Co nte nts




Contents Chronology Introduction BLASTED PHAEDRA'S LOVE CLEANSED CRAVE 4.48 PSYCHOSIS SKIN Chronology January 1995 May 1996 June 1997 April 1998 August 1998 June 2000 Blasted, Royal Court Theatre Upstairs Phaedra's Love, Cate Theatre Skin, Channel 4 Cleansed, Royal Court Theatre Downstairs Crave, Traverse Theatre 4.48 Psychosis, Royal Court Jerwood Theatre Upstairs

Introduction Sarah Kane is best known for the way her career began, in the extraordinary public controversy over Blasted, and the way it ended: in her suicide and the posthumous production of her last play, 4.48 Psychosis. Both were shocking and defining moments in recent British theatre and their shadows are bound to haunt any reading of her work. But it would be a pity if these extraordinary events were to distract from die qualities of the five plays she left behind; a pity if, in attending to the mythology of the author, we were to miss the explosive theatricality, the lyricism, die emotional power, and die bleak humour that is contained within the plays themselves. B la sted , P h a ed ra 's L ove, C lean sed , and 4.4 8 P sych osis up to a body of work which pushed recklessly at C ra ve add the naturalistic boundaries of British theatre. Each play was a new step on an artistic journey in which Kane mapped the darkest and most unforgiving internal landscapes: landscapes of violation, of loneliness, of power, of mental collapse and, most consistently, the landscape of love. Blasted was produced by die Royal Court in January 1995 in the sixty-seat Theatre Upstairs. The play begins with a middle-aged man, Ian, and a young woman, Cate, entering an expensive hotel room in Leeds. The stage immediately suggests die kind of chamber piece about relationships with which the British theatre-goer is so familiar. And yet, almost from die play's first words, 'I've shat in better places than this", there is an uneasy awareness that this play is not behaving itself. Ian's behaviour and language are unpleasant, repulsive even, and yet nothing in the writing is condemning him. No authorial voice is leading us to safety. As the play progresses, the moral unease grows until the scene finally changes and we learn that, during the night, Ian has raped Cate. Shortly afterwards, there is a knock on the hotel room door and, in the play's most daring moment, a soldier enters, apparently from nowhere, and brings in with him the terrifying fragments of a world blown apart by violence. It is as though the act of rape, which blasts the inner world of both victim and perpetrator, has also destroyed the world outside the room. The play's form begins to fragment. Its structure seems to buckle 3

the play's lyricism and 4 . and the Cate itself. love in particular. she finds the ultimate self-destruction in suicide. bored. broken. In Phaedra and Hippolytus. in his mordant final line. weeping.a human being. which would otherwise draw him into contact with others. Grace looks like Graham. Under the relentless pressure of Tinker's sadism the characters' bodies begin to break apart. a scene that begins in spring ends in summer. genitals removed. His uncontrollable sexual impulse. which she also directed. skins removed. lonely. is driven to preserve his self inviolate. forms the bleak backdrop to Phaedra's journey. Kane's next play was a rewriting of the Phaedra myth commissioned by the tiny and underfunded Cate Theatre in Netting Hill. to lose herself within it. a royal family. which is that those of one pole are driven to seek out those of die other. the world of the stage is dark and extreme but now the source of pain has narrowed down from civil war to war within die family.his life destroyed. Her drive to submit herself to the impossibility of her desire. Again. It would not be until Crave in 1998 that public perceptions of her work would begin to move beyond the simplistic responses of the Blasted controversy. Emotions. and often cynical. but Tinker sadistically tests each love to find its limits. Cleansed took yet another step away from Naturalism. Kane marked out the two poles that are the extremes of the human response to love. He remains. total self-abnegation or total self-preservation. The scenes are presented in smaller and smaller fragments until they are a series of snapshots: images of Ian. Tinker drives the characters to the extremes of pain in order to find out what power love has over them. Cleansed. had been critically misunderstood as a childish attempt to shock. it is almost as though the play's whole voice belongs to Hippolytus. Unable to love and unable to cease loving. Each inmate is in love with another. shitting. and identities forcibly changed until.under the weight of the violent forces it has unleashed. Those critics who drew attention to Blasted's litany of broken taboos missed the fact that the play's roots were not in the bloodbaths of postmodern cinema but in the Shakespearean anatomies of reduced men: Lear on die heath and Timon in his cave. the characters find refuge in mutability. which specialises in producing European works in translation. Phaedra's Love contains some of Kane's wittiest dialogue. each inhabitant carries the fragments of someone else's identity. even as his body is dismembered and its fragments lie about him. Learning from Büchner (whose masterpiece Woyzeck she directed in 1997). The dialogue erodes. emotionally intact. provided a natural refuge for her writing to develop. publicly accused of his mother's rape. dying and. and need of any type are an unbearable threat to him. comforted. The final images are not unlike those moments in Beckett where the human impulse to connect is found surviving in the most bleak and crushing places. Poised. The sheer impossibility of survival in either of these emotional conditions. Hippolytus. that there was a connection between a rape in a Leeds hotel room and the hellish devastation of civil war. all the structures of . Limbs are removed. is the opposite of Hippolytus's and forms the second of the twin impulses that move the family towards a violent destruction. transcending their own limits. Kane seemed to switch poles and allow the voices of self-abnegation to carry the weight of the play. for Kane it was difficult and depressing. Hippolytus. saw her continue the process of fragmenting naturalism. in the play's final scenes. She also exposed the bitter irony. In this instance. Abused by Hippolytus. It is also the first of Kane's plays to deal explicitly with what was to become her main theme: love. These gender confusions. is in love with her son. reduced to his base essence . The time frame condenses. Kane stripped away the mechanics of explanatory narrative and presented the audience with a series of poetic images and pared dialogue. The play concerns the inhabitants of an institution under the control of a torturer/psychiatrist named Tinker. becoming sparse. The play focuses on a central question: what is the most that one lover can truthfully promise another? An insane experimenter. Phaedra. Phaedra's Lave. While other playwrights might have relished the sort of impact her play created. Carl wears Robin's clothes. the spoiled prince. The project. The Woman says she is Grace. Perhaps the humour comes from its authorial detachment. In her next play. must express itself in masturbation or in the degradation of his sexual partners into objects. Brittle and full of bleak insight. refuses to defend himself and is torn apart by die mob. Her simple premise. Blasted placed Kane on the news pages of tabloids as well as the arts pages of broadsheets. in the play's final moments. his stepmother.

maternal love and abusive love. rather like a string quartet. is none the less strong enough to survive the most appalling tests. at the reading. Kane wrote a play which demanded that its staging be as poetic as its writing. One of the company's initiatives was a series of lunchtime play readings at the Bridewell Theatre. and this central. remember losses in the past. the last of which was to be concerned with nuclear devastation. Interestingly. briefly. from the shadow of being 'Sarah Kane. The overwhelming impression is that the four voices are. the new writing company based in London. it would be natural for the reader to question the practicality of staging the work. Its physicalisation of lyrical imagery raises the same question that dogs Kane's first three plays: how do-able are they? With its stage directions like 'the rats carry Carl's feet away'. in Crave one can almost feel the intoxicating release of Kane's writing as the borderlines of character evaporate entirely and her imagery moves from physical to textual realisation. B. Crave is divided into four voices. M and C. not to betray you. was presented initially. Cleansed is a daring challenge. although austere. partly a private joke and partly a serious attempt to allow her work to escape. Don't make me lie to you. and question their future in the face of their psychological damage. The effect of the piece when staged is surprisingly musical. Four voices become one. This effect is replicated in the stage image.' a foundation for love which. Unlike in Cleansed. 'I love you now. Every one of her plays asks the director to make radical staging decisions. revealing its meanings not line by line but. as in Cleansed. a younger man and a younger woman. it was possible to represent it. reading it again. The text demands attendance to its rhythms in performance. it seems surprisingly redemptive. She also finds in Rod's promise. As part of her role she was involved with the process of developing new plays and new writers. I'll do my best. In a Kane play the author makes demands but she does not provide solutions. the controversial author of Blasted?. only for a theatre tied to journalistic naturalism. I'm with you now. whether it is how to represent violence in Blasted. however. in fact. Yet. By demanding an interventionist and radical approach from her directors she was forcing them to go to the limits of their theatrical imagination. Kane finds in Tinker. moment to moment. single image — four different bodies occupying one life combine to evoke the powerful sense of a self fragmented. The voices describe their desires. Binding the whole piece. Since autumn 1996 Kane had worked as Writer in Residence for Paines Plough. Her stage imagery poses no problems for theatre per se. Blasted and Cleansed had been conceived as the first two parts of a trilogy of plays. whose actions are psychotically wicked. how to represent rats in Cleansed or what visual context to give the voices in Crave. This new play. Cleansed was regarded as the bleakest and most difficult of Kane's plays to date and it is certainly a punishing theatrical experience. Now. and which was an experiment in an open textual form. The voices speak without concrete context and there is only the most fragmentary hint of a narrative. voices from within and without one individual life.' With Cleansed. 5 . is the exploration of love's assault upon the wholeness of the self. in the hypnotic play of different voices and themes. the same humanity that she finds in the characters who suffer his torments. Kane believed passionately that if it was possible to imagine something. a middle-aged woman. She draws upon many forms of love: primarily sexual love. This is a question that goes to the heart of Kane's writing. Theatrically. Nothing in a Kane play is any more bizarre than Shakespeare's direction at the end of A Winter's Tale 'The statue comes to life. yet the stage is occupied by four physically real bodies. In the case of the first production. or ca sunflower bursts through the floor'. The play's form. That's it. These readings provided a suitably low-key opportunity for Kane to present a piece which she had written quickly in response to a gap in the programme.its central theme of a sister searching for a lost brother reflect another Shakespearean influence on Kane: Twelfth Night. forcing them into poetic and expressionist solutions. As she did with Ian in Blasted and Hippolytus in Phaedra's Love. Crave. the bodies were a middle-aged man. identified only by the letters A. No more. under the pseudonym Marie Kelvedon. Kane abandoned the idea of a trilogy after Cleansed and instead she pushed her writing in a new and surprising direction.

For a period of her depression. Kane pushed further still the formal elements she had explored in Crave. into the couple. Kane has opened her writing out to the audience. the darkest hour.48 Psychosis sees the ultimate narrowing of Kane's focus in her work. The ambiguity lying in that falling which is both a liberating shedding of the self and also the selfdestruction of death. Beckett. It was her experience of this. within the text. every morning. She took this moment. and no textual indication of the number or gender of the performers. Yet. a friend. Under the auspices of both Paines Plough and the Royal Court's European Summer School. the voice of authority might also be a lover. It would have been pointless for Kane to lead workshops like these unless.' the play's voice states. It is. Unnamed. at 4. 4. Perhaps the critics felt that. perhaps imply an author who was creating work by simply tapping into her unconscious and letting the words flow. The writing consists of monologues and fragments of dialogues taking place between figures that resemble a doctor and a patient. It is a comment on the complexity and compassion of her writing that this desperately tender speech is spoken on stage by an older man whose voice. is literally reflected in the structure of the piece. just before dawn. Whose mind? The mind of the speaker of the words in the theatre. Kane committed suicide. is to > overlook the complex artfulness of their construction. Yet perhaps it is as well to be cautious here. for all their pain. A play which is perhaps uniquely painful for the reader in that it appears to have been written in the almost certain knowledge that it would be performed posthumously. f Towards the end of the summer of 1998 she began to succumb to another depressive episode. Yet the artistic triumph of the piece is that this personal quality does not close the play off to the viewer. The whole play describes the internal landscape of a suicidal psychosis. The same fragmentation of self. she became suicidal. like Cleansed and Blasted. she was thinking critically about the structural possibilities of the medium. the losing of borders that the psychotic mind experiences. Bond and Barker for example. to those outside it. Kane had found herself awoken.Grave's elliptical references to specific events clearly suggest that the author is drawing heavily on personal experience in the writing. to render it true more generally. as raw.m. Crave also represents a definite continuation of the formal and thematic paths she had been following for the previous three plays. a moment when the confusions of psychosis seem to evaporate. is given the memories and desires of an abuser. and its obviously personal resonances. Kane ran writers' groups and led workshops with emerging playwrights. 4. 'And my mind is the subject of these bewildered fragments. by changing her style. Kane had allowed them to engage more easily with her work. but does that directly mean the mind of the author? Kane's work 6 . A landscape more extreme and pitiless even than those described in the four previous plays. One example is the tender love speech which is given to A. But Kane was a playwright who was acutely aware of her work's context in the history of theatre. With each occurrence. And yet the overall effect of the specificity is. While her voice was powerful and unique it also owed a great deal to the playwrights whose work she admired: Büchner. or perhaps the patient's own dialogue with themself. The struggle of the self to remain intact has moved from civil war. On 20th February 1999. The liquid. into the individual and finally into the theatre of psychosis: the mind itself. leaving a space in which they can place themselves and their own experience. perversely. The paradox in the play is that the moment of clarity in the psychotic mind is. the moment when delusion is at its strongest. Kane had been plagued throughout her life by bouts of depression. and the treatments she received for it which formed the material of her next play. definitely. ultimately. an ambiguous redemption. The list of desires is so specific that one feels it must be it must be true to the writer in some sense. In the text. into the family. as well as being a departure. It is as though by excavating herself rather than attempting to capture an invented character's consciousness. poetic voice of Crave. This time there are no delineated voices. and found in it a moment of great clarity. Crave ends in a falling towards light. Crave enjoyed great critical success at the Edinburgh Festival.48 Psychosis was written throughout the autumn and winter of 1998/99.48 a. To read her plays. her depression became more debilitating and.

never supplied an author's note to her plays. talks to the doctor with a sardonic wit. It's a mind that the play's open form allows the audience to enter and recognise themselves within.should remain sceptical of interpretations. which is a destructive rather than a creative condition. whoever approaches the plays in this volume — reader. is a journalist bystander who becomes a perpetrator and. a victim. In the silence after completion other voices gather. Suicide always poses a question. The challenge for the reader in Kane's last two plays is not to search for the author behind the words but to freight the plays with our own presence. A mind which is the author. was an act of generosity by the author. for example. A division which catalyses the play. To read these plays for what they tell us about their author is. Kane. one can see that this division is itself a culmination of the ideas in the four previous plays. the plays themselves can come to seem only palimpsests. neither of which is able to alleviate the suffering. The three voices. finally. The texts contained here are. actor. In Kane's writing the three figures.has constantly shown the self to be a problematic and fluid entity.48 Psychosis is not a letter from one person to another but a play. serve as an honest and compassionate anatomy of the human experience of pain. herself. barely glimpsed beneath the commentary. That the play was written whilst suffering from depression. The play was finally produced in June 2000 at the Royal Court Jerwood Theatre Upstairs. representing the division of a person into victim/perpetrator/bystander. David Greig 7 . intended to be voiced by at least one and probably more actors. James Macdonald. and she distrusted introductions to the plays of others. shifting and struggling against its own limits. and transforming. Why should her authorial self be any different? 4. The voice of the play. led through therapy and endless medication. and the suicide of a writer leaves material over which the living can only pore in the search for answers. eventually.48 Psychosis is a report from a region of the mind that most of us hope never to visit but from which many people cannot escape. Inevitably. or director . sceptical of my interpretation as much as any other. in part. Those trapped there are normally rendered voiceless by their condition. Reading backwards. listening out for unheard cries for help. good plays and as such they will speak for themselves. a pointlessly forensic act. That the play is artistically successful is positively heroic. believing that if a play was any good it would speak for itself. our own fears of the self-destructive act and our own impulses towards it. the shadow of Kane's death will fall across her plays and one can find oneself reading them in search of diagnoses. and which is also more than the author. directed by Kane's longtime collaborator. With this in mind. The mind that is the subject of the play's fragments is the psychotic mind. Macdonald split the play's voice into three: two women and one man. The work's true completion comes when the plays are read for what they tell us about ourselves. undoubtedly. always contained within the single body. 4. Something like the sound of a door shutting haunts the word 'complete'. The Complete Sarah Kane. The dark comedy in the description of the drugs prescribed and their negligible effects remind one of Lear on the heath demanding the impossible of his apothecary: 'sweeten my imagination'. Blasteds Ian. interpreting. to my mind. analysing and decoding the work until. which is always dangerous.

the off to T w o p e o p l e e n t e I a-n a n d C a t e . incorporates minor revisions made to the original text by Sarah Kane shortly before her death. Editor's note This edition of Blasted. A m in i-b a r a n d c h a m p a g n e o n ice. r 8 . Scene One A very exp ensive hotel room in L eed s . Characters Ian Cate Soldier Author's note Punctuation is used to indicate delivery. not to conform to the rules of grammar. It should therefore be regarded as the definitive version in all respects. A telephone. the other leads bathroom . Stage directions in brackets ( ) function as lines. first reprinted in 2000. but have been included in the text to clarify meaning. with thanks. Tw o doorsone is the entrance from the corridor.Blasted For Vincent O’Connell. A stroke (/) marks the point of interruption in overlapping dialogue.the kin d th at is so expuen sive an yw h ere in th e w orld. Words in square brackets [ ] are not spoken. co ld b e it T h ere is a la rge d o u ble b ed . A la rge bo uq uet of flo w ers.

Cate I didn't mean that. Ian You like our coloured brethren? Cate Don't mind them.) Ian goes into the bathroom and w e hear him run the w ater. Cate Ian. Cate Ian Why not? Cate It's not very nice. Cate Lovely. (H e offers her cham pagne?) (S h a kes h er h ea dI?was worried.g oes ba ck in the b ath ro o m w h ere h e d resses.) Hate this city. She draw er. Ian You a nigger-lover? You shouldn't call them that. th r o w s a sm a ll p ile o f n ew sp a p ers o n th e b ed . Stinks. e c h e ck s it is lo a d e d a n d p u ts it u n d e r h is p illo w . C a te ) Ian This? (He indicates his chest?) Don't matter. H e sm iles at ate. H e pours him self* another gin. a lo w e r-m id d le-c la ss S o u th ern er w ith a s o u th L o n dan d a stu tter w hen un der stress. this tim e w ith ice and tonic. H Ian Tip that wog when he brings up the sandwiches. Ia n c o m es in . and sips it at a m ore no rm a l pa ce. H e s to p s a n d lo o k sCaattew h o is s u c k in g h e r th uH e . Ia n co m es b a ck in. 9 . H e c o lle cts h is g u n a n d p u ts it in h is u n d er -a rm h o lster . looking in every S h e sm ells th e flo w ers a nd sm iles. h a ir w et. e b o u n ces on th e b ed . Ian Grow up.) I stink. They're really polite. H e leaves fifty pence and go es in to the ba C a teomm e s fu r th e r in to th e roSohm . tow el aro un d h is w aist. Didn't think you would. H e com es back in w ith only a tow el around his w aist an in his hand.p u ts h er b a g d ow n an d thro c o . W elsh b o rn b u t lived in L eeds m u ch of h is life aupd the accent. Ia n (P o p s th e ch a m p a g n e. You sounded unhappy. goes around the room . don't. H e p o u rs th e m b o th a g la ss . You want a bath? C a te (S h a kes h er h ea d . C a testo p s a t th e d o o r .) Cate What we celebrating? Ia n (D o esn 't a n sw er. d ryin g him self » fr off. g o es stra ig h t to th e m ini-b a r an d po u rs h im self a la rg e g in . th en turn s back to the room. H e loo ks briefly ou t of the w ind ow at the street. a m a ze d a t th e c la s sin e s s o f th e ro o m . Wogs and Pakis taking over.its in th e sin k a n d re -en ters. Ian I've shat in better places than this. C Ian Pm glad you've come. ro m Cate You all right? Ian It's nothing. n p icked C a teis 2 1 . H e g o e s to th e w in d o w a n d lo o ks o u t. (H e g u lp s do w n th e gin. accent o n They enter.Ia n is 4 5 . W e h ea r mb him co u gh ing terrib ly in the b athH eo sp. Cate There's Indians at the day centre where my brother goes.

he's got learning difficulties.Ian So they should be. I'd puke all over the place. Cate Ham. Ian Retard. Cate Like wh. lan (lakes a sandwich and eats it} Champagne? C ate (S ha ke s h er head . H e listens. She brings them in and exam ines them . Don't believe it.) against es You know I love you. a n d a te g o e s to of on is Ia n sta C a n sw e r it. Ian Cate I'm hungry. Ian I'll take you out for an Indian. Cate for the night. It's only a pig. Ian Cate You don't love me. Ian Have one of these.} Got something against ham? Ian Cate Dead meat. Spaz. Ian Aye. I couldn't leave Mum. Ian Glad my son's not a Joey. She separates the cheese sandw iches from the ham ones.} Ian Shh. C a te (S m iles a b ig s m ile . H e d ecidit. what's this? Cheese. Cate No. N othing. Still Ian Probably the wog with the sarnies. I wouldn't. Can't eat an animal. T here's no one there.) exu Don't want you ever to leave. Ian Don't. frie n d ly a n d n o n -sIan a l. C a te (L o o ks d o w n a t h e r clo th es} 10 . Stink. Cate Why not? Ian I said. I can't. Open it.) a kn ock at the door. Catc Why? I'm here Ia n (O p en s his m ou th to an sw er b ut ca n't th in k T heree. I don't blame you. rts . Two of you like it. Ian Have to one day. Cate Don't c. Blood.Ia n w a tc h e s h e r. just a tray of san dw iches on the floor. C ate (G iggles. Cate I CAN'T. d ecid in g w heth er o r no t to co n tin u e. Sweating again. H e takes his gun from the holster and goes to the door. and eats. isn't he? Cate No. Ian Your mother I feel sorry for. H e listens. Cate He's friends with some of them. Cate No he's not. You ever thought of getting married? Cate Who'd marry me? Ian I would. I actually can't. nothing. him that.what? Ia n (L o o ks a t h er. Cate I couldn't. Ian Don't like your clothes. Ian No one would know. C a t eb e a m s . C a teo p en s th e d o o r.

When are you going to stand on your own feet? I've applied for a job at an advertising agency. Ian return s.Confusing me. T hen bu rsts ou t lau gh ing. Ian stops laugh ing a nd stares at her m o tionless b ody. ey es o pen but still un con scious) Ian Fucking Jesus. C a te b eg in s to tre m b le. Then Put your C ate (S tares. n is la u g h in g . C ate (B ursts out laughing.Stop it. I'm talking. You're doing it deliberately. Mum gives me money. Ian Doing what? Cate C. Cate St. Cate Oh. (She continues to eat} like your clothes either. unnaturally. You're never going to get a job. I am not. I am not. No Cate Why not? Ia n (S to p s lau g h in g an d lo ok s at h er. Ian Cate? (H e tu rns her over and lifts u p her eyelids. that's all.Ian You look like a lesbos. Ian Cate No. hysterically. Don't Ia n (L o o k s d o w n a t h is clo th e s. Because I stink? C ate (L au ghs ev en m ore. Ian Cate Ian Cate Still screwing the taxpayer. I am not.) Ian attem pts to dress. uncontrollably) 11 . fully dressed. Ian You got a job yet? Cate No. H e p ick s up his g un. Cate I am. Ia C a te fa in ts . and giggles over the sandw iches. gets up. takes them all off and stands in front of her. Cate What's that? Ian Don't look very sexy. naked}mouth on me. H e d oesn 't kn o w w ha t to do.) You're stupid. C ateeats. Ia n (L aug hs gen uin ely) chance. you're just too thick to understand. H e g ets a gla ss o f g in a n d d a bs so m e o n h er face) C a te (S its bolt up rig ht. but fum bles w ith em barrassm ent. H e gathers his clothes and goes into the bathroom w here he dresses.) Ian No? Fine. un loads and relo ads it. Ian See. Cate.

Cate He took it out? Ian Other one's the same now. fucking scared me. (H e g o e s to th e m in i-b a r a n d p o u rs h im se lf a n o th er la rg e ga cignarette. Ian What. Not being. Cate I didn't go far. Ian Cate? Cate She's in danger. Ian Can't stand it. Ian Don't need to imagine. C a te (C o llap ses ag ain an d lies still) Ian sta nd s by h elp lessly . When I came round. A fter a few m o m e nC a te co m e s ro u n d a s if w a kin g u p in th e ts. morning. Cate Whenever I think of you it's with a cigarette and a gin. Cate When? Ian Last year. Ian Good. Cate They make your clothes smell. surgeon brought in this lump of rotting pork.) Ian Thought you were dead. fits? Cate Since Dad came back. Ian Does it hurt? Cate I'll grow out of it the doctor says. Cate But you'll die.} Cate You should. Cate [I] Suppose that's what it's like. Ian How do you feel? Cate (Smiles. Ian Too late for that. 12 . Cate Don't know much about it. My lung. I've seen. t Ian What now? Cate Did I faint? Ian That was real? Cate Happens all the time. Feels like I'm away for minutes or months sometimes. Ian It's terrible. Ian What if you didn't come round? Cate Wouldn't know. stank.} lig hts in a d Cate What? Ian Death. Cate You fall asleep and then you wake up. I just go. Ian Don't do it again. (She closes her eyes and slow ly com es back to normlo o ks aIa n a n d s m iles ) S h e al. Ian What the Christ was that? Cate Have to tell her. They'll make you ill. Ian How do you know? Cate Why don't you give up smoking? Ian (Laughs. Cate Imagine what your lungs must look like. Ian Don't forget my breath. then I come back just where I was. I'd stay there.Ian Stop fucking about.

get some more sent up. They die young. d ly . Ian Thought you'd like this. The bubbly nineteen year old from Leeds was among seven victims found buried in identical triangular tombs in an isolated New Zealand forest point new par. common sense is the best rule point end quote. Scouse tart. Enjoy myself while I'm here. spread her legs. I went to see her. Ian Won't make any difference. Cate Can't they do something? Ian Cate Ian Cate Ian Cate Ian Cate Ian No. Why? What for? Keep me alive to die of cirrhosis in three months' time. s H e k isse s h e r. Cate Why? Ian In case they needed me. Ian Sorry. Cate Silly. S — C-R-A-C-E. No. Ian Hello? Cate Who is it? I a n ( C o v e r s th e m o u th p ie c e ] Shh. People die in accidents all the time. speeding it up. Tears and lies. look after him he'll be all right. (H e presses a button on the phone to connect him to room service. They give them to people with a life. T h en h e la u g h s? ) Exactly. th e n a n s w e r s it. S h e p u lls a w a y a n d w ip e s h e r m o u th . Can't you get a transplant? Don't be stupid. Forget it. Samantha comma. The Foreign Office warned tourists Down Under to take extra care point. ce (H e takes a notebook from the pile of new spapers and dictates dow n the phone)) A serial killer slaughtered British tourist Samantha Scrace. ( I n to t h e m o u th p i]e Got it here. Nice hotel.) [I'll] Call that coon. (H e liste n s.Ian Aye. copy ends. I'm fucked. Cate Don't put your tongue in.) That one again. a beautiful redhead with dreams of becoming a model comma. we pray the police will come up with something dash. H e n o tic eC a te 'sd is tr e s s a n d c u d d le s h e r . T h e te le p h o n e rin g s lo uIa n sta r ts . Cate How do they know you're here? Ian Told them. Each had been stabbed more than twenty times and placed face down comma. The sooner this lunatic is brought to justice the better point end quote new par. ina sick murder ritual comma. (H e listen s. they must have some spare. You're making it worse. soon point still quoting. Cate Please stop smoking. Kids. Caps up. A spokesman said colon quoting. 13 . caps down point new par. Samantha's heartbroken mum said yesterday colon quoting. It's not like your brother. not worth the space. anything comma. hands bound behind their backs point new par. police revealed yesterday point new par. I don't like it. We came here to be away from them. (H e inhales deeply on his cigarette and sw allow s the last of the gin neat. Cate (Shakes. was on the trip of a lifetime after finishing her A levels last year point.) Ian Wonder if the conker understands English.) Tosser. ashes at the site showed the maniac had stayed to cook a meal.

Then. Cate I'm sorry. Ian All right.I. Ian What? Cate I don't w. He puts his hand under her top and moves it towards her breast. It hurts.kissed you. son.t. Cate What? Ian Leaving me hanging. that's all. (He starts to undo her trousers. keeping his own hand over the top. I really like you but I c. takes her hand and grasps it around his penis.c. making a prick of myself. Ian Yes you do. that's all. She responds.matter? Cate I k. (He appears to be in considerable pain) Ian.t. Ian stops. Like this.) Bring a bottle of gin up. I am. Cate I.told you.t. She sucks her thumb. Cate I don't. d.want to do this. I 1-1 like you.(Into the mouthpiece.t.f. Ian That wasn't very fair. Cate I f. Cate Ian.t.don't.k.) Cate panics. Ian Don't give me a hard-on if you're not going to finish me off. apparently still in pain. Ian That was years ago. (He puts the phone down. Cate (Smiles. He begins to undo her top.Ian.c.) Cate We always used to go to yours. We don't have to do anything. She starts to tremble and make inarticulate crying sounds.) Shhh. Cate. but don't push your cunt in my face then take it away 'cause I stick my tongue out. He strokes her face until she has calmed down. You don't have to fuck me 'cause I'm dying. With the other hand he undoes his trousers and starts masturbating. it's all right. Ian What's the m. Cate. If I don't come my cock aches. Ian Can't switch it on and off like that. You've grown up. he masturbates until he comes with some genuine pain. Cate Cate I didn't mean it. Ian Why not? You're nervous. I a n Shit.felt Ian Don't pity me. She pushes him away.t.) Ian I'm not well any more. frightened of bringing another *fit' on. I a n (Kissing her. Cate (Stops smiling) Ian kisses her.m. He releases Cate's hand and she withdraws it. I'm sorry. 14 .can't do this.c. (H e sta rts to kiss h er a g ain) Cate I t. I won't do it again.

Ian brings it in and stands. You're horrible. Slept with me before. pressure. When his back is turned. He kisses her passionately. I'm not going to hurt you. You're young. That's not fair. Because I haven't got a job? No. Why not? I told Shaun I'd be his. I've told you to leave that. Cate. wanking me off? I d. Can we make love tonight? No. I'm trying to look after you. And keep quiet. Now. Stopped phoning me. When I was your age . I wasn't. Pressure.) Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate lan Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian I'm sorry. just leave it. no. Don't want it better for me. Cate. Will you be my girlfriend again? I can't. Thanks.) There is a knock at the door.d. I love you. 15 .) You'll die quicker. Don't it scare you? What? Death. better for you. You hurt me. love. Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Have champagne. Because of my brother? No. (He reaches for his gun. Why not? I'm not your girlfriend any more. Have you slept with him? No. unable to decide between gin and champagne. It was difficult. eh? Won't do it with me but you'll go with a whodat. It'll only be Sooty after something. then goes to answer it. I said leave it. Don't worry. Only for Mum. (H e p o u rs h im se lf a g in . What do you want to know a conker's name for? I thought he was nice. Ian starts. You're more mine than his. Cate wipes her mouth. pet. Leave it now.dSorry. There is a bottle of gin outside on a tray. After a bit of black meat. never said why. then goes to the door. Will you have to go to hospital? Nothing they can do. Whose? Yours. that's all. And my brother. I'm not. She'd be unhappy if I died. Ian opens the door. No. not that.Cate Is it better? Ian (Nods.Now. What was that about then.d. Stop you getting hurt. Andrew. I love you. Stopped loving me. Cate. You were horrible to me.

If I hurt you. It's tribalism. Cate I expect that's it. Ian So she can throw a party at the coven. What about Matthew? Ian What about Matthew? Cate Have you told him? Ian I'll send him an invite for the funeral. Cate He'll be upset. 16 . And when was the last time you went to a football match? Saturday. I asked. Shoot me. About your level. Ian You dress like a lesbos. His mother's a lesbos. then. Cate She wouldn't do that. I don't dress like a cocksucker. I like it. Cate What do they dress like? Ian Hitler was wrong about the Jews who have they hurt the queers he should have gone for scum them and the wogs and fucking football fans send a bomber over Elland Road finish them off. Ian He fucking does. (He pours champagne and toasts the idea. C a te (Utters an inarticulate sound. Ian You want to? Cate Don't think so. Cate Are you upset? Ian Yes. Ian She don't carry a gun. Why? It's good. You would. Ian So? Cate She'd want to know. Cate He doesn't. Ian He hates me. Ian You think I'm a cocksucker? You've seen me. United beat Liverpool 2-0. Ian I loved Stella till she became a witch and fucked off with a dyke. Do you think it's hard to shoot someone? Easy as shitting blood. Could you shoot me? Could you shoot me stop asking that could you shoot me you could shoot me. Would you bomb me? What do you want to ask a question like that for? Would you though? Don't be thick. It's not fancy footwork and scoring goals.) How can you think that? Cate I don't. I go to Elland Road sometimes. I don't think so.) Ian You ever had a fuck with a woman? Cate No. Could you do that? Cate. (He vaguely indicates his groin. Cate For what? Ian Sucking gash. But would you? Haven't got a bomber.Cate Does Stella know? Ian What would I want to tell her for? Cate You were married. though you've got the potential. You asked me. Didn't you get stabbed? Why should I? That's what football's about. Have you? With a man. and I love you.) Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian I like football. Am I not preferable to that? Cate Perhaps she's a nice person.

Ian Cate Ian Cate Ian Cate Ian Cate When I'm with you I can't think about anything else. friendly) What's this job.} (Smiles at him. Cate Just before I'm wondering what it'll be like. I'm not stupid. It's like that when I have a fit. Looks the same but -Time slows down. Don't despise money. they hate you and you die. Mum said it was a lot. You got it easy. Ian kisses her and lights a cigarette. but just as it happens it's lovely. You wouldn't kill anything. Not yet. Once — [I'll] Make love to you. No and you haven't got kids to bring up neither. Can look after myself. Like me. (Drinks?) Have you ever shot anyone? Your mind. can't do nothing about it. I haven't got any money. I don't mind about that as long as I can go out sometimes. May need it. 17 . Shooting someone. What? You. Cate. Don't even think about it. You take me to another place. Ian But if. I don't think of nothing else. You think I'm stupid. Have you though? Leave it now. Ian is embarrassed. C a te Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian (He stares at her. A dream I get stuck in. You shouldn't have that gun. Just you. considering making a pass. Cate No. Who to? Don't know. How much? What? Money. It didn't say. don't you. You still need her.Cate Don't think you would. How much do you get paid. You have to know who you're writing to. You hate me. and just after I'm thinking about the next one. not like this. One time – Make love to me. It's like that when I touch myself. Blocks out everything else. Ian With people I love. you're soft. Who did you write the letter to? Sir or madam. The world don't exist. they grow up. She takes the warning. I worry. then? Personal Assistant. No. I don't hate Mum. Who would have children? You have kids. What for? (Drinks?) Can't imagine it.

Blackout. He begins to cough and experiences intense pain in his chest. Ian is a crumpled heap on the floor. That's why I love you. Cate Don't need to. Ian Please. Scene Two The same. Cate But you can't. Ian drops to his knees. He looks up and sees Cate watching him.Ian Like the first cigarette of the day. Ian I love you. it begins to ease. liver and kidneys are all under attack and he is making involuntary crying sounds. Ian is awake. Cate How? Ian You know. Very early the following morning. He sees the bouquet of flowers and picks it up. Cate No. The bouquet of flowers is now ripped apart and scattered around the room. Cate is still asleep. Ian Stop talking now. Ian Don't know nothing. It looks very much as if he is dying. His heart. Cate I can't. The sound of spring rain. the pain decreases until it has all gone.) These are for you. He waits for it to pass. Ian Why did you come here? Cate You sounded unhappy. He stands looking out of the window at the street. but it doesn't. Very slowly. Cate I don't love you.'s going to be a very hot day. Cate No. Ian Why not? Cate Can't. and gives in to the pain. Ian Can. Ian goes to the mini-bar. you don't know anything about it. Ian clutches his side — it becomes extreme. It gets worse. It is empty. Ian Why not? Cate I don't want to. Cate Don't. 18 . Ian Please. He finds the bottle of gin under the bed and pours half of what is left into a glass. each cough tearing at his lung. Cate That's bad for you though. Just at the moment when it seems he cannot survive this. glancing through the newspapers. Ian (Turns away. Cate wakes and watches Ian. want to make love to you. Ian Make me happy. Bright and sunny . puts the glass down carefully. He takes the first sip and is overcome with pain.

d. picks up the glass and drinks. We hear Ian coughing up in the bathroom. punching and biting. that's a loaded gun. Ian goes to her. Coming down for breakfast? It's paid for.dCate trembles and starts gasping for air.d.d. Cate I d. come on. Ian Sarky little tart this morning. lies between her legs. smoking and drinking neat gin. I'll be dead soon. She is staring at him with hate.dlan Catie. Cate It's only six o'clock. She faints.) We're one.d.d. Cate Choke on it. Cate d. Cate puts the gun down and he comes in. gun in hand. He wrestles her onto the bed.d.d.d.Cate Cunt. and simulates sex. A beat. easy. She picks up his gun and examines it. and looks at Cate.d.d.d. He looks at the gun. her still kicking. takes the gun and puts it back in the holster. 19 . Cate sits bolt upright with a shout. then looks at Cate. We hear the shower running. Cate doesn't move. He stares at the damage.d.d. He backs off rapidly.d. And your brother. What would they think? Cate I d. undressing and collecting discarded towels. When he's sufficiently numbed. He dresses. She gets up very slowly and dresses. Ian Suit yourself. He stops. Cate stares at the gun. Cigarette? Cate (Makes a noise of disgust) They are silent. slapping him around the head hard and fast. She takes the gun from his holster and points it at his groin.d. yes? Cate (Sneers.d.d.d.d. unloads and reloads the gun and tucks it in his holster. He puts the gun to her head. Think about your mum.d. Ian No? (He chuckles. As he comes.d. She picks up Ian's leather jacket and smells it.) Have a pop. Then lies her on the bed on her back. (He tosses the gun onto the bed.d.d. Ian Easy.) Ian We're one.d. Ian waits. towel around his waist. Ian (Gets up slowly.d.) I'm having a shower. then chuckles and goes into the bathroom. She rips the arms off at the seams. aren't we? He picks up his jacket and puts one arm through a hole. he comes and goes between the bedroom and bathroom. He lights his first cigarette of the day.dlan You don't want an accident. then she goes for him. Ian stands. Ian Don't worry. She packs her bag. Ian Want one? Cate Not with you.d.

(Locks the door and pockets the key. Ian (Lights a cigarette?) Cate How can you smoke on an empty stomach? Ian It's not empty. I'm scared of dying.there is an enormous bang. Ian throws himself flat on the floor. You back? Liar. Till after breakfast at least. Cate? Want to go home now. It's raining. She laughs and laughs and laughs until she isn't laughing any more. You. There's gin in it. a car backfires . Tapped my phone. Cate? Catie? Ian puts the gun away. I'll wait at the station.) Tell me. (Kisses his chest. It's not even seven. Cate Why can't I go home? Ian (Thinks?) It's too dangerous. (Laughs?) It's only a car. (Kisses the back of his neck. Someone like me. Ian I'll order breakfast. (Runs her hands down his back.) You're in here. pointing the gun at her from behind. C ate Ian Cate Ian Cate Ian C a te Ian C a te Ian C ate Ian C a te Ian C ate Ian C ate Outside. Cate closes her eyes for a few seconds. I'm not. There won't be a train. Cate. You're scared of things when there's nothing to be scared of.) I love you. so he just waits. No. she's crying her heart out. You're nicking thick. Not unless you ran out in front of it. then opens them. (Kisses his neck. Ian doesn't know if this means yes or no. Ian Please.Ian Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Ian moves away. After breakfast.) What's scaring you? Thought it was a gun. He kisses her and she comes round. but doesn't stop. Not from out there. What's thick about not being scared of cars? I'm not scared of cars. Ian You make me feel safe. unsure what to do. Want you to stay here. Cate Don't want to. It's not. She stares at him. Cate Nothing to be scared of.) Who'd have a gun? Me.) 20 . No. A car won't kill you. She collapses again and lies still. Cate I don't want to stay. She laughs hysterically. (Undoes his shirt.) For things I've done. Cate Not hungry. (She kisses him. (Massages his neck. as before.) Why would they shoot at you? Revenge.

But Had to call you again Missed This Now I do The real job I Am A Killer On the word 'killer' he comes. people listening to that. Cate Will they come here? Ian I don't know. (Sucks his nipples.) Done the jobs they asked. Cate You don't. Picking people up. (Begins to perform oral sex on Ian. So I stopped.) Said you were dangerous. Ian lies in pain.c.clan Cate. Cate You should resign. (Pushes him onto his back. He is still in one piece. (Claws and scratches his back. I'm sorry I stopped calling you but – (Strokes his stomach and lasses between his shoulder blades. shouldn't be telling you this.Ian C ate Ian C a te Ian C a te Ian C ate Ian C ate Ian C ate Ian C ate Ian Cate Ian C ate Ian Talk to people and I know I'm being listened to. disposing of bodies. Ian Loved me last night. I'll shoot you myself you don't stop. He hits her and she lets go. Cate I didn't want to do it. Ian's cry of pleasure turns into a scream of pain. trying to get every trace of him out of her mouth. C ate (Begins to panic.) Ian Don't start that again.) Don't want to get you into trouble. 21 .c. Ian Don't argue I do. (Kisses his back. Ian Don't work like that. Cate No more. Because I love this land. In before you know it.) Think they're trying to kill me. He tries to pull away but Cate holds on with her teeth. She goes to the bathroom and we hear her cleaning her teeth.) Signed the Official Secrets Act. listened to conversations and given the nod. Cate spits frantically. Served my purpose. Cate returns. Ian examines himself.) Stood at stations.) Driving jobs. Didn't want you in any danger. As soon as Cate hears the word she bites his penis as hard as she can. And you love me. Ian Thought you liked that. not to scare you. talking soft on the phone.) Got angry when you said you loved me. (Undoes his trousers.) Tell me. Cate I c. unable to speak. (Bites his back. I told you because I love you. the lot. (Licks his back.c.

She is still shaking so he hugs tightly to stop her. Cate It's wrong. Cate That hurts. Ian Can't always be taking it backing down letting them think they've got a right turn the other cheek SHIT some things are worth more than that have to be protected from shite. Ian When are you going to grow up? Cate I don't believe in killing. I wouldn't shoot someone. didn't hurt her. Cate I used to love you. Now you see me. She spits. Doing that. Ian Don't be stupid. Ian You sleep with someone holding hands and kissing you wank me off then say we can't fuck get into bed but don't want me to touch you what's wrong with you Joey? Cate I'm not. 22 . Cate You bit me. Ian How you feeling? Cate I ache. Cate Stop calling me that. Cate stares out of the window. Ian Planting bombs and killing little kiddies. She shakes. Ian What's changed? Cate You. You're cruel. Ian Pointed it at me. Ian Sorry. You. That's all. That's what they do. Ian watches a while. It's still bleeding. Kids like your brother. I love this country. then hugs her. Cate Looks like there's a war on. Made enough noise. Cate No. Cate It's wrong to kill. She puts her fingers down her throat and produces a hair. Then he lights a cigarette. It was hurting. that's wrong.) Cate Everywhere. Ian You want a bath? Cate begins to cough and retch. Ian returns. Ian No. He has a coughing fit. it is. He spits into his handkerchief and waits for the pain to subside. Ian Is that what this is all about? Cate You're cruel. Ian goes into the bathroom and turns on one of the bath taps. Cate Wouldn't shoot. He hugs her less tightly. Ian (Nods. Ian Went down on Stella all the time. Ian Yes.Cate Ian Cate No. Cate No I won't. I won't see it destroyed by slag. I stink of you. She holds it up and looks at Ian in disgust. Ian It's my job. Cate You're a nightmare. Ian You'll learn.

shut up. Ian (Stares at her) Cate I'm not scared of you.Ian Cate Ian Cate (Doesn't look. Ian Two English breakfasts.) The smell. Go on. Ian Cate. Ian It'll heal. son. Ian locks the door. Cate Or shit. Cate Do it. Cate Sausages. Ian. And toast. Ian Sorry. Ian (Gets off her. Then he knocks twice. Then two more loud knocks. Silence. She opens the door. The breakfasts are outside on a tray.) Cate (Laughs) Ian Answer the door and suck the cunt's cock. It is locked. Swap your meat for my tomatoes and mushrooms. It's just blood. We hear the other bath tap being turned on. It is locked. Shoot me if you want.} Turning into Wogland. He pulls the pillow off and puts the gun to her head. Cate (Begins to retch. Cate DON'T ANSWER IT DON'T ANSWER IT DON'T ANSWER IT She dives on the bed and puts her head under the pillow. There are two more loud knocks. Then two more knocks. They both jump. She brings them in. Forgot. She picks up her bag and goes into the bathroom. Go on. He finishes the remainder of the gin. You coming to Leeds again? Twenty-sixth. Ian draws his gun. Ian picks up the phone. Can't be no worse than what you've done already. goes to the door and listens. The door is tried from outside. Cate stares at the food. Ian throws the key at her. Bacon. Ian looks at the door. shoot me. 23 . There is a knock at the door. Ian Who's there? Silence. She goes to the bathroom. then turn it on yourself and do the world a favor. closing the door. Ian Will you stay another day? Cate I'm having a bath and going home. Cate tries to open the door. Cate I can't piss. It hurts. He puts the tray of food under the bed with a towel over it. Will you come and see me? I'm going to the football. Ian Drink lots of water. There are two loud knocks at the outer door. Ian Who's there? Silence. Cate returns. Ian takes a sausage off the plate and stuffs it in his mouth and keeps a rasher of bacon in his hand.

Two knocks. and takes the tray from under the bed. 24 . Ian thinks. Eventually. Soldier Got any more? Ian (Points to the tray under the bed. The Soldier pushes the door open and takes Ian's gun easily. rind and all. The two stand. Silence. Outside is a Soldier with a sniper's rifle. One knock from outside. Then he knocks three times.) The Soldier bends down carefully. The Soldier is searching a chest of drawers. Ian Pig. Ian puts his gun back in the holster and unlocks the door. The Soldier wipes his mouth. He opens the door. Ian tries to push the door shut and draw his revolver. Ian knocks twice. Soldier She in there? Ian Who? Soldier I can smell the sex.) Soldier Or yours. He finds a pair of Cate's knickers and holds them up. Soldier What's that? Ian Looks down and realises he is still holding a rasher of bacon. both surprised. Ian I was hungry. never taking his eyes or rifle off Ian. The Soldier holds out his hand. Ian (Under his breath) Speak the Queen's English fucking nigger. Soldier Got any more? Ian No. Soldier I bet. The Soldier sits on the edge of the bed and very quickly devours both breakfasts. He nods towards the bathroom. Three knocks from outside. Ian What for? Soldier (Looks at him) Ian In the jacket. Ian knocks once. He straightens up and glances down at the food.Then two more knocks from outside. Soldier Hers? Ian (Doesn't answer.) You a journalist? Ian I Soldier Passport. Soldier Got any more? Ian INo. He sighs with relief and burps. staring at each other. (He begins to search the room. Ian gives him the bacon and he eats it quickly. Soldier Two.

Ian Empty. No answer. He has dropped Ian's gun which lies between them. 25 . catching any remaining drops. Soldier Gone. then a huge explosion. The Soldier wakes and turns his eyes and rifle on Ian with the minimum possible movement. Scene Three The hotel has been blasted by a mortar bomb. Ian waits. The Soldier looks in lan's jacket pockets and takes his keys. There is a large hole in one of the walls. Ian looks out of the window. Ian Oi. Journalist. He forces it and goes in. There is a bottle of gin lying next to him with the lid off He holds it up to the light. and everything is covered in dust which is still falling. Soldier (Looks at Ian V press card. in a panic. Lot of bastard soldiers out there. Taking a risk. Ian Jesus Lord. Blackout. Soldier (Takes the bottle and drinks the last mouthful!) Ian (Chuckles) Worse than me. wallet and passport. There is a blinding light.) What's she like? Ian (Doesn't answer) Soldier Is she soft? Is she . Ian Mum? Silence.(He closes his eyes and rubs them gently over his face. Ian If you've come to shoot me Soldier (Reaches out to touch Ian's face but stops short of physical contact. We hear the bath taps being turned off. smelling with pleasure. He instinctively runs his free hand over his limbs and body to check that he is still in one piece. He tries the door. Cate isn't there. Soldier The drink. Ian looks in the bathroom. Ian looks around. The sound of summer rain. eyes open. rifle still in hand.) Ian Jones. Soldier Oi. It is locked. He knocks on the door. The Soldier holds the bottle up and shakes it over his mouth. The Soldier returns.) Ian You taking the piss? Soldier Me? (He smiles) Our town now. They stare at each other. Ian lies very still.? Ian (Doesn't answer) The Soldier puts Cate's knickers in his pocket and goes to the bathroom. The Soldier is unconscious. (He stands on the bed and urinates over the pillows?) Ian is disgusted. He is.

touching the tip of his cigarette against the lit one. Don't know where . then? Ian Mind your fucking own. if you can remember. Eventually. Soldier Give us a cig. Ian. Ian Why? Soldier 'Cause I've got a gun and you haven't. Soldier Sound English. Soldier Haven't been here long have you. course not. never heard of it. Ian My name's Ian. He looks at lan. (He trails off confused. British. (He picks up the revolver and examines it. Soldier Welsh as in Wales? Ian It's attitude. The bitch. Ian So? Soldier Learn some manners. The Soldier leans forward.) Come to fight for us? Ian No. I Soldier No. saying nothing. He smokes. Ian What? Soldier Nothing. Ian is uneasy again. Ian Don't know what the sides are here. Ian I live there. Ian is uncomfortable. fucking accent.Ian finds his cigarettes in his shirt pocket and lights up. Ian Come over from God knows where have their kids and call them English they're not English born in England don't make you English. (He turns away!) Look at the state of my fucking jacket. The Soldier looks at Ian for a very long time. English. Then takes a single cigarette out of the packet and tosses it at the Soldier.) Think I might be drunk. Soldier I Am 26 . Ian considers the logic. You a soldier? Ian Of sorts. Soldier What shall I call you? Ian Nothing. most of them don't know what a gun is. Soldier What's fucking Welsh. Soldier What. Soldier No. angry was she? Ian She's not my girlfriend. The Soldier picks up the cigarette and puts it in his mouth. . Soldier Foreigner? Ian English and Welsh is the same. Silence. Soldier Which side. waiting for a light. It's real. Ian I'm Welsh. Ian holds out his cigarette. I'm not an import. Soldier Never met an Englishman with a gun before. Ian Don't call me that. . Soldier Your girlfriend did that. and looks at the Soldier. Silence. eyes always on Ian.

I've only ever done one. Soldier You would.) Soldier Don't.. Brothers shouted. Three men and four women. Ian (Doesn't answer. Soldier What about that girl locked herself in the bathroom. Soldier Why not. a woman. Didn't cry. Went down. Called the others. Apart from a small boy hiding in the corner. I'll have to shoot you. Ian Couldn't sleep with myself. Soldier Sure? Ian I wouldn't forget. They held the men while I fucked the women. Ian Cate Soldier Close my eyes and think about her. Soldier What about your wife? Ian I'm divorced. Soldier Never done that? Ian No. Ian Last night. just lay there. She's . Soldier Three of us Ian Don't tell me. Hung them from the ceiling by their testicles. smell it. I was pissed. Ian Course I haven't. Fucking beautiful. Ian My job 27 .) Soldier Ah. they're all like that.) Soldier Thought you were a soldier. don't seem to like her very much.) Soldier You got a girlfriend? Ian (Doesn't answer. Soldier Good? Ian Don't know. Soldier So? Ian I've never . Soldier Went to a house just outside town.It's not Soldier What? Ian (Doesn't answer. I think. Ian You did four in one go. Heard crying in the basement. Soldier Not like that. Ian Charming.Shot her father in the mouth. Turned her over and -Then she cried. Ian Not like that.) Soldier When? I know it was recent. remember. Youngest was twelve. Soldier You killed her? Ian (Makes a move for his gun. Ian I do.. One of the others took him outside. Then I'd be lonely. Lay him on the ground and shot him through the legs.Dying to make love Ian Ian (Looks at him. Closed my eyes and thought of . Col. She's -She's -She's -She's -She's -She's -She's -When was the last time you . Probably not.? Ian (Looks at him. Made her lick me clean. All gone. Soldier Didn't you ever Ian No.) Soldier I have.

on the fifth stab snapped her spine. Ian Don't you fucking Soldier Couldn't talk like this. Bam. Ian What? Fucking what? What don't I know? Soldier You think (He stops and smiles) I broke a woman's neck. a woman. Ian Not like that. Soldier Not Like That Ian I'm not a torturer. Looks sick. Ian Fucking have. You'd know. Soldier What is? Ian Losing someone. like that. Ian No. For your country. Soldier Imagine it. My girl . do you? Ian ISoldier Like what? Ian Like You said – A soldier — Soldier You're a soldier. Have to be. Ian (Imagines harder) Soldier Foreign slag.) Soldier Would you? Ian (Nods. Back of the head. Ian (Imagines harder. When I go back. see. Soldier You never killed.He stops. You don't know. She's dead. Ian (Imagines it.) Soldier How. Soldier No. Ian (Looks sick. Wales. Ian Know what? Soldier Exactly. he .} Soldier You couldn't do that.) Soldier In the line of duty.Not going back to her. Ian I haven't — Soldier What if you were ordered to? Ian Can't imagine it.Soldier Even me. Ian It's enough. Silence. Soldier You think? Ian Yes. Fucking bastard soldier. Ian I'm sorry. Soldier You never killed anyone. Soldier That's all. Ian Know fucking what? Soldier Stay in the dark. 28 . Stabbed up between her legs. Soldier Why? Ian It's terrible. Ian Quickly. Soldier You know.

. Ian. tell them what you're going to do to them. I made love with Col. Soft and clean. personal.' (He tosses the paper away) Stories. Soldier Kill you then. starving man eating his dead wife's leg. Ian Fine. 29 . . Can't get tragic about your arse. Ian's face registers pain but he is silent. from Sheffield. Bastards killed her.. Women threw their babies on board hoping someone would look after them. Shootings and rapes and kids getting fiddled by queer priests and schoolteachers. Crushing each other to death. like the wogs. Morris. Ian It's not my job. Soldier And now you agree with anything I say. Not soldiers screwing each other for a patch of land. Now I'm here. what? Ian Shoot them. Tie them up. He holds the revolver to Ian's head with the other.Soldier You're close to them. He kisses Ian very tenderly on the lips. What's it like? Ian (Tries to answer. . young girl I fucked hand up inside her trying to claw my liquid out. Soldier Bastard pulled the trigger on Col. tied them naked to fences and whipped them with a belt before having sex. Soldier Whose is it? Ian I'm a home journalist. Soldier Foreign affairs. undoes his own and rapes him – eyes closed and smelling Ian's hair.?I'm fucking starving.. was jailed for three years for unlawful sexual intercourse with one of the girls. Don't think your Welsh arse is different to any other arse I fucked. Ian I write . Sure you haven't got any more food. you saw me.) You never fucked by a man before? Ian (Doesn't answer) Soldier Didn't think so. I don't cover foreign affairs. Stories. When the Soldier has finished he pulls up his trousers and pushes the revolver up Ian’s anus. Soldier See. Your girlfriend. aged thirteen. Soldier You smell like her. Soldier Why not? Ian (Takes one of the newspapers from the bed and reads) 'Kinky car dealer Richard Morris drove two teenage prostitutes into the country. Soldier Doing to them what they done to us. This isn't a story anyone wants to hear. That's all. Like it never happened. now I'm here. It's nothing. Ian Yes. Saw thousands of people packing into trucks like pigs trying to leave town. Tell them you saw me. make them wait for it. she's a story. He can't) Soldier (Withdraws the gun and sits next to Ian. gun to head. The Soldier is crying his heart out. Gun was born here and won't die. I went to school. No joy in a story about blacks who gives a shit? Why bring you to light? Soldier You don't know fuck all about me. (He pushes the rifle in Iain's face. They stare at each other. Same cigarettes. Not you.) Turn over. Filthy. The Soldier turns Ian over with one hand. . stories. Ian No. what good is that? At home I'm clean. then . for Yorkshire. He pulls down Ian’s trousers. what you doing here? Ian I do other stuff.. Ian Why? Soldier Going to fuck you. It has to be . Saw a child most of his face blown off. . Tell them . Rather be shot than fucked and shot. Insides of people's heads came out of their eyes. Ian Are you going to kill me? Soldier Always covering your own arse.

soaking wet and carrying a baby. Ian They've won? Cate Most people gave up. He has blown his own brain out. Cate Soldiers have taken over. Ian Will you stay with me. He ate her eyes. sucks it out. Poor love. Ian Tell him Cate I CAN'T. Ian I'm cold. She steps over the Soldier with a glance. Cate enters through the bathroom door. Cate Don't know what to do with it. Blackout. Ian Will you tell him for me? Cate He isn't here. Cate Keeps crying. Poor bastard. Ian Shaun know what we did? Cate No. Then she sees Ian. Ian Don't know what to tell him. the revolver in his hand. The sound of autumn rain. I love you Cate tell him for me do it for me touch me Cate. Ian Why not? Cate I have to go back soon. He does the same to the other eye. Ian You seen Matthew? Cate No. Soiled goods. Poor fucking bastard. not when you can have someone clean. Ian You come for me.Soldier The Soldier grips Ian’s head in his hands. Catie? Punish me or rescue me makes no difference. Cate How? Ian Smell it. Ian He'll know. Don't want it. Ian Cate? Cate It won't stop. Even if you don't. 30 . bites it off and eats it. Cate No. Ian Tell him -Tell him Cate No. Cate You're a nightmare. Cate? Cate No. He puts his mouth over one of Ian'5 eyes. Ian Touch me. Scene Four The same. The Soldier lies close to Ian. Ian Catie? You here? Cate Everyone in town is crying. Ian Better tell him. I'm cold. Tell him -You here? Cate A woman gave me her baby.

Cate. Won't be for long. Cate. Then gets up and searches around. (Goes to him slowly and touches the top of his head. Help me to . Ian Not as bad as all that. She takes the revolver from the Soldier and fiddles with it. Will you touch me? No. Hopeless. Cate rocks the baby. where are you going to go? Bloody dangerous on your own. And it hurts. Won't find anything.Help me — Finish It (Withdraws her hand. 31 .) Help me. It springs open and she stares in at the bullets. I promise. Cate considers. (Strokes his hair. Needs its mother's milk.) Be dead soon anyway. She sees the revolver in the Soldier’s hand and stares at it for some time. Ian That it? Cate Yes. look at me. What about Matthew? He's twenty-four. Safer here with me. Won't hurt you. Catie? Cate How. You can hear me. Ian Find my gun? Cate thinks. When he was born. It'll die. Bleeding. May as well look. Stay. So I know you're here.Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian What's happened to your eyes? I need you to stay. Nowhere to go. Ian Found it? Cate No. He relaxes when he hears her sit. Ian Catie. baby in arms. They shit and cry. Then sits down with the baby some distance from Ian. am I? Cate (Looks at him) Ian Will you help me. She removes them and closes the gun. Ian Can I have it? Cate I don't think so. Do you know about babies? No. Ian.) Catie? Got to get something for Baby to eat. Fucking bastards ate it all.

It's hungry. see. don't shoot myself I'll starve to death. Cate. Ian Everything's got a scientific explanation. Ian There isn't one. He puts the gun back in his mouth. No fairies. God – 32 . They're dead. Can you keep that baby quiet? Cate It's not doing anything. The gun clicks.Cate What? Ian Come on. it's fainting. Cate How do you know? Ian No God. it's the end. Cate What if you're wrong? Ian I'm not. they're dead. Ian Don't be fucking stupid. I'm ill. Cate I believe in God. No fucking nothing. Cate People who've died and come back say they've seen tunnels and lights Ian Can't die and come back. Cate God wouldn't like it. Cate Got to be something. Cate What about people who've seen ghosts? Ian What about them? Imagining it. Ian Why? Cate Doesn't make sense otherwise. That's not dying. Cate (Thinks hard. He takes it out again. They're not somewhere else. Cate It's wrong to kill yourself.) Ian (Takes the gun and puts it in his mouth. trying to make me live. Cate No. He shoots again. Cate But if. And again and again and again. When you die. You can't give up.) Don't stand behind me. Cate What are you going to do? Ian I won't hurt you. they die and that's it. Cate Thought you didn't want to die. No Father Christmas. Got to. Ian Fuck. Ian I know you want to punish me. Just speeding it up a bit. Ian No it's not. No Narnia. Cate I don't. Ian End it. Ian I can't see. Ian I'm not. Cate I know. I would. Ian Course you fucking do.) Ian Please. There's people I'd love to suffer but they don't. Or making it up or wishing the person was still alive. No reason for there to be a God just because it would be better if there was. Ian Give me my gun. Ian I've seen dead people. Ian We're all bloody hungry. You're not meant to do it. Ian Why not? Cate It's weak. doesn't make sense anyway. Cate Don't tell me what to do. He pulls the trigger. empty. Cate Fate. He takes the gun out of his mouth. Cate My brother's got blind friends. love. Cate (Gives him the gun.

uncontrollably. Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate Ian Cate I don't know her name. (She starts to leave. Amen. She won't.) Ian Where you going? Cate I'm hungry. She collects a few of the scattered flowers and places them under the cross. Or meet anyone who'll do bad things. Just in case. hysterically. No point when you're dead. Don't matter. (He throws the gun away in despair?) Cate (Rocks the baby and looks down at it. The sound of heavy winter rain. unnaturally. Can't you forgive me? Don't see bad things or go bad places She's dead. When I'm dead. Cate Can get some off a soldier. not now. it's dangerous. Dance on my grave. she's dead. No one's going to visit. What you doing? Praying. Ian Lucky bastard. She rips the lining out of Ian’s jacket and binds the wood together in a cross which she sticks into the floor. Ian What. She laughs and laughs and laughs and laughs and laughs} Blackout. I was supposed to look after her. Ian How? 33 . She's baby.Ian The cunt. There's no food. Cate. Can bury me next to her soon. Will you pray for me? No.) Oh no. Cate. Cate (Bursts out laughing. Scene Five The same. She looks around and finds two pieces of wood. Ian Cate. So? Innocent. Cate is burying the baby under the floor. You're praying for her. Don't feel no pain or know nothing you shouldn't know Cate? Shh. Cate It's dead.

Please. Cate. Cate Stupid bastard. Ian Aye. Ian tears the cross out of the ground. Light. Ian shitting. Ian laughing hysterically. Cate I'm hungry. Ian crying. He puts the remains back in the baby's blanket and puts the bundle back in the hole. Ian masturbating. Cate Get wet. Light.Cate Ian Cate Ian Cate Ian (Doesn't answer} Don't do that. Light. Light. then he climbs in after it and lies down. Ian Shit. I'd rather -It's not . There is blood seeping from between her legs. Darkness. She sits next to Ian's head. (She goes) Ian Cate? Catie? If you get some food -Fuck. coming through the roof. It starts to rain on him. And then trying to clean it up with newspaper. Cate You're sitting under a hole. Darkness. Ian cunt cunt cunt cunt cunt cunt cunt cunt cunt cunt cunt Darkness. But. Eventually. He dies with relief. weak with hunger. I know so am I. Light. She pulls a sheet off the bed and wraps it around her. Darkness. a large sausage and a bottle of gin. 34 . Light. Darkness. Darkness. Light. rips up the floor and lifts the baby's body out. huge bloody tears. Darkness. Ian strangling himself with his bare hands. Light. He eats the baby. Darkness. I'm hungry. I'm blind. Cate enters carrying some bread. head poking out of the floor. Why not? That's not you. Ian lying very still. He is hugging the Soldier’s body for comfort. A beat. Ian having a nightmare. Ian I know.

Ian Thank you. She feeds Ian with the remaining food. She drinks the gin. She pours gin in Ian's mouth. It rains. huddled for warmth. Blackout. She sucks her thumb. Ian listens. then washes it down with gin. 35 . Silence. She finishes feeding Ian and sits apart from him.She eats her fill of the sausage and bread.

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