballsbridge. They talk all proper
and they're really stuck up cuz they think they're god's gift with all their money. And they wear
UGG boots all the time, even in the summer. Don't be like them? Okay? Cuz they're weird.
Pause. Siobhan turns to exit.
SIOBHAN
Well ... see you later.
ALEX
Wait, I haven't even ....
Alex is still on the bench. He puts the book down. Picks up his diary and writes. Lights are
dimmed. Although Alex is writing, he delivers this monologue to the audience.
ALEX
So there's this girl at my school. At first, I could barely understand what she was on about. It's
all gibberish.Well, it probably has something to do with the fact that I can't understand or speak
English properly but makes no sense at all! I never really pay much attention to her anymore.
Maybe it's because she speaks so fast. Everyone speaks so fast here. Everything' s so different.
Like the leaves, they're brown here. BROWN! I've never seen brown leaves in my life before.
Ugh, I don't like it here. I miss home and I miss Darren.
Pause. Sighs.
L..
Anyway, so this girl. I can't even pronounce her name. Seeebbhhh. Sive. SShiiobon or
something like that. Well, she seems like a nice person at first but she really isn't. Her dad says
this, her dad says that. Who the hell cares what your dad thinks. And her dad doesn't seem
....like a good person, which means that SHE isn't a good person too. She won't stop annoying
me. Maybe she doesn't know she's doing it. And I get annoyed over the simplest things.

Darren's birthday is coming up soon. It'll be interesting to see what Mam does this year. I hope
she'll bake again this year. I hope I'll get to eat some before she throws it away.
Blackout.
Scene 3. Classroom. Alex and Siobhan sit in their seats. Lightning speed
SIOBHAN
I actually hate school sooo much. I don't mind seeing my friends and stuff but I really don't like
having to get up from my comfy bed when it's cold and rainy. And always raining here. And
homework! Don't get me started on homework. I hate doing homework! But I have to learn
though. My dad has a good job. Like I don't really know what it's about but he went to school
and he gets paid loads now. He says I need to be good too in school so that I can get a job when
I'm older. Only people that go to school get jobs. But he says that its not fair that other people
come here and take all the jobs cuz then we become poor. But .. .I mean.
ALEX
Will you stop doing that?
..
SIOBHAN
What?
ALEX
Insulting me ... but not in an obvious way.
SIOBHAN
What?
ALEX
It's not a big deal. But it's like little comments here and there.
SIOBHAN
I don't even know what you're talking about.
ALEX
Maybe you don't know you'.re doing it. But sometimes you say things that are just weird.
SIOBHAN
NO! You're weird. YOU! Da ...
ALEX
I don't care what your da thinks and says. I don't care!

SIOBHAN
Look, I'm just tryna help you. You don't have any friends and you look so sad all the time.
ALEX
I didn't ask you to talk to me. Leave me alone. Stay on your side of the fence.
SIOBHAN
Ooook. Well .... sorry for trying to be nice! I was just tryna help you cuz you don't have any
friends. I'm not even suppose to talk ....
Siobhan exits abruptly. Alex watches her as she leaves and takes his diary out from his school
bag.
ALEX
I know it's kinda weird for a boy to keep a di ary . But Dr. Clarke says it's a good idea cuz instead
of having everything up here(taps his temples.) I put it all in here(holds up journal.) That way,
my brain is nice and empty. Because if it gets too full, it'll probably explode. That's what
happened to Darren. He had too much stuff going on and didn't let any of it out. Speaking of
him, Mam made the cake, she did. Spent the whole day on the thing. Decorated it with Smarties.
Then dumped the whole thing in the bin ... again. I don't know what's wrong with me. Maybe I
am weird, like Sive .. or Sibee or whatever her name said. I'm not like the others. I'm weird. And,
a cup of tea won't solve anything!! don't even like tea, no 12 year old likes tea!
Pause. Sighs. Siobhan quietly enters and lurks in the background.
I don't know what's wrong with me. That's why I can't fix it. Cuz I don't know WHAT to fix. I
don't think I have one massive problem, but many small little things that get to ye. If Darren
were here, I'd talk to him. But he didn't have anyone to talk to, himself. And look at what
happened to him. AAaahhh, I miss him so much. I miss the sun, I miss real chicken curry, not
this fake stuff they have here. I miss the cold papayas. I miss my brother. But again, everyone
else has "turned to their own affairs."
Siobhan walks upstage and sits on the bench beside Alex.
SIOBHAN
Alex, Alex? What you doing? Why are you talking to yourself? Listen Alex, I honestly don't
mean to insult you. I'm just trying to be a good person.
She looks at Alex. He sees a bruise on her jaw.
ALEX
That looks sore. (Pointing at her jaw.)
SIOBHAN
Yeah. It was an accident. Dad apologized.

ALEX
Oh.
Silence
ALEX
At least he apologized. I mean, he could've just left it and not said anything.
SIOBHAN
Yeah. My dad's great. He's amazing. He's the best dad ever. He works really hard. He's doing
the best he can.
ALEX
What about your mother?
SIOBHAN
She passed.
ALEX
Passed?
......
SIOBHAN
Yeah, she passed away. She's dead.
ALEX
OH. Pause. I am so sorry for your loss.
SIOBHAN
Yeeaah.
ALEX
I lost my brother a few years ago. He killed himself. I feel like I'm forgetting everything about
him.
SIOBHAN
I know what you mean. We don't really talk about her anymore either.
ALEX
Do you miss her?
Siobhan
Yeah. I do. I miss.

Alex
I miss my brother too.
The two sit in silence for a while. Look at each other and smile.
Blackout
......
I..;

Possession
by Sean Farrelly

Mary: Late fifties. Married to John for twenty five years.
John: Late fifties too. Again, married to Mary for twenty jive years.

LIGHTS ARE DIMMED
MARY stands stage-left. Her back is to JOHN Lost and confused, she acts like a child in a
supermarket.
JOHN stands stage right, facing MARY. Bone tired, he tries to gently coax MARY back to
reality. But his patience is wearing thin.
JOHN signs the "moon song," softly, but uncertainly- as if trying to calm down a toddler on
the verge of a volcanic tantrum.
Moon Son
Verse One:
I'm lying on the moon
My dear, I'll be there soon.
It's a quiet and starry place
Time 's swallowed up in space,
We 're here, a million miles away.
Verse Two:
There's things I wish I knew,
There's no thing I'd keep from you,
It's a dark and shiny place
But with you, I know I'm safe,
We 're here, a million miles away.
LIGHTS FADE UP
MARY:
JOHN:
MARY:
JOHN:
John? ...
Mary
John? Where are you? John. John, I can't see.
Mary, I'm right here.
JOHN goes to put a comforting had on MARY's shoulder. MARY walks in the opposite
direction.
MARY:
John?
Exasperated. JOHN continues to stalk MARY around the stage. Almost comedic, apart from
MARY's expression. Think: Twisted, pantomime: A "HE'S BEHIND YOU!" moment.
JOHN:
Mary, look at me!
Beat. MARY turns, and sees JOHN.

MARY:
John? Oh, love. Oh, John. My John.
JOHN hugs her tightly as she sobs.
JOHN:
It's okay. We'll be okay.
JOHN looks relieved This is his wife. Until -
MARY:
JOHN:
MARY:
JOHN:
MARY:
JOHN:
MARY:
JOHN:
(starting to laugh into JOHN's shoulder) I did it.
Did what?
I found a way.
A way for what?
A spell.
Mary ...
HOCUS POCUS zipidee

MARY:
JOHN:
MARY:
NO! They're not gone. I won't let them
They're lost. They're gone. Mary, I don't want to lose you too.
We can get them back. Help me, please. Just ... just say the spell. Read
it aloud with me and if nothing happens // If nothing happens I'll eat
something. Okay? I'll sleep. Please, John. For me?
MARY (hysterically) and JOHN (reluctantly, glancing worriedly at MARY) outstretch their
left arm. When their palms touch, they begin recanting, reading.from MARY's script:
MARY&JOHN:
A waken all within the room be it alive or dead come now for the time
is at hand. Awakened not for doom or gloom but to help those in need.
This spell I cast in desperation, the last resort must be taken. Awaken
all and help me now, awaken all and heal them now,
( Chanting. Eyes closed.)
Awaken all and heal them now,
Awaken all and heal them now,
Awaken all and heal them now,
Awaken all and heal them now,
Awaken all and heal them no/
SNAP TO BLACK:
SNAP UP TO FULL LIGHT
A possession has occurred.
JOHN, now WILLIAM (a.k.a. BILLY BONKERS) looks claps his hands in delight.
MARY, now STEPHANIE looks at her hands confusedly.
WILLIAM:
STEPHANIE:
WILLIAM:
Aw man, this is fuckin' lethal. (addressing the audience directly) Look
at all you weapons! The look on your face. No, not you. The ugly lad.
No! The wrinkly one! Aw man, bath time went on a bit too long for
you my son. You look like a fuckin' prune.
(Sees WILLIAM, and begins to shrink to the back of the stage, trying to
make herself as small as possible)
(ad lib if able, then) - Why are you touching yourself? Mate? Mate?
Why are you touching yourself? I know Billy Bonkers is looking
especially good in this rockin' new bod, but there's no need to //
(looking behind him and sees STEPHANIE for the first time)

Heeeeey, sexy ma-ma. Why don't you, Mr. Crotch Tickler over there,
and Billy Bonkers go back stage afterwards and do the do all/ night
long.
..
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
You! You stay back, you, you criminal!
Me-owch. Retract the claws, please. (Whispers audibly) Just play
along. People are watching here.
(realises the audience are, indeed, paying attention) Help! Help! Ring
the guards! Please! This man murdered me!
What? No, no, no. You got the wrong idea. Allow me to introduce:
Ahem.
(starts to beat box, badly)
Yo, yo, yo. The name is Billy Bonkers. And just like Willy Wonker,
I'll take you down my chocolate river to my Oompa Loompas. But
their shortness does not correlate, to my size in an engorged state. But
don't be irate, because my rhymes may be late - to the party, don't get
fazed by the malarkey 'cause I'm just like a box of smarties. (rhythm
breaks down here) You'll get giddy of my sick beats, kiss my feet, the
lamb of God will be bleat-ing my tunes, I'm a super-famous loon. The
first internationally recognised Irish rapper, my words couldn't be crap
- (trails off confusedly)
Are you like a crazy person?
Damn right. I am insane in a membrane.
But seriously? Like, are you actually, clinically insane?
(deflated) No.
Then you can help me. Please. We only have a little bit of time. This,
this has happened before. The light, and ( addressing the audience) the
faces, and then ... blackness.
Well I wouldn't recommend walking into this light lady, or you might
end up in the lap of Mr. Crotch Tickler over there. Ammiright? (goes
to fist bump audience member cringe) Come on man, don't leave a
brother hanging.
No, listen! You don't understand. I need to get someone to find him.
He needs to be punished.
"Punished"? Sounds like someone's been reading "50 shades of cray".

STEPHANIE:
WILLIAM:
STEPHANIE:
No, you're not listening I I need to ...
(Breaking character) No, you're not listening. These people are
expecting a show. (Slowly advancing toward Stephanie) And this
throwing out murder accusations and "I need to help to find and
punish" who-ever-ta'-fuck act is not exactly gripping material.
Alright? So why don't you just take a load off and chillax (putting a
hand on her shoulder) II I swear you'll feel better.
KNEES WILLIAM IN THE BALLS
(Watching WILLIAM writhe on the ground) You don't get to touch me.
WILLIAM:
STEPHANIE:
(High pitched) Noted.
(Addressing the audience once again) Hello, everybody?! Can I get
someone to turn on their mobile and record a statement to show to the
guards? I know it says you're not allowed but this is an emergency.
(Beat)
Why is nobody moving?
WILLIAM:
(From the ground) they don't care. These people just want a show
(getting up) And I'm going to give it to them:
The following conversation occurs simultaneously, each trying to be heard by the audience
STEPHA}p"E:
WILLIAM
This statement shall act as my testament I combine Eminem with Dr. Zeus. You better
against my killer. My name is Stephanie believe it. Don't pay heed to your one with the
Bridges. I was walking home from Alchemy issues, cos I am the real shit. I' 11 spin you a tale
On the first ofNovember, 2010. I was worthy of Arthurian legend my ideals are not "for
attacked in Temple Bar by a tall man in a sale" you vainglorious bell-end. But please do not
black coat and a knife, with which he underestimate my value in society. I offer wicked
threatened to stab me unless I had sex with insights in consumer-driven propriety.
him. I refused, and then he killed me. This is But all I ever wanted was to be remembered,
an appeal. If anybody knows anything, please and then I walked in front of a train,
go to the Gardai now. I'm begging you. and got dismembered.
They both are frustrated by each other's refusal to shut up. They continue to compete for the
audience's attention.
STEPHANIE:
To repeat:
WILLIAM
( deep breath)

I was murdered on the 1 sl of November.
(beat)
In Temple Bar.
(beat)
The man was wearing a black coat.
(beat)
The alchemy comer, Temple Bar.
(beat)
My name is Stephanie Douglas, and I'm
twenty two years old.
(beat)
If anyone knows anything, please report to
the Gardai.
I combine Eminem with Dr. Zeus. You better
believe it. Don't pay heed to your one with the
issues, cos I am the real shit. I' 11 spin you a tale
worthy of Arthurian legend my ideals are not "for
sale" you vainglorious bell-end. But please do not
underestimate my value in society. I offer wicked
insights in consumer-driven propriety.
But all I ever wanted was to be remembered,
and then I walked in front of a train,
and got dismembered.
Pause
WILLIAM:
STEPHANIE:
WILLIAM:
Shush your face, woman. Jesus, I can't get a word in edgeways.
Says the one, if you stopped spewing incomprehensible bullshit you
might be able to help me. Do something useful for once in your
miserable life!
Whimpers.
Stephanie's harshness dawns on her. She goes to comfort WILLIAM
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
Shit, I'm sorry. Billy? I didn't mean that.
(sniffles) Yes you did.
Okay I did. But I was angry. It's just// It's just not fair. I was minding
my own business in life. You know? Not causing ripples. I was a good
person, I didn't deserve this.
No one does.
I guess. (beat) So what happ ens now? We just ... dissolve into
nothingness?
(nodding solemnly) Poof.
Without reason? With so much to do?
Gone in the Wind.
We're a generation of suicides. Did you know that? And there's so
much I wanted to do.
I know exactly how you feel.

STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
You were viciously murdered too?
Well no, but like, I was in Connolly, yeah? And there was this pigeon.
Real proud looking fucker, picking at bread crumbs and doing pigeon
things. And I thought to myself, I thought: "Why does the pigeon get
to be so happy, when nobody knows him. When nobody ever knows
him, and all he does is live off the scraps," Well then I got angry, so I
chased him, yknow, to knock him off his high horse, to spook him a
little. And well, wasn't it just my luck that I fell off the track as soon as
the train decided to come along.
Jesus.
I wrote a rap about it. (Turns to the audience) who wants to hear it?
NO! Sorry, I mean, how old were you when it happened?
Seventeen. You?
Twenty two.
A shared look of newfound understanding passes between them
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
STEPHANIE:
WILLIAM:
You know, seeing as how we're only have, what? Like, five minutes of
consciousness left? And this may be our last chance to know, live
again. So, why don't we ...
Are you serious?
What?
Are you seriously hitting on a murder victim in a crowded room of
witnesses?
I was just thinking, maybe we could ...
Stop, just // stop
... hold hands?
MARY smiles despite herself. She outreaches her hand.
As soon as contact is made we
SNAP TO BLACK:
SNAP UP TO FULL LIGHT
The possession has ended. Return to initial position. The fourth was has been rebuilt.
MARY and JOHN are completely oblivious to the effects of their "spell".

(Chanting. Eyes closed)
... - now,
Awaken all and heal them now,
Awaken all and heal them now,
Awaken all and heal them now
They break apart, looking expectantly around the room. Hopeful, then, anguished
MARY:
JOHN:
It didn't work.
I know. I'm sorry.
They embrace, as JOHN sings "Moon Song, " once more:
Verse One:
I'm lying on the moon
My dear, I'll be there soon.
It's a quiet and starry place
Time 's swallowed up in space,
We 're here, a million miles away.
Verse Two:
There 's things I wish I knew,
There's no thing I'd keep from you,
It's a dark and shiny place
But with you, I know I'm safe,
We 're here, a million miles away.
FADE TO BLACK
:

- [ f" [ r

,,
..,

[
,! -
; :.,

Special thanks to Hilary Fannin, Una Kavanagh, Claire Jenkins,
Louise Melinn and Sean McGillicuddy who mentored the teenage
playwrights in Fighting Words.
Thank you to the dramaturge Jessica Traynor.
Thank you to the Abbey Theatre, most especially
Phil Kingston and Lisa Farrelly.
Finally thank you to the directors, Veronica Coburn and Eoghan Carrick
and the actors, Maeve O'Mahony, Ronan Carey, Darragh Kelly,
Sophie Wasson and Shane O'Reilly.