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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)
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PERCOCIC STAG£ 82 Apri I 2015 Cust
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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 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: FATHER: Call me Dad, and don't inte
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
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