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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
Page 1 and 2: PERCOCIC STAG£ 82 Apri I 2015 Cust
Page 3 and 4: What you could have done, you did n
Page 5 and 6: Pro/offY:_e: A lane. Warm lights co
Page 7 and 8: not that long really. I want to fin
Page 9 and 10: Peter: Frances, perhaps your sins a
Page 11 and 12: Scene 4: It is Friday the 15 th of
Page 13 and 14: Brushstrokes by Cian Nugent McGealy
Page 15 and 16: Arthur wakes up. ARTHUR: Quarter to
Page 17 and 18: Arthur: Silence He doesn't seem to
Page 19 and 20: Arthur: Why's he looking at me. Jac
Page 21 and 22: Arthur: It's the dead of night here
Page 23 and 24: NOIR 2000 A Play by Luke Shanahan
Page 25 and 26: LUCY Get back out there and act! (L
Page 27 and 28: to entrap here (MARK walks to downs
Page 29: [Mark looks offended but in a over-
Page 33 and 34: MARK {slowly} The manager, the othe
Page 35 and 36: LUCY (huge sigh whilst throws arms
Page 37 and 38: [pause] LUCY Then leave!- MARK NO!-
Page 39 and 40: LUCY Ladies and Gentlemen, well. On
Page 41 and 42: Characters: David, fifty years old,
Page 43 and 44: ELLIOT: How come? DAVID: I'm having
Page 45 and 46: DAVID: I don't remember anything. E
Page 47 and 48: DAVID: Stop. Don't go any further.
Page 49 and 50: ELLIOT: I tried to put a whole ocea
Page 51 and 52: See, I knew I was right. I'm always
Page 53 and 54: Setting: Key: (cast directions) *cr
Page 55 and 56: Scene 2 -father can show no true em
Page 57 and 58: FATHER: Call me Dad, and don't inte
Page 59 and 60: Scene 3 {Clara on phone) CLARA: Max
Page 61 and 62: Scene 5 *houselights up, very dim*
Page 63 and 64: Spiderweb by Ruairi Nicholl
Page 65 and 66: T: OK, since it appears you won't b
Page 67 and 68: (Sean glares) T: Come on Sean. That
Page 69 and 70: T: (looks out to audience in a "wha
Page 71 and 72: SC2 (Same set setup as before. Ligh
Page 73 and 74: • floorboards. (pause) Actually,
Page 75 and 76: same ... the same shame. (Therapist
Page 77 and 78: A Cuppa Tea and Papayas by Dove Cur
Page 79 and 80: Scene I. In a classroom at school.
Page 81 and 82:
Darren's birthday is coming up soon
Page 83 and 84:
ALEX Oh. Silence ALEX At least he a
Page 85 and 86:
Possession by Sean Farrelly
Page 87 and 88:
LIGHTS ARE DIMMED MARY stands stage
Page 89 and 90:
MARY: JOHN: MARY: NO! They're not g
Page 91 and 92:
STEPHANIE: WILLIAM: STEPHANIE: No,
Page 93 and 94:
STEPHANIE: WILLIAM: STEPHANIE: WILL
Page 95:
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Page 99:
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