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I was murdered on the 1 sl of November. (beat) In Temple Bar. (beat) The man was wearing a black coat. (beat) The alchemy comer, Temple Bar. (beat) My name is Stephanie Douglas, and I'm twenty two years old. (beat) If anyone knows anything, please report to the Gardai. I combine Eminem with Dr. Zeus. You better believe it. Don't pay heed to your one with the issues, cos I am the real shit. I' 11 spin you a tale worthy of Arthurian legend my ideals are not "for sale" you vainglorious bell-end. But please do not underestimate my value in society. I offer wicked insights in consumer-driven propriety. But all I ever wanted was to be remembered, and then I walked in front of a train, and got dismembered. Pause WILLIAM: STEPHANIE: WILLIAM: Shush your face, woman. Jesus, I can't get a word in edgeways. Says the one, if you stopped spewing incomprehensible bullshit you might be able to help me. Do something useful for once in your miserable life! Whimpers. Stephanie's harshness dawns on her. She goes to comfort WILLIAM STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: Shit, I'm sorry. Billy? I didn't mean that. (sniffles) Yes you did. Okay I did. But I was angry. It's just// It's just not fair. I was minding my own business in life. You know? Not causing ripples. I was a good person, I didn't deserve this. No one does. I guess. (beat) So what happ ens now? We just ... dissolve into nothingness? (nodding solemnly) Poof. Without reason? With so much to do? Gone in the Wind. We're a generation of suicides. Did you know that? And there's so much I wanted to do. I know exactly how you feel.
STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: You were viciously murdered too? Well no, but like, I was in Connolly, yeah? And there was this pigeon. Real proud looking fucker, picking at bread crumbs and doing pigeon things. And I thought to myself, I thought: "Why does the pigeon get to be so happy, when nobody knows him. When nobody ever knows him, and all he does is live off the scraps," Well then I got angry, so I chased him, yknow, to knock him off his high horse, to spook him a little. And well, wasn't it just my luck that I fell off the track as soon as the train decided to come along. Jesus. I wrote a rap about it. (Turns to the audience) who wants to hear it? NO! Sorry, I mean, how old were you when it happened? Seventeen. You? Twenty two. A shared look of newfound understanding passes between them WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: STEPHANIE: WILLIAM: You know, seeing as how we're only have, what? Like, five minutes of consciousness left? And this may be our last chance to know, live again. So, why don't we ... Are you serious? What? Are you seriously hitting on a murder victim in a crowded room of witnesses? I was just thinking, maybe we could ... Stop, just // stop ... hold hands? MARY smiles despite herself. She outreaches her hand. As soon as contact is made we SNAP TO BLACK: SNAP UP TO FULL LIGHT The possession has ended. Return to initial position. The fourth was has been rebuilt. MARY and JOHN are completely oblivious to the effects of their "spell".
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PERCOCIC STAG£ 82 Apri I 2015 Cust
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What you could have done, you did n
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Pro/offY:_e: A lane. Warm lights co
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not that long really. I want to fin
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Peter: Frances, perhaps your sins a
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Scene 4: It is Friday the 15 th of
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Brushstrokes by Cian Nugent McGealy
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Arthur wakes up. ARTHUR: Quarter to
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Arthur: Silence He doesn't seem to
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Arthur: Why's he looking at me. Jac
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Arthur: It's the dead of night here
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NOIR 2000 A Play by Luke Shanahan
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LUCY Get back out there and act! (L
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to entrap here (MARK walks to downs
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[Mark looks offended but in a over-
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[MARK walks backwards and puts his
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MARK {slowly} The manager, the othe
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LUCY (huge sigh whilst throws arms
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[pause] LUCY Then leave!- MARK NO!-
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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: STEPHANIE: WILLIAM: STEPHANIE: No,
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Page 99: [ ,! - ; :.,
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