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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?
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 and 30: [Mark looks offended but in a over-
Page 31 and 32: [MARK walks backwards and puts his
Page 33: MARK {slowly} The manager, the othe
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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