Draft Version.4

Other people's oil

A play by Joe Ogden

Scene 1 The Search Party

October 1965, the performing area is in darkness. Standing in the mist is a Woman Police Constable in silhouette. She is part of a search party. As the audience settles and music used fades into echo, we hear the ghostly sounds of the moors; far away conversation and 'gallows laughter' of her fellow police offices lost in the mist.

LightsFX slow fade up.

Mother ((As Woman Police Constable) Walks out of silhouette and sits on a boulder.  She is heavily pregnant and needs to rest. She prods at the ground with her searching sticks. Icy) What a day to be doing this - searching moors - so cold.

SFX moorland wind blowing through rocks.

(Slowly) Once, I really liked this job - before I got well, (Eases her belly and begins to sing.) Oh baby don't you cry - hush now and don't be sad, for you're gonna be a grand little lad.

(Slowly) This - it's all too sad; we're looking for remains of angels. I - Tell me; how can…(listens)

SFX In the wind, children's voices, long and slow "Mommy - Mommy." Mother begins to shake falling to her knees and starts scratching at the ground.

(Manic) Sick, sick, sick, SICK and nasty! The sick bastard made sound recordings as he killed her. (She looks behind. SFX “Mommy___”) No don't, don't, please, (Pause- then slowly) No she's just hiding, sleeping in the sweet earth, no death just sweetly sleeping in the earth. (Hugs the ground.) Shush, shush now, don't cry; don't cry I'm here – I'm here with you. I'm here.

(Listens.) The moor, she needs to know why? –  One of my sons will be with me, soon – give up the children and I will share him with you, a live living boy, he will grow to know you, know you like his own mother. From the first to last he will spend time with you – till the day he becomes a part of you. I promise – Just give up the children.

(Sits up and holds her belly.) I was assigned here, undercover, wasn’t meant to doing this. Look at my HANDS! (brings the audience into her confidence.) I actually work for military intelligence.   Ow! (holds her belly) 'Late duty', nearly seven months ago now, maybe more, I returned to the station; nobody manning front desk. Saw the light on in the inspector's office; opened the door to see ‘him’ there. (Nodding.)  This handsome inspector with darkest bluest eyes you ever seen. Just sitting there at this - leather covered desk.  I stood by the doorway. He didn't see me at first and just sat staring at this tape recording machine.

"Is everything fine, sir?"

He looks up, straight at me and says, "I’m lost – the strangest look came over his face - ""I've listened to this recording, one hundred and eleven times, they kill her," he said. "She screamed for her mother.”

Well I laughed and said something like who die? Well I didn't know what he was talking about.  I really couldn't understand.

Sound FX Click and hissing of a tape recorder being turned on and playing.

The reels on the recording machine spun into life. (Listens)

Sound FX tape record clicking on and hiss.

Standing, he slowly moved towards me– and we held each other and then we began to dance, (losing her mind) to the pleas and the screams…(She begins to dance slowly with an invisible lover. We wait to hear the sounds that are going be on the tape…) .

Sound FX Cross fade to Music. “Killing me softly with his words.”)

Then I became so scared, as the screaming went on and on AND ON but I just needed to keep on looking into the eyes of this man. Pulled at my clothing, the feel of leather, running out of him.

Sound FX after a few moments, on tape: echo Chief inspector:  “All down; end by end.

She wakes up.

"I need love." He says. He needed a lot of love.  Then we fell apart.

She pauses to feel the moment.

Last week I had that nightmare again, the one where I gave birth to insects. One was like a wood louse, the other hides from the light, feeding by night, nipping me - drawing blood, not milk, from my breast. I could feel the bite lumps growing inside. I have to watch where I am putting my feet in case I crush him - it - 'he' is always hiding…under the armchair, making these sickening clicking noises. I couldn't bare it any longer, so - I tried to kill - kill my child, run the thing over with the chair's casters – I ran that chair back and forth – back and forth but it didn't kill him, he didn't die, wouldn't die. All I managed to do was damage his wing but I couldn’t pick him up, hold him - hug him or love it - ever.  The other lives…

Sound FX quickly interrupted by policeman’s whistle, 

Voice: "Over here – I found something."

Mother: (She has a pain in her belly. Stands but needs to sit.) What day is it? (Groans in pain.) No it's too soon. (Gasps.) Help, some one help me I'm having my babies. )

Lights FX fast DBO, Sound FX music 'Careless whispers'.

Scene 2 Grand Master

10 years and one week ago.

Several hooded monks walk into the scene and change set. Then they form a ring around the wine crate that the Grand Master is going to stand on.

Sound FX music Xfade “Gregorian chant”, Lights FX working lights.

They all kick their side of the wine crate with their steel toe-capped boots, "Bonk-Bonk". Then moving around they repeat this, until the Grand Master, who is the last of the monks, makes a full loop and removes his robe. He wears a fez. Other monks walk into scene.

Grand Master: Members of the Oenology, you are all 'commended', we shall summon the courier  (All "It is good to be, Master.”) Behold the grain of truth, (All "One penny Master.") Behold – I say harm not the oil, nor the wine. (All "Waste not, drink of wine only Master") Behold – I say we are the Third Seal, the oldest covenant and we are the start of the end of all we know.  Members, I say unto you, only we, the leaders will walk out of hell's fire, fuelled from the darkness of oil. Yet more I say unto ye, at this time the chaff shall drink not of the wine, yet of ales, and hard spirits. Yea, then burn, both from within and without, to be blown hence to the three winds. I summon! (All "Hale the Third Seal! – Hale the Third Seal – Hale the…")

Father: Stop! (Light on father.) Stop it at once!  How dare you summon me, with your cheap magic, I am of the Grey Seal now - Earth covenant! - or doesn't the Oenology read its banns any more? (Mockingly) Ales and hard spirits were did you get that from? Oil alone will purge, you know that! (Shocked murmurs.)  Hold, I accept - I will take the crate but this is my omega action. No more!  For this you do not harm one hair on my stepson's head. If this be so, I shall split the grain.

Shocked murmurs fill the room.

Then reap the wheat!

Shocked outcries. One monk goes for Father.

Grand Master: Hold winds – I say unto you, the boy is but chaff. Does he not judge himself to be hostile to the covenant? Take the deal, leave the boy to our winds.

Father: He is yet young and can escape the obligations of the covenant. This I shall deliver but as I say, this is my omega. (Takes the crate from the Grand Master, then by the door he reaches into his pocket and places a line of grain by the exit.) Remember: not one hair of my son! (More shocked murmurs, then all  "Chaff, Chaff, Chaff, Chaff…") Enough of your shibboleths!  Master tribune – just look at what your covenant’s become – you're a joke!

Several monks run after Father.

Grand Master: Hold winds! He hath laid the grain. Non shall pass till the thirty-third minute.

The monks obey the Grand Master, join hands around the Master and perform "Mexican waves". Father looks smug, then exits. Monk's change the set. Lights Fade.

Scene 3 Drive time

10 years ago. The scene opens in darkness. As the lights come up we see the Mother is standing by the window, smoking. Father sits in a large armchair, wine crate by his side.  He his reading a broadsheet newspaper, which covers most of the top part of his body. The paper is the Independent. On a level higher, behind Father is a two-seater sofa. Sonny is behind the sofa at this time.

Although this looks like a living-room scene, it is in fact a car on the way to Kingston-upon-Hull, East Yorkshire, England. The car will be suggested by the sound effects such as other cars speeding past in the other direction, the sound of windscreen wipers and the car radio, and by lighting effects of car headlights, and the actual words spoken. From time to time it will rain on the window that the Mother is standing by. This can be a sound effect of rain on glass. A storm is brewing. There is disjointed action and sense of paranoia throughout. Three people in three different worlds.

Sound FX car windscreen wipers, rain and traffic passing.

Father messes around with the car radio, which is an old wireless set which only seems to receive foreign channels. 

Sonny (On the floor, looking for a portable television, under and behind the sofa, lots of frustrated 'tuts' sounding like an insect, because he can not find it.)

Mother: Stop that Sonny! (Aside) It’s creepy (shivers.) ugh!

Sonny: Got it. (Emerges from behind the sofa) So, who phoned?

Mother: (flippantly) I - don't know, some people, said they `ant seen you at the reunions, for fifteen years. Why haven't you been going to the reunions, Sonny?

Sonny: I don't know - I didn't know there were such things as "Naval College" reunions - and why've they invited me now? Why they want me there I don't know. It's been years. I hope Fletcher’s there. You know, we shared rooms at the college. We got the same ship. Built like Rambo - him, not the ship, if you see what I mean.

Mother: Yes I think Rambo was mentioned. He's going to be there.

Sonny: No – no, Rambo is the name of a hero in a film.

Mother: No he's not.  Granny used to do his shopping after he disappeared. He was that nice poet. (She lights up her cigarette) Isn't that right Dad? Rambo was that French poet, wasn't he Dad?  Still delivering crates for bloody covenant, never listen to me when I'm taking.

Father lays down the paper smiles and nods.

Mother: Never listens!

Sonny: So it wasn't Fletcher on the phone then?

Mother: No it wasn't! - god! Dad! Was it Rambo? On the phone!?

Father smiles.

Sonny: (Letting Father off the hook) Look its okay. I suppose it'll be a good 'get together' - even if Rambo isn't there. Phew! (He looks out of the window now)

Sound FX: We listen to car sounds. It starts to rain.  Father puts down the paper and messes with the radio, loudly. Sound FX irritating tuning sounds. Then we catch the end of "You're nothing but a hound dog" by Elvis Priestly,  from the Netherlands’ Radio Dingel, then Sound FX… Radio D. J.: Con 'do bin! Ish-t nish zo hunt!  Ist  been'da  Ra-d-i-o Dingel! Ra! Ra! Ra!,  Zen' non Kink ov'er rock; roll___ L-viz Pressat-ly. Von Dashunt 'd nict. Okay nice von, music mice'toe – Mony, Mony; Mony, Haabur. Ist grove no? 

Then "Money, Money, Money It's a rich mans world" by ABBA, then the radio can play on low for rest of scene.

Pause.

Mother: What time do you have to be there?

Sonny: Twelve

Mother: How do you know?

Sonny: We always met at noon. Same place, same jokes, same drinks - two years while we were training, before we were put on that…

Pause.  

Mother: (Sharply) But how do you know for sure?

Sonny: You took the call…

Mother: You're always messing people around. What time exactly have you to be there?

Sonny: (Defensively) Noon.

Mother: Dad, tell him - he can't mess people around like this. (Short pause) That's right, don't speak up for anyone, you never bloody do.

Sonny: What's it matter, we're going to be late - with this traffic.

Mother: (lighting up a cigarette and pacing faster in front of the window) Look there's a phone box there. We'll pull over and you can ring them.

Sonny: Mother, this is the motorway. You can't stop on the Hard Shoulder unless it's an emergency or you have a break down or something.

Mother: You can't tell me how to drive, oh no mister, not when you're messing people about. Your Father just sits there rattling his paper. You could have a herd of pigs running around the car and he wouldn't bat an eyelid.

Sonny: I might - I don't think we'll get there by twelve anyway.

Mother: Then they'll be gone.

Sonny: No, no they'll be there at twelve-midnight (short pause) What does that matter to you anyway? If they're gone they're gone.

Mother: It's always the same. You're just ungrateful. You've always been bloody peevish.

Sonny: (wanting to mean it, but coming out wrong, almost hostile) I'm grateful, okay. If you didn't want to give me a lift you didn't have to.

Mother: Your father insisted. He had some silly ideas in his head, oh and I have a crate to go…

Sonny: What ideas?

Mother: Nothing. Bloody nothing.

Sonny: (blows, to self) Mad.

All three let out a sigh of relief. Sound FX: We listen to more road travelling sounds and badly tuned radio.

Sonny: (Calm now) It was good of you to give me a lift, and the lift back later.

Mother: That's all right then.

Sonny: No I really mean it. It must be busy this time of year.

Mother: Sheep farms don't look after themselves. Your father's got a new hand. Wrong time of year, I told him, to get a new hand, not enough work but Woody was willing to work part time. I'm sure I know him from somewhere – it's the eyes…

Sonny: Is 'he' any good at his job?

Mother: (snapping out of thought) Do you MEAN as a policeman?!

Sonny: (confused) No…

Mother: He's a sheep hand nothing else! Not been with us that long but you have no idea (Starts to shake her head getting narky) He's, willing to WORK PART TIME. He can operate the tractor's digging arm - no problems there THEN. Digging top field, when we left. Digging the drainage pits.

Father nods

      He's very good at that but you didn't know THAT!

Sonny: (Tentatively.) Policeman?  What? - The digger wasn't the problem.  I - I couldn't work there - after (He stops short)

Mother: It was when you were burying those sheep wasn't it son, the ones that caught that 'dreadful' disease.

Sonny: Yeah, But I kept thinking I could see them moving, still alive but there were no sounds…

Mother: (Over.) Couldn't have been; 'y Dad slit their throats.

Light FX Special

Sonny: …just lifeless bodies. (Pause) I should have made sure they were dead, before I buried them…

Mother: (Over.) Your father was ashamed of you that day you ran off.

Sonny: (Now in a fixed daze) …I had to wear that yellow suit, digging arm missed a gear and I tore my sleeve on the handle, the virus could get in. I had to get back to you and Dad, before I died. I started running back to the farmhouse but then I rethought and just kept on running, I didn't want to kill you with the virus, you see, so I just kept running, couldn't get the smell of death out of my head. Then something began to dig into my mind.  My eyes seemed fixed in the one direction. I was running away from that sick place…

Mother: (Crossly.) You left the digger running.

Sonny: (carrying on) …It was like something had dug it's nails into my brain and was ripping me apart, from the head down. I was rotting like a fish, everywhere was full of disease, a living hell, no escaping from the heat; no escaping from the dis-ease. My head was a church and with all the lights shining out, out of my eyes, ears and mouth, I didn't stand up, I didn't get shot! (Long pause) On Gruinard Island, the government let lose the same virus, Anthrax Island they call it, the government were going to use it as a weapon in World War Two – Nothing on that island survived, nothing can live there. For fuck sakes…

Mother: What a thing to say. Nothing like that happened. No one would do that, tell him Dad…

Farther starts tuning and re-tuning the radio. Getting louder and more erratic over next. 

Mother looks more and more upset. 'Driving faster', making sounds and saying over next.

Sonny: …they store the remains in cattle cakes inside a Welsh mountain, Raydymwgn…

Father tuning radio over next.

Mother: What day is it, somebody tell me (Repeated over and over.)

Father tuning radio over next.

Sonny: I dreamt once of an end to this constant battle they call life but you have to wear your blight like a badge; been there, killed that. In this mind Anthrax survives and nothing else lives there. A break down was coming, it had to happen but it was really nothing to do with me!

Mother stops repeating her words. Radio stops.

 …Being more endemic than systemic.

Sound FX radio crackling, sparking over next three lines.

Mother: What's happened now. Here of all bloody place, WHY US SONNY!

Sonny: (Quietly.) Breakdown's happen, mother. You can't always avoid them.

Mother: REALLY? (Pointing at father and then herself) But we don't have them!

Farther falls in the chair, he is convulsing.

Flash and bang from the back of the wireless set as it blows with the aid of a flash pot, lights down fast. Time passes; lights up slowly. Sound FX Heavy Rain. Father in some trouble now but goes unnoticed. Sonny is laid on the floor broken.

Light FX Spot light on Sonny. Sonny Stands.

Sonny: When you feel alone in the world, you live with the emptiness of the universe. Fighting to keep any love shown to you. You hold on to it beyond the time, it ceases to exit. You draw out every last fragment of love with such force and vehemence that your heart itself soon becomes a black hole. Love is drawn into this void and crushed under unimagined pressures. And like any terrestrial traveller caught in the black hole's gravity well, lovers fight to pull away, to avoid pressures that will ultimately overwhelm and kill anything they could have, or would have been. (He lies back down in the exact same place as before.)

Lights change.

Mother: Well I'm not getting out, it's too bloody wet. I don't care!

Sonny: What?

Mother: Two bloody men. I'm not going for help.

Farther tries to speak but goes unnoticed.

Sonny: (Getting up of the floor.) I'll go.

Mother: Must be time of day for it, another car's just pulled up in front of us - it's this rain.

Sonny puts on a raincoat.

Mother: He's opened up his bonnet, see if he needs any help Sonny.

Mother: Look at him, look how he's walking with his bottom sticking out. He's going to talk to that chap now. (Out of the window) STOP WALKING WITH Y’ BOTTOM STICKING OUT, IT LOOKS AWFUL. I think he's heard me, he's heard me. – Ooh look he's left his telly thing behind. Suppose we could watch that. Tune it in Dad. Here. (She gives Father the T.V. but he drops it.)

Sound FX Low flying fighter jet, very loud.

Are we at war dad?

Father: (in a guttural slur) Maybe, I don't… (He has had a stroke.)

Mother: Dad, Dad, what wrong - Dad!

LightsFX Fast DBO.

Monks change the set.

Scene 4 at the Movies

It's the 'Old American Wild West' of the 1950's Western movie fame. Lots of buffalo tassels on the shirts. The acting is heroic, brave and high camp. Emotions are quick on lines, with no build-ups. The scene begins, once more, in darkness except for a chink of light from a boarded up high vent shaft. The place is a mineshaft in an old ghost town.  Captain (or as he is known here, Marshall Simple) and Jack are going to be holed up here, the Apache are outside. The sounds of horses and whooping can be heard off and over head. They enter in a hurry. The Marshall checks out the space, walls, vent and anything else that can be seen in the gloom.  He is trying to fine anything that might help them get out of this hole. Jack is in fear of his life and leaning against the wall shaking. There are crates of wine stacked around the place, which the Marshall walks on to make him taller. This is the first of three scenes where the audience is shown different views of a similar event. This would be the old Hollywood version of the event.

Jack De'ath: We're gonna die ain't we, Marshall? I give you anything, just get me outa here! Well? Marshall?

Long considered pause.

Captain Fish: (As the Marshall in John Wayne voice.) It's dark.

Jack De'ath: Marshall? Do you hear what I say? Hey? Hey?

Considered pause.

Captain Fish: Wol we need some – I say, boy - what we need is som' kinda light `n here.

Jack De'ath: (Rushing over to the Marshall) We're gonna die. (Holding the Marshall's arm.  The Marshall pushes him away) going to DIE, we gonna die. We are gonna Die. Oh god we're gonna die.

Pause.

Captain Fish: Stop your yelping and help me get this vent clear. - On your feet boy.

Jack De'ath: (Instantly Fine) Okay.

Both pull at the wooden lattes that boarded up the vent – there's dust in the air (Talc) as they pull them off – a blast of sunlight floods the shaft now.

Jack De'ath: Bars, the vent has bars, solid, solid god darn bars, dog nabbit bars, we'll never get out.

Captain Fish: Lookey here, I've TOLD YOU - I told you once - to be quiet. We're just gonna have to use the same exit as the entrance we came through. Y’ gotta keep it together kid!

Jack De'ath: Together? TOGETHER we're going to git KILT.

Captain Fish: Do 'y wanna know why we gotta keep it together?

Jack De'ath: NO, - yes, why?

Captain Fish: It's because, (pausing, bravely now) well its because we're Americans and sometimes we just gotta do, what we gotta do. Out there, they're maybe a nation of Apache, every one of them ready to kill any one of us good upstanding Americans.  Red skins ready to drag you across the prairies tied to a stallion, dragged until your brains are dashed out. Dashed out BOY! Reds - ready to rape our woman; break up the American family unit; make us think about land use. Reds that will stick knives and - things in you an' eat your children; then make you walk a mile in the sun, without a hat. Then cut bits off you, like YOUR fingers and toes 'n ears, an' other things. (Jack looking ill now, Marshall looking even braver) But lookey here do you see this tin star? (Showing Jack his Marshall badge) This makes me a US Marshall and I'm here to stop…well to stop them. I'm here to save your petty existence, yet an American life, the American way, even if that means killing every one of those red savages. Jack do you believe in God? - Well I'm telling you, in God I trust, 'n God as told me to kill without remorse every man, woman 'n child who gets in the 'American way', 'n A-men to that.

Jack De'ath: god? – but god ain't here.

Captain Fish: (Thinking now) – Hell if God was here, he'd be pretty ticked off with you, right now. What do the Reds want with you anyhow? (Knowingly) Weren't those rifles 'n guns you were selling to those renegade Reds, any good?

Jack De'ath: No, I mean I'm not sure what you mean. Rifles, rifles? I Just - I'm think'n that I'm just where they, the Red Skins wanna be. I really – I swear Marshall Simple, no rifles, not that I know of.

Captain Fish: Okay quit that bull shit you lying bastard, some of those crazy Reds still think they own this country of ours 'n I've been sent here, because rifles, good American rifles, are being sold to the Apache, rifles they'll use to claim back this land. (Looking hard at Jack.) Guns hidden in grain sack 'n wine crates – the ones that were stored here, before you sold them to the Reds. That was just plan stupid of you Jack. You're helping them 'n I should kill you now, where you - cower.

Jack De'ath: Please don't do it, it ain't like that, I had no real choice! Marshall Simple here, look. (Grabs a handful of soil) Look, it's here (his hands covered in brown oil) LOOK.

Captain Fish: What? WHAT IS?

Jack De'ath: Crude oil, this is crude oil. Back East they're paying a dollar ten on the barrel, there's millions upon millions of barrels here – (loud whisper) but so are the Apache. I came here to trade for the land rights to the oil. At first it was grain, you know, a measure of wheat for a penny, and three measures of barley for a cent – GRAIN. The organisation sent me all the grain I needed. How? I never knew HOW but it would always be here when I returned. Then one day the rifles came in the grain sacks. I swear I threw them down here and the grain started to come again and things worked out fine for a little while longer. Then one morning this dude rode into town, on the most beautiful grey horse you'd ever seen. He didn't dismount, he just looked down at me and said,  "If the Apache had guns, their war would be elsewhere, you wouldn't need to trade for the oil, they'd be gone". `N you know, I thought he was right. We could take the oil, keep the grain and you 'n your precious Americans could get rid of the Reds once and forever in one mother of a god darn battle, back up north somewhere. Well? Well? - Well? – 'n now I ain't been that good a person. I got myself into some deep trouble as a kid 'n the government - your government - offered me a full pardon, if I did this job for them. (He gets some papers out of his bag.) Read them. Well?

Considered pause

Captain Fish: Well I think you been in the sun too long son. (Looking at Jack's hand and reads)  you've been fooled kid, that ain't no government seal 'n I know this oil stuff, it's useless. Nobody ain't got the skills to extract it from sandstone, it needs to be some kinda slate stone, which you can drill a well into. This stuff is useless.  They tried to extract it five years back when it first seeped into the mine – hell that's why they had to be abandoned.

Jack De'ath: (Digging around in the ground.) Not government? Sand stone? THEN WHAT THE HELL HAVE I BEEN SENT HERE FOR? Unless - the 'Third Seal' have…(thinking) but…

Captain Fish: Third what kid?

Jack De'ath: …Then, if so… what ARE THEY DOING, they're loco (Stands up in front of the vent) god no, it’s all a trap, the war’s gonna start right here, we're the… 

Sound FX gun shoot, sparking the metal bar as it passes through the cellar window, hitting Jack square in the back and throwing him to the floor.

Captain Fish: Wot the hell? (The Marshall steps into the shadows and tries to look through the vent without being seen.)  Shot by one of his own guns, gee kinda ironic. (Kneeling by Jack)

Jack De'ath: (In obvious pain, talks into the ear of the Marshall in a dying voice.)  Third Seal, gotta stop `em.

Captain Fish: I don't understand kid.

Jack De'ath:  (Taking a long time to die, he pulls the Marshall's badge off and takes a pocket knife from his side, then scratches the back of the badge.) Read. (Gives back the badge and begins to cry.)

The Marshall reads the back of the tin star but does not understand. Long considered pause.

Captain Fish: I shall leave this tin star here 'n some day someone might find it 'n work out what you were tying to tell me but now son, we're gonna die, so come on let’s die like men. Fighting for what we know to be right, good 'n true. (Makes his way to the exit and listens) They're waiting.

Jack De'ath: (Fading fast still, but brave) Okay – but don't leave me here.

The Marshall turns back and picks him up the best way he can, looks around the space. Gets out his gun and starts shooting they exit through the door. Start SoundFX Gut Shots. Start lightsFX fade. Start SoundFX Whooping and distant gunfire then to music.

Lights FX fade down blackout, lights low, Monks change set.

Sound FX music 'Emergency Ward 10'

Scene 5 Girlfriend.

10 years ago tonight. An A & E department waiting room in the north of England. The stage is in darkness. A quite vigorous argument is about to happen. Jill is dead, appears as ghost dressed in white nurse’s uniform. She enters carrying a pile of philosophy books in white covers, and a mug of white coffee. Sonny is in shock.

Jill: Coffee Sonny?

Sonny: (Not looking up.) Thanks.

Jill: It's me…

Sonny looks up.

…your father sent me.

Sonny: B-but you’re dead (looks up and down the corridor.)

Jill: True, but why should that stop me working?

Sonny: you were killed when that bomb when off – in that café – six years ago…

Jill: Eight, but who counting. How is Manchester, Still looking…?

Sonny:  …like a toilet.

Jill: though so…

Sonny: You should know, being omley-whatnot

Jill:  Well I work in hospitals. Don’t have the time.  Some patients need help after they've popped their clogs.

Sonny: You said my dad sent you? Is he…

Jill: No… just on my plain.

Sonny: Oh - Why didn't you come back to me before now! You disappeared for two months, then the bomb!  Then all over… 

Jill: …Manchester bus station?

Sonny: No. We were over.

Jill: Oh…

Sonny: I needed you. I don't – didn't understand why but I needed you.

Jill: …You didn't try to understand me.  So don't bloody start.

Pause

Sonny: Answer me this. Do you love me?  Look, you - you wanted me out of your life, yes?

Jill: I only saw you a couple hours a week and then all you wanted to do was have sex! God… Look I do love you - I'm just not 'in love' with you…

Sonny: (Quickly) What the fuck does that mean? (Pause) You either love me or you don't. I turned you on. I knew it, you knew it. WE WERE both THERE, REMEMBER?

Jill: God says it's my star sign – sometimes 'me' wants sex and sometimes 'me' doesn't want it. It was the same with 'me' friend, she's the same.

Sonny! I turned you on. And It's 'MY' not 'me'; feelings do belong to you!

Jill: Yeah… well not any more, I'm dead. The WHOLE fucking world, life turns me on…

Sonny: But I'm 'in love' with you. (Pause, realisation) what an idiot - me I mean.

Jill: Yeah, so you're 'in-love' with me. You say that but I think you're using me, for some pain you never got passed, I've heard you in the in the night.

Sonny: You were always a 'Paranoia.'

Jill: And you're not a total emotional fuck up, then? (Pause) People have got to sort their own problems out and stop dumping them onto others.

Sonny: But you're laying your PARANOIA on me.

Jill: You don't know what I mean, do you?

Sonny: It's you with the divine knowledge…

Jill: As if… 

Sonny: Well it was you that read a hundred books on philosophy a week, so tell me with all this knowledge, what you going to do with it? 

Jill: (Frustrated.) It would take too long to explain, I can't think of any examples when you put me on the spot. It's not like that with philosophy.

Sonny: You never once tried to explain anything about your philosophy. But the fact is you slept with me and you made love with me, now you make a distinction between being in love with me and loving me. I DON'T understand, no.

Jill: Romantic love…

Sonny: Off again, love, romantic love, what's the fucking difference?

Jill: (insistent) The romantic love you mean, that's just a thing set up by people trying to control society and as nothing to do with…

Sonny: Bloody politics again (gets upset, change of voice) well I believe in love, it's the only thing that keeps society together.

Jill: What do you know about politics and love…

Sonny:  You're controlled just as much on the other side, I mean the other other-side, as I am by my side. I know what I know. At least I'm controlled by what I know to be the truth.

Jill: Truth? Truth, in a material universe? (Aside.) In-love.

Sonny: (Narked.) Oh just Piss off! Bitch.

Jill: That's right, you're only saying these words to win points, animalising women. It’s a constant bloody war with you. (Pause) Well, the war is ended! And you can’t trap me into anything now, I’m dead!

Sonny: Yeah I suppose it helps to think like that, to put me in that position of 'control freak' but I don't control you. Nobody can control you, not even you… All I wanted was sex and the feel of your body.

Jill: You want kids, children. There are hundreds of children out there that aren't even looked after. I know how you think…

Sonny: One, there is nothing wrong with children and two, that is a prime example of what I mean, by you transferring your prejudices onto me about what people like me are supposed to think. Well I don't, I know your type of person and it would not be normal for a person like you to want children, you're so steeped in your bloody ideology. (Picks up a white book and throws it at her but it stops short and flies up into the ceiling.) That's where your life is, fucking books, I can find you in every single page, where are you in real life? This is not some sort of play where you have to be seen to be doing the right thing. I'm a bloody adult and I think any bloody thing I want! Okay? (Pauses and composes himself.)

I've done it again. Look I'm sorry; you have to be allowed to make your own mistakes.

Jill: You arrogant bastard. Yes I loved you, that's because I thought that you needed me. I nearly gave up my other boyfriend for you and yet I'm in a constant war with you and I don't make mistakes I make choices based on who I am. You've never read a book in your life. Most of your philosophy is crass, no one knows where they stand with you, those fucking stupid plays you write, nether one thing nor the fucking other! Dialogues poor at best, then you try to be poetic - crap! You change styles and sides so often you're a fucking traffic light. You've used every device to have sex with me, you put words in my mouth, which may I add, I would never say, and are mixed up…

Sonny: I'll work harder… and you're saying them now! 

Jill: Your fucking words Sonny, Times New Roman, 14 point. (Throws this script at Sonny.) Read it.

Sonny: (looking.) What is this? I didn't write this?

Jill: Oh you will! Make me look stupid. Your words not mine. (Pause) You were always complaining about what I wear, constantly criticising me…

Sonny: (Mockingly) White suits you…

Jill:  Better than looking "dowdy" then. (Pause) Why could you never accept me for who I was…?

Sonny: (Passed the anger now.) I - never - knew who you - were, there was nothing similar – in me, I could look at you and understand you through me. I know you wanted to save the world, so did I once but for every life I saved I had to take a life and who’s to say that I saved the right lives, I became the monster to destroy the monster. I killed in the worst way, as a coward… 

Jill: Fuck off you're RAPING my fucking mind.

Sonny reaches out to love her but.

Sonny: (Underplayed) No. you're doing that joe yourself.

The scene ends

LightsFX Slow DBO

Scene 6 Passing of the buck

The wine crate given to Father is found to have the last two seals to 'end of the world' hidden in cattle cake.

Father: (Gutteral voice.) It’s good to be home. (Looks at Mother) You’re not talking to me then?

Mother indicates to her throat. She can’t speak because of a sore throat.

Father: Smoking all those cigarettes won’t help.

Mother indicates that she needs her cigarettes. She makes up a bed for him and he climbs into it. She indicates ‘do you want a drink?’

Father: Yes please.

Mother walks into the kitchen. Father tries to call but cannot raise his voice.

Father: No sugar please (Mother doesn’t hear him. She disappears off the stage.) We don’t seem to communicate any more. (He reaches out for his walking stick and swings it around under the bed the best he can with his good arm.) Where’s the wine… (Realising he can’t shout, climbs out of bed and falls to the floor on his bad side. Shuffling around he frantically searches under the bed, muttering to himself. He tries to stand but is unable to.) Mother, Mother. (Calling for help.)

Mother comes back into the room with two drinks. At first she can’t find him. She tries to call and cannot speak herself.

Father: (weakened, tries to speak.) Down here mother. (She looks under the bed and sees him sprawled out on the floor. She indicates ‘what are you doing down there?’ and stamps her foot in anger )

Father: What are you doing, some sort of Spanish Flamenco?

Mother smiles and lifts him back into the bed. There is a sense with her that this is probably the first time she has loved him in many years.

Father: Where’s that cup of tea? Feels like my throat’s slit.

Mother gives him his drink. She points at the floor, quizzing him.

Father: I was looking for the guns (Mother 'what?') The wine crate.

Mother is instantly afraid. Waving her arms and hands frantically she indicates ‘no, no, no’ Puts three fingers up to indicate the Third Seal, then makes her hand like a gun and points it at her head. Makes to shoot, then points at Father.

Father: No they won’t lay a finger on me I’m Grey Seal.

Mother still frantic. Shaking her hand above her head as she leaves the room, indicating that she doesn’t believe a word of it.

Father: (trying to yell, but can’t.) They want distribution not final destination. They know about my condition. They’ll have a hundred crates of rifles by now - another seventeen won’t make any difference.

Pause.

Mother comes rushing back in. She has a crate that has been prised open. She digs her hand deep into the box and brings out a handful of cattle cake.

Father: (horrified.) Put them down! Wash your hands – now!

Mother drops the crate. Cattle cake spreads out to the audience.

Father: (Again trying to shout.) Do it now! Or else you’re going to die, Go.

Mother rushes off the stage. Sounds of running water.

Father: I’ve been conned. They really are crazy!

Lights fade.

Scene 7 The return of the 3^rd Seal.

Twins that meet cause chaos. SCENE UNDER CONSTRUCTION.

Scene 8 The summer killers.

Mid-summer, daytime, the setting a cellar to a bar in a small shantytown in a West African country.  This is suggested by the sounds that can be heard outside, such has the insects and by a lighting effect: the sun shinning through a high window.  This scene to be played out jingoistly. Sound FX automatic machine gunfire and hand grenades. Our heroes rush in the door. This is the second version of the three scenes. Getting nearer to the real truth of what happened that day.

Uniform1: (holding up Uniform2) Come on, we'll be safe down in here for a little time, at least.

Uniform2: Sure 'Jack', Once the bandits are gone we'll make our way back to the ship.

Uniform1: OK – Good plan. Come away from that window they're shooting guns.

Uniform2: Yes I will… (Sound FX automatic machine gunfire, he is hit by a bullet, he sits holding his bleeding arm) Ouch! that hurt, but I think it's just a flesh wound.

Uniform1: (More gun shots out side – looking through the barred window.) Those guys sure know how to throw a party.  Now let me look at that arm of yours (he opens a first aid kit on the wall puts a pad on the wound and wraps a bandage around the arm.) You're loosing a lot of blood there sailor.  It looks like I'm going to have to get us both out of here now.

Uniform2: By the sound of them, the bandits have British guns. Yes it's a British bullet.  

Uniform1: (Looking out of the window again. Hamming it up.) Yes. They must have stolen the guns on raids into our camp! Yes.

Uniform2: Yes.

Both: Yes.

Uniform2: (Slumps forward onto the light that is shining in though a window. Uniform1 leans over to catch him.) Don't! Leave me here. Save yourself.

Uniform1: (The firefight grows louder.) No. you're coming with me – I am going to get you out of here friend. (Pulls uniform2 out of the light.)

Sound of door being kicked in.

Uniform2: Have my gun and save yourself.

Uniform1: No, I'm a Non Combatant, remember.

Uniform2: Oh yes. I forgot.

The door is kicked open

Bandit: (Points his gun at both of them.) Ha ha  - do not move – you throw me your gun, you sailor.

Uniform1 holds the arm and wrist of Uniform2 and throws the gun. Bandit picks up the gun and dropping his own gun.

Uniform1: It's not our war. We're fighting over other people's oil.

Bandit: Is that so, thank you my friend, mine was out of bullets. Now you both shall die. Ha, Ha, Ha. (Aims at Uniform2 and shoots him dead in cold blood. He goes for a second shot. Revelling in the power of fear, as he walks into the light of the window. Sound FX rapid fire gun shots, the bandit is pushed back though the door and out of sight in a hail of bullets that come though the window.)

Sonny: (off and on the phone.) I must have sat there for a long time it was dark before I could think of moving. Your brother's body was stiff and the smell in the room gave me a migraine. I saw that I was shot in the arm, couldn't remember when – it took me two days to get back to the ship – I walked non stop. I don't know what happened to your brother's body, there was talk but I don't know. That’s what happened.

Lights down blackout 

Interval