Tom Malcolm Wright

Writing, creativity and TTRPGs

Bramble

Jessica looked down at the water.

‘There’s a fish mummy!’

Mummy stopped rowing and let the boat glide to a stop. Jessica peered down beneath the silver sheen created by the sun on the top of the water, down into the brown depths, and at the shimmering scales of the fish as it slid past them.

‘Looks like a bream,’ said Mummy. ‘You can tell by how flat it looks.’

Jessica’s attention shifted and she looked out at the reeds and the glistening dragonflies darting between them. Beyond the reeds, was the grassy verge of Knaveslake, lined with picknickers and paddlers. Beyond the hill the houses shone with their solar panels and white painted walls. The domestic wind turbines in the allotments, gaily painted like maypoles, twisted lazily in the breeze.

‘Boat number five, come in please, your time is up,’ called the barker.

Mummy sighed and picked up the oars once more and began to pull for shore. Jessica dangled a hand in the water, feeling the cool of it on her skin.

It had been a great trip, Mummy was a good rower and they had done the whole of the Lake, round to meet the Ouse and then back on the far side, where Knaveswood stretched out towards Selby. She had seen frogs, and heron, and ducks and waterboatspeople and seven different kinds of trees, although Jessica still had problems telling a beech from a hornbeam.

Mummy was pulling up at the jetty by the red brick building which rented out the boats and sold frozen fruits beneath a very faded sign saying ‘Cricket Pavilion.’ Jessica waited to be lifted up on to the jetty and then said, ‘Mummy, can I go help Daddy with the strawberries?’ Mummy raised an eyebrow, in the full knowledge that carrying home the strawberries also meant eating half the strawberries, then shrugged. ‘Sure, why not.’

Jessica took off at a run, up the steps, listened and looked both ways for rickshaws and bicycles, headed across the road, and into the allotments. Immediately she was swallowed up by the shadow of the trees and bushes on either side, the air suddenly cool and green. She ran along the little track which would take her up a slight incline and then round to the left to their allotment which was pressed against the ancient red wall which marked the edge of their back garden, but then a sudden ‘Pssst’ stopped her in mid-run.

She turned to see another little girl staring at her from out of the bushes.

Jessica was confused by the little girl, since she had an older look to her face, a sort of knowing look like the girls at the top of the school had, the ones who were getting ready to go to secondary and knew all the secrets a big girl should know. But, at the same time, this girl was smaller than Jessica, both shorter and slenderer. She was wearing a dress made of leaves. It must have taken her a long time to make. Earlier that week it had taken Jessica half a day to make a daisy crown, and the leaf dress seemed much more complicated.

‘Hello, my name is Jessica.’

The little girl in the leaf dress raised an eyebrow in a similar way to how Mummy did when Jessica said something unexpected.

‘Well met, Jessica.’ Her voice was like the sparkle of a stream and the wet of fresh turned earth. ‘You can call me Bramble.’

‘Hello Bramble. Do you go to school here?’

‘No, I used to live here a long time ago, but then I left. And now I’m back.’

Jessica nodded. She’d had a friend who’d gone away to live far away and the idea that people went away to other places made sense to her. The idea that they might come back again was also quite reassuring.

‘My Daddy has strawberries. Would you like some?’

Bramble seemed to think about this for a long time. ‘I have had blueberries at the court of the Thorn King. I’ve had damsons in the bowers of the Queen of the Night. I’ve had gooseberries picked by the Duke of Spinners himself. And of course I have dined deeply on my own superb blackberries. . .’

Jessica’s eyes went wide; she did not understand any of this but it sounded very grand.

‘. . . but right now I could eat a strawberry or three. Just to see how they are.’

‘Okay, well, it’s this way.’

Jessica took off at a sprint again and stopped breathless a few paces in front of the little gate to their allotment. She looked around for Bramble and to her surprise the strange girl was already leaning on a water butte to the side of the path, looking completely unruffled.

‘Oh! You’re fast!’

‘I am. I am the fastest. I’ve outrun the water of a great fall, the howling wind of a storm, and even the warmth of a sunny day. I am the fastest there is, in all the Courts.’

‘Wow. I came sixth in the egg and spoon race.’

‘Well, if I’d raced against an egg and a spoon I would definitely have won. Unless they were enchanted but I’d call that cheating.’

Jessica stood still for a moment trying to understand that.

‘Anyway, I won this race, and someone mentioned strawberries. Strawberries might make a suitable prize.’

Jessica nodded and pushed open the gate to the little allotment, where Daddy was finishing watering the tomatoes with from the rain catcher. To the side of him was a basket of green beans (yuck) and a basket of strawberries (yum).

Jessica took a deep breath so she could use her special Daddy Please Voice and opened her eyes wide to do the special Daddy Please Eyes, which together had not once let her down. Apart from that one time with the pony, but she had got an iced treat instead, so she still counted that as a win.

‘Daddy, please can I have some strawberries for Bramble!’

Daddy straightened up, taking off his wide-brimmed hat and wiping sweat from his brow.

‘Hey Sweetpea, how was the lake?’

She told him quickly in a single breath, and a single sentence, albeit one with a lot of ‘ands’ in it.

‘. . . And then we had to come back and then I asked Mummy if I could come and help you with the strawberries and then I met this other little girl in a dress with made of leaves and she said she would like some strawberries so I said I would ask you and please can I have some strawberries for Bramble and maybe a strawberry or two for myself as well?’

Daddy’s brows knitted. ‘And where’s this Bramble now?’ 

‘She’s just out on the path by the water butte.’

Daddy stepped around Jessica and stuck his head out to look at the water butte and then came back and crouched down in front of Jessica, picked up the basket and handed it to her. He looked her right in the eyes which was always a sign he was about to say something Very Serious.

‘Be sure to give her the best strawberries first, before you have any. And don’t offer her anything else, or promise her anything else. And don’t take any gifts from her. If she offers you anything, you need you to say the following words okay? ‘Thank you for all you and your people give us. We honour and praise you, but you have already given us everything we need, and we have learnt to take no more than that.’ Say it back for me.

‘Thank you for all you and your people give us. We. . . honour and. . . praise you, but you have already given us everything we need, and we have learnt to take no more than that.’

‘This is really important. Do you understand?’

Jessica nodded vigorously.

‘It’s really important, Sweetpea.’

Jessica nodded so vigorously her got tousled in front of her face.

‘And once you’ve shared the strawberries come straight home.’

‘Okay Daddy!’ and she had grabbed the basket and was off before he could say another word.

When she got to the water butte she looked around and couldn’t see Bramble. Maybe she didn’t like other people’s grown-ups and had hidden from Daddy. The smell of strawberries wafted deep into her nose. She looked at the ones on the top of the basket. Deep red and juicy and delicious. Her mouth instantly filled with saliva. Before she knew it her hand was hovering over the strawberry. A long moment passed. But she had promised Daddy so she slowly lowered the hand.

As she looked up, she saw Bramble leaning against the water butte as if she had been patiently waiting there the whole time.

Jessica gave a little courtesy and offered the basket of strawberries to her. Bramble stretched out her long, delicate fingers and picked up the exact strawberry Jessica had been eyeing. Jessica’s heart sank a little, but Daddy had been very clear.

Bramble began to eat the strawberry very slowly, with small bites of her sharp little teeth. After each bite her eyes closed as she chewed and she gave little mumbles of pleasure.

Jessica’s arms were getting tired holding the basket but as soon as Bramble had finished the best strawberry she leaned forward and casually picked up the second-best strawberry and began eating again, in no greater rush than with the first.

Jessica’s arms had begun to shake a little bit by the time the second-best one was gone, but Bramble reached in and took the third-best and with relish and small, sharp bites, she began to eat it.

Finally, Bramble was done with the third-best and her fingers hovered over the basket, just as Jessica’s had done, and then lowered to her side. ‘Three is enough, thank you.’

‘You’re all done?’ asked Jessica.

Bramble nodded.

‘You sure?’

Bramble had not quite finished the second nod when Jessica scooped up the fourth, fifth and sixth-best strawberries and stuffed them in her mouth. She chewed merrily for a long moment until she could swallow them down. ‘Ahhh!’ she said.

Bramble smiled. ‘Those were delicious strawberries. I thank you, little girl, you have been most gracious.’

Jessica scowled for a moment at ‘little girl’; she was definitely taller than Bramble, but then she remembered Daddy’s words and gave a little bow.

‘I have to take the rest back to Mummy now.’

‘I’ll walk with you.’

And off they went.

The allotments had trees growing on them which grew together over the path and strained the light leaf-green. Jessica liked this bit of the allotment best. You couldn’t see a house or telephone line anywhere. Even the fences were so overgrown, you could be in the middle of a deep forest, miles from anywhere.

Butterflies flew down from a nearby buddleia; beautiful ones she didn’t know the names of, deep blues and purples and reds, shifting like light on a bubble. Some settled on Bramble’s shoulders like a cloak, and others on her head like a crown. Some more flapped around Jessica, tickling her nose till she giggled, and then landing on her summer dress.

‘Your strawberries, whilst not as good as damsons in the bowers of the Queen of the Night, were very nice indeed. Thank you, Jessica.’

‘S’alright.’

‘Would you like to hear a story, Jessica?’

‘Sure.’

‘Once upon a time, there was a Queen amongst the Faeries, a queen of bush and berry, her fruits delicious, and her thorns wickedly sharp. She, like all the Great Ones of the Folk, was beautiful and terrible. The Short-Lived Ones knew this of her. They knew to accept her gifts and fear her thorns, to treat her with respect, with reverence.’

‘Uh huh,’ Jessica didn’t know this particular story and was already a bit confused by it.

‘But then the Short-Lived Ones changed, as Short-Lived Ones do. Often an individual Short Lived One can stay pretty much the same their whole short life through, but then they die and the ones who come after sometimes forget what the last one knew and so quickly the Short-Lived Ones as a whole have changed. They would strip her bare, so no more fruit would come, or cut her back for roads to be built through her domain. And it was not just the Queen, though she was by far the most beautiful and the most terrible. All the Queens and Kings, Duchesses and Dukes, Baronesses and Barons, Countesses and Counts, even the common Sprites and Boggarts, all of the Folk, Great and Small, found themselves under constant attack from the greed, anger and foolishness of the Shot Lived Ones.’

Jessica nodded as if she was following, even though she wasn’t. They seemed to have been walking down the tree-shrouded path for much longer than it normally took. The trees were so thick above her that hardly any light came through, and the briars to the left and right were so thick she couldn’t see the allotment sheds and greenhouses. She doubted she would be able to see much at all, except the butterflies on her dress had begun to gently glow and shimmer. She watched the beautiful colours as they swam and shifted.

‘The Short-Lived Ones thought they had defeated the Folk, as if they were fighting a war that could possibly be won. Indeed, they thought they were fighting a war to time us and our bounties, but really, they were fighting a war with themselves, like a branch coming to life to cut down the trunk of its own tree.

But for us a season is barely an hour, a circuit of the sun a single day, the lifetime of a single Short Lived One the passing of a week. So, all we had to do was wait. We did not retreat, we merely slept, in our burrows and our bowers, less than a score of Shot Lived One’s lives.’

‘And when those Short-Lived Ones had wrought such destruction that the tree of the world looked like it might topple, we stirred from our slumber, awoke in our full majesty, and we came upon them in the storms which tore the rooves from their homes, in the floods which drowned their crops, in the beating sun which burnt and dried till all was thirst and sand. And still, they did not understand. We did not cause those things; that was all their own doing; we merely revelled in the return.’

Jessica realised that she had not really been listening to Bramble, which was rude, but the colours shimmering and shifting across her dress were so beautiful.

‘And there’s you, little Jessica. You have treated the Queen of Bush and Berry with respect, offering her the three best strawberries from your basket, even when your mouth watered at the smell of them. You would make a fine lady’s maid in my court, with your good manners and your pretty curls. Would you like that, little Jessica?’

Jessica murmered, and glanced up from the scintillating butterflies just for a moment. Had Bramble always been that tall, looking down at Jessica with a face beautiful but terrible? But then the butterflies shifted into the deepest most wonderful blue she had ever seen, and she giggled with delight.

‘I will offer you this gift, little Jessica, as befits the lady’s maid of a queen.’ And suddenly, in her hands, was the most beautiful coronet. It looked as if it was made of daisies but their stems where finely-wrought silver, their discs florets made of shining gold, and the white of each ray floret where shimmering diamonds. It was the most beautiful thing Jessica had ever seen. The butterflies seemed to dim, the daylight was gone now, and all was dark in the thick, enmeshed shade of the trees and briars. There was just Jessica, Bramble, and this most beautiful coronet. Jessica felt her hand reach up for it.

Then she remembered her Daddy’s words, and slowly, almost painfully, lowered her arm, and she forced herself to say, word by careful word, with lips that felt like stones; ‘Thank you for all you and your people give to us. We honour and praise you, but you have already given us everything we need, and we have learnt to take no more than that.’

As she said the final word Jessica blinked. The butterflies fluttered by, now looking more like Red Admirals. The sun drifted down through the gaps in the leaves, and she could see the style which led out of the allotments and on to the street. In the distance she heard a rickshaw bell ringing a gentle warning.

For a moment it looked as if Bramble was holding a daisy chain in her hands, but then it was gone. Jessica looked down at Bramble, this strange little grown-up girl, who had a look on her face which was difficult to read. ‘I’m sad not to have you as a lady’s maid, little Jessica, but I’m glad that your people have learnt from their losses. As long as you continue to honour me so, I will ensure your bushes are full of berries every Autumn. But I will warn you, my sisters and brothers, aunts and uncles and myriad cousins, may have longer memories than me. The trust of the Folk is not easily earnt.’

Jessica nodded politely. She was becoming very aware of the smell of the remaining strawberries in her basket.

‘I’d better go home now. It was nice to meet you, Bramble. I hope I see you again.’

At this Bramble smiled her strangely grown-up smile. ‘That is a wish I can gladly fulfil, little Jessica.’ And then she seemed to skip into a gap between the brambles and was gone. Jessica hadn’t known there was a path there and immediately tried to find it, but to her it seemed to just be thick and thorny bushes.

Jessica ran with the basket out on to the street and was surprised to see that the sun was low in the sky and thick, heavy grey clouds were pressing around it. It had gone from pleasantly warm to sticky and close in a few moments.

She ran home as fast as she could.

The shutters were already closed on the house, and the turbine on the roof lowered, as it always was before a storm. She went in through the outer door, putting her shoes carefully on the rack, and then through the inner door, into the cool of the well-insulated house. Mummy and Daddy were in the kitchen. Their voices were raised, and Mummy had just used a bad word.

‘-sake Toby, you let her go with one of the Folk? Do you even know what kind?’

‘Jessica said she was called Bramble. Sounded like Garden Folk.’

‘For all we know she could be Royalty. You know how dangerous they are.’

‘Exactly! Jessica had already offered this Bramble strawberries; think about what could have happened if I just whisked her away, leaving an angry member of the Folk outside out house, expecting tribute.’

‘Yes, but it’s been five hours. She might have –‘

Jessica came in and put the basket of strawberries on the counter. Her two parents went giddy with relief and swept her up in to a big hug. Argument temporarily forgotten, all was kisses, and concern and ‘Are you alright?’s.

Eventually, they put back down on her special chair and served the evening meal, and as ever her parents pointed at each little bowl of different vegetables and pulses and and sauces and told her who in the community had grown them and in which allotment, and what they were, and then they all sat in silence for a moment to say thanks to the people and the plants and the land that had grown their meal, then Jessica told them what had happened; that the nice girl had offered her a beautiful crown but she had remembered what Daddy said and she had repeated his words and then she told them what Bramble had said, as best as she could remember. Her parents relaxed even further, shoulders lowering, breath slowing.

They ate a pleasant meal in quiet.

Later, Mummy and Daddy both kissed her goodnight, and tucked up in her little room at the top of the house.

‘You did really well today, Jessica,’ said Mummy, hovering by the door for a moment.

‘Thanks Mummy,’ she said, still wondering what all the fuss was about; she’d just been polite like she’d been taught. Her mummy turned on the little ladybird nightlight and the room filled with a gentle warm glow. It reminded her of the butterflies.

Then the storm finally broke; it sounded muffled through the shutters and the double-glazed windows and the insulation panels between her and the roof tiles, but still she could hear wind and rain driving against the house. She quite liked the storms, at least, she did when she was snuggled up tight and warm and safe like this.

She strained to listen to the sound outside. In it she thought she heard something new, something she had never heard before. As the wind and rain drove against the roof tiles, she thought she heard the sound of voices, many voices, high and raucous, full of furious delight, whooping and squealing to one another, the storm full of them, alive with them.

As was the whole world, she realised.

And then she fell asleep, and dreamt of butterflies and crowns.

The Fortune Telling Fish

194T505_the-reaction-of-the-fortune-telling-fish_03

I remember one Christmas in the cracker was this fish and she squealed with delight – she had had them as a kiddie. Don’t think I’d ever seen one before. She put it on her hand and it curled up a bit and waggled. Then she took it, all delicate, and put it on my palm. It didn’t do nothing, just laid there. Still. Then I looked at her, her eyes shining, and her touching my hand, and suddenly the fish started twisting and leaping on my palm and she laughed and laughed.

I found it the other day in a book she must have been reading before she left, like a bookmark. I put it in my hand and it lay dead still.

I think it must be broken.

Back in June I attended a workshop with Amanda Dalton at the Royal Exchange. She explored different ways of being inspired to tell stories by objects. I realised I have greatly underestimated the importance of objects in my own work and I’ve been thinking about this ever since. I think about the people, the relationships, the situations, wants and needs, but I’d forgotten that objects can tell the story of all those things.

The Architect

pexels-photo-239886

Kate comes into the hospital room and puts her bag down heavily on a chair. Karen, fragile and elderly, is asleep in the bed, tubes attached. Subika, in nurse’s uniform, is tidying up. Kate gives her a nod, and picks up one of the many architect plans curled up on side tables. She picks up a pencil and holds it up quizzically.

SUBIKA: (Sofly) She’s been making some alterations.

Kate rolls her eyes. Then moves over to look at Karen.

KATE:   It’s all work, work, work, isn’t it mum?

SUBIKA: She’ll probably be asleep for a while yet.

Subika continues to tidy. Kate stares at Karen.

KATE:   I wish we could have talked. I mean really talked. About music, or books, or feelings. Anything really. Anything other than which firm I was going to join once my apprenticeship was over. Which commissions I was putting in for. Which she was putting in for. One last push for the big signature building that would mean she’d be remembered. Or the breakthrough for me which meant they’d remember her through me. Just once, I’d like to have talked about something else. About you, about me.

SUBIKA: I’ve heard a lot of people talk like that about their parents. But normally after they’ve died. You can still have that conversation.

KATE:   I’m not sure either of us have the energy now.

KAREN’s eyes flicker open.

KAREN: Ah, Kate. How’s the tender for the Shaw House going?

KATE:   Beat. I’m sorry mum, I’ve got to go, just heard – waves phone unconvincingly.

KAREN: Quite right! Go get ‘em.

KATE leaves, avoiding eye contact with Subika.

KAREN: Give me a lift up will you. I’ve got to get this glass wall right for the Bayer Building.pexels-photo-239886.jpeg

End

Life, But Not As We Know It

galaxy-infinity-milky-way-110854 (1)

ULRIKE and MUN YI are sitting on some rocks, surrounded by thick primordial soup with a green film on it.

MUN YI:   Seriously though, what were you expecting?

 

ULRIKE:   I don’t know.

 

They stare at the goup.

 

ULRIKE:   It’s just. . .

 

Silence.

 

ULRIKEL:  I don’t know. It was just,.. I thought it would be.. . That we would find. . . Something else.

 

MUN YI:   You thought we’d find Greys didn’t you?

 

Pause.

 

MUN YI:   Come on, you thought we’d find big gangly grey aliens with big heads who’d try and probe you?

 

ULRIKE:   No! No, I was not imagining probing. I just thought we’d have a chat.

 

Silence. The slime pops.

 

MUN YI:   But it is life. We’re not alone! After all this time, life!

 

ULRIKE:   Yeah.

 

Pause

 

ULRIKE:   It’s just. I thought it might have the answers for us.

 

MUN YI:   What answers?

 

ULRIKE:   You know, the answers to the big questions.

 

MUN YI:   What, the answer to life, the universe and everything?

 

ULRIKE:   Fuck off.

 

MUN YI:   Well then?

 

ULRIKE:   Just, how we could be better. How we could stop making such a fucking mess of it all.

 

MUN YI:   And what might they say?

 

ULRIKE:   Like, love one another, treasure your precious little planet, grow up and stop squabbling. That kind of thing.

 

MUN YI:   But we already know all of that, don’t we?

 

ULRIKE:   Yeah. I suppose.

 

MUN YI:   We already know that that’s the answer, right?

 

ULRIKE:   Yeah.

 

MUN YI:   But we don’t do it do we?

 

ULRIKE:   No.

 

MUN YI:   So, why would we do it if a gangly grey alien with a big head told us to do it? In fact, if a gangly grey alien with a big head turned up and told us to all love each other and treasure our precious little planet, grow up and stop squabbling, what would we do?

 

ULRIKE:   We’d tell it to fuck off?

 

MUN YI:   And?

 

ULRIKE:   We’d nuke the fucker.

 

MUN YI:   We would nuke the fucker.

 

ULRIKE:   So it’s probably just as well, I guess.

 

MUN YI:   I guess so. Pause. And what have we learnt from this particular alien, the small green gloopy one?

 

Silence.

 

The slime goes pop.

 

ULRIKE:   (Puts her finger in her mouth and pops it.)

 

MUN YI:   (Nods. Puts her finger in her mouth and pops it.)

 

Silence.

 

The slime goes pop.

ULRIKE and MUN YI are sitting on some rocks, surrounded by thick primordial soup with a green film on it. 

MUN YI:   Seriously though, what were you expecting? 

ULRIKE:   I don’t know.

They stare at the goop. 

ULRIKE:   It’s just. . .

Silence.

ULRIKEL:  I don’t know. It was just,.. I thought it would be.. . That we would find. . . Something else.

MUN YI:   You thought we’d find Greys didn’t you?

Pause.

MUN YI:   Come on, you thought we’d find big gangly grey aliens with big heads who’d try and probe you? 

ULRIKE:   No! No, I was not imagining probing. I just thought we’d have a chat.

Silence. The slime pops.

MUN YI:   But it is life. We’re not alone! After all this time, life!

ULRIKE:   Yeah.

Pause

ULRIKE:   It’s just. I thought it might have the answers for us.

MUN YI:   What answers?

ULRIKE:   You know, the answers to the big questions.

MUN YI:   What, the answer to life, the universe and everything? 

ULRIKE:   Fuck off.

MUN YI:   Well then?

ULRIKE:   Just, how we could be better. How we could stop making such a fucking mess of it all.

MUN YI:   And what might they say?

ULRIKE:   Like, love one another, treasure your precious little planet, grow up and stop squabbling. That kind of thing.

MUN YI:   But we already know all of that, don’t we?

ULRIKE:   Yeah. I suppose.

MUN YI:   We already know that that’s the answer, right?

ULRIKE:   Yeah.

MUN YI:   But we don’t do it do we?

ULRIKE:   No.

MUN YI:   So, why would we do it if a gangly grey alien with a big head told us to do it? In fact, if a gangly grey alien with a big head turned up and told us to all love each other and treasure our precious little planet, grow up and stop squabbling, what would we do?

ULRIKE:   We’d tell it to fuck off?

MUN YI:   And?

ULRIKE:   We’d nuke the fucker.

MUN YI:   We would nuke the fucker.

ULRIKE:   So it’s probably just as well, I guess.

MUN YI:   I guess so. Pause. And what have we learnt from this particular alien, the small green gloopy one?

Silence.

The slime goes pop.

ULRIKE:   (Puts her finger in her mouth and pops it.)

MUN YI:   (Nods. Puts her finger in her mouth and pops it.)

Silence.

The slime goes pop.

Kelpie

Grayscale Photography of the Kelpies

Hannah is stood by some railings, looking over. SR is a ramp leading down towards the audience. She is sobbing gently. Sound of gentle water lapping.  

Harry walks past, swinging from a can. 

Notices Hannah.

HARRY            (Loud) Hey there, lovely lady! Why the tears?

Hannah wafts him away. 

HARRY            (Quieter.) Hey, no, seriously, babe. Why the crying? 

She turns away.

He sidles up and nudges her.

HARRY            Come on love? What’s up?

She looks down.

HARRY            I come here sometimes. When I need to get away from it all. Have a bit of a think. Not very often, obviously, cus thinking’s hard. I’m more of doer than a thinker! A lover not a fighter. But, yeah, it’s good down here. Watch the old Thames lapping up. And lapping down.

She looks up.

And sometimes (He throws the can over) it can take my troubles away with it.

Points after the can.

                        Bob. Bob. Bob. And now it’s gone.

Pause

                        What would be your problem, love? What do you want to throw away?

HANNAH         My boyfriend. He – Starts sobbing.

HARRY            Hey, hey, it’s alright.

HANNAH         No it’s not.

HARRY            Well, then, let’s make it alright. You got anything of his?

She rummages in her purse. Takes out a key ring with a fabric horse on it.

HANNAH         He gave me this.

HARRY            Well then. This is him. (Takes the keys off and hands them back to her.) This is him and all his shitty, not okay, behaviour. What do you want to say to him?

HANNAH         I want to say. . .

HARRY            Go on.

HANNAH         Fuck off Gary!

HARRY            Go on.

HANNAH         You’re a stupid twat, Garry, I can’t believe you’d go with her and I wish you’d fuck off and die.

HARRY            Yeah, that’s it!

HANNAH         And you were rubbish in bed, you’ve got a tiny cock and pimples on your arse and I fucking hate you Garry Spence!

HARRY            Yeah, alright, that’s done it. Now throw it away.

HANNAH grabs it from him and chucks it into the water. They both watch it bob away. She seems lighter.

Silence.

HARRY            I know a story about a horse. (She looks at him. Pause.) N’ah it’s silly

HANNAH         Aww, go on.

HARRY            N’ah, you wouldn’t like it. It’s one of them fairy stories. Kid’s stuff.

HANNAH         Tell me.

HARRY            N’ah.

HANNAH         Pleeease.

HARRY            Alright, well in olden times, there was this magical horse, right?

HANNAH         Like a unicorn?

HARRY            Like a unicorn. But less horny.

HANNAH         Right.

HARRY            It’s this beautiful horse right. Fit and lively. And women, when they see the horse, they just can’t help themselves, they just want to get their leg over it.

HANNAH giggles.

HARRY            It’s not funny! They take one look at this horse with it’s flowing – what they call it? Yeah, mane – it’s got this flowing mane (Tosses his head) and these women see it and they just want to go for a ride.

HANNAH         Yeah?

HARRY            Look, I’ll show you. Bends slightly. Get on!

HANNAH         What?

HARRY            Hop on, I’ll show you! Piggy back! Well, horsey back!

HANNAH         You’re mad, you!

HARRY            Come on, let’s go for a ride.

Beat

HANNAH         Alright!

She jumps on.

HARRY            And then this horse goes for a ride, right! And it’s the most amazing ride these women have ever had. I mean this horse can keep it going for hours (running round the stage.) Up and down, up and down, it’s got stamina. (He jolts her up and down. She squeals.) And they fucking love it! Time of their lives! And the horse keeps on going until, eventually – (he stops at the top of the ramp.)

HANNAH         Yeah?

HARRY            Yeah what?

HANNAH         What happens then?

HARRY            When?

She play slaps him.

HANNAH         Once they’ve gone for this looong ride. Then what happens?

HARRY            What do you think happens?

HANNAH         Well, if this horse is like any boys I know after he’s had his ride he dumps them of his back and runs off.

HARRY            Oh no! Not this horse!

HANNAH         No?

HARRY            Oh no! He sticks with them, the women who ride him, till the ends of their lives!

HANNAH         Aww!

HARRY            He takes them to a river. And they look out at it.

HANNAH         Awww!

He starts to walk down the ramp.

HANNAH         Then what happens?

HARRY            Hey?

HANNAH         What happens when he gets to the river?

HARRY            Oh! Then –

He is nearing the bottom of the ramp.

HANNAH         (Squealing with delight.) Look, out you nutter! You’re getting your shoes all wet!

HARRY            Then – he goes right up to the river.

HANNAH         (Laughing!) Careful! Don’t slip!

HARRY            Then he takes them right down to the water’s edge.

HANNAH         You’re crazy you!

HARRY            And then he jumps in. With them on his back. And he drowns them. And he eats them.

Silence.

HANNAH         Oh.

He jumps forward. Blackout.

8291

WARNING: I did almost no research on this one; that’s what happens if you write a play in a day – research and drafting fall by the way-side. But I think the idea holds true, even if the details are sketchy.

Also – swears

8291

KELLY, white, early 40s, is clearing up her breakfast in a family kitchen.

KELLY               Laura! You’ll be late for netball!

SIMON, a black man in his early 40s comes in, sifting post. Sits. Pours himself some sugary cereal and munches as he sifts. 

KELLY               Anything exciting?

SIMON            Bil, bill, circular, pizza menu, bill – ooh!

KELLY               ‘Ooh?’

SIMON            It’s come!

KELLY               What’s has?

SIMON            Our future! The deepest secrets hidden in our lives!

KELLY               Sounds awful. What are you talking about?

SIMON            You remember last month when I got you to do those mouth swabs?

KELLY               Yes?

SIMON            Well the results are in! The secrets of our DNA!

KELLY               Simon, darling, this will come as a shocking surprise to you but I wasn’t really listening when we did the swabs – I just went along with it to shut you up.

SIMON            I’d never have guessed!

KELLY               So, do you want to take it from the top?

SIMON            From the saliva sample I sent they can analyse your genetic make up – they map your whole genome and run it against they’re database and they tell you things about yourself.

KELLY               Such as?

SIMON            Well. . . gene 7912 mine says that genetically my heart is likely to be strong. I have 2413 a slight tendency towards weight gain.

Kelly reaches over the table and slides his cereal bowl away from him.

                        Ha, ha. (Pause) Oh. Oh no.

KELLY               What?

SIMON            Oh God.

KELLY               What?!

SIMON            Oh my –

KELLY               WHAT IS IT YOU ARSE?!

SIMON            5028. I have a mild intolerance for coffee. I think my life is over.

KELLY              Mild intolerance versus never being awake? Tough call!

SIMON            I will find a way to soldier on.

KELLY               Alright, then Professor, let’s see mine.

SIMON            Well, it says here that genetically you are beautiful but very annoying.

KELLY snatches it from him.

KELLY               7823. Relatively tall. Nailed it. 3103 slight hypertension – (Pushes her own coffee away from her.) 5067 green eyes. You paid how much for this?

SIMON            Doesn’t it say ‘green eyes, exceptionally beautiful.’

KELLY               Creep. Well, according to this I am genetically average in every conceivable way. How dull.

SIMON            Not to me you’re not!

KELLY               Thank you!

SIMON            You are definitely never dull.

She thumps him playfully.

Let’s see what Laura’s says.

KELLY               You did Laura?

SIMON            Yes.

KELLY               Without asking her?

SIMON            Well, she said yes to a swab.

KELLY               But did you explain what it was for?

SIMON            No, wanted it to be a surprise.

KELLY               Shouldn’t we wait till she comes down.

SIMON            C’mon, just a peak. Don’t you want scientific confirmation that our daughter is extraordinary?

KELLY               I don’t need a piece of paper to tell me that.

SIMON            C’mon. Let’s have a look!

KELLY               Alright, fine – get on with it.

SIMON            7823 – relatively tall.

KELLY               Boom! That’s down to me.

SIMON            5067 – green eyes.

KELLY               Double boom! Told you she took after me. Mama’s got strong genes.

SIMON            Oh god, this is a long one. 8291. ‘The protein encoded by this gene belongs to the ferlin family and is a skeletal muscle protein found associated with the sarcolemma. It is involved in muscle contraction and contains C2 domains that play a role in calcium-mediated membrane fusion events, suggesting that it may be involved in membrane regeneration and repair. In addition, the protein encoded by this gene binds caveolin-3, a skeletal muscle membrane protein which is important in the formation of caveolae. Specific mutations in this gene have been shown to cause autosomal recessive limb girdle muscular dystrophy type 2B.’

KELLY               What the fuck?

SIMON            Erm. . .

KELLY               No, seriously, what the fuck does that mean?

SIMON            Mutation in 8291 causes autosomal recessive limb girdle muscular dystrophy type 2B.

 

KELLY               What the fuck is that!

SIMON            Hang on! (Rifles through the papers.) Here it is! Limb-girdle muscular dystrophy, type 2B is one of many forms of limb-girdle muscular dystrophy, a group of disorders that affect the voluntary muscles of the hips and shoulders. LGMD2B is characterized by early weakness and wasting (atrophy) of the pelvic and shoulder girdle muscles in adolescence or young adulthood. The age of onset typically ranges from 15 to 35 years, and legs are usually affected first. Symptoms include the inability to tiptoe and difficulty walking and running.  Cardiac (heart) and respiratory involvement is uncommon. It is usually slowly progressive, with need of a wheelchair 10 to 20 years after onset.

Silence 

LAURA, mixed-race, 15, bounds on in her netball costume.

LAURA             Come on mum! We’ll be late!

Kisses Simon.

                        See you later Dad!

Grabs the car keys from a hook on the wall.

                        C’mon mum, I’ll be in the car!

She heads out. Kelly and Simon sit, unmoving.

End.

Now that we’re at the end I can unpack some of my thinking on this – reading it back I wondered if it was ableist, making the diagnosis of a condition into a tragedy. The day nine year-old me became diabetic felt like a tragedy. But to 40 year old me it’s more of a constant low-level irritation. Although I’d definitely not swap my diabetes for the condition here, I am very sure that there are people with Limb-girdle muscular dystrophy, type 2B who are living full and happy lives and making a difference in the world. I’m sure there are others with the condition who feel they could be living full and happy lives if society offered them better support. In short, I think the snap-shot here is true – a diagnosis like this feels like a bereavement, a loss which must be mourned. But it would be interesting to revisit our three characters over the following years and see if that feeling evolves into something else.

Boundary Issues

KIMMY is sitting on a JESSICA’s bed in student digs. JESS has put some effort into making her room feel at home – there’s study books but also posters, cushions, cuddly toys, maybe a pot plant. KIMMY is painting her nails.

JESS comes in, obviously having had a bad day, throws her bag down on the desk (which is line of sight from the door), then turns with a sigh – sees Kimmy, and jumps.

JESS:                Agh!

KIMMY:           Hey Jessie! Good day?

JESS:                You startled me!

KIMMY:           I came in to borrow your nail polish. That’s okay, right?

JESS:                Oh. That’s why I keep running out. Beat. Is that my t-shirt?

KIMMY:           Yeah, my stuff’s in the wash. Figured you wouldn’t mind.

JESS:                Right.

KIMMY:           So how was the meeting today?

JESS:                Yeah, the Prof was riding me a bit. About the last essay being late and all. Like, it’s fine, it’s just a bit. . . you know.

KIMMY:           Yeah. He’s a cock.

JESS:                I guess. I think it’s more about me getting my shit together.

KIMMY:           I suppose. But there’s no need for him to be mean about it.

JESS:                Yeah.

Silence

JESS:                I saw the groups for the practical module were up.

KIMMY:           Cool huh?

JESS:                Us being in a group together?

KIMMY:           Yeah!

JESS:                The other were saying that they were asked who they wanted to be in groups with.

KIMMY:           Yeah, it was that day you were all full of lurgy. So I signed us up together. Didn’t want to disturb you.

JESS:                Right.

Silence.

KIMMY:           What are we doing tonight then?

JESS:                Beat. Well, I’ve been invited to a party.

KIMMY:           Oooh! Where is it?

JESS:                Over in Goldeney.

KIMMY:           Oooh – Goldeney. What should I wear?

JESS:                Huh?

KIMMY:           I mean all my stuff is in the wash. Ooh – can I borrow your red dress.

JESS:                I’m wearing my red dress.

KIMMY:           That’s fine. I like your blue one too. What time Is it?

JESS:                Err, sorry, Kim, like, I’m going to the party, not ‘we are going to the party.’

KIMMY:           Beat. Sorry?

JESS:                Mark asked me. To go. With him. Me and Mark.

KIMMY:           Oh. Beat. Oh. Beat. Well, that’s fine. I’ll come with you and then just hang out till your done.

JESS:                I don’t think that’s going to work Kimmy. I’m going to be with Mark the whole time.

KIMMY:           Well I’m sure you won’t be with him the whole time, you’ll need someone to hang with when he’s talking to his friends.

JESS:                I’m not sure he’s planning on talking with his friends.

KIMMY:           Yeah, that’s what boys are like. You’ll need me. I’ll be your wing woman.

JESS:                Errr, or you could find something else to do?

KIMMY:           Like what?

JESS:                You could go down the union.

KIMMY:           Nah, don’t like it.

JESS:                Or Watershed, I heard some of the gang from the department are heading down there.

KIMMY:           Nah, don’t like them.

JESS:                Or you could catch up on Netflix.

KIMMY:           Nah, it’s not as good without you. I’d sooner come with you. It will be cool.

JESS:                Look, err Kimmy. . .

Kimmy does pleading eyes.

JESS:                Err, okay, but don’t get all moody when I’m spending time with Mark.

KIMMY:           That’s okay. I’m sure you wouldn’t abandon me completely.

Pause.

JESS:                Right, better go shower.

KIMMY:           Oh and Jess!

JESS:                Huh?

KIMMY:           You should wear your blue dress. Brings out your eyes.

JESS:                Okay.

JESS leaves for the shower.

KIMMY:           Painting her nails. And then I can wear your red one.

End

 

 

 

 

 

Moving Lights

I will be honest, of all of these plays, I really want to stage this one. Please someone commission me to do it!

MOVING LIGHTS

The stage is lit. It is empty apart from five moving lights which are fixed to the floor in semi-circle with the open-end to the audience. The lights are referred to here as 1 – 5, with 1 being SR and 5 being SL. There is just enough haze to make the beams of the movers clear when lit.

As the piece starts the house lights slowly fade out and the light on stage goes to a low level (so we can still make out each moving light.) 

The moving lights suddenly snap into sharp angles.

Europe’s The Final Countdown starts. Loud.

During the lead-in the lights turn on, narrow focus and make slow, graceful arcs with their tight beams of white light, across the space. Then when the guitar kicks-in they make bolder direct beams, snapping on and off. This goes on long enough (probably about the time the lyrics start) for us to be impressed and to get the gist of the light-show.

Gradually it becomes apparent that 1 has started to lag behind the others.

This becomes more and more noticeable; the others keep doing the precise and energetic light show until stated otherwise.

1 starts to drift down towards SR, tries to lift up to join the others, but slowly drifts down again.

Finally 1 settles with its beam on 5.

1’s beam softens and slowly turns pink.

1’s beam starts to gently pulse, like a heart beat, slower than the beat of the music.

5’s beam starts to flick down, as if distracted, then tries to keep up with the beat. This happens twice. 

5’s beam finally comes down all the way to focus, open white on 1.

Slowly 2 – 4’s lights also come down and focus on 1. The music stops

1’s suddenly goes to white and scans across 2 – 4. It then snaps up.

2 and 4 drift back up to position.

3’s light, looks at 1, then sharply at 5, then back at 1, it narrows and brightens. Then it snaps become up. The music comes back on.

As before, 1 is in time, then falls out, and quite quickly returns to bouncing a pink late off 5.

5 realises and shines back at him.

3 stops and snaps at 1. The music stops. 2 and 4 come down too and look at 1, then back at 5.

5’s beam on 1 slowly narrows, becomes pink, then starts to pulse with the same beat.

3’s beam widens and goes blood red.

2 and 4 look at 1, then at 3, then slowly look up and meander around the space.

1 starts to move his pulsing pink light over 5.

5 shudders.

5 starts to move her pulsing pink light over 1.

3 looks between them sharply, and becomes an even deeper red.

1 and 5 continue to run their lights over each other. 

3 starts to flick back and forward between them, then starts to vibrate.

Smoke starts to come out of 3.

A pyro behind 3 goes off sending sparks everywhere and 3’s light goes out.

1 and 5’s pink lights grow brighter and start to move off each other to dance together in the space, occasionally the beams caress each other.

2 and 4, still white, accompany as backing dancers.

Debussy’s Claire de Lune plays.

As the music swells 2 and 4 peel off and fade to black.

1 and 5 return to each other, wide pink, pulsing.

Their beams narrow.

The pulse slows.

Their light fades. 

Black.

 

 

 

 

Notification of Death

I actually did some research for this one, in that I read a pamphlet on how to break the news that someone’s loved one has died. It’s a thing I sometimes think about – would I be able to do it? How would I feel receiving the news? We talk about each moment being previous but this is a tangible moment where you measure your life before it, and your life after it, where everything is different. Anyway, this play isn’t about that, really, but that’s where it started in my head.

 

Notification of Death

The ground floor of a house. The front door is visible SR and it goes straight into an open lounge area – there’s a flight of stairs going up centre stage and then the door to the kitchen SL. The flat is clean and relatively tidy with a few signs of personality; a pink lace cushion, a shelf with Forever Friend ceramic bears on it, etc.

SARAH is passed out on the couch. She is wearing smart business clothes.

The door bell rings. SARAH doesn’t move.

The door bell rings. SARAH suddenly grunts and sits up. She’s bewildered.

The door bell rings again. SARAH realises it’s the door and unsteadily walks towards it.

The door bell rings again. She fumbles the keys, which are on a hook by the door, and then finally manages to open it.

On the other side are AISHA, and TIM, police officers in full uniform.

SARAH is suddenly rigid and wide awake.

AISHA: Hello. Are you Sarah Bolam?

SARAH: Yes.

AISHA: Mrs Bolam, may we come in?

ADREA: No. . . What. . . Why?

TIM: Mrs Bolam. I’m Officer Timothy Kent, and this is Officer Aisha Kazi. We need to speak to you. May we come in please?

SARAH stares at TIM then nods and walks away from the door, leaving it open.

AISHA: Thank you Mrs Bolam.

They enter, Aisha shutting the door behind them. They both look around the room as they come into the centre.

SARAH stops and turns to look at them.

AISHA: May we sit?

SARAH nods. AISHA gestures to the sofa.

AISHA: Here?

SARAH nods. They sit on the sofa; AISHA noticing the vodka bottle as she does so. SARAH stays standing.

AISHA: You should sit too, Mrs Bolam.

SARAH sits straight down on the armchair.

AISHA: I’m afraid we have bad news.

SARAH is unmoving. 

TIM: I am very sorry to tell you that Steven Bolam died a little under two hours ago.

SARAH stares at him.

AISHA: Mrs Bolam – would you like me to call you Mrs Bolam or would you prefer me to call you Sarah?

SARAH stares at TIM, and continues to do so throughout:

AISHA: Mrs Bolam, we would like to tell you what we know at present about your husband’s death. We understand that this may upset or disturb you. Please stop me at any time and feel free to interrupt me if there is anything that we say which you do not understand, dislike, or need repeating. You may take notes if you wish. Would you like to do that?

SARAH stares at TIM

At 5pm your husband left work and was driving back here using the ring road. His car was described as driving at high speed, in a manner consistent with brake failure. We believe that, in attempt not to hit an on-coming lorry, he swerved, lost control of the vehicle and struck a tree to the side of the road. The lorry driver pulled over and phoned for an ambulance. Unfortunately, by the time the ambulance arrived Mr Bolam had already passed away; it appears he suffered a fatal head wound on impact, although that will need to be confirmed by the coroner.

His body has been taken to the York City morgue. Once you have hired undertakers they will be able to collect the body there, as the autopsy should be complete by tomorrow.

Mr Bolam’s car was irrevocably damaged and has been taken away for analysis to identify if a fault was responsible for the incident and then it will be destroyed. We have here the case number of the incident for you to use when contacting the insurance company, and here (she proffers a carrier bag) are the personal effects we removed from the vehicle.

SARAH continues to stare at TIM. AISHA slowly places the bag on the sofa next to her.

TIM: Mrs Bolam. It was an accident. A tragic accident. And no one was to blame for it. We are very sorry for your loss.

AISHA looks at him sharply then looks back at SARAH

AISHA: Do you have any questions, Mrs Bolam?

Beat. SARAH suddenly stands.

SARAH: You must be thirsty. I’ll make you tea.

AISHA: No really, Mrs Bolam there’s no. . .

SARAH turns and walks into the kitchen and closes the door behind her. AISHA immediately turns to TIM.

AISHA: Why did you say that?

TIM: What?

AISHA: About no one being to blame?

TIM: Well, what? Nobody is to blame!

AISHA: That’s not up to us to decide – that’s up to the coroner.

TIM: Yeah, but it wasn’t anybody’s fault. Did you see the look on the poor lorry driver’s face? He’d have caved and told us if he’d been going too fast. The shakes on him.

AISHA: Not our call, Tim, stick to your training!

The sound of a kettle boiling off stage.

I do death notifications all the time. This is your first, right?

TIM: Yeah, and I appreciate you letting me come with.

AISHA: Don’t know why you were so keen.

TIM: Got to start using all that training sometime, right?

Pause. AISHA picks up the bottle of vodka. 

AISHA: There’s something not right here. 

SARAH suddenly comes back in.

SARAH: Biscuits?

AISHA: No, thank you.

TIM: No, no, thank you, Mrs Bolam.

SARAH abruptly turns and leaves.

Tim looks at the bottle.

TIM: So? She likes a drink?

AISHA: At 7:20 on a Tuesday evening?

TIM: Maybe she’s got a problem?

AISHA: That’s what’s weird. Does this look like the house of an alcoholic? Place is spotless.

TIM: Is that what they teach you when you become a family liaison officer? How to snoop into the public’s drinking habits?

SARAH comes back in with a tray which she puts on the coffee table. She is now wearing an apron with a large front pocket. She passes AISHA a tea, and then does the same for TIM. He nurses it. SARAH sits.

AISHA: Did you have any questions for us, Mrs Bolam?

SARAH (Pause. Not looking at Aisha:) Will I have to see the body?

AISHA: No. We were able to identify his body from the photo on his driving license so you won’t have to see Steven’s body until he’s been prepared by the undertakers. Or at all, if you’d prefer not to.

SARAH: I see. (Beat.) Do I need to sign anything?

AISHA: Not today, no. There will be paperwork at the morgue but the undertaker’s should be able to complete those on your behalf.

Pause

AISHA: I have this letter for you which details how to contact me if you have any further questions, and details when you can expect to hear from the coroner’s and about the inquest, which of course you are free to attend, but are not required to do so unless we inform you otherwise. I also have this leaflet about grief counselling services in the area.

AISHA offers the paperwork to SARAH who does not move, so she places them on the table. As she does so: 

AISHA: Black tea.

TIM: Sorry?

AISHA: Your tea is black. Mine’s got milk in it.

TIM: Yeah, I like mine black – lactose intolerant, you know that.

AISHA: I know that. But how does she?

SARAH: } He said –

TIM: } She asked me –

Beat

TIM: Just now.

Beat

AISHA: No she didn’t.

Silence

AISHA: Mrs Bolam, do you usually drink vodka at this time?

SARAH: Hmm?

AISHA: Where you at work today?

SARAH: Yes, you can phone the office if you like.

AISHA: Where is the office?

SARAH: Barretts and Johnson, Gillygate.

AISHA: What time did you finish work?

SARAH: Normal time. 5pm. I try and be strict.

AISHA: So you left work, came straight back here and drank most of this bottle of vodka?

SARAH: (Beat.) It had been a tough day.

TIM: Mrs Bolam, you don’t need to answer these questions, you’re not been accused of anything.

SARAH: (Looking at Tim.) Where did you go for lunch, today, Tim? We didn’t see you in the canteen. In fact, we didn’t see you between dropping off that shoplifter at Liddl and then you turned up at the car crash. You got there very quickly too. Almost like you knew it would happen. And the hour or so when I didn’t see you would be enough to go Mr Bolam’s place of work and cut his brake cables, wouldn’t they?

SARAH starts to reach for her radio. TIM reaches over and takes it off her.

TIM: Look Aisha, me and Sarah love each other. We’ve been together for years now but Steven wouldn’t give her a divorce, so –

AISHA: Timothy Kent, you are under arrest. You do not have to say anything. But, it may harm your defence if you do not mention when questioned something which you later rely on in court. Anything you do say may be given in evidence.

SARAH takes out a large kitchen knife from her apron and lunges at AISHA’s back. 

Blackout.

Two plays about communication

I noticed, re-reading the plays I wrote in 28 Plays Later, that two of them were on a common theme; the emergence of new emotional tools. Here’s the first:

CLEAN

A white room, two white plastic chairs. Doors SL and SR

SAMEERA enters SL, wearing a white suit.

RUBY enters SR, identical.

The two nod at each other.

They sit neutrally.

SAMEERA: What is the topic?

RUBY: Gender equality.

SAMEERA: What assertions are you positing?

RUBY: One, despite substantial improvements in the last 120 years, women, on average are still disadvantaged in society.

Two, that this is not morally acceptable.

Three, that action needs to be taken.

SAMEERA: One. Define your terms.

RUBY: Substantial improvements would include that women-

SAMEERA: Clarification. Define the meaning of society in this assertion.

RUBY: The West.

SAMEERA: Clarify.

RUBY: Retraction. Britain.

SAMEERA: Clarify.

RUBY: Britain, circa 2017.

SAMEERA: Define ‘substantial improvements’ for women in Britain between 1897 and 2017.

RUBY: One, women in Britain are now able to vote.

Two, women in Britain are now legally protected from domestic violence.

Three, women in Britain are now able to own property.

Four, women in Britain are legally protected from discrimination in employment.

SAMEERA: Elaborate on ‘still disadvantaged.’

RUBY: One, women in Britain are more likely to suffer domestic violence.

SAMEERA: Clarify ‘more likely’ than who?

RUBY: Women in Britain are more likely to suffer domestic violence than men.

SAMEERA: Proceed.

RUBY: Two, women in Britain earn 17.5% less than their male counterparts.

SAMEERA: Clarify ‘male counterparts.’

RUBY: Men in equivalent roles in the same profession.

SAMEERA: Proceed.

RUBY: Three, women in Britain are more likely than men to encounter sexual harassment in the workplace.

SAMEERA: Define ‘sexual harassment.’

RUBY: Bullying or coercion of a sexual nature, or the unwelcome or inappropriate promise of rewards in exchange for sexual favours.

SAMEERA: Define ‘on average.’

RUBY: Oh, good –

SAMEERA slightly inclines her head. RUBY returns to neutral.

RUBY: On average means that while there will be individual cases where a man is disadvantaged in a particular situation versus a woman, that, on average, the significant advantage lies with men.

SAMEERA: Clarify.

RUBY: In any given situation, a man is more likely to have an advantage over women than a woman is to have an advantage over a man.

SAMEERA: What possible counter-arguments are there?

RUBY: Citing of individual examples where a man has advantage over a woman.

SAMEERA: Response?

RUBY: The assertion ‘on average’ acknowledges that there are some situations where a woman might have advantage over a man but the likelihood in any given situation is that the man will have the advantage over a woman.

SAMEERA: Define ‘morally unacceptable.’

RUBY: Pause. Further preparation required.

SAMEERA: Time required?

RUBY: One day.

SAMEERA: Nods. Till tomorrow.

RUBY stands and leaves. 

SAMEERA stands and leaves.

End

 

In the past I have encountered clean language: a therapeutic tool aiming to ‘reduce to a minimum any influence from the facilitator’s ‘map of the world’ via the therapee’s metaphors, interpretations or unwarranted assumptions.’ (My play in no way depicts actual clean language, though!) I have also been exploring coaching, and the power of questions to clarify thought. While I’m very interested in in gender equality, in the writing I was more interested about how one person could, by being as ‘clean’ and neutral as possible. enable another to develop their thinking. (Reading it back Sameera interrupts which is a big coaching no-no.) Of course, the real value of therapy or coaching also lies in actually having a human being listen to you, as Nancy Kline discusses in her book A Time to Think, but at the time part of me was yearning for a gentle, emotionally-cooler way of exploring ideas than the heated polemics on social media.

 

Then I explored a different idea, that sometimes the best communication between two people might be silent:

EYE CONTACT

Sasha enters the house, looking harassed. She’s wearing loose, comfortable clothing in light colours. The lounge is simple – no obvious screens, but there are some pictures on the wall, mainly landscapes. Abhin enters from the kitchen and looks at Sasha.

She sighs.

He takes both of her hands and they kneel together on a rug in the centre of the room.

They sit, cross-legged, holding hands. They look into each other’s eyes.

Several minutes pass during which something is happening, but there’s no obvious movement or expression.

Slowly they break, stretching life back into their limbs. They stand.

They hug and he kisses her gently on the mouth.

She sits on the couch with a contented sigh.

Abhin re-enters with a cup of tea and passes it to Sasha.

Abhin makes a gesture and music begins to play, the light shifts slightly, becoming warmer.

ABHIN: Good?

SASHA: Good.

End.

 When I’m teaching acting to students I lead an exercise where I ask them to stand completely still; no fidgeting, no raising an eye brow or the corner of a mouth, nothing, and then hold eye contact with each other and have a silent conversation. I’ve yet to see a group who felt that nothing was communicated in that time, and some have quite profound experiences. I must have been taught that exercise by someone but as I’ve been using it for 20 years I forget who!

I sometimes wonder what the effect of it would be in terms of a relationship, rather than a theatre workshop, hence the above vignette; imaging a world in which we are unafraid to be really present with another person in complete silence.

If anyone wants to see some of my professional work, Horace and the Yeti is out on the road, and my more Buddhist project, Generation Hope is thundering towards March 17th!