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[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-
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: NOIR 2000 A Play by Luke Shanahan
Page 27 and 28: to entrap here (MARK walks to downs
Page 29 and 30: [Mark looks offended but in a over-
Page 31 and 32: [MARK walks backwards and puts his
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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