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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
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 and 34: MARK {slowly} The manager, the othe
Page 35: LUCY (huge sigh whilst throws arms
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:
- [ f" [ r
Page 99:
[ ,! - ; :.,
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