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But What I Really Want to do is Write:

Adapting the Mike Leigh Method for Writers

for the stage.

By Ian Irvine M.A. (Australian Film Television and Radio School)

A full length play script and accompanying exegesis submitted in full, requirement for the award, Master of Arts (Research).

Faculty of Creative Industries Queensland University of Technology

2008

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Keywords

Mike Leigh Method, improvise, improvisation, Mike Leigh, development, playwriting, performance, theatre, play, script, workshop, redraft, rewrite

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Abstract

This thesis, comprised of a stage play and exegesis, asks whether the Mike Leigh

Method, commonly used by Auteur directors could be adapted to benefit a

playwright during the redrafting and development process. I seek to answer this

question by examining differing methodologies of drama creation and charting

my process as I work to redraft my character driven stage play Deceased Estate

through the adaptation and application of the Mike Leigh Method. I contend that

Leigh’s method affords a set of honed and proven guidelines that can help the

playwright get to the heart of the character driven drama and offer an adapted

method template that can be used and furthered by other Playwrights wishing to

develop their work in this manner.

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CONTENTS

KEYWORDS ................................................................................................................................. III

ABSTRACT .................................................................................................................................... V

STATEMENT OF ORIGINAL AUTHORSHIP ........................................................................... IX

ACKNOWLEDGEMENTS ........................................................................................................... XI

INTRODUCTION.......................................................................................................................... 1

THE RESEARCH PROBLEM ..................................................................................................... 3

LITERATURE REVIEW.............................................................................................................. 7 INSPIRATION AND FORMULATION ................................................................................................ 7 THE ASSEMBLY .......................................................................................................................... 12 BEYOND THE FIRST DRAFT ........................................................................................................ 14

METHODOLOGY ...................................................................................................................... 16 COMBINING THE METHODS ........................................................................................................ 18 TABLE 1. A STEP OUTLINE FOR APPLYING THE ADAPTED METHOD ......................................... 22 TABLE 2. THE WORKSHOP OUTLINE ......................................................................................... 23

RESEARCH ANALYSIS ............................................................................................................ 24 THE PRE-WORKSHOP DRAFT ..................................................................................................... 24 CHARACTER NOTES ................................................................................................................... 25 WORK SPACE ............................................................................................................................. 26 CASTING .................................................................................................................................... 26 THE WORKSHOP......................................................................................................................... 27 WEEK 1. ..................................................................................................................................... 27 WEEK 2 ...................................................................................................................................... 32 WEEK 3 ...................................................................................................................................... 35 ANALYSIS .................................................................................................................................. 38 FURTHER DRAFTING .................................................................................................................. 38

CONCLUSION ............................................................................................................................ 45

APPENDIX ................................................................................................................................... 47 OPENING SCENES FROM PRE-WORKSHOP DRAFT. ...................................................................... 47 OPENING SCENE FROM POST-WORKSHOP DRAFT. ...................................................................... 58

DECEASED ESTATE .................................................................................................................... 71

BIBLIOGRAPHY ...................................................................................................................... 147

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Statement of Original Authorship The work contained in this thesis has not been previously submitted for a degree or diploma at any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made.

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Acknowledgements

Thanks are due to the academic and administration staff at the Creative Industries Faculty of the Queensland University of Technology. I would like to extend special thanks to David Megarrity, Dr Errol Bray, Stuart Glover, Jono Burns, Daryl Heathe, Michael Phelan, Bonnie Charmers, Felicity Carpenter and Belinda Warren. Without your help this project would have been impossible. I would also like to acknowledge the contribution of my fellow cohort members to my stage play and finally, extra special thanks goes to my parents Helen and Tony Irvine for all their love, support and much needed editorial advice.

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It is the transformation of character

through story, be it in comedy or

tragedy or any permutation of story

types, in what ever genre or non-generic

form it occurs, that transfixes audiences

that are themselves transformed. It

converts audiences from observers to

participants, and it’s what audiences pay

for.

Peter Sainsbury, The Fear & Loathing

of Risk & The Underdevelopment of

Script Development

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Introduction

It seemed to be one of those ideas. You could mention it while having

dinner, on a bus, at the bar at a nightclub or with a taxi driver and suddenly

a fervid discharge was sparked. I couldn’t remember that last time I’d had

one like this.

It seemed that my link between the Baby Boomers new-found property

wealth, their children choosing to move back home to save for their lifestyle

and a true story of a 23-year-old who had murdered his family to get his

inheritance early, had people from all backgrounds and generations venting,

debating and occasionally apologising.

Previously, when asked what I wrote about, I would dodge the question for

fear of the long blank stare and the awkward segue in to usually lighter

topics. But now people were happy to question the fine line of living within

our means, the security and anxiety the recent property booms had brought

and an uncertain future that scared many. I probably shouldn’t have been

surprised – the divide between the haves’ and have nots’ was growing

exponentially and these topics had become a national obsession. I found this

encouraging.

To me, the subject matter was powerful enough to work as a tragedy,

hopefully in the same vein of Arthur Miller’s Death of a Salesman (1949). I

have always found the genre to provide a potent and poignant experience

rarely matched by other types of theatre. While watching a tragedy, I feel I

am dragged along – often kicking and screaming - as the screws tighten and

the layers of superficiality, good grace and repressed emotion are replaced

by the fatal decisions and actions that run to the very core of being.

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I brought my idea along to a meeting with my classmates in the 2005 QUT

MA (by research) Playwrighting Cohort. We were a group of eight

playwrights who met fortnightly under the supervision of Dr Errol Bray.

Our Masters theses were to consist of a stage play and an exegesis – and

with the play weighted at sixty-percent, the paper was a distant thought that

could wait for later.

I pitched my play. A family of four and one interloper. There would be the

nearly retired parents, who are focused on enjoying the next stage of their

lives with as much money and luxury as in the current, their daughter who

has moved back in with her fiancé so they can save for a home of their own

and their son, Travis, who believes he is destined for fame and fortune and

eventually will kill them all. After some debate about overly loving parents

causing selfish children, I left with the pleasing sense that they were looking

forward to reading it. I was pleased. All I had to do was write it.

My first draft was complete in just over four months. It contained all the

relevant themes, I had written some interesting action, there were some

funny bits, I provided a rough but decent structure, my characters had aims

and goals and it all ended brutally on page ninety. It needed more work but

the more I studied it the more I was convinced it was on its way to

becoming a topical play that might find a niche amongst similar plays about

refugees or anti American sentiment and be forgotten as quickly as I’d

written it.

This was not what I was aiming for.

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The Research Problem

My play felt false, thin, lacking in depth, and driven by subject matter, not

character. The narrative of the tragedy often unravels through a fatal

character flaw that the protagonist doesn’t realise they have, at least, not

until it’s too late. In this draft I felt the fatal flaw was my becoming so

caught up in the thematic relevance of my story I hadn’t brought it down to

a level that would make it accessible and believable. If I wanted my play to

be anywhere near the Miller benchmark, I had bravely set, I would need the

play to be deeply humane. I would need emotional detail. I needed to be

able to peel back the veneers of my characters and expose their complex

inner lives. I had to approach the next draft differently.

A writer I knew of who handled the character driven narrative better than

most, was Mike Leigh. It is often suggested that viewing a Mike Leigh

drama is like watching real people respond truthfully and impulsively to

each other and the events that impact on them (Marchand, 1985, 1). But

Leigh’s writing process was quite unlike mine that usually consisted of

being locked in a small room and thumping my forehead against a dirty

keyboard. Revered by directors, Leigh’s method, as defined by Robert

Marchand in Making Plays the Mike Leigh Way broadly consists of actors

guided by the writer/director creating characters; being put together in

improvised situations and then out of this material a central cathartic

situation emerges around which the narrative and plot is shaped, written,

rehearsed and performed. Leigh describes this as building in a three

dimensional way: “If what you see [in the play] has any relevance, it’s

because the rest of it is there; the iceberg’s there, even if you only see the

tip” (Leigh in Valley, 2005, 1).

I had dabbled with this method previously whilst studying at the Australian

Film Television and Radio school. The prospect of giving talented actors a

few directional prompts and having them do all the hard work for me while

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I simply took notes had been an appealing thought. But it didn’t quite go

like that and my result was a failed short film project that lead to strained

friendships and money returned to family, co-workers and local businesses

that had good-heartedly bought tickets in our fundraising raffle. This was

when I realised that what I did faster, more efficiently and far better than

verbally communicating my thoughts – was writing them. But did that

mean I was incapable of ever harnessing Leigh’s technique? Of course not.

But I would have to adapt it to my needs.

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Research Argument

While my inexperience with directing and the stark reality that there are no

short cuts had caused my short film venture to fail, my appreciation for

Leigh’s method hadn’t, and it occurred to me that as a writer I embark on a

course of improvisation all the time, the only difference is that I do not work

with actors during the process but with my imagination alone.

It was this similarity that lead me to question whether I could adapt Leigh’s

approach to my development process. Could I tweak his method to provide

set of guidelines that would allow me the opportunity to step away from the

text? Could adapting his techniques help me see inside my stage play and

get to the heart of the character driven narrative?

The repressed memory of my exegesis had returned - and now with shape

and purpose. Through practice-led research I will seek to answer these

questions by tailoring the Mike Leigh method to a process that initially

creates story worlds through text, rather than with actors. To do this I will

examine three methodologies of drama creation: the Mike Leigh method,

the ‘structuralist’ procedure and the ‘intuitive’ approach and I will explore

various playwriting methodological texts that align themselves within these

camps.

The structuralist procedure applies to the various given methods for

analysing and crafting creative phenomena as often found in ‘How to write’

texts such as Buzz McLaughlin’s The Playwright’s Process (1997). These

texts offer a formulaic approach to converting inspiration in to a pre-

determined story structure.

An intuitive approach, as defined by Joseph Klinger in A Methodology for

Playwriting is where the writer relies primarily upon intuitive impulses to

write the play (1993).

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I will chart each method from inspiration to the assembly of a completed

draft with the view to identifying the key features of the Mike Leigh

method. These aspects will form the basis for adapting, applying and

harnessing Leigh’s approach.

Secondly, I will look at combining the methods and outline my working

methodology for the first draft of Deceased Estate. Out of this I will

document the application of the adapted method as used and tested in the

further development of my play. I will conclude with a discussion of the

outcomes, potential merit and pitfalls found.

Both this exegesis and the accompanying stage play work to create new

knowledge by providing a means of examining and documenting the quest

to create the character driven drama through the experimental adaptation

and application of the Mike Leigh method. It is also hoped that the adapted

method may also be applied and furthered by other Playwrights wishing to

work with actors and improvisation as they develop their narratives.

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Literature Review

Inspiration and Formulation

Peter Sainsbury, in his paper The Fear & Loathing of Risk & The

Underdevelopment of Script Development, provides a good starting point for

this review with his description of the writers task:

The construction of a whole, complete and

satisfying drama with its main and sub

plots, its acts, arcs, turning points, crises

and climaxes, in which a productive dialect

between story structure and character

development that is of critical importance,

is a mightily intricate and notoriously

amorphous task. Not all of its elements

can be controlled simultaneously, and

indeed, not all of its elements can be

created simultaneously, because the

successful birth of each depends on the

prior stabilisation of another. There is a

hierarchy, not in terms of importance but

in terms of genesis, in which each element

is determined by its context (2004, 9).

By this definition a line of dialogue works only by its place between beats

within a scene, a beat by its place within the dramatic values of a scene, a

scene by its context in a sequence, a sequence within an act, and an act only

within a story (Sainsbury, 2004, 9).

This can be quite daunting when armed only with a fuzzy idea and a pen.

Inspiration doesn’t readily come ‘stabilised’ for drama and the playwright

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must choose their plan of attack. Femi Euba, in the Poetics of the Creative

Process describes this process as the playwright being compelled by some

crisis in his or her world, probes their psyche for answers. “Through the

probing, an idea loaded with possible answers to the problem strikes,

answers that the playwright tries to decipher, and struggles to interpret in

creative form” (2005, 14). It is this struggle that inevitably leads the

playwright to decide which methodology will be used to tame this idea into

a work of drama.

Structuralist1 methods rise swiftly to meet this problem, often with formulas

and jargon working towards valuing the strengths and weaknesses of an

idea’s plot potential before writing begins. Buzz McLaughlin, in The

Playwright’s Process offers three questions for an inspiration evaluation.

Will this idea work as a play? Does it have the basic dramatic ingredients to

sustain itself? Does it have the solid foundation to support what will be built

on top (1997)? William Missouri Downs and Robin U. Russin, in Naked

Playwriting support this approach but go further to say that through

inspiration the playwright must be able to identify a premise. The premise is

the organising principle – the starting point and the core of the play, which

reflects the why and what (2004, 3). Most of this advice is firmly grounded

in Aristolte’s theory of Drama, Poetics written over two thousand years ago

(Apostle, H., Dobbs, E. and Parslow M. 1990). But whichever the

terminology, the structuralist method seeks to place inspiration in to a

framework where it must be justified against the craft essentials.

1 In The Poverty of Structuralism Leonard Jackson defines Structuralism as “…the practice of studying phenomena as different as societies, minds, languages, literatures and mythologies as total systems, or connected wholes” (1991,23). In literary theory, structuralism seeks to define basic fundamental elements in stories and myths, which can be identified across a wide range of literary styles and genres. These elements have been used in literary criticism where a text’s originality may be judged by its structure, rather than by the particulars of voice and character development in which the structure is conveyed. These elements have also been used in isolating and defining the key building blocks of the storytelling craft, and it is these

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Though some writers may feel that once they have connected with their

Muse, and the words are flowing on to the page, change could be disastrous

- and that turning to firm ideas of structure and technique may limit

creativity. Writer/director Jacques Tourneur believes “great things come

from that great reservoir we have within us of past experience, which is all

available.” He continues: “I believe in instinct. I believe that when I write

something it’s subconsciously inspired – we’re not doing it consciously”

(Hingham and Greenburg, 1972, 221).

In A Complete Guide to Playwriting Shelly Frome says “Formulas for

stirring up plays are as powerless as formulas for stirring up love. It just

won’t happen (1990, 12). These are some of the arguments that give rise to

the Intuitive approach where a writer trusts their inherent storytelling voice

to craft their plot from their inspiration. In A Methodology for Playwriting,

Joseph Klinger expresses that a playwright taking this angle might start with

a poetic image, or interesting character trait that doesn’t necessarily hold

dramatic potential but manages to capture or stimulate the mind in some

way (1993, 28-48). This is a personal process where the writer might only

find the premise of their story at the end of the first draft.

The Mike Leigh method has a very different approach. It doesn’t initially

begin with inspiration – but with auditions. The audition doesn’t revolve

around a script because one hasn’t been written and there are no pre-

determined characters or plot points. The casting process is entirely for

Leigh to find good actors (and essentially characters) that he can work with.

In The Improvised Play by Paul Clements, Leigh describes that he is looking

for “experienced all round-professional character actors, tough minded and

individualistic” (1983, 23). Casting is done through a lengthy interview

where the actor is invited to talk about a specific person he or she knows

blocks that form the foundations of the formulas professed by the ‘How to’ texts referred to in this exegesis.

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and then works towards bringing that person in to existence. This is an

early glimpse in to the method for the actor (1983, 23).

Once a cast member is selected, Leigh asks them to come to rehearsals

prepared with notes on as many people as they can think of that are the same

sex as the actor and close to the actor’s age. This non-restrictive

approached is designed to allow Leigh the greatest possible freedom and

creative scope to choose his characters (1983, 24-25). Leigh and the actor

may talk about the list of characters for several days and this runs

concurrently with similar discussions with other actors. Throughout this

phase Leigh keeps detailed notes and begins to consider how some of the

characters spoken about could be brought together. It is not uncommon for

Leigh to continue to go back to the actor to get them to compare and probe

character types to aid in his decision (1983, 26). Clements writes:

At this stage the options that are being

weighed up, and the choices which are soon

to be made as to which of the real people is

to be selected for the actor to work on, all

happen with the context of the possible

relationships which could exist between

clusters of characters based on originals

whom Leigh finds, for one reason or another,

inherently interesting (1983, 27).

Eventually the actor is informed which real person has been chosen from

their list – but there is no reason given for why this is so. Leigh’s selection

is guided by some notion about the possibilities of their interaction – not

whether the actor knew this particular person better than another, or had a

character type in mind that they were dreaming of playing. This is another

reminder that Leigh’s method is in no way a committee job. There is a strict

division of labour between his function, which is to see the play from the

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outside as a whole, and the actors function, which is to focus exclusively on

character (Marchand, 1985, 7-9).

This balance of power becomes increasingly important as Leigh sets about

the transformation from real person to a character that is as detailed as the

imitation. Leigh does this only with one actor at a time and the work is

bound by a strict sense of secrecy. One character can’t afford to know more

about another than he or she would in real life, otherwise the improvisations

could be, in his words, “bullshit” (Clements, 1983, 37). This process may

run for several months – and only after this, does consideration for structure

begin.

It could be seen that Leigh’s initial steps are not that dissimilar to the

processes that occur in both the intuitive and structuralist methods, where

the writer shifts and arranges ideas, makes character sketches and begins in

other ways to define the material (Clements, 1983, 29). But I would argue

Leigh’s method contains some strong advantages created by his use of

separation. The writer working in their mind alone needs to be able to keep

an eye on the whole construction and still track character as well as what

each character knows about the other and their attitudes towards this. But

Leigh has the ability to clearly divide these tasks by separating character in

the minds of his actors - luxury writers working with more traditional

methods don’t have.

The intuitive approach and structuralist procedure could be seen, however to

allow the playwright a great deal more scope and freedom in terms of

character and plot. The playwright has the option to pick, choose and

discard from a whole host of characters (real or invented) limited only by

their imagination and the story that they want to tell. Yet Leigh’s initial

concern is only for finding characters that his actors can truthfully realise,

and he can’t suddenly decide to make one of his men a woman. In this

respect, having an idea of plot and character before employing the method

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would still allow creative freedom for story, but also provide an opportunity

for defined and separated refinement of character (and hence plot) once it

was required.

The Assembly

The structuralist procedure will often begin plotting by demanding the

setting up a strong central character. McLaughlin writes that audiences

demand to know which character they are supposed to be following. They

need to know right from the start who the play is about and what that person

wants. If they don’t the writer will lose their audience, as they won’t know

how to listen or engage with the play as it unfolds (1997, 22). Once this is

done it is necessary to find ways to prevent the character getting what they

want to create conflict a structure of one to three acts should be applied and

this will carry our hero through to the conclusion (1997, 26).

The intuitive writer may follow the process outlined by Klinger (1993).

Whereas after a reflective organising of images and themes the basic

elements of a play will be formed. Character, setting and the emotional

landscape can be charted and the playwright can continue to focus their

writing. Structure will also become a concern though one that is more

interested in the inherent storytelling technique – and something that will be

applied further down the track (1993, 38-48).

Both approaches will often encourage a story treatment being generated –

though the intuitive approach will demand one a lot less rigorous for fear of

pre-empting the creative process. The outline may not be any length

initially, but usually contain an outline sequence of events in which the

characters find their conflicts, their struggles, and their transformations.

There are many forms for this but ultimately this document will be used as a

base for the playwright as they begin to build their script upon this

(Sainsbury, 2004, 9).

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By the stage of assembly, Leigh’s draft is evolving much differently. The

substance of the characters lives have been previously created through

extensive research. Isolated improvisations are used where the character is

put in a plausible situation where he or she would be removed from others.

This allows the actor to discover the character without outside pressures and

also allows the writer/director to see how the character behaves in their most

private and often mundane moments (Marchand, 1983, 5). Leigh states that

once an actor can do this plausibly, “a reality starts to grow” (Leigh in

Marchand, 1985, 5). After a suitable time the actor is brought out of

character and a discussion commences covering topics such as if the actor

had felt out of character, why this might be so and what feelings may have

surfaced. This allows character to be continually defined and re-defined and

personal idiosyncrasies emerge. More of this will continue, the situations

may be changed or a previous one resumed. Though it is important that the

improvisations follow a chronological order. Then the situation will

become like a memory for the character and for the writer (Marchand,

1985, 5).

Through this approach opportunities will start to emerge and it is time to

bring the characters together. If it has been decided that some of the

characters have known each other previously, great care is taken to set up

joint histories. Marchand explains that Leigh does this by bringing the

actors together and only going through factual details of their relationship. It

is important that each characters feeling’s about one another are kept secret

(1985, 7).

During this process the characters are always questioned to keep the details

of situations plausible. ‘Where would you want to have dinner with this

person?’ ‘Somewhere expensive – he might pay’ etc. Once this is decided,

the characters are brought together and further improvisations begin. The

emphasis on all of these meetings though, is to be real – if conflict doesn’t

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occur, if conversation is stunted, if they don’t even notice each other – it is

still beneficial for the creating of the work. This continues until all the

relevant characters have met and a plot has become apparent to the

writer/director. Improvisations may be revisited, character histories changed

and detailed filled in respectively to continue to shape the narrative (1985,

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Once this is complete, the Leigh method now joins a path similar to the

other two methodologies, where the script is written. Through the work with

the actors, the method has also set up a treatment that covers the characters

conflicts, struggles and their transformations but also a great bulk of other

material created through the improvisations that may be altered, re-worked

or discarded altogether (Clements, 1985, 34). Marchand states that “The

purpose is to use whatever may have been suggested by the improvisations,

rather than retaining them as known entities” (1985, 16).

Leigh’s story outline has had the opportunity to become so replete, diverse

and full of possibility that a script can be distilled from it – not built on top

of it. I believe that this is a distinct advantage over the other methodologies

for story creation. And while through re-writing the same effect could

occur, the use of actors allows the world of the story to be explored and

tested far more creatively and efficiently. The opportunity for the playwright

to find plot and drama through the unexpected is enhanced when the

variables are unknown to each other.

Beyond the First Draft

Leigh’s method affords a practised approach to creating the character driven

narrative through probing and exploring moments that occur outside the

play to organically grow the plot. It works to weed out artifice in character

and to disguise the hand of the artist. This has been as beneficial to the

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writer/director as it has to the actors who will now move on to the

rehearsing of the play (Marchand, 1985, 17).

The real process that creates the end product,

the play, is the last stage; that’s to say the

structuring, the ritual rehearsing, the

scripting, the building up of the thing. All the

early stages are very interesting, in the main

they are only preliminaries, the laying of

foundations... the job is to create a dramatic

piece, and not just a random collection of

elements (Leigh in Marchand, 1985, 16).

Once a first draft is assembled the differences to the intuitive approach and

the structural procedure begin to fade into the background. The writer will

usually work to refine the material through the re-writing of text.

Dramaturgical advice, workshops and public readings may be part of the

development methods a writer may use to find strengths, weaknesses and

gauge the overall effectiveness of the work. Improvisation is also often used

to investigate dramatic options – and it’s here I believe that adapting the

proven principles of the Mike Leigh method would be most beneficial.

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Methodology

This project uses the practice-led creation of a performance (in workshop

conditions) to aid in answering the research question. In Exit Jesus’:

Relating the Exegesis and Creative/Production (2004), Milech and Schilo

state that to be research, a creative work or production must be “practice

conceived and reflected upon in the interests of answering a carefully and

clearly defined research question framed on the basis of a sound working

knowledge of a particular field, and in the interests of contributing new

understandings to it” (2004, 14).

In the case of this paper, the research question asks whether a particular

method (Mike Leigh’s) used by Auteur directors could be adapted to benefit

a playwright during the drafting and development process. My creative

work, Deceased Estate helps answer this question as it is a direct result of

the application and experimentation with the approach and its journey

throughout the process is documented in this paper. The outcomes of this

research aim to contribute new understandings to the writing process and the

use and application of the Mike Leigh approach. Both my exegesis and

stage play have been shaped through the understandings I have gained from

my investigation.

My working knowledge of my field has come largely through industry

experience and some university study. I started writing short plays when I

was eleven and since then I have been a four-time winner of the Queensland

Theatre Company Young Playwrights Award, mentored by its Artistic

director Michael Gow, twice a delegate at the International festival for

Young Playwrights (Interplay), recipient of a Nescafe Big Break and my

works have been performed in Sydney, Melbourne and throughout

Queensland. In 2005 I graduated from the Australian Film Television and

Radio School with a Masters in Screenwriting. At the AFTRS I wrote the

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short film Splintered which has screened at over thirty festivals globally. It

has won over fifteen awards, seven of them being best films including Best

Narrative Short at the Slamdance Film Festival in Utah (2005) which made

it eligible for the 2006 Academy Awards. I have also written a sitcom pilot

Sixpack that was filmed in 2004 and I have a feature screenplay Nine

currently under option. This however, is my first attempt at a full-length

stage play. My experience with the Mike Leigh method comes from a

workshop with Robert Marchand at the AFTRS focusing on a practice based

study of the approach. I have also experimented with aspects of the

technique in creation of short films Splintered and Vena Cava. I have had

some directing experience but I am in no way an expert at the craft and have

found the encounter quite daunting at times.

In the discussion paper Performance as Research / Research by Means of

Performance (1995), Alison Richards states that “research by means of

performance shares characteristics of other experiment based research, in

that 'actioning' the research question involves the elaboration of methodical

practices by means of which the enquiry can proceed” (1995, 17). Colin

Robson in Real world Research characterizes one of these methodologies as

a ‘real world enquiry’, where the focus is on solving problems rather than

purely for gaining knowledge and where research is typically conducted

outside laboratory conditions (2002, 12). This definition is applicable to my

research – as I am aiming for an outcome that addresses the problems I have

identified in my own work. Stewart, in Practice vs Praxis states that the aim

of such a research method is to “develop new knowledge, to challenge old

beliefs and to speculate on the 'what ifs' of our concepts and processes”

(2000,1).

However, Richards goes on to say that:

Since the performance event is characterised by

collaboration and co-presence, performance

research is interested less in standardising

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methodology than in interrogating practice

from a variety of positions. In particular,

research by means of performance offers an

opportunity to research 'from the inside' as well

as 'from the outside'. While the researcher may

be purely an observer, or have an 'overview'

position such as that of the director or

animateur, this is by no means certain. It is

useful therefore for performance researchers to

be self-reflexive, and to query both the

traditional ascription of 'objectivity' to the

researcher, and the distant and hierarchical

relation traditional between researcher and the

subject or object of research (1995, 18).

To this end, this paper represents an exercise in critical reflection, and while

the following subjective performance based study documents my process

and my personal outcomes adapting the Mike Leigh approach (as reflected

in my stage play), its dual aim is to provide a praxis that affords the

opportunity to other writers (as well as myself) to apply these findings in

developing future works. In that respect, it is intended that these findings,

and future research findings will continually be subject to critical reflexivity

and further refinement and experimentation.

Combining the Methods

I have chosen four steps of Leigh’s method to address my research problem

and complement the intuitive and procedural methodologies. They are one

to one discussion, isolated improvisations, joint history establishment and

group improvisations (see tables 1 and 2 at the end of this chapter for a

graphical representation). The first exercise would be establishing character

through a discussion with the actor. This stage would be crucial for the actor

to grasp the character type and would be beneficial to me as it would force

19

me to consider and articulate the key distinctions of my character as they

exist in the pre-workshop draft. Rough notes would be made during the

process but any new discoveries about story or character would need to be

set aside to avoid potentially pre-empting the process to come.

The next step would be the isolated improvisations. In applying Leigh’s

method, Marchand describes this exercise as creating a plausible situation in

which the character would be isolated. The aim is to allow the actor to find

the character with no outside stress. He adds that this is a key difference to

the usual approach to improvisation, which often thrusts actors together with

dramatic intent. Questions follow the improvisations to discern when the

actor felt in or out of character (1982, 16-18). This would allow me to see

the characters in situations which wouldn’t be inherently dramatic. It would

provide a sense of my characters individual existence as opposed to the

scene by scene one I had provided them in my script. Importantly it would

also give the actor an opportunity to explore their character. Notes would

be taken on character and any impetus for potential conflict during group

improvisations is especially singled out.

From here it would be necessary to establish joint histories between my

characters through discussion and improvisation. This would again benefit

myself and the actors as it would help us both get a better understanding of

the complex back stories these people possess and further explore their

reactions to one another. Discussions would be conducted with the actors

and notes taken on potential story avenues as well as further impetus for

conflict during the group improvisations.

The fourth part would be the group improvisations. This process would be

aimed at directly enhancing my plot and getting to the real motivations of

character – and exposing contrived motivation I had previously imposed.

Notes again are taken to further establish character and any new potential

scenes or storylines are documented for future drafts.

20

The final step would be to collate notes and decide on new directions for

story and character and begin further drafting.

I planned to run the workshop over a three-week period, meeting with the

actors four times a week for three to four hours a time. The first week would

be one on one character work with the actors. The second week would be

bringing characters together to establish joint histories. The third would be

group improvisations. This amount of time is a great deal shorter than the

process conducted by Leigh, but the aim of this method was not to create

polished performance in the workshops but to explore character for the

purpose of developing narrative.

While I would take detailed notes in the workshops I decided against

videotaping them. Taping was an error I believe I had made when

previously attempting to work with improvisation for a number of reasons.

Firstly a situation often occurred upon reviewing the tapes where I was

swayed by the charisma and talent of an actor in to making a choice that

would not serve my story. I had found that just because an improvisation

had provided material that was funny or touching – didn’t mean that it

moved my story along or had earned it’s place in the eventual structure. By

taking notes I was able to capture the essence of this – rather than the detail.

I also found that actors were more inclined to relax when they knew their

work couldn’t be reviewed at the touch of a button, which is very important

to Leigh’s method where the actor isn’t focused on entertaining. Most

importantly though, I didn’t want it to appear to the actor that I was taking

their work, transcribing it and then saying this was my play, especially as

this situation couldn’t be further from the truth. The exercises are used to

experiment and explore.

The proceeding research analysis will document my application of this

method as I work to develop my stage play, Deceased Estate. I will show

21

how the method shaped my script by examining the key changes that

occurred between the pre-workshop and post-workshop drafts, particularly

concerning character histories, traits and motivations as well as overall

structural changes. I will evidence these with excerpts from my notes made

during the workshop and comparative extracts from the drafts and full

documentation is available on request. The actors, who identified as

professional practitioners, but volunteered their services to assist with the

workshop phase of this study will not be identified in this exegesis. The cast

will be identified in the analysis by their character name.

22

Table 1. A Step Outline For Applying the Adapted Method

STEP: DESCRIPTION:

1 PRE-WORKSHOP DRAFT A draft with characters and character arcs in place that could benefit from further drafting and exploration.

2 CHARACTER NOTES Notes on key distinctions, traits and histories of the characters as

they exist in the pre-workshop draft. These are used in casting and during the workshop.

3 WORK SPACE Secure a space that affords privacy. Also one that can match the characters natural environment is an advantage.

4 CASTING Looking to select actors with a strong ability to relate to character as well as a willingness to commit to the entire

workshop period.

5 THE WORKSHOP Workshopping with the actors using the adapted Leigh method. See Table 2 for full detail.

6 ANALYSIS Collate notes and decide on directions for story and character in for the next draft.

7 FURTHER DRAFTING Take outcomes from the workshop analysis and begin further drafting.

23

Table 2. The Workshop Outline

Week Exercise Aims Description Data Collection and Interpretation

1

1.Back Story To establish existing characters with the

Actors

Through one to one discussion, key character traits are

communicated to the actor until an initial understanding of the

character's persona can be reached. It is reinforced that the

actors must not talk amongst themselves outside the workshops about their

characters.

Notes are taken and any new ideas and

discoveries about character through these initial discussions are documented but set

aside to avoid preempting the process.

2. Isolated Improvisations

Allow the actor to be the character

without the pressure to perform.

The actors are isolated in placed in a mundane setting with no

direction for drama. This allows the playwright to witness their characters in moments outside of the story. Discussions are

conducted with the actors during the exercise, concerning

when the actor felt out of character. This is done to

further the understanding of the character for both playwright

and actor.

Notes are taken on character as well as any

impetus for potential conflict during group

improvisations.

2 3. Shared History

Establish shared history between

characters by bringing selected

members of the cast together.

Cast members that share a joint history are brought together and

through discussion of key shared moments in their past, a

back-story is created. Improvisations are conducted on this back-story, building a

sense of familiarity and memory for the character. This again allows the playwright to experiment with story world moments that have occurred

outside of the script.

Discussions are conducted with the actors and notes are

taken on potential story avenues as well as further impetus for conflict during the

group improvisations.

3 4. Group Improvisations

Improvisation exercises using all (and or different

combinations) of the cast. This process is

aimed at directly enhancing the plot

and getting motivations of

character clear and consistent.

Actors perform improvisations in character with differing aims

and goals given by the Playwright. For some cast

members, this may be the first time they have met the other

characters.

Notes are taken by the Playwright to further

establish character and any new potential

scenes or storylines are documented for future

drafts of the script.

24

Research Analysis

The Pre-Workshop Draft

I began writing Deceased Estate using an Intuitive approach to find what

my story was about and what exactly I was trying to question. I came to the

conclusion I wanted to examine the lofty expectations of generation Y and

the growing consensus that these dreams are unrealistic. I wanted to contrast

this against the expectations of their parents who now have rapidly

increasing property wealth. From here I moved into a structuralist procedure

as I worked towards the building of the play. I worked to create three acts

with turning points, character arcs and drama. The pre-workshop draft

could be described as follows:

Synopsis pre-workshop Draft:

Ken (61) and Alexis (57), have done well out of the baby boomer

economy. Two housing booms and secure employment had seen them

accumulate wealth almost faster than they could spend it. Life should be

great as they look forward to an action packed retirement but their

children aren’t cooperating with the plan. Both are living at home.

Travis (22) is the youngest and wants to be an actor. He has tasted

success before and shown a great deal of potential but it had come to an

abrupt end and he has been depressed ever since. Emma (25) moved

back in only recently but brought along her fiancé, David (28). They are

looking to buy their own home but finding the expensive market

difficult to enter. Emma and Travis do not get along, as they both feel

their parents favour the other over them and they vie for their parent’s

attention and wealth. Meanwhile David has a plan to help he and Emma

in to the housing market – look for houses where horrible deaths have

occurred as he thinks their histories will make them less desirable. In an

attempt to get at Emma, Travis befriends David and asks him to help

with his preparation for a major audition, to which David agrees. This

25

combines with the stress of looking though houses with violent pasts

and Travis’s antics eventually drive an irreparable wedge between the

young couple - and despite David’s pleas, Emma breaks their

engagement off. Travis however, also misses out on the part he’d staked

his future on. He is devastated and can’t bare to see David, the only

person who believed in him now leaving the house and his life. Travis

can’t accept his bleak future and takes drastic action – murdering his

parents and his sister to get his inheritance so he can live his dream of

being wealthy and successful. In the final scene David returns to the

house three years on, Travis has been caught and imprisoned and the

family home is now up for sale as a Deceased Estate (synopsis derived

from Deceased Estate draft 1.8, January 2006).

I had found this draft lacking in heart, drama and the motivations of my

characters felt false and contrived. I still believed the story had potential,

however and I wanted to use the workshop period to get deeper in to the

motivations of my characters to find through lines with more energy, depth

and power.

Character Notes To create character notes I began by constructing a list of my characters

histories, their key traits and motivations within the story. I have categorised

these in the graph below:

Char. Char. History Char. Traits Char. Motivations

David

28 years old. First Home Buyer. Had been previously renting but he and Emma

decided to move in with her parents so they could save for a home.

A nice guy that is very worried about finishing last. He wants

success but is afraid of stepping on anyone’s toes.

Motivated by his feeling of being restrained by society and the quest

to get what he deserves.

Emma

25 years old. First Home Buyer. Had been previously renting but she and David decided to move in with her

parents so they could save for a home.

A woman with rich tastes. She has difficulty accepting what

she can actually afford.

Motivated by greed and wanting to compete with her brother

26

Travis 22 years old. Has wanted to be an actor

but has had little success. Has always been competitive with his sister.

A charismatic manic depressive who can cast his

spell over all around.

Motivated to compete with his sister for love and friendship.

Alexis

57 years old. Has lived a good life of excess and is happy with her current life.

Has a good relationship with her children.

Vain, charismatic and care free. Motivated to help her son, Travis succeed.

Ken 61 years old. Pleased with the status he

has achieved in life and is happy to show it off but doesn’t enjoy sharing it.

Moody with a bad temper. Likes to be perceived as

generous but isn’t.

Motivated to rid the house of all the uninvited guests out of his

house.

These histories, traits and motivations, created in January 2006 prior to the

workshop period are also represented in the excerpt from the opening

Scenes from the Pre-workshop Draft of Deceased Estate included in the

appendix (pg. 43).

Work Space

I planned to conduct the workshops in Sydney during March 2006, meeting

four times a week for three to four hours a time.

While a ‘neutral’ rehearsal space would perhaps have been preferable, the

only space that was affordable and regularly available was the lounge room

of my personal residence. I arranged times with my flatmates to avoid any

potential interruption though I knew that occasional intrusion would be

inevitable. Even so I was confident that on the whole our working time

would be respected and that the natural domestic environment should help

my actors feel as if they’re in their character’s home.

Casting

I didn’t have the resources to pay actors which meant I had to rely on

volunteers. The best I could offer my cast was some free food, an

27

opportunity to develop a new Australian work, exposure to the techniques of

Mike Leigh and hopefully a bit of fun. This meant that I had to be able to

engage actors with minimum disruption to their lives and paid gigs would

have to take priority. Fortunately my schedule coincided with a long lull in

the local industry so I was able to find eleven experienced actors (six men

and five women) who were all close to the age range of my characters and

were prepared to be involved.

While my script was already created and I had pre-determined plot points, I

still could not afford to pre-empt the method by using the script for

auditions. As in Leigh, my casting process was purely to find good actors I

could work with. My audition took on mainly the form of an interview

where I would ask the actor questions about themselves and their history. It

was from these answers, coupled with their acting experience that I was able

to choose my cast of three men and two woman.

During the auditions, I also took great care to make the point that these

workshops were purely for my own investigative means. The exercises were

about exploring and I wasn’t using the actors for a performance but to help

my process and the understanding of my characters.2

The Workshop

Week 1.

(11/03/06 to 17/03/06)

2 I was put in an awkward situation once when a script that had been given a

public reading was going in to production. Suddenly I was getting calls from

the actors who were involved in the reading claiming that I had promised

them roles. When people are working for free, I think it’s very important to

be clear about this point.

28

Exercise 1. Back-story

Leigh’s method enables the actor to give their personal input in to the task

of creating and constructing character. Since the participants in my play

were already created, I needed to communicate their particular traits to the

actors in a way that would still allow their participation as we worked to

mould the two dimensional characters in to three dimensional people. I

feared that if I were too prescriptive I might limit the opportunity to make

new discoveries and if I were too vague the characters might spiral in a

direction that wouldn’t be ultimately useful for my story.

I couldn’t allow my actors to read any of my text, and providing detailed

character notes could be too prescriptive and worst of all halt discovery and

new interpretation. I considered the idea that in life, people can only really

be known through what they do, not what they say or think. What was

important to my story was my characters’ social conditioning - events that

had taken place in their life – memories, things they have done that would

colour them. I created a list of these working chronologically for each

character, but I was very careful not to give their feelings about the events.

I wanted the actor to decide that as we continued.

Process:

At the beginning of the session I read out the list to the actor. Things such

as Travis went to a private boys school that was famous for its rugby team.

Travis excelled at drama and English. Travis once put a notice in the paper

advertising his headmaster’s position etc. Reading this list felt like an

episode of This is your Life but it became quite a fun way to start and

opened up a productive casual discussion about the character. I always

encouraged the actor to relate back to people they knew in the hope that this

would help them find a reality. This quickly ate up the first session.

29

When the actors were leaving I asked them to continue thinking about their

character over the next few days until we would meet again and imagine

how they might behave. We could discuss any thoughts or problems they

had at the beginning of the next session.

Outcomes:

At this stage the actors took to the characters well through the discussion.

This was definitely aided by my characters having a background similar to

my actors’. The discussions also helped to create a trusting relationship

between the actor and myself.

Already my mind was turning back to my play and I was beginning to see

potential avenues for story. I noted these down to use as impetus for

improvisation.

Exercise 2. Isolated Improvisations

This began in the second session which would run throughout the next two

meetings until the end of the week.

Process

The actor is always allowed time to get in to character. I reminded them as

often as possible that their job was not to provide an entertaining

performance, but become someone else.

These improvisations were quite mundane. Situations eventuated where

Ken read the paper, Alexis painted her toenails, David practiced his golf

swing, Emma read a novel and Travis flicked through a magazine.

30

The exercises were always run in real time and could be strangely awkward

and I was tempted to cut them short but in allowing them to run on, the

improvisation could get a second wind and new discoveries were made.

A discussion with the actor followed. Were there moments you felt out of

character? How come you chose that particular book? ‘I don’t know’ was a

perfectly acceptable answer.

As the actors came to terms with the process it became easier and the

characters grew in the subtle dimensions that had been lacking. I kept

changing the situations.

I wanted to keep the location real too. If it was set in the bedroom, we

would move in to mine. If it was in the bathroom we would move in there.

Though this did sometimes cause problems with my flatmates.

Emma was the most difficult to capture. The Actress found nothing

remarkably distinctive to grasp about Emma. We spoke more about her back

story. She is a teacher, travelled to London, worked there, met her

boyfriend. It all felt generic so we tried to think of what she would wear and

eventually we settled on a headband. It was an interesting choice that

seemed to transform the character of Emma into someone who had a

childlike bookish quality but still maintained a sense of glamour and

intelligence.

Travis had a scene where he was in front of the mirror. He groomed himself

for quite awhile. Plucking his eyebrows and nasal hair but once he’d done

all he could do, he just sat and stared into his own eyes. It was an eerie

moment and reflected the brooding quality that I was hoping for but

suddenly, he started to cry, sobbing in to his hands. This instantly felt false

to me and I thought this was actor motivated but I let it continue. What

happened next I found very interesting. Travis, looked back in to the mirror

and admired his tears, his sadness, his grief. Once the improvisation was

31

complete I questioned Walter about what motivated the tears. He said he

had wanted to see what they looked like.

Throughout this the discussions continued. I would take the opportunity to

ask the actor questions that I had been asking myself. What drink would

you order at a bar? Do you believe in stem cell research? I already had an

opinion about this and I was interested in how the actor’s answers differed.

When I asked Travis if he indicated while changing lanes, he answered that

he didn’t drive. This was a shock to me as a signification plot device in my

play is that Travis keeps stealing his father’s car. But after some

consideration I realised that if Travis can drive but he doesn’t have a license

(possibly because he couldn’t face up to going for the test for fear of failure)

– it immediately raised the stakes when the Jaguar was taken. (Though

through these improvisations even the Jaguar evolved to a Maserati.)

In one of the last improvisations, David was alone in his girlfriend’s plush

family home. He had put his feet up on the expensive leather couch, taken

off his shirt, was eating ice cream from the bucket. But after a while the

actor stopped the improvisation – his character kept feeling the

overwhelming need to masturbate.

Outcomes

These improvisations I found quite fascinating. As a playwright I don’t

often consider what my characters would do if they were alone in a room. I

would have ideas and opinions if I was asked but I would never think about

it in such detail.

The information gained from this, however, allowed me to see a whole

range of possibilities for connections between characters. In my script

David becomes friends with Travis despite Emma’s warnings but now I

32

could see just how similar the two are when they are alone and that their

friendship is inevitable.

Starting to choose the way the characters dress was definitive moment for

me as well as the actors. Dress gave them a tangible means of separating

their character from themselves. This was something I also had paid little

attention to previously, as I focused on building plot. I was now able to

imagine the character on the stage much more clearly.

These sessions didn’t run much over three hours, as the concentration

needed from myself and the actor was quite tiring. At the end of the week I

felt that the workshops were progressing well and I was looking forward to

the characters meeting one another.

Week 2

(18/03/06-24/03/06)

Exercise 3. Characters with a joint history

As four of these characters were in the same family, I needed to bring them

together to establish their history. I had stipulated the actors weren’t

allowed to speak about the characters between themselves and I was assured

this hadn’t happened.

Process

I thought that instead of providing notes I could possibly devise some

improvisations between Ken and Alexis. We improvised the scene where

they first met. After some discussion we decided it would have been mid-

late nineteen sixties. Ken approached Alexis at a party. Alexis was very

attractive and charismatic and Ken was a bit more shy but still very good

looking. I was concerned about this as the actors had to imagine the

33

characters thirty years ago and I thought it would be forced. What I did see

was their immediate appreciation for each other. There was no need for

either of them to play hard to get or try to be dramatic. They just chatted

about things and smiled at one another.

While this would have made an incredibly boring scene in the play, it had a

sense of authenticity that comes from lacking imposed craft. It would act as

a memory for my actors and me.

Following this we discussed their history from there – kids, house etc. I

thought I would allow the two actors an opportunity to watch each other’s

isolated improvisations. The thinking behind this is that they would have

observed each other over the years without the other knowing. The actors

found this enjoyable but I had to enforce that they weren’t doing this for

entertainment purposes.

I took a similar approach for Emma and David. After a discussion we

decided it was most likely Emma had sought out David for sex at a

nightclub in London. We decided to set them in bed the next morning. It

was clear David had fallen for her. He kept trying to cuddle her and she

kept trying to make her own space on the bed but when he pulled away she

decided she would allow him to get close to her and snuggled in to him.

With the family I brought the four actors together and we spoke about the

facts their shared history. I then put them into family orientated scenes.

Again they didn’t have to perform. There were no objectives of the scene,

they just had to be. If they wanted to talk they could, if they didn’t they

didn’t.

The first setting was a Sunday morning. Ken pottered around the house

fixing a few things and doing paper work. Alexis cooked her and Ken’s

breakfast but not Emma’s or Travis’s. Travis lay in front of the TV. Emma

34

watched the TV and sipped coffee. She had a hangover. This was all very

awkward at first. The actors would sometimes drop out of character to

observe the other characters around them but I decided that this was to be

expected at this stage. We ran the scene a few times before I moved it to a

dinner setting. Travis said he probably didn’t eat dinner with his family so

we made it Ken’s birthday.

I loved watching this. It would have been ultimately boring for anyone else

but I felt like a kid with a model train set. In front of me was a working

representation of the world I had created. It was a scene I couldn’t consider

because there was no conflict or dramatic progression in it – just character

that had opened up in all dimensions.

The last exercise was bringing David in. The scene was straightforward

enough, Emma bringing David home for the first time. What was wonderful

about the scene was how welcoming they were to David. Which sharply

changes in my script when he’s living with them. Travis was particularly

charming but when David tried to speak about himself Travis quickly turned

the conversation back to him. He had already assumed a higher status in the

friendship.

Outcomes

This particular part of the method began as a laborious process for me.

Once the actors were brought together it was difficult to keep them focused

on their characters and not on each other. It was almost as if they had

separation anxiety and now they desperately wanted to show off. I had

difficulty in managing this and because I wasn’t paying my cast I was

reluctant to stop them enjoying themselves. This is an aspect that did affect

my way of relating to the actors. If they were in my employ I believe I

would feel justified by occasionally giving a reprimand but it just made me

feel awkward.

35

It took quite a few attempts before the characters reflected the authenticity I

had witnessed in the isolated improvisations. I initially considered this a

setback but it did make me consider how people on their own can be quite

different to how they are when around others. This was definitely the case

with all the characters in my play who went to great pains to conceal their

vulnerabilities from one another. And while I believed the acting needed to

be toned down a few degrees, I was bolstered by the fact that this was only

an experiment to investigate and there was no deadline to production.

With this in mind I felt satisfied that we were able to move on to group

improvisations.

Week 3

(25/03/08-31/03/08)

Exercise 4. Group Improvisations

This was the part I had been looking forward to. I planned to improvise the

key scenes from my play and see how the evolving characters would behave

in the given situation.

The Process

Working chronologically I wanted to do the first scene of the play: Emma

and David at an auction to buy their dream house. I told them their limit

was around six hundred thousand. I would start the auction when I saw fit.

Once this scene had started it became apparent David was thinking

positively while Emma was more negative, not wanting to get her hopes up.

I started the auction. David did the bidding and they both got excited but

once they were out-bid, they had nothing to say to one another. It was good

to watch David wanting be consoling but not being able to find the right

36

words. It felt almost like he blamed her as she didn’t buy in to his dream as

much as he thought she should.

The next scene Ken learns that Travis has taken his Mercedes. I found this

scene most interesting when Ken told Alexis he’s going to throw him out of

the house. I really liked this choice as it raised the stakes for Travis as well

as Alexis, who doesn’t want to see him go. While this was running, Emma

and David were waiting outside. They were to come in after an unspecified

amount of time, as if they’d come home straight after the auction. Their

entrance was very flat and it was interesting to watch how each had to fill

the other in on what previously happened. It was all quite convoluted and

repetitive. It made me realise that this is the point where the scene should

start. Travis was also outside and he was instructed to wait about fifteen

minutes after Emma and David had entered. He was primed with the

information that he had taken the Jaguar to go to an audition and that the

audition went extremely well. Travis entered smiling and as soon as Ken

saw that, he went for him. Alexis was in the middle and David helped to

break them up. The scene played on with Travis stunned that his father

wanted to kick him out. An interesting moment occurred when Emma stuck

up for Travis, displaying sympathy for him, something that came as a

surprised me and one that I couldn’t fathom. My entire plot in my pre-

workshop play was pinned on the conflict between Emma and Travis. Going

down this route seemed pointless to me so I stopped the improvisation to tell

Emma that she was jealous of her brother.

This was a mistake. I completely interrupted the flow and suddenly Emma

was an actor trying to fulfil my direction. It took a long time for the scene

to recover and I regretted interrupting the process.

But what slowly became apparent was that even though Emma now seemed

jealous of Travis and was siding with her Father to throw him out of home,

there was an air of tough love about it and she couldn’t disguise a concern

37

for his well-being. It was again a display of character complexity I had

previously missed. Travis couldn’t talk himself around in this scene to stay

in the house but I knew in my play somehow he would have to.

The final scene I chose was David and Emma’s break up. The basis of it

was that Emma didn’t want to buy a house any more and wanted to take

break as it had all been too stressful. David was still very much in love with

Emma and in the scene he didn’t know what was about to happen. What I

was able to read into this scene was the sense that David didn’t see buying a

house as purely a purchase but as a kind of ownership over Emma,

something that would tie her to him. He kept trying to convince her that

they’d find a suitable place and they’d be happy. But Emma refused. It

became quite torturous to watch but I had something I was very eager to

extend in my next draft.

Outcomes

These improvisations were a great success for me personally. I had been

provided with many insights and I was able to investigate many different

scenarios of my choosing.

As the actors weren’t working for performance, once a scene had reached

something that I found beneficial I was comfortable to move on. It wasn’t

for me to explain why I found it so.

It was also very interesting to witness silence in a group improvisation.

Usually the actors are always trying to fill the space, but if they had nothing

to say, they were silent. A good reminder of the power of the dramatic pause.

I personally could have continued to play for months and continued to devise

different scenes but to the actors who weren’t allowed to watch any of the

other improvisations I think this process was a bit confusing. Nevertheless

38

they did all say that I could call on them in the future if I needed to continue.

I was very happy with this result.

Analysis

I collated my notes from the workshop period and a few items stood as key

factors that would shape the next draft.

I liked that David was using the house to possess Emma and that was where

I felt I was getting deeper in to their characters. I also enjoyed seeing Emma

care for Travis and wanted to bring out this aspect out of her more. In turn I

also wanted Travis to become focused and have a clearly impossible dream

that he’s striving for and possibly make his as good as liar to himself as he

is to everyone else. As well as this I wanted to raise the stakes of the

characters wants by giving more complex back stories that would feed their

motivations as I worked to refine them. And I needed to get in to my story

later, to get things moving with a clear narrative drive.

Further Drafting

Deceased Estate began as an idea with potential, then moved to a highly

structured script (which I wasn’t happy with) and then was blown wide open

again by the use of the adapted Mike Leigh method. The method had left me

with a wealth of detail that I could use to inform my story and to continue

with Leigh’s analogy I definitely had icebergs to work with. But I still

needed to find the right tips.

I went back to the structuralist methods to help me distil this information but

just because I wanted my newly rounded characters to again participate in a

well-structured drama didn’t mean that they wanted to. Suddenly I kept

feeling that I was imposing my will and I spent a lot of time trying to find

ways to tempt theirs. Also, because I now knew all my characters so well I

39

suddenly found it difficult to pick a main one and identify with a point of

view. For the longest time I tried to show every point of view until I had

created such a convoluted mess that I needed to back away. I made David

the main character, then I tried Ken, then Emma, then to Travis and then

finally went back to David.

Once this decision was made I found my story was becoming easier to write.

I readopted the intuitive approach to focus on writing a play that I would

want to see, rather than one that followed a pre-determined structure. The

post-workshop draft can be described as follows and is included in full with

this exegesis:

Synopsis post-workshop Draft:

When engaged couple, David (31) and Emma (26) find themselves

struggling to meet the repayments on their home, they decide that to

rebuild they need to sell up and move in with Emma’s wealthy parents,

Ken (61) and Alexis (55) and her depressed, failed actor brother, Travis

(23). David finds it difficult living in the family home and does

everything he can to fit in – even bowing to a request to confidentially

help Travis with an audition. David has also noticed a lot more tension

between he and Emma and desperate to find them a new home, David

happens upon a deceased estate where a paedophile had previously lived

and been murdered. Thinking this is a once in a lifetime opportunity to

begin again, David takes Emma along to see it – but to his surprise

Emma refuses to even step inside.

Meanwhile things aren’t going so well in the family home, either. Travis

has taken his Father’s Maserati to go to his audition and Ken goes about

moving Travis out of the house. During this Ken drops one of Travis’s

weights on the floor, cracking the living room tiles. When Travis comes

home he apologises for his actions and tells his parents that he’d only

taken the car because it boosted his confidence and reminded him of his

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once successful past. His audition also went very well and he got a call

back. Ken and Alexis are surprised by Travis’s change in attitude and

Travis attributes it all to David’s struggle being an inspiration to him.

Ken warns Travis about getting his hopes up and when the rest of the

family have gone, Ken blames David for the entire mess and tells David

he must keep an eye on Travis from now on.

Emma is also proving to be a problem for David as now she is talking

about renting again. This is a ridiculous idea to David but he concedes

by suggesting that they’ll only go to houses that don’t have a violent

past. She agrees but tells him she wants him to stay away from Travis,

as he can be unstable.

To please Ken, David ignores Emma’s advice and continues to help

Travis with his rehearsals. Travis tells David that when he was a

teenager, he once had a mentor named Isaac that had offered to take him

all around the world – but inexplicably, just before it had happened

Isaac cut all contact with him and he has never been able to understand

why ever since. Ken and David’s relationship improves and Ken offers

to lend Emma and David money if they need more help. David is

pleased by the offer but tells Ken he has a plan and doesn’t need it at

this stage. Ken continues to ask questions about Travis, and especially

about if he had mentioned the name, Isaac. David realises that Ken is

only using him to spy on Travis.

David takes Emma to more houses he has found, this time they’re

particularly unliveable places. Emma expresses her distaste and David

tells her it doesn’t make the deceased estate look so bad. With Travis in

the room Emma tells David that she couldn’t live in a house that a

paedophile had because of what Isaac did to Travis. Travis becomes

very upset by this and denies everything that Emma has said. In a rage

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he again takes the Maserati and Ken again tries to through him out but

Alexis and David stand up for him.

David tries to rebuild his relationship with Emma by refusing to spend

time with Travis but things are slipping dangerously out of control. Ken

decides it’s time to sell the house so everyone has to move out. Alexis

decides its time Travis knows the truth and tells him the reason Isaac

mentor didn’t take him around the world was because she was

suspicious of their relationship and confronted him over it. Travis is

devastated and takes Ken’s car again. This infuriates Ken and he goes

looking for Travis.

Emma has also realised that having a house with David would not make

her happy. She tells him she wants him to move out. David won’t

believe this and gets violent with her. He knows he’s hurt her but says

he’ll make things better. David goes to see Ken to ask if he could

borrow some money so Emma could have the life she deserves - but

Ken tells him he no longer has the money to give. Ken explains that he

discovered that Travis has been lying this entire time about his auditions

and everything has been made up. David can’t believe this but when

Travis comes home he is forced to confront reality. David leaves the

house.

In the final scene, Travis invites David back to the house to collect the

last of his things. David looks poorly and is suffering badly from a

broken heart. As Travis returns his items he leaves David alone in the

house. David realises Travis has set him up for the murder of his entire

family (synopsis derived from Deceased Estate Draft 7.2, February

2008).

The workshop had evolved the characters enough to give rise to ideas of new

dramatic scenes and through lines. Instead of being motivated by largely

42

material concerns, my characters had developed to be driven by deep seated

emotional needs. I have described these changes in the comparative chart

below and they can be seen reflected in the Opening Scene from Post-

workshop Draft excerpt included in the appendix (pg. 54) and in the

complete script included with this exegesis (pg. 66).

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Pre and Post Workshop Draft Character Comparison

Char. Char. History Pre Workshop

Char. History Post Workshop

Traits Pre Workshop

Traits Post Workshop

Motivations pre workshop

Motivations post workshop

David

28 years old. First Home Buyer. Had been previously

renting but he and Emma decided to move in with her parents so they could save for a

home.

31 years old. Previously

owned a home with Emma but

had to sell because they

couldn’t afford repayments.

Were forced to move in with

Emma’s Family. A lot of

unspoken tension still exists

between David and Emma.

A nice guy that is very

worried about finishing last.

He wants success but is

afraid of stepping on

anyone’s toes.

A dreamer who doggedly

goes about achieving his goals - even if

they are completely unrealistic.

Motivated by his feeling of

being restrained by society and the quest to get

what he deserves.

Motivated by his love for

Emma and his fear of losing

her.

Emma

25 years old. First Home Buyer. Had been previously renting but she

and David decided to move in with her parents so

they could save for a home.

26 years old. Previously

owned a home with David that

was too expensive for

them. Has moved back with her family and is

uncertain about her future.

A woman with rich tastes. She has difficulty

accepting what she can

actually afford.

A deep thinker who is beginning to question all that she has

recently taken for granted.

Motivated by greed and wanting to

compete with her brother

Motivated to uncover the root of her

current unhappiness.

Travis

22 years old. Has wanted to be an actor but has had little success. Has

always been competitive with

his sister.

23 years old. Wants to be

an actor. Has had success in

the past by being mentored by a great director - but since their relationship ended, it has

been two years without any

developments.

A charismatic manic

depressive who can cast his

spell over all around.

An insecure dreamer who desperately

craves a connection

with someone.

Motivated to compete with his sister for

love and friendship.

Motivated to be loved again.

Alexis

57 years old. Has lived a good life of excess and is happy with her

current life. Has a good relationship with her children.

55 years old. Is comfortable with her life but has a

secret she has been keeping

from Travis. She protects him

because of this.

Vain, charismatic

and care free.

Restrained and carries a lot of

guilt.

Motivated to help her son,

Travis succeed.

Motivated to protect her son,

Travis.

Ken

61 years old. Pleased with the

status he has achieved in life and is happy to show it off but doesn’t enjoy

sharing it.

61 years old. Is pleased with the

status he has achieved in life but is worried about his son’s

future.

Moody with a bad temper. Likes to be

perceived as generous but

isn’t.

Doesn’t want to face up to

his age or admit that his son won’t be a huge success

like he is.

Motivated to rid the house of all the uninvited guests out of his

house.

Motivated to get closer to his

son and help him make

something of himself.

44

To reach this point took a great deal of writing and rewriting, and while this

draft of Deceased Estate is in no way perfect and could still use further

development in areas I might not know, the conventional processes as

combined with the adapted Mike Leigh method has given me such an

extensive knowledge of my story that I will be able to continue to move

towards the heart of the drama.

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Conclusion

Adapting the Mike Leigh method to the development process enables a

writer to utilise its key defining factor - the division of labour between story

and character. This is an aspect I believe that is difficult to achieve working

with the imagination alone.

Through this division, I found that working with this approach helped me to

open up my stage play, free me from the text and let me investigate all kinds

of options that I would rarely add in to a script. The method also afforded

me many surprises as neither myself nor the actors knew how each other

would react as they tried to achieve their scene objectives. As a playwright

who is wanting to examine and fill out the world of their story in this

manner, it is hard to see many disadvantages with taking the Leigh-hybrid

approach. Even if a particular exercise doesn’t work, the reasons why this

was the case still are very useful for future drafting. However there are

difficulties that go along with collaborating with others and a writer must be

organised to make the most out of the actors involved and be willing to face

up to conflict that might occur. But as the workshop is a device for

experiment, there is little to be lost by giving it a go.

While I have outlined my application of the Leigh method, it would be a

mistake to give the impression that these are hard and fast rules as Leigh

himself often changes his approach to how he sees fit. I do believe however

that these exercises are a good starting point, always bearing in mind they

can be changed and be extended to meet the playwrights aims. Again the

main principal that needs to be observed is characters being isolated from

one another and from the larger story itself.

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For my play Deceased Estate, the process helped me move away from a

superficial, topical, plot-driven play and become true to my characters. And

while my play is still about property booms, living beyond our means and

generational wealth gaps, these issues have been pushed in to the

background. My story has become about the quest for love, about the

promises people make to trap others and questioning the nerve of hope. But

when I told my taxi driver this he snapped back with ‘Why do you want to

write drama? Don’t we have enough in our lives already?’ and he moved in

to a lament about the lack of rain.

It is moments such as this, combined with the journey of my play, that has

made me realise how easy it is to distract ourselves with the larger issues and

avoid looking within. I think a lot of us are happy to discuss the big picture

because it is somewhat removed from us but when it comes to contemplating

the darker, concealed, more difficult parts of our nature we often back off.

This is exactly how I was working with the initial drafts of my play. But

through the Mike Leigh method of focusing I was forced to confront a

deeper truth of the human condition and this, veiled through important issues

of the day, will make a much more interesting play.

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Appendix

Opening Scenes from Pre-workshop Draft.

Excerpt from Deceased Estate Draft 1.8, January 2006. 1 David and Emma stand alone in the wasteland. They are tensely quiet for a time before David speaks. David- I’m so happy we’re doing this. Emma- Yes. David- I know I don’t need to say so. But the words sit here. Wanting to

come out every five minutes. I’m really happy. Emma- That’s sweet- David- Really. When you think that this is what we’ve been looking for all this time- Emma- We haven’t got it yet. David- But I have a good feeling about it. Been having good feelings all

week actually. Wouldn’t it be great to have some privacy? Emma- At least it’s been comfortable. David- But I haven’t been comfortable. Emma- Stop speaking about it you’re going to jinx us. David- Jinx us! Come on. It’s got to be our turn by now. Emma- Fine just stop speaking. David- It’s got to be- Emma- (Pointing out in to the Audience) That couple is following us. David- Who? Emma- The matching hats. David- Michael and Phyllis? (David waves) Emma- You’ve spoken to them? David- They own a country pub up north. It sells those caps.

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Emma- Not very many I imagine. David- They’re good people. Emma- You say that about everyone rural. David- Because we are. Emma- So why are they moving here? David- They’re not. Their son’s coming to study medicine. Emma- And they’re buying him a house? David- Don’t ask them about it - they’re very proud. Emma- I bet he’s a spoilt brat. Reminds me of the little shits at school. David- Had another good day? Emma- I couldn’t believe it - the faculty wants to ban failure from the

making system. David- That sounds... positive. Emma- So long as everyone who runs the eight hundred metres gets first

place as well. (Beat.) How come your parents weren’t proud of you?

David- Because I’m not a doctor. And a country pub in a drought makes a

lot more money than a farm in one. (Noticing someone pass) Did you see his Merc when we arrived?

Emma- I was hoping he’d hit us when parking. David- I’ve counted at least three gay couples. Emma- A few agents in proxy. David- And what about the Armani? Emma- That’s the auctioneer. David- Oh. Lucky. (beat.) But I’m so happy we’re doing this. It’d be

perfect, wouldn’t it? Allow us a lot of freedom. It’s certainly big enough – even with room to grow.

Emma- When we decide to. David- Of course. But it’s still close to the city – we’d be able to have fun. Emma- Not many places with a park like that at the end of the street.

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David- The whole suburb is leafy! Emma- What are we doing here, David? We can’t afford this. David- The area is still up and coming - the agent said. Emma- They always say that. David- Doesn’t mean it isn’t true. In instances- Emma- Not like this one. David- It’s only worth what someone will pay for it. Emma- So long as it’s what we can pay for it. David- But it’d be perfect. Emma- You really want us to be cursed, don’t you? David- No but I’ve decided to be positive for change. I’m going to come

right out and say it. (Loudly) We want this place and we’re going to have it!

Beat. Emma notices everyone looking at them, Emma- There it is. You’ve done it. David- But we are! This is ours! It’s our turn! Black out stage right. 2 Ken strides angrily into the living room carrying a suitcase with clothes bursting out the sides. Alexis follows. Alexis- Where do you expect him to go? Ken- Wherever this wonderful world takes him. Alexis- He won’t like that you’ve gone in to his room. Ken- It’s not his. Alexis- He’s just a little enthusiastic. Ken- This has nothing to do with enthusiasm. Alexis- He doesn’t always think things through. Ken- I don’t think he thinks at all.

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Alexis- He’s still young. Ken- Not that young. Alexis- He’s immature. Ken- He’s ruined. Alexis- He’s not ruined- Ken- Won’t think of consequences. Alexis- He’s not ruined. Ken- No commitment, no discipline- Alexis- What does he do all day? Ken- To anything worthwhile! I’ve packed just enough so he never has

to come back. Alexis- I understand you’re upset. And sure we’ve been crowded lately- Ken- We’ve been usurped! Usurped! Alexis- We should speak to him first - he did leave a note. Ken- I don’t care about a bloody note! Alexis- Why don’t I call him again? Alexis picks up the receiver. Ken- Not while he’s driving! Alexis replaces the receiver. Ken- This could be good for him. He could get a job - start repaying us

for all he’s put us through. Alexis- I’ve been speaking to him about getting some qualifications - a back up plan. Ken- He thinks that’s us! We can’t keep cushioning. Alexis- I don’t want to cushion. Ken- He’s got to live in reality so we can. Alexis- I don’t want to cushion! Ken- Then it’s settled.

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Alexis- You didn’t always sound like this. It wasn’t too long ago that you

couldn’t stop speaking about him. Ken- That was different – and you know it. Alexis- It wouldn’t hurt you to give him some encouragement. Ken- Why should I encourage my son to become depressed, introverted- Alexis- That’s not Travis, he’s an outgoing charismatic young man. Ken- So he’ll be fine on his own. (Beat.) It shouldn’t be like this. We

should be winding down at this stage in our lives. Looking forward to grandchildren - planning our trips for retirement.

Alexis- I have no problem doing that. Ken- But how can we look forward when we don’t know how long we’ll

be supporting our kids, or our annoying kid’s partners, or pets, or who knows what else they’ll start bringing in here!

David enters. David- Evening! Ken and Alexis jump. Ken glares at David while Alexis holds her hand to her chest – breathing heavily. David- Oh – I didn’t... Am I interrupting? I should have knocked.

(Awkward beat) Having a good afternoon? There is no response. David- I didn’t mean to startle you. Emma’s just outside. Alexis- What’s she doing out there - it’s dark? David- She’s... sitting in the car. Alexis- In the car? David- Yeah. Alexis shoots David a questioning look. David- You know - she’s thinking. (Beat.) Having some alone time.

(Beat.) A few minutes to herself... Alexis- What’s happened? David- Oh nothing serious!

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Ken- You two have been to an auction today. David- We bid aggressively. But we didn’t get it. And I might have jinxed us. Alexis- Well that’s no good. But no need to dwell – you have other houses

on your list. David- That was our last one. We have to start making a new list.

(noticing Ken’s disappointment) But it should be too long- Emma enters sulkily. Emma- Hardly. David- Maybe we’ll have to lower our standards a bit. Emma- I don’t want to settle for a fake lake ghetto in a flood plane. David- Emma! I’m over that. Emma- Or a place out west with cyclone fencing and a Pit Bull. David- That was an honest mistake. Alexis- (To Emma) Darling, you know you both can stay as long as you

need. Can’t they, Ken? (Ken pretends to be engrossed in the floor) Alexis- Ken? Ken- At least there’ll be more space. Emma- What does that mean? Alexis- Travis has taken the Jaguar. Emma- No! David- Which one? Ken- The new one. David- The red one? Alexis- (levelled at Ken) I’m not even allowed to drive it. Emma- Where is he? Alexis- On his way home apparently. Ken- For the last three hours.

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Alexis offers Emma a note with writing scrawled across it. Emma snatches it. Emma- (Reading with a wry smile) Dear Dad, I knew your temper would

be furious so I took a gamble, Dad. Best Wishes, Travis. Ken- He’s welcome in this house no longer. Emma- But this isn’t like Travis? Alexis- Don’t look so pleased. Emma- I’m not! Have you seen him drive? He’s probably wrapped it

around a tree already. Ken chokes at the thought. Alexis- Emma, he’s not insured! Emma- But didn’t an ambulance pass us? David- That never happened. Emma- (Smiles cheekily) Why don’t you drive out and escort him home?

You could pace him at forty K’s - Switch places at the crash! Ken- Do you think it would help? Emma stares at him blankly. David- I’m sure he’s not too far away. Emma- Why don’t you call him? Ken- He’s driving! (Ken gives them all a frustrated look.) I’m waiting outside. Ken exits. Alexis- Emma! You know how he is about his things! Emma- Travis doesn’t have a license, Mum. Alexis- He’s been learning at least. Emma- He failed the test. Alexis- He’s had more lessons- Emma- Not many- Alexis- What are you trying to do to me? I don’t need this right now.

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Emma- I suppose I would have taken it if I knew I’d get away with it. Alexis- He won’t get away with it. Your father is serious this time. He

packed him a suitcase. Emma- Dad really means it? Alexis- I can’t tell with his moods lately. I’m worried about his mind. Emma- Cutting wheat from his diet didn’t help. Alexis- He wouldn’t eat anything if he could choose. Yesterday I sent him

to get things for potato salad and he forgot the potatoes. Emma- Oh. Alexis- And this morning I caught him putting toothpaste on the head of his razor! Emma- He’s getting old, isn’t he. Alexis- Well - Older. Emma- I don’t want you two to age. I’m not ready for it. Alexis- We’re doing everything to prevent it. Emma- I’m serious. Elderly people don’t like me. Even with Grandma I’d

be talking about flowers then suddenly arguing about rainfall- Alexis- The longer you take the more like her I’ll be. Emma- Please Mum. Alexis- It’s in your best interests. Who do you think they’ll all be looking at? Emma- They? Alexis- The people at your wedding deciding whether he’s (pointing to

David) made the mistake of his life. Emma- Mum. Alexis- Already my hair’s losing shine and I’m putting on weight. Alexis preens her hair – ears pricked. Alexis- You missed your cue, David. David wants to speak but Emma cuts him off. Emma- We don’t want to be living at home when we’re married.

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David- And hate to continue to take advantage of your hospitality- Alexis- Well what went wrong at the auction? Emma- One of the gay couples and Mid-life Merc battled and left us for dead. Alexis- Who won? David/Emma- The Merc. David- Michael and Phyllis were out before us. Emma- Not that proud of their son. David- Imagining what they’d get with that money where they live. Emma- Acres of nothing. Alexis- (To Emma) What will everyone say when they see blue rinse with false teeth? David is about to offer a compliment when Travis strides on to stage with Ken following. Alexis- Travis! Ken- You’re always asking us for things but when it comes to us

expecting anything – Travis- I know, Dad. Ken- There’s got to be two ways – Travis- I took a gamble. Ken- If you don’t like the rules- Travis- I knew you’d be furious. Ken- But you still did it! Travis- I had to- Ken- You even have your own car – the one you practice in! Travis- It’s a fucking Astra! Alexis- It’s brand new! Ken- Do you have any idea what my car is worth?

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Travis- It’s not that good, Dad. Ken- I can’t just take clients out in the old one! Alexis- Your father has it for work! Travis- You can drive my Austin when I have one. Emma- (Can’t help but join in) You don’t have two dollars! Travis- (meaning it) I’ll have more than you. Alexis- If you’d crashed- Travis- I didn’t crash. Ken- But if you did- Travis- How would you know how I drive? You don’t teach me! Ken- I pay the person who does! Travis- You can’t buy my love, Dad. Alexis- He doesn’t need too! Travis- There’s not a scratch on the car – I got it hand-washed by Asians. Ken- You stole my Jaguar! Travis- Call the police then. I’ll give up. I’ll confess. Alexis- Stop being so arrogant! Travis- I had to, Dad. This is why I spend so much time working on my body! Ken- What has this got to do with your body? Travis- It has everything to do with it. Confused Beat. Travis- I understand what you’re saying, Dad. I always have. But I needed it. Ken- So what! Travis- Dad, I needed it. Ken- Listen! Travis- I needed it.

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Long beat. Ken and Travis lock eyes earnestly. Ken looks away. Travis notices the suitcase. Travis- What’s in the case? Ken- It had to be done. Travis- (Noticing his things sticking out the sides) Are they my clothes? Ken- You can’t obey the simplest of rules - you’ve got to find

somewhere else to live. Travis- But Dad! That’s what I’m trying to do. I know I haven’t been so

great to be around lately. But I’ve finally realised it. I’ve finally figured out that the beauty of life is that at any given moment - we can turn it all around. Here I was being down and depressed in my room - when I’m an outgoing charismatic young man!

Ken and Alexis share a sense of déjà vu. Travis- I have potential, intelligence - there’s no reason why I shouldn’t

succeed. And that’s what I want. I want to be able to stand on my own. And I had an audition today.

Ken- An audition? Travis- For a really good role. Ongoing work. High profile. Alexis- How did you get that? Travis- Seems like my agent hadn’t forgotten about me after all. And I

know inside of me that I deserve this. And I know full well I can do it. So I decided that if I go in there with the mindset that I’ve already got the part. If I show them straight up that I fit the mould better than anyone else – I’ll get it. And I’m really sorry I took your car, Dad. I’m really sorry I damaged our trust based relationship. But I had to impress them. And that car impresses people – and it makes me feel impressive. You understand that, don’t you?

Beat. Ken- Why didn’t you say something? I could have taken you. Travis- I’m a twenty-three year old man, Dad. I don’t need you to drive me. Alexis- How did it go? Travis- To be honest, it couldn’t have gone better. They said I was one of

the best they’d seen all day. I chatted with the director for ages

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after the audition. It’s a job that could really turn things around for me. One of the best they’d seen - they don’t just say these things.

Alexis- I can’t imagine they’d need to. Travis- It’d put me in a position where I could move out - start getting

some money in the bank. Could even begin paying you back for all the things you’ve given me.

Ken and Alexis experience another Déjà vu moment. Ken- I only want things to go well for you. But if you ever, ever do that

to me again- Travis- I won’t, Dad. Things are going to be different, now. I know it. Ken can’t hold in his pride any longer and pulls Travis in to a hug. He releases. Travis- I know it. Ken nods to Travis who exits. Emma watches Travis go. Emma- What? Is that it? Is that it? Emma turns to her parents only to notice they have exited also. David stands unmoved. Fade down. Opening Scene from Post-workshop Draft.

Excerpt from Deceased Estate Draft 7.2, February 2008.

1. The floor is covered with large white ceramic tiles that gleam under the lights. Emma (26) stands to one side. She is attractive, simply dressed and appears disturbed by her thoughts. David (31) stares at her. His bulky frame is dripping with sweat and his smart-casual clothes stick to him. David- Why? Emma- David-

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David- Why did you go? That was our chance – and you and I don’t get many. Emma- It’s not about that. David- We just need this step. Emma- David. David- This first step. Emma- David- David- We need the step- Emma- David! All at once countless pairs of a young man’s dress shoes, sneakers, hair products and pairs of fashionable sunglasses rain down from above. An obsessively large DVD collection also joins the pile and finally a duffle bag, stuffed beyond capacity thuds into the middle of the mess. David is distracted as Ken and Alexis enter. Emma doesn’t flinch just like they were there the entire time. David begins to notice his surroundings. Alexis- Put those down! Ken is sixty-one and still going to the gym. He carries a massive bulk of expensive clothes still on their coat hangers. Alexis is fifty-five but has committed to not look like it. She is stylishly dressed and Ken’s outfit happens to match hers perfectly. They are both flustered. Emma- You were talking about a note. Ken- I don’t care about a note! Emma- Did he offer some reasons? Ken- I don’t care about the note! Emma- Maybe he left some clues and we can sort this out- Ken- He knows my position on this. I’ve held this position for a long

time and anyone who didn’t know it- Ken stops when he notices David. Ken- (to Emma) When did he come in? David- I just got back- Ken- (to David) I’ve got shin splints.

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David- Pardon? Ken- Shin splints! Alexis- What’s that got to do with anything? Ken- You should have seen him. He made us run on the path the whole time- David- You got them this morning? Ken- On top of everything else I’ve got - Alexis- Calm down – you’re making the air-conditioning struggle. Ken slams the clothes on top of the duffle bag. David- (to Ken) Spring cleaning? Ken- Renovating. Emma- We have to think of where he might have gone. Alexis- Emma’s right. Emma- We should go look for him. Alexis- (taking out her mobile) I’ll try again. Ken- It’ll be off. Alexis looks at her phone – hopeful. Ken- And no message bank. Alexis hangs up. Ken- I’ve been sending texts. David- What has he done? Beat. Alexis wants to say but is a little afraid to. Alexis- He’s taken the Maserati. David- Ken’s Maserati? The GT Maserati? The black Maserati? The- Ken- I’ve only one Maserati! Things have been slipping. I’ve been

feeling it. I’ve been feeling it for a long time. Alexis- What’s been slipping?

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Ken- It’s been building. Alexis- Nothing’s been building. Ken- The pressure. Alexis- It’s just this heat. This unseasonable heat. David- Why? – Why would he do that? Ken pulls out a crumpled piece of paper from his pocket and thrusts it in to David’s hand. David unfolds as Alexis moves to read over his shoulder. David- (reading) Dear Dad, I knew your temper would be furious so I

took a gamble, Dad. Best wishes – T. Emma- Best wishes? David- (reading) x. Alexis- x? David- Where is he? Where would he go? Should we go looking? Ken lets out a frustrated roar then heads off stage. Emma- He’s probably wrapped it around a tree already. Alexis- Emma! He’s not insured. Emma- He’s barely had his licence. Alexis- He knows how to drive. Emma- Took him three times to pass the test. Alexis- Please! Hundreds of glossy pages cut from magazines flutter down from above – a mêlée of famous male actors and models. Alexis- His posters? Ken re-enters with two desk drawers. He empties their contents on to the stage and tosses the drawers on top of the pile. Alexis- (taking out her phone and giving it to Emma) Type. (dictating) If

you don’t come home now you little shit I’ll… rip your face off. Ken- I’ve sent that one.

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Alexis- What? (dictating again) If you don’t come… You’ll wish you were aborted!

Ken- Sent that too. Alexis sighs and Emma gives up typing. Emma notices something in the pile of

papers. David- I’m sure it will be okay. He won’t do anything stupid. He knows

what that car means to you. He knows how high powered and …expensive it is.

Emma picks up a bit of paper. Emma- Dad? Dad - there’s - look at this. There’s nothing to worry about. Ken- What are you talking about? Emma- Right here – it’s – it’s a cheque. Ken- For what? Emma- Seven million. Ken- Seven million! Alexis- Dollars? Ken snatches the paper away from Emma and scrutinizes it. Ken- (reading) Travis Knight – the sum of seven million - He’s written

this himself. Alexis- He’s even crossed it with not negotiable. Ken- And spelled negotiable wrong. Things are slipping. Ken rips it up and exits – tossing the scraps in the air. Emma can’t help but giggle. Alexis- (to Emma) We don’t need this right now! Ken exits. Emma- (trying to stifle giggles) I’m sorry. Alexis- Are you enjoying this? Emma- No. (finally getting the giggles under control) No. I’m not. Alexis exits – leaving David and Emma alone. David- That wasn’t very nice-

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Emma- Don’t. David- What? Emma- Don’t pretend we’re okay. David- I’m not! I mean I don’t understand why we aren’t – but… Beat. David- I got us an extension. I had to beg them for it- Emma- I don’t need an extension. David- We have until Tuesday. Ken re-enters struggling with two large dumbbells. Alexis follows. Alexis- Stop that! Ken- I’m packing him just enough so he never has to come back. Alexis- It’s too hot to be running around like this! Ken- You think I care about the heat? Alexis- I care about the heat! David- It should cool down soon. Ken- My son’s stolen my Maserati and you think I care about the

weather? David- There’s going to a storm. Ken drops the two dumbbells making a horrible cracking noise on the tiles. Emma- Dad! Alexis- What was that? Alexis and Emma move to examine where Ken dropped the weights. Ken- What kind of storm? A big storm? David- The sky’s a bit purple. Ken- Purple? (running to the window) Is that sky purple? Alexis- It’s cracked. Ken- Huh?

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Alexis- The floor. You cracked a tile. Ken- No- Emma- Two tiles. Ken- Two… Ken rushes over and looks at the damage. He’s devastated. Alexis- Ken! David- Don’t worry about it. We can fix it. Ken- I don’t believe it. David- It’s just a tile. Emma- Two tiles. David- We can fix it. Ken walks away but he is hit with the pain in his shins. Ken- I’ve cracked tiles, my Maserati has been stolen, it’s about to rain

down big chunks of ice and I’ve got shin splints! Shin splints! David- You just need to drink more water. And you need to stretch- Ken- How do you stretch your shins? David- I’m sorry I made you stay on the path but it’s my system – my

system to lose weight- Ken scoffs. Ken- I want him here now. I want that car back in the garage and I want

him here. Surely someone must know something. Surely someone knows where he’d go?

Alexis- He’s been so quiet lately. Emma- I’ve hardly seen him leave his loft. David- He talks to me sometimes. Ken- Yes? David- I guess there’s one thing. I don’t know if it’s related – but Travis

asked me… well he told me not to tell anyone – Ken- David.

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David- He asked me to read for him. Beat. David- Well read with him, rather - while he practiced his lines. Alexis- What script? David- It seemed like a drama- Ken- (cutting across) What was it for? David- An audition. A telemovie I think. He said it would be good

practice before he goes overseas. Alexis- He’s going overseas? David- He wants to go to LA. Apparently there’s a time when actors from

everywhere- Ken- Pilot season. David- He told you too? Ken- When’s the audition? David- I don’t know – I guessed it was soon… Could be today. Ken- Do you know where? David- No- Alexis- (to Ken) It doesn’t mean anything- Ken- He’s ruined. Alexis- He’s not ruined. Ken- No commitment, no discipline. Alexis- He’s not ruined. Ken- I’m waiting outside. Ken moves to exit. Ken- And I’m calling the police. Ken exits. David- I’m sorry. I didn’t realise it was a big thing. He said he didn’t want

you to know because of the pressure. He didn’t want any. It seemed reasonable.

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Emma- How long has it been? Alexis- Almost two years. David- Should I have told you earlier? Alexis- He’s been so quiet. David- He told me about some of the stuff he’s done. I couldn’t believe

it! How come no one told me earlier? Alexis- We’ve been talking about him getting a job. A real, steady, stable

job. Emma- And he agreed? Alexis- He said that’s what he wanted as well. Emma- The police could track him down. There’s not many Maseratis on

the road. Alexis- I’m sure they’d find him. I’m just not so sure he’d stop. Travis enters. He is fit and very attractive and is dressed simply. Travis- Mum? Alexis- Travis! Travis- What’s he trying to do? Alexis- Tell me the car is okay. Tell me you didn’t hit anything. Travis- What’s wrong with him? He wants to ruin everything! Travis stops and notices the mess on the floor. Travis- What’s all this? These are mine... (He collects a few of his shoes

and pictures) These are my things... Ken enters. He holds a very sore right hand. He struggles to speak through the shooting pain. Ken- You know my position on this. I’ve held this position for a long

time and if you didn’t know it you... you... Ken bites down on his lip in pain. Alexis- (Moving to Ken) What have you done? Ken- He was smiling.

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Travis- He tried to hit me. Ken- He got out of the car looking all smug... Ken groans in pain and anger. Travis- He wanted to hit me, Mum. Alexis- (examining the hand) What happened? Travis- I ducked and he hit the bricks. Emma- Oh- David- Is it broken? Travis- Think of what he would have done if he connected! Ken- Not enough! Travis- Kicking me out isn’t enough? David- (exiting dutifully) I’ll get something cold. Travis- (motioning to Ken’s arm) Just hold it against your heart. Ken- How dare you! You steal my car… (Ken is hit by pain) Do you

have any idea what that car is worth? Travis- Of course I do. Alexis- What the hell were you doing with it? Travis- I knew your temper would be furious but I took a gamble. Alexis- If you’d crashed! Travis- I didn’t crash. Alexis- But if you had- Travis- There’s not a scratch on the car and I got it hand-washed by

Asians. David re-enters with a bag of frozen peas. Ken- Kicking you out is nowhere near enough! Travis- (taking out his phone) So I’ve been reading! David hands the peas to Ken who puts them on his arm. David- It might help with your shins too.

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Ken- What? David- …The ice – could (David gestures to Ken’s shins) Awkward beat. David moves away meekly as Ken glares at him. Travis- I had an appointment. Ken- An audition. Travis shoots a glare at David. He turns away meekly again. Alexis- Why didn’t you get the bus? Travis- I needed it. Alexis- Travis- Travis- I needed it. Ken- Listen! Travis- You can drive my Aston when I have one. Ken- You don’t have two dollars unless I give it to you. Emma- He ripped up your seven million. Travis- You’ve been going through my things as well? Ken- You said you were going to do something else- Travis- (to Emma) My stuff is none of your business. Alexis- You made it our business. Ken- You said you wanted to do something with your life. Travis- I’m not working in a mine, Dad. Ken- You should think about it – a fit young man- Travis- I’m not working in a mine. Ken- There’s good money there. Travis picks up some pictures from the ground. Travis- Do you have any idea how much this guy earns? Or this one? Or

him? I know I haven’t been in a very good place for a while now but I’m turning that around-

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Ken- But my car! Why’d you take my car? Travis- I needed it. Ken- You don’t just need a Maserati! Alexis- How’d you get an audition? Travis- Well- (gesturing to David and Emma) It was these two. David and Emma freeze. Ken- These two? Travis- Look at them. When they came to live here you could just see the

disappointment, the hardship - the humiliation - oozing like sweat from their every pore. But did they give up? Sure they’ve seen one hell of a rough patch. Sure they’ve had to endure more embarrassment than anyone should have to deal with in a lifetime-

Emma and David look unimpressed with Travis’s assessment. Travis- But you talk to David. He’s got ideas. Plans. He’s not going to

stop trying. He’s not going to let someone tell him he can’t get what he wants - he’s making things happen!

David’s impression improves. Travis- David helped me see that I can go to LA myself. I don’t need

someone to take me. I can go to auditions and meet people – I don’t need some guy to introduce me. And while my situation is nowhere near as dire as theirs –

Emma- Our situation isn’t dire. Travis is silent. Emma- It’s not dire! Travis- I rang my agent. I told her straight up that I’m planning to go to

pilot season and I wanted an audition for practice. It’s been almost two years since we last spoke.

Ken- We know how long it’s been. Travis- They lined up a try out for a small part in a telemovie. Now I

know I did something very bad when I took your car and I’ll accept any punishment. But Dad, I took it – I took it because I had to remember. I had to remember what I’m capable of and what I deserve.

Alexis- If you told us you were doing this we could have driven you!

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Travis- I’m twenty-three year old man! I don’t need my parents to drive me. And I’m sorry I was smiling when I got out of the car – but I couldn’t help but be happy. They said I was the best they’d seen.

Ken- The best? Travis- And they don’t just say those things – they don’t need to. There

was even talk about giving me a bigger role. Alexis- Really? Ken- It was just an audition, Travis. That’s all it was. You think it went

well but it might not mean anything. They might give the part to someone else –

Travis- I know that. But when the producer invites me to a party at her

house tonight so I can meet some of the execs – I think that’s a pretty good sign.

Alexis- Tonight? Ken- They invited you tonight? Travis- This is exactly what I need. I finally realised that the greatest thing

about life is that at any moment it can be turned right around. There I was up in my loft all depressed and moping when… I’m sorry I took it. I wanted to remember.

Ken and Alexis consider this.

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Deceased Estate

By Ian Irvine

Draft 7.2, February 2008 A PLAY in two acts. CHARACTERS Travis- (23) Ken- (61) Alexis- (55) Emma- (26) David- (31)

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ACT I 1. The floor is covered with large white ceramic tiles that gleam under the lights. Emma (26) stands to one side. She is attractive, simply dressed and appears disturbed by her thoughts. David (31) stares at her. His bulky frame is dripping with sweat and his smart-casual clothes stick to him. David- Why? Emma- David- David- Why did you go? That was our chance – and you and I don’t get many. Emma- It’s not about that. David- We just need this step. Emma- David. David- This first step. Emma- David- David- We need the step- Emma- David! All at once countless pairs of a young man’s dress shoes, sneakers, hair products and pairs of fashionable sunglasses rain down from above. An obsessively large DVD collection also joins the pile and finally a duffle bag, stuffed beyond capacity thuds into the middle of the mess. David is distracted as Ken and Alexis enter. Emma doesn’t flinch just like they were there the entire time. David begins to notice his surroundings. Alexis- Put those down! Ken is sixty-one and still going to the gym. He carries a massive bulk of expensive clothes still on their coat hangers. Alexis is fifty-five but has committed to not look like it. She is stylishly dressed and Ken’s outfit happens to match hers perfectly. They are both flustered.

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Emma- You were talking about a note. Ken- I don’t care about a note! Emma- Did he offer some reasons? Ken- I don’t care about the note! Emma- Maybe he left some clues and we can sort this out- Ken- He knows my position on this. I’ve held this position for a

long time and anyone who didn’t know it- Ken stops when he notices David. Ken- (to Emma) When did he come in? David- I just got back- Ken- (to David) I’ve got shin splints. David- Pardon? Ken- Shin splints! Alexis- What’s that got to do with anything? Ken- You should have seen him. He made us run on the path the

whole time- David- You got them this morning? Ken- On top of everything else I’ve got - Alexis- Calm down – you’re making the air-conditioning struggle. Ken slams the clothes on top of the duffle bag. David- (to Ken) Spring cleaning? Ken- Renovating. Emma- We have to think of where he might have gone. Alexis- Emma’s right. Emma- We should go look for him.

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Alexis- (taking out her mobile) I’ll try again. Ken- It’ll be off. Alexis looks at her phone – hopeful. Ken- And no message bank. Alexis hangs up. Ken- I’ve been sending texts. David- What has he done? Beat. Alexis wants to say but is a little afraid to. Alexis- He’s taken the Maserati. David- Ken’s Maserati? The GT Maserati? The black Maserati? The- Ken- I’ve only one Maserati! Things have been slipping. I’ve

been feeling it. I’ve been feeling it for a long time. Alexis- What’s been slipping? Ken- It’s been building. Alexis- Nothing’s been building. Ken- The pressure. Alexis- It’s just this heat. This unseasonable heat. David- Why? – Why would he do that? Ken pulls out a crumpled piece of paper from his pocket and thrusts it in to David’s hand. David unfolds as Alexis moves to read over his shoulder. David- (reading) Dear Dad, I knew your temper would be furious so

I took a gamble, Dad. Best wishes – T. Emma- Best wishes? David- (reading) x.

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Alexis- x? David- Where is he? Where would he go? Should we go looking? Ken lets out a frustrated roar then heads off stage. Emma- He’s probably wrapped it around a tree already. Alexis- Emma! He’s not insured. Emma- He’s barely had his licence. Alexis- He knows how to drive. Emma- Took him three times to pass the test. Alexis- Please! Hundreds of glossy pages cut from magazines flutter down from above – a mêlée of famous male actors and models. Alexis- His posters? Ken re-enters with two desk drawers. He empties their contents on to the stage and tosses the drawers on top of the pile. Alexis- (taking out her phone and giving it to Emma) Type.

(dictating) If you don’t come home now you little shit I’ll… rip your face off.

Ken- I’ve sent that one. Alexis- What? (dictating again) If you don’t come… You’ll wish

you were aborted! Ken- Sent that too. Alexis sighs and Emma gives up typing. Emma notices something in the pile

of papers. David- I’m sure it will be okay. He won’t do anything stupid. He

knows what that car means to you. He knows how high powered and …expensive it is.

Emma picks up a bit of paper.

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Emma- Dad? Dad - there’s - look at this. There’s nothing to worry about.

Ken- What are you talking about? Emma- Right here – it’s – it’s a cheque. Ken- For what? Emma- Seven million. Ken- Seven million! Alexis- Dollars? Ken snatches the paper away from Emma and scrutinizes it. Ken- (reading) Travis Knight – the sum of seven million - He’s

written this himself. Alexis- He’s even crossed it with not negotiable. Ken- And spelled negotiable wrong. Things are slipping. Ken rips it up and exits – tossing the scraps in the air. Emma can’t help but giggle. Alexis- (to Emma) We don’t need this right now! Ken exits. Emma- (trying to stifle giggles) I’m sorry. Alexis- Are you enjoying this? Emma- No. (finally getting the giggles under control) No. I’m not. Alexis exits – leaving David and Emma alone. David- That wasn’t very nice- Emma- Don’t. David- What? Emma- Don’t pretend we’re okay. David- I’m not! I mean I don’t understand why we aren’t – but…

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Beat. David- I got us an extension. I had to beg them for it- Emma- I don’t need an extension. David- We have until Tuesday. Ken re-enters struggling with two large dumbbells. Alexis follows. Alexis- Stop that! Ken- I’m packing him just enough so he never has to come back. Alexis- It’s too hot to be running around like this! Ken- You think I care about the heat? Alexis- I care about the heat! David- It should cool down soon. Ken- My son’s stolen my Maserati and you think I care about the

weather? David- There’s going to a storm. Ken drops the two dumbbells making a horrible cracking noise on the tiles. Emma- Dad! Alexis- What was that? Alexis and Emma move to examine where Ken dropped the weights. Ken- What kind of storm? A big storm? David- The sky’s a bit purple. Ken- Purple? (running to the window) Is that sky purple? Alexis- It’s cracked. Ken- Huh? Alexis- The floor. You cracked a tile.

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Ken- No- Emma- Two tiles. Ken- Two… Ken rushes over and looks at the damage. He’s devastated. Alexis- Ken! David- Don’t worry about it. We can fix it. Ken- I don’t believe it. David- It’s just a tile. Emma- Two tiles. David- We can fix it. Ken walks away but he is hit with the pain in his shins. Ken- I’ve cracked tiles, my Maserati has been stolen, it’s about to

rain down big chunks of ice and I’ve got shin splints! Shin splints!

David- You just need to drink more water. And you need to stretch- Ken- How do you stretch your shins? David- I’m sorry I made you stay on the path but it’s my system –

my system to lose weight- Ken scoffs. Ken- I want him here now. I want that car back in the garage and I

want him here. Surely someone must know something. Surely someone knows where he’d go?

Alexis- He’s been so quiet lately. Emma- I’ve hardly seen him leave his loft. David- He talks to me sometimes. Ken- Yes?

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David- I guess there’s one thing. I don’t know if it’s related – but Travis asked me… well he told me not to tell anyone –

Ken- David. David- He asked me to read for him. Beat. David- Well read with him, rather - while he practiced his lines. Alexis- What script? David- It seemed like a drama- Ken- (cutting across) What was it for? David- An audition. A telemovie I think. He said it would be good

practice before he goes overseas. Alexis- He’s going overseas? David- He wants to go to LA. Apparently there’s a time when actors

from everywhere- Ken- Pilot season. David- He told you too? Ken- When’s the audition? David- I don’t know – I guessed it was soon… Could be today. Ken- Do you know where? David- No- Alexis- (to Ken) It doesn’t mean anything- Ken- He’s ruined. Alexis- He’s not ruined. Ken- No commitment, no discipline. Alexis- He’s not ruined. Ken- I’m waiting outside.

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Ken moves to exit. Ken- And I’m calling the police. Ken exits. David- I’m sorry. I didn’t realise it was a big thing. He said he didn’t

want you to know because of the pressure. He didn’t want any. It seemed reasonable.

Emma- How long has it been? Alexis- Almost two years. David- Should I have told you earlier? Alexis- He’s been so quiet. David- He told me about some of the stuff he’s done. I couldn’t

believe it! How come no one told me earlier? Alexis- We’ve been talking about him getting a job. A real, steady,

stable job. Emma- And he agreed? Alexis- He said that’s what he wanted as well. Emma- The police could track him down. There’s not many

Maserati’s on the road. Alexis- I’m sure they’d find him. I’m just not so sure he’d stop. Travis enters. He is fit and very attractive and is dressed simply. Travis- Mum? Alexis- Travis! Travis- What’s he trying to do? Alexis- Tell me the car is okay. Tell me you didn’t hit anything. Travis- What’s wrong with him? He wants to ruin everything! Travis stops and notices the mess on the floor.

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Travis- What’s all this? These are mine... (He collects a few of his shoes and pictures) These are my things...

Ken enters. He holds a very sore right hand. He struggles to speak through the shooting pain. Ken- You know my position on this. I’ve held this position for a

long time and if you didn’t know it you... you... Ken bites down on his lip in pain. Alexis- (Moving to Ken) What have you done? Ken- He was smiling. Travis- He tried to hit me. Ken- He got out of the car looking all smug... Ken groans in pain and anger. Travis- He wanted to hit me, Mum. Alexis- (examining the hand) What happened? Travis- I ducked and he hit the bricks. Emma- Oh- David- Is it broken? Travis- Think of what he would have done if he connected! Ken- Not enough! Travis- Kicking me out isn’t enough? David- (exiting dutifully) I’ll get something cold. Travis- (motioning to Ken’s arm) Just hold it against your heart. Ken- How dare you! You steal my car… (Ken is hit by pain) Do

you have any idea what that car is worth? Travis- Of course I do. Alexis- What the hell were you doing with it?

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Travis- I knew your temper would be furious but I took a gamble. Alexis- If you’d crashed! Travis- I didn’t crash. Alexis- But if you had- Travis- There’s not a scratch on the car and I got it hand-washed by

Asians. David re-enters with a bag of frozen peas. Ken- Kicking you out is nowhere near enough! Travis- (taking out his phone) So I’ve been reading! David hands the peas to Ken who puts them on his arm. David- It might help with your shins too. Ken- What? David- …The ice – could (David gestures to Ken’s shins) Awkward beat. David moves away meekly as Ken glares at him. Travis- I had an appointment. Ken- An audition. Travis shoots a glare at David. He turns away meekly again. Alexis- Why didn’t you get the bus? Travis- I needed it. Alexis- Travis- Travis- I needed it. Ken- Listen! Travis- You can drive my Aston when I have one. Ken- You don’t have two dollars unless I give it to you. Emma- He ripped up your seven million.

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Travis- You’ve been going through my things as well? Ken- You said you were going to do something else- Travis- (to Emma) My stuff is none of your business. Alexis- You made it our business. Ken- You said you wanted to do something with your life. Travis- I’m not working in a mine, Dad. Ken- You should think about it – a fit young man- Travis- I’m not working in a mine. Ken- There’s good money there. Travis picks up some pictures from the ground. Travis- Do you have any idea how much this guy earns? Or this

one? Or him? I know I haven’t been in a very good place for a while now but I’m turning that around-

Ken- But my car! Why’d you take my car? Travis- I needed it. Ken- You don’t just need a Maserati! Alexis- How’d you get an audition? Travis- Well- (gesturing to David and Emma) It was these two. David and Emma freeze. Ken- These two? Travis- Look at them. When they came to live here you could just

see the disappointment, the hardship - the humiliation - oozing like sweat from their every pore. But did they give up? Sure they’ve seen one hell of a rough patch. Sure they’ve had to endure more embarrassment than anyone should have to deal with in a lifetime-

Emma and David look unimpressed with Travis’s assessment.

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Travis- But you talk to David. He’s got ideas. Plans. He’s not going to stop trying. He’s not going to let someone tell him he can’t get what he wants - he’s making things happen!

David’s impression improves. Travis- David helped me see that I can go to LA myself. I don’t

need someone to take me. I can go to auditions and meet people – I don’t need some guy to introduce me. And while my situation is nowhere near as dire as theirs –

Emma- Our situation isn’t dire. Travis is silent. Emma- It’s not dire! Travis- I rang my agent. I told her straight up that I’m planning to go

to pilot season and I wanted an audition for practice. It’s been almost two years since we last spoke.

Ken- We know how long it’s been. Travis- They lined up a try out for a small part in a telemovie. Now I

know I did something very bad when I took your car and I’ll accept any punishment. But Dad, I took it – I took it because I had to remember. I had to remember what I’m capable of and what I deserve.

Alexis- If you told us you were doing this we could have driven you! Travis- I’m twenty-three year old man! I don’t need my parents to

drive me. And I’m sorry I was smiling when I got out of the car – but I couldn’t help but be happy. They said I was the best they’d seen.

Ken- The best? Travis- And they don’t just say those things – they don’t need to.

There was even talk about giving me a bigger role. Alexis- Really? Ken- It was just an audition, Travis. That’s all it was. You think it

went well but it might not mean anything. They might give the part to someone else –

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Travis- I know that. But when the producer invites me to a party at her house tonight so I can meet some of the execs – I think that’s a pretty good sign.

Alexis- Tonight? Ken- They invited you tonight? Travis- This is exactly what I need. I finally realised that the greatest

thing about life is that at any moment it can be turned right around. There I was up in my loft all depressed and moping when… I’m sorry I took it. I wanted to remember.

Ken and Alexis consider this. 2. Heavy rain can be heard coming overhead. Fade up. Travis’s things still litter the ground. David is onstage - he is lost in thought as he watches the weather outside. Ken is behind him. Ken- There’s too much… stuff in the air. When it rains so heavy I

can’t sleep. David turns to find Ken. His wrist is bandaged. David- How’s the arm? Ken- It’s unsettling. David- Your arm? Ken- This weather. My arm’s killing – I took some drugs but they

haven’t done a thing. And this strong rain… I can’t relax. Can’t switch off.

David- How’s the car? Ken- (nodding) I went over every panel. He didn’t put any petrol

in though. I can’t believe I missed him. David- I’m not sure if he left yet- Ken- Left? He went out an hour ago. I meant when I tried to hit

him.

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David- Oh. Ken- I didn’t realise he could move so fast. David- Maybe you’re getting slower. Ken- I’m not getting slower. David- I don’t think it will be too difficult to replace two tiles. Do

you have spares? Ken- There’s some in the shed. David- My Uncle’s a tiler. I worked a bit for him when I finished

school. Ken- It’s very decent of you to offer. David- It’s no trouble. I wish we could contribute more. Ken- We’ve been happy to have you. David- Well you won’t have to put up with us much longer. I think

we’ll be out quite soon. Ken- Oh? David- As long as I can convince Emma not to pass up the

opportunity of a lifetime- Ken- You’ve been a good guest, David. But there’s one thing.

One thing I wish you hadn’t done. David- What’s that? Ken- Your thoughts. Travis doesn’t need them. David- My thoughts? Ken- He doesn’t need your ideas put in his head. David doesn’t know what to say. Ken- All this could boil down and… nothing could happen. David- Sure-

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Ken- He’s gone out tonight – he’s all excited and you and - your ideas and plans – all you’ve done is get hopes up. You’ve just raised expectations. We don’t need it.

David- I didn’t mean to- Black. 3. The rain has stopped. Very loud and sharp cracking noises ring out in the darkness. Alexis- Ken! Lights up. Travis’s belongings have been pushed to the sides. Ken, in overalls holds a sledgehammer and is standing over the cracked tiles. Alexis, wearing a luxurious dressing gown stares at him aghast. David has also entered. He is shirtless and wears yesterday’s jeans. He wields a cricket bat and has stopped suddenly. Ken- (to David) What are you doing? David- What are you doing? Ken- I nearly got my foot. Alexis- David was about to get more than that. David- I was asleep. Then I heard this noise- Ken- And you thought you’d silence it with a few cut strokes? David- I got an awful fright- Ken- Thought you’d give it a few cover drives. Emma enters. Her eyes squint from the light. David- I didn’t know it was you - I thought you were a burglar. Ken- Would I be making this much noise if I were a burglar? Emma- (noticing the damage to the floor) Dad, you’re not - are

you? Tell me you’re not-

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Alexis- Why are you doing this at all? It’s four am! Ken- A magic time of day. David- It’s not. Alexis- There’s nothing magic about it. Ken- It’s the coolest time to work. Ken hits the tile hard with the hammer. Alexis, David and Emma jump. Alexis- Ken! Ken- What? I’m working on the floor! David- What about your arm? Ken- The arm’s fine. Alexis- I thought it was fractured? Ken hits the tile again hard with the hammer. Alexis, David and Emma cover their ears again. Ken- It’s fine! David- I told you I’d do this. Ken- I’m getting it started. David- I was going to take care of it. Ken- We can’t wait forever. David- What? Ken- It’s not going to fix itself. David- It was only last night- Ken- (to the others) He thinks it’s going to fix itself! Ken hits. Alexis looks at David holding the bat and nods towards Ken. Alexis- Sure he’s not a burglar?

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Ken- I’m- Ken hits. Ken- Just- Ken hits. Ken- Getting- Ken hits Ken- This- Ken hits. Alexis- But why? Why now? Travis enters. He wears a fashionable suit that has become attractively untidy. He too squints from the light. Travis- Dad! Dad! Dad! Ken aborts the hit. Ken- Travis! Travis- What time is it? I think it’s still dark- Ken- Did they wake you? Alexis- Us? Ken- Who could sleep with all of you yelling? Travis- I’d just drifted off. Ken- They’re impressive pyjamas. Travis- I got home not too long ago. I fell into bed like this. Ken- That’s a late one? Beat. Ken waits expectantly for Travis to respond with more information but he doesn’t. Ken- Must have been good?

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Beat. Ken- If you’re only getting in now- Emma- (to Ken) Why couldn’t you just knock? Ken- Pardon? Emma- Why’d you have to get us all up? Ken- What are you talking about? Emma- I was asleep. Alexis- I think it’s sweet- Emma- Mum! Alexis- In a way. Ken- I’m working on the floor at four am! How is that sweet? Emma- Don’t be ridiculous. Ken- I’m just getting this done. Emma- (to Ken and Alexis) Don’t you see what you’re doing? Beat. Ken and Alexis begin to consider Emma’s words a moment. Travis- What are you doing? Ken- (it takes Ken a moment to realise Travis means the floor)

Two tiles have cracked. Travis looks at the floor. Travis- How’d that happen? Ken- They… just cracked. Travis- So you’re hitting them with that mallet? Ken- I’m breaking them up to get them out. Travis- And then you put the new ones in? Ken nods.

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Travis- Do you need a hand? Ken- What? Travis- I could help – if you need. Ken- You want to help? Travis- If we could do it a bit later – I think now I should probably

get some sleep. I had some sort of evening. Ken- I bet you did coming in so late. Emma is unimpressed with the scene. She exits. David is confused as he watches her go. He thinks he should follow. Travis- (to David) Are you playing cricket? David- Oh? (looking at the bat) No- Ken- Just attacking your father. David- I wasn’t attacking – Ken- He was going to use my head as the ball. David- I got a fright. Alexis- (to Travis) So what happened? Travis takes a breath. Travis- Those kinds of parties are always so cliquey. And I was

nervous - more nervous than I was for the audition. Ken- Oh. Travis- But I made a plan. I told myself I was going into that party

and I was going to meet everyone. And in every one of those meetings I was going to compliment them, entertain them and then leave right before they had a chance to leave me.

Alexis- Compliment them... Entertain them... Travis- And then leave.

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Ken- Leave? Travis- Before they started looking over my shoulder for someone

better to talk to. Ken- That’s sounds like a good plan. (to David) Isn’t that a good

plan? David- Yes. Alexis- Did it work? Travis- I hardly got around a quarter of the room. No one would let

me go! Ken- What about the producer? Alexis- Did you speak to her more? Travis- Some. Alexis- Did she say anything? Travis- She’s not going to speak about work at a party. Ken- Right. Travis- But she did say one interesting thing. They’re calling me

back so they can see what I look like with the other cast. Alexis- That’s great- Travis- They’re marking me for a lead. Ken- That… that is great. (looks to David) David- (agreeing) Yes. Travis- Of course it’s not it. Nothing is confirmed. Ken- But it’s a step in the right direction. Travis- It is. And when it comes down to it all I want is to be more

experienced for pilot season. That’s all. Ken turns back to the floor. Ken- You want to do this later, then?

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Travis- Sure. If you don’t mind? Ken- I suppose we all could use a bit more sleep. Alexis- You’re not leaving it like that. Ken- No- Alexis- You need to sweep and put a barrier around it or something. Ken- I know. Travis- I can help you tidy. David is relieved and moves to exit. Ken- No – David will do. David stops. Alexis moves off stage. Alexis- If I hear any more banging I’ll be packing more than a

cricket bat. And Travis? It’s good to see. Alexis exits. Ken smiles. Ken- It is good. (To David but pointing to Travis) This boy had

major professional lead roles when he was just seventeen. He was even offered a trip right around the world. All expenses paid!

David looks impressed. Travis- I’m going to do this on my own. Ken- Just as long as you leave my car out of it. Travis- He was there. Beat. Ken stops. Ken- Who? Travis- He was at the party. Ken- Isaac?

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Travis- You know what he did? He walked right up to me, looked me straight in the eye - and introduced himself.

Ken- Introduced himself? Travis- He pretended he didn’t know me. Ken- Why? Why would he do that? Travis- I don’t know. Ken- Did you remind him? Did you say – did you jog his memory? Travis- No. Ken- What’s his involvement? Travis- I’m not sure. Nothing I think. I don’t care. I don’t want to

know him either. Ken considers this. Ken- (forces a smile) I’ll get a dustbin. To put this stuff in. Travis- I’m going to get some sleep. (gesturing to the floor) We’ll

finish this off later? Ken- We will indeed. Travis- Can I use the hammer? Ken- Now you’re pushing it. Travis exits. David moves to the floor to help pick up fragments. Ken- David- David- Yes? Ken- You and Travis. You get along? David- Yes. I think so- David looks to Ken.

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Black. 4. Emma and David are on stage. Emma looks out the window. Emma- It’s building up again. David turns to her and looks out also. David- Looks like another big one. Emma continues looking out the window. David- I was hoping to talk to you last night - but you were already asleep. Emma- I hate it when they get like this. They’re behaving like children. David- We don’t have to be here. Emma is silent. David- We thought once we’d be married by this time. Emma- I didn’t like it there. David- Come on Emma – you did. You said you did. Emma- That was before. David- It’s still the same place. Emma- And I didn’t like the way you- David- What? Emma- I didn’t like the way you spoke to me. David- Emma- Emma- I told you I won’t put up with it. David- You’re not. You’re not putting up with anything. Emma- I don’t deserve it.

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David- I know. I know you don’t. Things were coming down all

around us then… Emma doesn’t respond. David- I’m sorry if I sounded a bit terse. But I was frustrated. I

mean we finally find a great house that we can actually afford and you… We finally have a real opportunity to get out of here -

Emma- You took a cricket bat. You heard a noise upstairs and you

took a bat. David- So? Emma- Do you always grab a weapon when you hear a noise in the

night? David- Yes. No. I don’t know! That doesn’t mean anything. Emma- I don’t like it there. David- Give it a chance. We have until Tuesday- Emma is quiet. David watches her carefully. David- I’m going to be busy. Your Dad – this morning he asked me

to spend some time with Travis. Emma- Why? David- He thinks maybe I can keep him on the straight and narrow. Emma looks surprised. Emma- Don’t, David. Don’t get involved in all that. David- I can’t say no to your Father. Emma- You should stay away from Travis. He doesn’t mean well. David- He’s only young. Emma- Just keep out of it. David- Keep out of what?

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Emma- I want you to stay away. David- But how? How can I do that? We live under the same roof! Drops can be heard. 5. Rain continues outside. Travis is onstage watching it. David enters. Travis- It feels like it’s been raining forever. David- Just last week everyone was saying it’s too dry. Travis- It can never be too dry in my book. David- I was pleased to hear I’ve been your inspiration. Travis chuckles. David- Helped you get off the couch and back into it. Travis- Just inspiration, David. Your dream is to have a house in

suburbia with my sister. David- Well... Travis- Don’t you have any imagination? David- We’re not going to stop at one. The plan is to have three by

the time I’m thirty five. This is just a step to bigger and better things.

Travis- Like whitegoods and domestic pets? David- I wouldn’t mind a dog. But it will certainly be better than

living in a tiny flat and stuck in the rent cycle. That gets you nowhere.

Travis- Now that I can relate to. I’ve been stuck in a cycle very

similar – though I’m not in a lease. But just like you I’m getting off. I’ve had enough. And this time I’m going to join a cycle so big that I can only go up.

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David- Take me with you. Travis- I’m sorry I said your situation was dire. I didn’t mean to

offend you. I was just trying to illustrate a point -You lost your house.

David- We didn’t lose it. We sold it. We were lucky. Travis- That’s lucky? David- It was too expensive for us from the beginning. I thought we

could stretch. I was poised to take my boss’s job. When we went to auction rich investors drove the price higher – they just didn’t want to stop. I kept going – thinking of the bigger salary I’d be getting with my promotion. We bought it. But then my boss decided not to retire. Said he couldn’t afford it – needed to buy more property. So considering that – considering that we were lucky someone didn’t take it from us.

Travis- All the same. I don’t think my point needed illustrating. David- We got in a bind and there was no other option. My parents

don’t have any money and yours have other things they’d rather spend it on. And that’s okay. That’s just the reality of the situation.

Travis- But you’ve got options? David- We’ve got good options. You know - I’m working on the

options. But I think I’ll get there. I’m sorry I told on you. Travis is quiet. Travis- I have to say I was surprised. David- I didn’t know taking the car was related – and I’m glad I didn’t – but- Travis- I think it was for the best. But I was a bit surprised, David. I

mean I wanted to thank you. Your reading for me really helped. And in the end – in the end I think we had a lot of fun.

David- We did. Travis- Now I know to you it was probably nothing but to me… It’s

been a long time since I’ve had a friend I can trust. And

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when I asked you not to tell anyone that we’d been rehearsing-

David- Travis- Travis- I believed you when you said you wouldn’t. I just can’t

understand why you’d lie. David- I didn’t lie. Travis- I couldn’t figure it out. I mean – I was at this party and it’s

like – hey there’s that guy, and that guy but I’ve got this thing... racing through my head...

Beat.

Travis- You know – I’m at a party surrounded by all kinds of beautiful people and this question... At a party with cheese that ripped the roof off your mouth and this... A party with fucking ice carvings-

David- Ice carvings? Travis- They were tacky as hell. But I asked you not to do

something – you said you wouldn’t and I trusted you. David- Your dad was going crazy. I didn’t know what to do –I

thought maybe you were in trouble - I only wanted to help. Travis- You promised. David- I’m sorry. I just didn’t know it was such a big thing. Travis- I was hoping to ask if you’d read for me again. David- I can do that. Travis- But can I trust you? David- Sure. Travis- This industry is all about trust – and belief. David- You can trust me. Ken and Alexis enter. Ken wears a Maserati jacket. David- Been for a drive?

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Ken- Hardly even noticed those wet corners. Alexis- I don’t know how you can stand that jacket. It’s too hot. Ken- It’s cool in summer – warm in winter. Alexis- You’re sweating. Ken- That’s not sweat – it’s rain from the way in. Alexis- You don’t need it now. It might go with the car but you

don’t need it in here. Ken- I like it in here. David- (to Alexis) You’re not a fan? Travis- When he bought the car he had to wait for delivery - so he

bought the jacket to curb his impatience instead. Alexis- He never took it off. Look at this mess – Travis? When are

you going to clean this up? Travis- I’m sorry, Mum. I was getting around to it. I’m just focused

on my work. And it’s so easy to find everything - all so spread out.

Alexis- What about my floor? Ken- We’ve made a date. Alexis- You going to keep it? Travis- If it makes you happy I’ll take some of this now. Travis picks up a handful of shoes. Alexis- It makes me very happy. Just don’t stop there. Travis smiles and exits. Ken- I’m sorry. We interrupted you. David- No. Ken- You were talking?

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David- Yes. Alexis- Rehearsing? David- No – just talking. Alexis- You weren’t rehearsing? David- No. Alexis- But you did - before. You said you helped him practice. David- I read lines for him. Alexis- Was he good? David- I wouldn’t know- Alexis- Did he read well – did he seem credible and believable- David- He seemed believable. Alexis- Believable? David nods. Alexis is pleased with this. She exits. Ken- Good work. David- Um, thanks. Ken- So you were talking? David- Yeah- Ken- What about? David- We were talking about me mostly. Ken- You? I don’t want to know about you. Did he say anything -

has he mentioned the name Isaac? David- No. I don’t think so. Ken- Well which is it? David- No.

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Ken- You have to ask him. David- Why? Ken- Just ask him! David- How – who is this guy? Ken- Just drop his name in conversation. See what he says. David- You want me to spy on him? Emma enters. Ken has his back to her but David sees her. Ken- Just ask him. David- Emma doesn’t like me to spend time with Travis. Emma stops. Ken- Why? David- Says he’s a bad influence. Ken- Don’t worry about her – she’s always been a little jealous of him. Ken notices David’s gaze is over his shoulder. He turns to find an unhappy Emma. Ken- (to David trying to cover) We - we should go running again sometime. Emma turns away from them. 6. David and Travis are onstage. David notices Travis. He smiles nervously. The rain continues outside. David- It’s a little awkward- Travis- Is it? David- Well you’re here. I’m here.

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Travis- I like it that way. David- You like it awkward? Travis- If it has to be. David- I like what you’ve done with your hair. Travis- Thank you. David- It’s robust. Travis- Robust? David- (dropping out of character) Maybe that isn’t the right word. David takes a folded piece of paper out of his pocket. David unfolds it and

reads. Travis- It’s the right word. David- Robust seems strange. Travis- It’s the script. (getting back to it) Travis- It’s been almost fourteen months. David- (reading) Really? I thought it was longer. Travis- No. David- It’s more like fifteen if you don’t count July. Travis- I count July. David- (reading) Still. A long time. You’re looking very well. Travis- I haven’t told anyone. David- What? Travis- I didn’t say a word. David- I don’t think there’s much to tell. Travis- They got nothing out of me.

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Beat. He doesn’t want to ask but can’t avoid it. David- What do you mean they? Travis- I kept my promise. David- Who’s they? Travis- My promise was kept. David is quiet for a time. Travis- David? David- Look I know I said some things – Travis- You said many things. David is silent again. Travis- David? What’s wrong with you? I really need to practice

this. If there’s somewhere you’d rather be- David- No – no. Travis- You seem distracted. David- I’m sorry – I’ve just – I’ve been thinking about something. Travis- What? David- I’ve was just wondering about… Isaac? Travis is surprised. Black. 7. Emma and David are on stage. Emma- I’ve been thinking about renting. Beat. David- Emma?

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Emma- I’ve been thinking how easy it would be. David- No – no. You want to throw everything away? Emma- Throw what away? David- Come on. I mean we’ve been saving – we’re doing okay.

We’ve had a good opportunity living here- Emma- Could get a place and be in it by next week. David- If we go back there – if go down that road - we’ll never come

out of it again. When you rent – you just get stuck… bogged down…. Ground down by the payments.

Emma- But it would be easier. To have a bit of space. To not have

the pressure- David- All we’d be doing is wasting all our hard earned money.

Throwing it in to a big bottomless pit. Emma- It’s only money. David- I know it seems difficult now. But it’s worth going through a

bit of hardship - it’s worth making a few sacrifices – in the end… in the end we’re going to look back at this time and laugh! Eating baked beans every night.

Emma- Haven’t been on a holiday in years. David- Look, I’ve been going through some lists and there are other

places we can look at. Other places we can afford. Let’s just look at them first.

8. Ken enters wearing his running clothes. He is covered in sweat and his

chest heaves. Ken- (calling offstage) Come on. Put it in! David enters. He is also sweating. He tries to catch his breath. Ken- You couldn’t keep up? David- I was keeping up fine.

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Ken- I think I could have done another lap in the time it took you to finish.

David- You cut the path. Ken- I didn’t cut the path. David- I saw you. Ken- I was running on the grass. I don’t want shin splints! David- That path does a lot of meandering. Ken- No it doesn’t. David- It meanders! Ken- You just got beaten by a man almost double your age. David- You ran about a hundred metres less than me. Ken- It’s got to hurt. David heaves. He decides it’s best to give up. Ken- Have you spoke to Travis? David- Yes. Ken- Did you ask him? David- I tried. I mean I did- Ken- What did he say? David- Well he was a little surprised. Ken- What did you tell him? David- Something about hearing the name… Ken- But what did he say? David- Nothing. Nothing really. He said Isaac helped him – chose

him out of hundreds of people and mentored him. Ken- I know all this.

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David- He said he was ready to go alone. Ken- Has he seen him again? Since the other night? David- No. He’s just practicing. Getting ready for the call. He says

he wants to put in the work so he’s free to help you. Ken- Help me? David- With the tiles. Ken nods – doing his best to hide pride. Ken- How’s the house hunting going? David- Oh, you know. It keeps going. Ken- I know we’ve offered before. But if you and Emma need a

bit more money. A top up. We could help you. David pauses – he is quite surprised by the offer. David- You would? You’d help us? Ken- Of course. David- I mean now - I we should be okay – but thank you. Thank

you. Fade down. 9. Emma and David enter. They’re laughing about their day. David- They were neighbour friendly fences. Emma- They didn’t look too friendly to me. David- That’s why they are friendly - because they aren’t friendly. Emma- They’re friendly because they’re private? David- Can’t want to keep up with the Jones’s if you can’t see them. Travis enters tentatively.

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Travis- I thought I heard something. David- Travis! You should have seen these places today. Travis- Really? David- I think the fake lake ghetto in a flood plain was our best option. Emma- You might be right. Travis- (to David) Did you get my message? David- I didn’t mind the one out west with cyclone fencing and the pit bull. Emma- You can have it. David- We could farm rocks – and dry grass. Travis- (To David) I thought you were going to help me today. David- Oh – I’m sorry – I got caught up. Emma- Oh my - the crack house. David- It wouldn’t be a crack house if we were living in it. Emma- It would be a crack home. Travis- It doesn’t really matter. David- It puts things in perspective, doesn’t it? Travis- I don’t mind waiting around for you. Emma- Perspective? Travis- I mean they’re only going to call me at any time. David- I mean – they were the best we could do. Travis- It’s not like I need to be ready or anything. Emma- I’m not sure if that’s perspective. David- But compared to the other place.

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Emma is quiet. David- I mean how good does that look? Emma- David… David- It’s a good area – good location – Emma- You did this deliberately. You chose those places on purpose. David- I didn’t – I just chose what was in our budget. What we could afford. Travis- You could have called me- Emma- I couldn’t move into that house. David- Why not? Emma- I just couldn’t- David- It’s got everything we want- Emma- But Travis- David- Travis? Emma- Because Travis- Travis- Travis what? Emma- I can’t, David. Travis- Travis what? Travis what? Black. 10. Ken is wearing his tool belt. He has a large broom that he is using to push Travis’s gear about on the stage. Alexis is on her phone as she watches Ken work to push it all towards the broken tiles. Ken- Where’s David?

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Alexis- I’ve called him. He’s on his way back. Alexis dials her phone. Ken- I should have known. For once I – Alexis- It’s off again. Ken- Of course it’s off. Alexis looks out the window. Alexis- It’s quite wet. Seems to be some strong winds. Ken- He set this up. He set the whole thing up. Alexis- You don’t know that. David enters. He is soaked and windswept. Ken- Where have you been? David- I’m sorry, I came as fast as I could. Alexis- You’re soaked through- David- I was walking. Ken- (pointing outside) In that? David- It wasn’t the best. I was doing some thinking. Ken- I asked you to look after him. I asked you to help him realise

the consequences- David- I thought I did. Ken- Obviously you didn’t. David- I don’t know what’s happened. Ken- He said he was going to help me with the tile today. He told

me he was looking forward to it. David- I’m sure he was. He said that to me too. Emma enters.

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Emma- What’s the commotion? Alexis- He’s taken the Maserati. Emma- Again? Ken- And I asked David… David- I’m sorry. I didn’t know I needed to follow him all the time.

In fact I thought he’d be with you. Emma- How long has he been gone? Alexis- We’re not sure. Emma- Does he have another audition? Alexis- He said he was waiting on a call back- Ken- (to David) When I asked you to help him I thought– David- I don’t know. I don’t know what’s happened. Emma- Can you try his agent? Travis enters. He is wearing Ken’s Maserati jacket. Travis- Dad? Ken- I don’t believe you. Travis- I’m sorry, Dad. I didn’t want to- Ken- What? Travis- I didn’t. Ken starts pushing Travis’s things in to the tile wells, which allow the items to drop through and disappear in to the stage. Ken- You’re not taking any of this. This stuff isn’t yours. I paid

for it all. Travis- They just called me- Ken- They called you. Travis- They did-

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Ken- You knew I’d be preoccupied. You knew I’d be here. You

planned all of it. Even after we spoke – even after you said you’d never do anything like this again.

Travis- It wasn’t like that. Ken- I thought you actually wanted to help – thought you wanted

to try and make some amends. Travis- I didn’t plan it. Ken- I thought you wanted to spend some time – Travis- They just called me – it was the only time- Ken- You knew I’d be here so you could steal my keys. Travis- It was the only time the others could make it. Ken- And my jacket. And you’re wearing my jacket! Travis- I didn’t want to. Ken- You take that off. It isn’t yours. Just like all of this stuff. It’s mine. Ken continues to push his things down the hole. Travis watches – upset. He takes off the jacket revealing a T-shirt underneath. Travis- Look – the car’s okay. I even got the windscreen washed at

the traffic lights. Alexis- What’s that on your shirt? Travis- What? Alexis- On your shirt. Everyone turns to look at Travis’s shirt. Travis- Did I spill something? On Travis’s T-shirt ‘Go to Hell Emma’ is written in big bold lettering across his chest.

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Emma looks at him angrily. Travis- It’s a brand. Emma- Go to hell Emma is a brand? Travis- I liked it too. Ken- What- why? Why would you do this? Travis- Why would I? Emma- I don’t believe you. Travis- It doesn’t necessarily have to mean her. Ken- Who else does it mean? Travis- She’s not the only Emma in the world. Alexis- Take that off. Travis- Unless you think she deserves it. Alexis- Put on something else. Alexis picks up a T-shirt shirt from the pile of Travis’s things. She tosses it to him. Travis catches it and puts the new T-shirt over the top of the other. On the front of the new T-shirt, in big bold letters, ‘GO TO HELL EMMA’ is written. Alexis- What? Alexis looks at the pile. She picks up four other different coloured shirts with the same writing. Alexis- How many of these do you have? Travis- They’re good to wear under things. Ken- I’ve had enough. I’m sick of this posturing. Travis- I’m not posturing. Ken- You’d think you’d show some feeling – some remorse –

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Travis- I didn’t want to do this. Ken- You can’t do it, can you? Travis- What? Ken- You can’t even pretend. You’re an actor? Act for me. Travis- What? Ken- Show some concern for someone else. Travis- Dad- Ken- Act for me! Come on! Travis- Please- Ken- You can’t do it. Can you? Can you? Travis- I’m not trying to cheat you, Dad. Ken- Act for me! Travis- Listen- Ken- Act for me! Travis- I am sorry I took it. I wouldn’t have normally – but Emma’s

lies. I mean – her stupid made up stories. I don’t want to hear them. I don’t want to have to deal - Ever since she got here… And they called me – I had to go but her lies – her hurtful lies. If she doesn’t want to live with David than she should tell him. She doesn’t have to bring me in to it.

Ken, Alexis and David look to Emma. Emma stands stonily. Alexis hands Travis the T-shirts. Alexis- I want you to take these and put them in the bin right now.

Take them straight to the wheelie and get rid of them. Travis looks about to protest but exits. Emma- I’m not telling lies. There’s just this house we’re looking at.

David found it and it’s not a bad place -

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David- It’s a great place. Emma- It’s okay- David- It’s better than Arden street – and it’s affordable. Emma- But the reason it’s affordable - a Paedophile lived there. And

I was trying to tell David why I don’t think I can live – I was trying to explain -

Travis re-enters – he still is wearing the shirts. Travis- Her lies! She’s telling her lies again. Alexis- You’ve still got the shirts! Travis- I can’t leave the room. I leave and all she does is tell stories!

Why do you have to do this? Why can’t you just leave me alone?

Ken- We want you to get rid of those shirts. We don’t want to be

in the same room with you and those shirts. Travis- I’m not going anywhere! Emma exits. Travis- (to David) How do you put up with her? Alexis exits after Emma. Travis- She doesn’t have a clue what she’s talking about- Ken exits as well. David- Travis, I don’t understand. I don’t understand what’s going

on here- Travis- There’s nothing to understand. Emma’s always tried to do

this. She’s always been jealous. I feel so sorry for you. You shouldn’t have to put up with this. You’re trying so hard to get her a home when – You’re doing absolutely everything possible and…

David is silent. Travis- Come closer. Come here.

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David- What? Travis- Touch me. Do yourself a favour. David- What? Travis- They’ll come in. David- Travis- Travis- Do it. David- No- Travis- You need to touch me. You won’t regret it. David- Wha- Travis- Just touch me. Travis takes David’s hand. David tries to pull away but Travis won’t let go. Travis- I want to help you. Ken enters. He sees the scene. David pulls away suddenly – he is unsure if Ken saw them. Alexis enters. Alexis- Emma says she’s sorry for what she said. She didn’t mean to

say it in any way that would hurt you. Travis- Why should she say that at all? Alexis- She didn’t mean to imply- Travis- She shouldn’t. She shouldn’t! Alexis- We agree. But we want you to throw those shirts away. Travis nods. Alexis- You can’t do this again- Travis- She shouldn’t have said that. Travis exits.

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Ken is looking in to the distance. Alexis looks to David. David- I don’t understand. I don’t know what’s – Alexis- It’s nothing, David. David- I’m trying- Alexis- Forget about it. David reluctantly exits. Alexis- We should tell Travis. He has a right to know. Ken- I think this place is too big. We don’t need this many bedrooms. Alexis- If he knows he can- Ken- All we need is a room for us. Alexis- If he knows he can make up his own mind. Ken- That’s how these tiles cracked – too many people walking to

and fro. We don’t need this big old house. Black. 11. Fade up. David is making a bed up on the floor with some blankets and pillows. Ken steps out of the gloom. David notices him watching. David- I’m going to sleep out here tonight. I’ll try not to get in

anyone’s way. Ken- Is Emma mad at you? David- She doesn’t want to talk to me.

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Ken- She’s mad at you. David- No. I’m mad at her. Ken- But you’re sleeping out here? David- All I want is some kind of explanation. I’m not asking for

much. She says one thing – then someone says another. Ken- I’m sorry I blamed you for Travis’s behaviour. I was wrong

to do that. David is silent. Ken- It wasn’t your fault. I just wish he wouldn’t be … so rash.

And I thought on this occasion we might – we might actually spend some time together.

David- Sure. Ken- I mean – for the last two years I’ve barely laid eyes on him

let alone had a conversation and we live in the same house! It seems like the only time I speak to him is when I’m yelling at him or trying to convince him to get a job. And I know he’d be hopeless in the mines – but I just want him to do well. He’s the same son I used to take to the park to feed the swans. The same son I kicked the football with and I just thought that for once he might – he might want to do that again.

David- I’m sure he does. He just needs time. Ken- Time? David- I’ve got to get some sleep. Ken- It’s good he likes you, though. David- We get along all right. Ken- He will talk to you at least. He seems to trust you. David- He can trust me. Ken nods. Ken- Of course. You get some sleep.

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David- Could you turn off the light? Ken moves to the exit. The lights fade. Ken turns and looks at David again. Ken- Why does he like you? David- What? Ken- Why does he like you? David- I don’t know. He just does. David turns over to lie on his side. Ken watches him. After a time David sits up. David- Are you still here? Ken holds his breath. Black. 12. Black. David- Oh my God! Lights up. Emma- David – David. David is sitting up in his temporary bed. Emma is shushing him. David- Emma? David realises she has tried to climb in to the bed with him. Emma- I’m sorry. I didn’t mean to startle you. David- It’s – it’s okay. Emma- I was having trouble sleeping. David- It’s fine. Really. Emma- I’ve just been thinking-

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David- What’s on your mind? Emma- I know I’ve seemed strange to you lately. I’ve seemed

strange to myself. With all that’s been going on and looking at houses – and then you finding this one… I haven’t been sure- I haven’t been able to keep up. To process.

David- That’s all right. Don’t worry about it. Emma- But I think I want to go back there. David- Where? Emma- The deceased estate. David- We go back. Emma- See – I’m not sure … maybe if I took another look. David- I thought you don’t like it there. Emma- I don’t like it here either. I need to see – and I need you to

tell me. I mean – we’ve got until Tuesday, right- David- Yes. Yes – we do. David pulls her in close to him. David- We do. David squeezes her tight. He can’t see that Emma isn’t smiling. 13. David and Travis are onstage. Travis has surprised David. Travis- You haven’t even asked! David- I’m not sure I want to. Travis- They liked that I made choices on every line and I stuck to

them. That was because of your help, David. You helped me be free from the text.

David- I could do without your help. Travis- David.

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David- What were you doing? Travis- I think you’ve mistaken me. David- What were you trying to pull? Travis- I was trying to give you a way out. David- What? Travis- I was trying to get you away from her lies. David- Travis! Your Dad walked in – Travis- I just didn’t want you to have to go through all this with her –

I thought I’d help out. David- I don’t want out! I love her. We’re engaged. And what was

with those shirts? How dare you insult her like that! Travis- They help me. Help me not to listen to her when she tells me

I can’t do this. When I know I can and I’m proving I can. David- Well we won’t be here much longer. She’s giving the place

another chance. Travis- I was only trying to help you. David- Well you did. Whatever you said makes her want out of her

more than I do. Travis- No, David. I wanted to help you see- Alexis enters – she holds a mop and a bucket. Travis exits. David is dumbfounded. Alexis starts mopping. Alexis- It’s good to be finally able to get in here now. Now Travis’s

things are gone. David- I’ll get out of your way. Alexis does a streak across the floor. Alexis- Not that way. It’s wet. David nods and turns when Alexis does another in his path.

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David- Oh. Alexis squares off the other ends. David- I think you’ve trapped me in. Alexis- When you rehearsed. Was he good? I mean really… was he good? 14. Ken is onstage he is sizing up the floor with a tape measure. Travis enters – he carries some odd tools – a screwdriver and a rubber mallet. He starts following Ken about the stage. Ken- What are you doing? Travis- I’ve come to help. Ken- Have you? Travis- I saw you down here. I thought you might have needed a

hand? I mean – I wanted to help you. Ken- I think I’m okay at the moment. Travis- I don’t mind. I’m sorry I missed the opportunity last time –

I… Ken- That doesn’t matter now. Travis- It went well, Dad - The call back. Ken- I hope it did. Travis- I’m really working towards something now. It’s been such a

great experience. When I go to that pilot season I’m going to give it everything I have. You’re going to be proud of me, Dad. I’m going to have a house just like this one and a car better than yours.

Ken scoffs. Travis- I mean it, Dad. You don’t need to worry about me. Ken is silent.

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Travis- I can help you with the tile. We start now we can get them

fixed good as new by this afternoon! Ken- There’s not going to be any tiles. Travis- Why not? Ken- It’s going to be wood. Travis- Wood? 15. Travis is onstage. Alexis enters. Travis- Mum? What’s Dad doing? He’s talking about all kinds of

changes to the house. Alexis- He wants to put the place on the market. Travis- What? Alexis- He wants to downsize. Thinks we have too many bedrooms. Travis- Do you think that? Alexis- I’ve been wanting to tell you something for a while. Travis- He wants to toss us all out now? Alexis- It’s about Isaac. Travis stops. Travis- What? Alexis- I know it hurt you when Isaac… Travis- When Isaac what? Alexis- When he left. Without you. And I know many things have

been said and I know it was a huge blow for your confidence. But I want you to know – that his leaving – it means nothing.

Travis- I know it means nothing.

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Alexis- Because I did it. Travis is silent. Alexis- What was I supposed to do? A man our age wanting to

spend time with you. Wanting to take you all around the world? What am I supposed to do. I wouldn’t have been a good parent. I’m supposed to protect you until you can make your own mind up about these things...

Travis- What did you say? Alexis- I didn’t say anything? I just wanted to ask a few questions... Travis- Like what? Alexis- I asked if he had other feelings for you other than those of

friendship. I told him I am you mother and I had a right to know.

Travis- What did he say? Alexis- He said that, being a single man – he didn’t have any

children and that’s how he saw you. As a child. A child he could help to grow to be the star he deserved. I was so relieved I even gave him a hug. I couldn’t help it. The next day he told you you weren’t going and he was taking someone else.

Long beat. Alexis- I’m sorry. I didn’t know what else I should do. But Travis I

want you to know it wasn’t your fault. You still have talent, you still have potential. You don’t need to question that-

Travis doesn’t respond. Alexis- I’m sorry, Travis. I’m really sorry. But what was I supposed

to do? Travis is silent. Alexis- Travis? Travis keeps his pose. Alexis- Travis - Say something -

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16. David and Emma are onstage. They stand outside the imagined deceased estate. The wind howls around them and the light is gloomy. David- It’s hardly the most cheery day to come back. Emma scrutinizes the house. Emma- Tell me. David- A paedophile lived there. He got murdered. One of his

victims grew up. Went back with a brush hook. Then took his own life.

Emma- Where? David- In the kitchen. Look – I know it’s disgusting – I know it’s

not the kind of story you’d tell everyone. But if a young couple like us were to live in it. People would forget… what came before.

Emma- I want to go inside. 17. Alexis is onstage. She sits on the ground and has been crying. Ken enters. He is alarmed when he sees her. Ken- Alexis? What’s wrong? Alexis- I’m sorry. Ken- Are you okay? What did you do? Alexis- I’m sorry. Ken- Sorry for what? Alexis- I told him. Ken- Travis? Alexis- I had to. He’s taken the Maserati.

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Ken- What? Alexis- He didn’t even react. He just looked so sad. Ken- How did he get the keys? I hid them! Alexis- He asked for them. Ken- What do you mean he asked? Alexis- When I told him – he just looked - broken. But I had to tell him- Ken- Where did he go? Alexis- I don’t know. Ken- Did he say anything? Alexis- He didn’t. He just kept asking for the keys. Ken- Alexis – how could you- Alexis- I’m sorry. Ken- I’m going to look for him. I’m going to find him and I’ll

bring that car home myself. Ken moves to exit. Alexis- I’m sorry- 18. Emma and David are onstage. Emma looks about the house. David- Say something. Emma- It’s just a house. David- Yes. Emma- It’s just a house. Like any other one. David- It is.

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Emma- There’s no ghosts. It’s no more eerie than any other empty home.

David- That’s exactly it. Emma- Then that means – David- (getting excited) What? Emma- My fear stands for something else. David is quiet. Emma- I just haven’t been feeling right. I couldn’t put my finger on

it – I thought that it might be this place. David- What is it? Emma- It’s you. David- What? What are you saying? Emma- Where can we live? David- We’ll find somewhere- Emma- No. David- We will. It will take a bit more time- Emma- Where can we live? David- There’s plenty of places. Plenty, Emma - we haven’t even

seen the half of them. Emma- Where can we live? David- What do you mean? Emma- I can’t do this, David. David- Don’t say that. Emma- Where can we? David- Don’t. Emma- I’m sorry.

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David- You’re sorry? Emma- I’m sorry. David- Jesus, Emma. You know what I’m trying to do for us? Emma- You’re doing this for us? David- Who do you think it’s for? Emma turns away David finds himself suddenly gritting his teeth and shaking her violently by the shoulders. Emma- (pushing away his arms) Stop. David- (muted) It’s for us. David catches himself and releases Emma. Emma backs away, stunned. David- Jesus. See what you… I said not to… I’m sorry. We’re

going to get it all back. I’ll make sure of it. It’ll be just like before.

Emma- David- David- Don’t – you don’t worry – worrying never helped a thing.

I’ll sort this out. It’ll be just like before. Emma- No. David- You just – just wait. David moves to exit. David- I’m going to fix this. 19. Ken enters stage – he moves slowly – he is limping. Ken- Alexis? Alexis enters.

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Ken- He’s going to need our help. We have to get him someone to talk to. Alexis- (relieved) You found him. Ken- He wasn’t at the agency. That’s where I tried first. They

didn’t know – they… didn’t know - but they gave me this hunch. This thought that if he wasn’t there that…

Alexis- Calm down – you’re not being clear- Ken- I found him parked. The roof was open. He was in the

driver’s seat- Alexis- Where was he? Ken- He ran. When he saw me he just bolted. We’ve got to help- Alexis- Where did he go? Ken- We’ve got to help him. David enters. David- Are you talking about me? Ken and Alexis stop. David- I could sure use some. Alexis- Not now, David. David looks to Ken who doesn’t seem to register. David- (To Ken) I have to take you up on your offer. Alexis- (to Ken) Where is he? Ken- There was this boy. Alexis- What boy? David- I feel ashamed to have to ask – and if there was any other

way – Alexis- What boy?

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David- Emma’s not coping – she’s not being rational. She’s saying all sorts of ridiculous things.

Ken- He just left him there. David- And I love your daughter very much - and all I want to do is

get her a decent place. One that she deserves – Ken- He just left him with the keys in the ignition. David- And she shouldn’t have to go through this. We shouldn’t

have to. We’ve got jobs. We provide services to the community-

Ken- I had to drive him home! David- We need money, Ken. Alexis- David, please- David- Sorry am I talking too much? Ken and Alexis stop. David- We need money. Ken- David – David- You said if we needed it you’d help. Ken- I, I can’t. Not anymore. David- I’m serious about this. Ken- Travis- David- Travis? Ken- He needs a professional. Someone who can help- David- All Travis needs is you two to let up. Travis is going to be

fine. Ken- No. David- His biggest problem is you! Alexis- Don’t talk to us like that.

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David- I’m not asking much. I just want a bit of help. I’ve done

everything I was asked to do for this family – but Emma – she’s saying all sorts!

Ken- When you’re young you want everything so fast. David- What? Ken- You don’t want to wait. David- Don’t patronise me. I’ve worked hard. I’ve done everything

right. I’ve been a good boyfriend. I’ve been a good guest. I’ve sweated – I’ve saved. I only want what’s promised-

Ken- I can’t. David- Surely you’re not going to try and tell me you don’t have it? Ken- He ran from me. I tried to chase. David- Just look around you! Look around you, Ken. Ken- I know what’s around me. David- I can pay you back. Ken- I thought I could catch him- David- I’m good for it. My boss – he’s not going to be in his job

forever – Ken- But I got shin splints. David- Listen to me! Ken- I got shin splints. David- Maybe I haven’t made myself clear. Maybe I haven’t

pressed enough. I need this - Emma’s… - if you could help me get her a place - one that she deserves-

Ken- David. David- Look – if there was any other way- I love your daughter - and

no one will more than me. I just want what was promised! Ken moves to exit.

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David- Don’t walk away from me! Ken continues. David- Ken please- Ken- I’m sorry. Ken exits. Alexis follows. David- Sorry? Don’t be fucking sorry. Just help me! Travis enters slowly. He has a slight limp and moves painfully across the stage. He is shirtless. Travis- Why are you shouting? David jumps. David- Jesus, Travis! Where did you come from? Travis smiles. David- What are they playing at? What are they trying to do?

(noticing Travis again) Where’s your shirt? You’re bleeding. Travis touches his lip then looks at his finger. David- You bit your lip? Travis- It wasn’t me. David- It wasn’t you? Travis- It wasn’t. David- What have you done? What the fuck have you done? Travis- What are you talking about? David- I just want a start. Just a little push in the right direction. Travis- You’re not making sense. David- Why’d you have to… Travis- What?

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David- I’m not asking much. I’m not being greedy- Travis- I can’t understand you. David- It’s us that needs help! Emma enters. Her clothes are drenched. Emma- You just left me. David- I’m sorry- Emma- I had to get a taxi in the rain. David- I’m trying to fix things. Emma- I just spoke to Mum and Dad. David- They said they’d help us. Emma- Mum said you threatened them. David- I didn’t threaten them! Emma- She said you were yelling. David- I wasn’t yelling! It just – it just doesn’t make sense to me – I

might have raised my voice… but they say one thing then… I mean they promise something. It’s just all happening again.

Emma- No it’s not. David- How dare they say I don’t want to wait - how dare they! All

I’ve done is wait for my chance… and all I get is lies and false hope! As if they can’t afford to just help us a bit. They want us to be impressed by their wealth and success and play up to their disgusting vanities. But if we want the same –

Emma- David- David- If we want the same we’re being greedy! We’re supposed to

be waiting in some kind of line – but it’s only getting longer - because if we get what they’ve got - then it’s just less for them.

Emma- Get a hold of yourself.

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David- We’re so close, Emma. We don’t need much – just a little top

up and we could get a decent normal place. I could try the bank again-

Emma- We don’t need the bank. Travis- I could lend it to you. David- (disbelieving) Travis. Travis- I could. How much will you need? Emma- Don’t be ridiculous. Travis- I’ll have the money. David- It wouldn’t be a lot- Travis- That part - it’ll be confirmed soon and- Emma- This isn’t about money! Travis- -They said I was going to get it. David- Of course it’s about the money. I mean it shouldn’t be. It

should just be about two people who want to start a life together. But this system – this set up – it’s like fucking feudal times!

Travis- I’m still waiting official confirmation. David- It should be about two people who are in love wanting to

begin a family – but these big fucking land holders- Travis- I’m still the best they’ve seen. David- It should be about two people who are engaged - but these

old rich investors – they just don’t care. They don’t even know what they do to people like us - It should be about a couple who wants to get married but they -

Emma- What are you going to do? You going to blame them for the

weather as well? Beat. Emma- This is no-one else’s fault. I want you to go.

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David- What? Emma- It’s over, David. I want you to pack your things. David- Emma? Emma- I want you gone by tonight. David- You don’t mean that. Emma- I’m tired of living like this. It’s finished. David- Don’t say- Emma- We’re finished. Emma exits. Beat. David is silent for a time. Travis watches on. Travis- She doesn’t mean that. David looks to Travis. Travis- She doesn’t. You can borrow money from me. You can

convince her that once you get your house – your base – David- Travis. Travis- You can convince her things will change. I’ll lend you the

money. I’m going to do very well for myself. David- I know you will, Travis. But- Travis- I’ll help you. David has trouble trying to process all his conflicting emotions. Travis- I’ll help you because you believe in me. And, David I need

someone – I need someone who’ll do that. Someone who understands-

David- I understand. Travis- Someone who will back me up- David- I can do that.

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Travis- I’ll help you. I’ll lend you the money. David- It wouldn’t be much. Travis- It doesn’t matter. David- You’re going to get this part? You really think you will- Travis nods. David- And it will pay you – pay you well- Travis- I’m sure I’ll have plenty to spare. David- You’d do that – you’d do that for me? Because I just don’t

know what - what I’d do if – Travis- I can help you. Alexis enters. She stops when she sees Travis. Alexis- (calling) Ken! Ken! Alexis goes to Travis and looks at his shirtless body and bleeding lip. Alexis- What’s happened to you? Travis- (pulling away) Nothing. I’m going to do it, Mum. I’m going

to do it. Alexis- This has got to stop. Travis is surprised by his Mother’s words. Ken enters. Ken- How old was that boy? Travis- What boy? Ken- I had to give him a lift home. Travis- I had some sort of day, Dad. Some sort of day. Alexis- Don’t say that. Ken- We know. Travis- What do you know?

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Ken- It was only a hunch that I found you- Travis- You don’t know anything. Alexis- We’ll look after you. You can go to university. Travis- University? Alexis- We’ll support you. Travis- I don’t need to go to university. David- You should listen to him. He’s going to make it- Ken- I went to your agents. Travis- So? Ken- I thought they’d tell me where you were. Travis- Why would they know? Ken- That boy – he was in a school uniform! Travis- Things are going well, Dad. I’m going to get this audition

and then I’m going to straight to pilot season. Alexis- You shouldn’t have gone to Isaac’s apartment. Ken- Does he even still live there? Travis- Why won’t you listen to me? Ken- I spoke to your agent! David- Everyone should calm down. Travis has got some good

news. You’re going to be so proud of him- Ken- It was just a hunch when I went to look for you. Why were

you parked like that – on the side - with the roof open? Travis- What are you talking about? Ken- I saw you. Travis- I wasn’t doing anything.

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Ken- I chased you! Travis- I was showing him. Showing him what I’ve become. Alexis- Travis! You don’t need to do that. Ken- The boy- Travis- He was old enough. Old enough to know. Ken- Your agent didn’t even know who you were. Travis- What? Alexis- You can forget all of this. We’ll support you – you can

study. Don’t worry about any of it. Ken- It was only when they checked their records - Travis- Who did you speak to? Did you speak to Heather? Ken- They said you they’d dropped you over a year ago. Travis- Heather wouldn’t know anything. David- Travis? Travis- The part - it’ll be confirmed soon and- Ken- She told me there is no upcoming Telemovie. No castings

even close. Travis- There is! She doesn’t know. Ask David – we’ve been

rehearsing. David- We have- Ken- We all should have handled this better. I’m very sorry for

what happened between you and Isaac but sometimes – Travis- I’m going to do this! Ken- When you ran from me I tried to chase. I was so mad I just

wanted to grab you – but I couldn’t. I couldn’t move fast enough-

Travis- Things are happening for me-

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Ken- Sometimes we just can’t escape our limitations- Travis- I don’t want to go to university, I don’t want to work in a

mine. I want what I deserve. Alexis- It’ll be alright. Travis- I want what you took - fame and fortune aren’t just words to

me. Alexis- We’re going to help. Travis- This doubt. This doubt doesn’t help anything. I know what

you’re trying to do to me. But it’s not going to work. You’re not going to stop me-

Ken- But you’re not doing anything. Travis- I remember now. Everything I need for success is inside of

me. Ken- You just made the whole thing up! Travis- I didn’t! Why would you say that. Just ask, David. He

knows. He’ll tell you it’s - just listen to him. Beat. Ken and Alexis turn to David. David looks at Travis. Travis- Tell them. Long beat. David- I think. I think I have to go. Travis- What? David- I’m so sorry for this. Travis- David? What are you saying? Tell them – tell them how we

rehearsed – tell them how good I am. Tell them what’s going to happen to me.

David- I didn’t know. Travis- Tell them. We were rehearsing- David- I think I probably should just go.

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Travis- Don’t you see what they’re trying to do to me? It’s exactly like you said.

David- I’m going to have to say goodbye. Travis- David! Alexis- It’ll be okay. David- You probably won’t see me for a while. Ken- (to Travis) We’ll get you back on track. David- Emma wants a bit of space. Travis- Tell them! I’m good at this. I can do this! David- She needs some time to herself. David moves slowly to exit. Alexis- (to Travis) It’s good to make changes – to start again - David- I am sorry. Travis- I just want what I deserve! Alexis- (to Travis) It’ll be okay. David exits. Travis appears defeated. Black. 20. The stage is black. Rustling noises can be heard along with hurried footsteps. David- Is someone there? Lights up reveal David standing on what is now a polished wooden floor. He looks unhealthily thin as he walks tentatively across it - admiring it as he goes. David- Hello?

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A large stuffed sack sits in the middle of the stage. David- Travis? David moves to the sack. Travis enters behind him. Travis- David? David turns to him and smiles. Travis- I nearly didn’t recognise you. David- Is it the hair? Travis- What the hell happened? David- I guess my system works after all. Travis- I guess it does. David- And how about this place? Travis- I’m sorry I was late. David- It’s amazing - amazing what a few changes can do. Travis- I’d forgotten what day you were coming. David- Your parents must be so pleased. Travis- I put your things in that bag. It’s mainly your cricket bat and

a few belts and some clothes. Beat. David- Thank you for calling. Travis- How did you get in? David- Oh – the door – it wasn’t locked. Travis- Wasn’t it? David- I thought you might have been upstairs. I thought I heard -

I’m sorry – it looks like I just barged in. Travis- No – it’s okay. I was just curious.

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David- I still have my key anyway. (David takes out his keys) I should have left it when I… left.

Travis- You can put it on the sideboard. David puts the keys back in his pocket. David- Thanks for calling. I’ve missed this place a bit. I’ve even

wanted to go jogging with your father. Travis- These must be desperate times. David- They haven’t been exactly easy. But I’ve been making some

changes. I’ve quit my job – I told them to get stuffed. And I’m going back north to spend some time with my mother. Might even try and get some work in the mines.

Travis- The mines? David- Do a couple of years – save a bit. And who knows what

might happen in the future? I could come back here - and maybe Emma and I might… (David shrugs)

Travis- She says hello. David- Does she? Well you tell her hello back from me. Is anyone

else here? I didn’t really get a chance to thank your parents- Travis- You’re not talking? David- Who? Travis- You and Emma. David- We were. Quite a bit. But she wanted to stop. Said it wasn’t

helping. Said it wasn’t helping me. Travis- She’s seeing someone else. David’s heart stops. Travis- I’m sorry. I just thought you should know. David- Have they been – has it been long? Travis- It’s awhile. It’s definitely a relationship. David- Look - I think it’s better-

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Travis- It seems serious. David- I think it’s better if I don’t know. Beat. Travis- I put something in that bag for you. David- Yeah? Travis- I thought you could use it. David- What is it? Travis- Look and see. David reaches in to the bag and pulls out some T shirts. David smiles. Travis- Put one on. David- Put it on? Travis- Put it on! David whips off his other T-shirt. Travis notices the chain around his neck that holds a ring – David sees he’s looking at it. David- It’s our engagement ring. With all the stress – it doesn’t fit

my finger anymore. Travis is quiet. David- I probably should take it off. Travis nods. David- I should probably leave it here. She can have it. I don’t care. David slips off the chain and takes off the ring. He offers it to Travis. Travis doesn’t reach out. Travis- Chuck it. David- Huh? Travis- Throw it away. As hard as you can. Toss it in to the ground.

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David smiles. He puts on the T-shirt. The ‘go to hell Emma’ logo can be read easily. He throws the ring in to the floor and comes to rest at the back of the stage. Travis- How does that feel? David laughs. David- I think I chipped the varnish. Travis- I’ve got to be getting back. David- I can give you a ride. Travis- I don’t need a ride. David- I’d be happy to. It’s been such a long time. Travis- I asked you here out of courtesy. We’re not friends, David.

Once you helped me and you opened up my eyes to few things. But we’re not friends.

David- The Uni’s on my way. Travis- Uni? David- Emma told me you’d started. Travis- I’m not studying. I’m shooting a telemovie. I’m one of the

leads. David is confused. Travis- And when we get it all in the can - I’ll be off to LA. They

picked me for a couple of pilots. David- You went to LA? Travis- It’s all clear skies for me. Everything I could ever want – it’s

got to happen for me. I’m going to get it all. All of it. I just know it!

David- But- Travis- What? You listened to Dad? What would he know? He

doesn’t even know who my agent is. And all that stuff he was saying – all that was just so he didn’t have to lend you money.

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David- Travis- Travis- You opened my eyes to a few things – you helped me think.

But you didn’t care about me so I don’t have to care about you. I don’t think I’ll see you again, David. I’m going overseas, Mum and Dad want to sell this place and Emma’s moving in with her new boyfriend. Mum keeps praying they’ll get married.

Travis sees David wince. David- Travis, Travis- I’ve got to go. I just can’t be late for call. Could you lock up

for me? David doesn’t respond. Travis- David? David nods meekly. Travis- And don’t forget the bag. David- Why are you- Travis- They’ll be pleased to be rid of it. David- Why are you saying this? Travis- Goodbye, David. David- Travis! Travis exits. David appears distraught. Unsure where to turn he starts pacing the stage irrationally. At the back of the stage he finds the ring. He picks it up clenches it in his palm. The emotion catches up with him. He starts to sob. He tries to stop himself but he continues to cry. He moves back to the front of the stage and sits – his legs no longer holding him. He grasps the cricket bat in the sack for support - his erratic pressure causing the bag to slip away from him and the bag begins to fall open. Without looking he continually tries to get a better grip on the bat – causing the bag to open further and David’s hand to delve deeper.

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Eventually the sack proves useless as a support. David wakes from his sobbing. He pulls away from the bag, sits up and wipes the tears from his eyes. A red substance is smeared on his cheeks. David is surprised by the strange texture now on his face. He touches his cheek then looks at his hand. He tries to stand but the liquid causes him to slip momentarily. He gets to his feet. He stares at the bag with shock. He moves slowly towards it before quickly retrieving the cricket bat by its handle. Its end is covered in blood and plasma. David takes in the scene – the T-shirt, the ring and the key. David is filled with horror as the liquid begins to clot. Black.

The End.

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