Amateurs and Professionals are hereby warned that the performance of this play is subject to royalties and no public performance of this play or excerpts may be given in any form, including radio, film, television or stage without the written permission of the author and/or his agents and only upon application.

This play is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the author or his agent's prior consent in any form of binding or cover other than that in which it is published and without similar condition including this condition being imposed on the subsequent purchaser.
 

Any application for performance must be made to:

RICK RAFTOS MANAGEMENT PTY LTD
P.O. Box 445, Paddington
NSW, Australia, 2021
Telephone 61 2  9281 9622
Fax 61 2   9212 7100
raftos@raftos.com.au
 

Copyright © Steven Dawson 1985.
 
 

THE REALM OF WASPS
a play by Steven Dawson
 
 
 

First Performance of this play took place on 9th October 1985 at the National Institute of Dramatic Art, Sydney, Australia with the following cast:
 
 

Ken	Jonathon Mills
Joe	Stuart Halcroft
Man 1	Denis Clements
Man 2	Burce Hughes
Woman 1	Christina Youhanna
Woman 2	Jeannette Cronin
Directed by	Steven Dawson
Designed by	Monita Roughsedge
Lighting Design by	Elizabeth Allen
Stage Manager	Donna Broadbridge
Asst. Stage Manager	Delia O'Hara

 

The first professional production was at the Crossroads Theatre, Sydney on October 24th 1991 with the following cast:
 
 

Ken	Ross David Sharo
Joe	Martin Reefman
Man	Robert Patrick
Woman	Taylor Owyns
Directed by	Robert Connolly

 
 
 

Characters

Kenneth Halliwell
Joe Orton
2 Males
2 Females
 
 
 

Note

The action of the play may best be served on a bare stage with all scene changes indicated through lighting however designers should not feel restricted. Props should however be kept to a minimum. Essentials include the bed, murals, corpse, glass, Eton tie and the hammer. Throughout the play, Joe should always speak in a Leicester accent.

S.D.
 

THE REALM OF WASPS
 

SCENE ONE

MUSIC: PIE JESU FROM LLOYD WEBBER'S REQUIEM. THE STAGE IS DARK EXCEPT FOR A SINGLE SPOT WHICH COMES UP ON KEN STANDING CENTRE IN A DRESSING GOWN. HE APPEARS SLIGHTLY GROGGY. THE MUSIC FADES OUT AFTER A FEW MINUTES.

KEN
He was just lying there, you know, almost half expecting us to do it/oh God/but he pushed us/he pushed us didn't he?/we gave him everything/we gave him his money when he needed it/here's your money, Joe/go to the flicks/do you want me to wait up for you?/no?/I'll wait up anyway/no I don't mind/but we did/we did mind/we  gave him love when he wanted it and yes/even.../but we had a right to it!/yes/everything/we made him what he is and what has he done/betrayed and deserted us/he wants his freedom but you don't realise that you have to pay for it in this world, Joe/everyone has to pay/and you're no exception/oh, alright/no/I'll get this one/fix us up later/he was our friend so we looked after him like nobody else could/we held onto him at night when he was sick or having bad dreams/we used to sit with his head  in our laps and we'd stroke his hair/we loved him so much it hurt us/more love than any sleazy five minute fuck could understand/it's only sex, Ken/they don't mean a thing/we know/we....know/but inside, there's this something that's biting down real hard-like/we wanted to end it all/for both of us/this burning deep in our guts/we wanted to hit him every time he told us about his latest fuck in some disease-riddled gents/we wanted it all to stop/no  more!/he was everything to us/ lover/ son/ it was like a marriage ours was/and he swore he'd never leave us/couldn't exist without us/we showed him everything/what food to eat/the right wine/how to dress/ helped him when his writing got bogged down/gave him ideas/ those plays were as much ours as his/before we  knew him he couldn't put two sentences together to save his life/ we shared everything with him/ clothes, home, bed/ sometimes even the same indiscretions/it was the only way you see/the only way to stay sane/but sometimes it got just too much for us to take/we couldn't cope at all/and we just wanted to die/but he/he never took any notice/no-one ever did/he just kept right on going and payed no attention to us or how we were feeling/we were the same/we were equal until/until Sloane/then it all just seemed to fall apart around us/I know/I know/there was all this money/he was like a little boy in a sweet shop/wanted everything/and everyone/we were helpless/why did he/when we/we loved him so much.

JOE ENTERS AND FACES THE AUDIENCE

JOE
You push too much.

KEN
What?

JOE
Never let me breathe. You hold on and won't let go for a bleeding second.

KEN
And if I did let go, who'd look after you then, Johnny-boy?

JOE
I'll manage.

KEN
But that's just it. You won't. You'll hit rock bottom and then come running back to me.

JOE
I want a chance to live my own life. Not in someone else's pocket. A bit of freedom.

KEN
I've heard that one before. In any case you'd never survive without me. You may think you've come from the gutter but believe me, things can get a lot worse than a council house in art-starved Leicester. You've had it pretty good up until now.

JOE
And what, in fuck's name do you know about struggling, Ken?

KEN
Dear boy, I know nothing about it. But I do know you!

KEN EXITS

JOE
He's always doing that. Playing those fucking scenes. Lounge room dramas for selected audiences.... fuck. How do I get out of this?

LIGHTS FADE ON JOE AND COME UP ON A BLOOD-DRENCHED CORPSE WRAPPED IN A SHEET LYING ON THE BED UPSTAGE. THE BUZZING SOUND OF WASPS IS HEARD.
 

SCENE TWO

KEN RE-ENTERS, MINUS THE DRESSING GOWN. HE STANDS DOWNSTAGE AS TWO MEN DRESSED AS REMOVALISTS ENTER. THEY APPEAR TO BE HAVING A JOKE AT KEN'S EXPENSE BUT WHEN THEY SEE HIM THEY STOP LAUGHING. THEY MOVE TOWARDS THE BED.

MAN A
Where do you want this then, Mr Halliwell?

KEN
[DISTRACTED] What?

MAN B
The bed. My partner was inquiring as to where you would like us to stick it! Over here, alright?

KEN
Oh, yes....of course.

THE MEN PUSH THE BED DOWNSTAGE RIGHT

Oh....and would you mind removing that?

HE POINTS TO THE CORPSE

MAN A
Not at all.

THEY PICK UP THE BODY RATHER LIKE A PAIR OF BUTCHERS AND EXIT, GIGGLING. KEN TURNS TO THE AUDIENCE.

KEN
I'd been accepted to RADA so I took a flat in West  Hampstead. Classes were ridiculous of course. A pack of pretentious urchins running around pretending to be trees and machines or something equally as silly.

FOUR ACTORS ENTER AND FORM VARIOUS TABLEAUS IN QUICK SUCCESSION BEFORE FORMING A TREE.

KEN
Immediately they all made me feel like an old man. I was never really a part of anything. For some reason  or other they all seemed pretty scared of me. In a way that suited me fine. I felt I had something over them. I had experience. But after a while it all seemed rather lonely going back to the same old empty flat each night. It wasn't too bad, I suppose. I mean, I'd been virtually on my own since mother's death anyway so this wasn't anything new...loneliness, I mean.

STUDENT 1
You don't know how to treat Ken. He's a bit, you know, strange to look at. His personality's no great shakes either, mind you, but it's his clothes. They're always black or at least very dark. Black and sinister like.

STUDENT 2
He's always sweating. You notice that? I suppose it's because he's so big. But you never really want to shake or hold his hand because it's always too.....

ALL
Clammy-like.

STUDENT 3
We invite him out but he spends the whole evening moaning about this or that! Useless asking him to the flicks. He ends up making you feel like a manic depressive. Nothing ever satisfies him.

STUDENT 1
You can never really relax with him and vice-versa.

STUDENT 2
Can never look him in the eye and vice-versa.

STUDENT 4
He's a bit ugly an' all.

THEY ALL LOOK AT THE STUDENT

...and vice-versa.

THEY ALL LAUGH THEN FREEZE INTO A NEW POSITION. JOE ENTERS AND STANDS NEAR KEN.

JOE
I didn't really take any notice of him at first. I was flat out trying to concentrate on my own work. It wasn't until I about 3 or 4 weeks into the second term that I noticed these eyes staring at me all the time. A lot of the other students were saying nasty things about him when he wasn't around.

STUDENT 1
I mean, what's the use in being an acting student if you can't have a really good bitch about someone behind their backs....and vice-versa.

THE OTHER STUDENTS AGREE THEN CHANGE THEIR POSITIONS.

JOE
I didn't....or at least I didn't do it very often. Or anything else for that matter. In those days I was real innocent....I was! Well, for a while anyway. But be that as it may, I didn't stare back too often, you know....not give anything away too  quickly....as is also my want, sometimes....well, it is!

JOE STEPS AMONGST THE STUDENT AND MAKES SMALL CHAT. KEN APPROACHES  JOE. THE OTHER ACTORS GIGGLE AND EXIT.

KEN
Hello John.

JOE
Oh, hello Ken. What are you doing here then? Thought you'd finished up for the day.

KEN
Oh, I have. I just thought I'd have a look in, you know, see what the other groups are doing. Steal a few ideas. Are you staying then? For the late class, I mean.

JOE
Me? No, thank you! I get enough of this during normal class hours. Bloody creative movement. Can't see the point of it, really...can you?

KEN
Can I what?

JOE
See the point...of these classes. Waste of bleeding energy, if you ask me....are you going to the flicks then? With Bobby and the rest. Should be a good movie.

KEN
I wasn't invited.

JOE
Who needs a bloody invite! Just come.

KEN
What's the film?

JOE
Don't know really.....still.

KEN MOVES INTO THE BACKGROUND AS JOE FACES THE AUDIENCE

Anyhow, after a few times of actually getting him to go to the flicks we get to talking. He seemed very lonely-like. He knew that everyone had been trying to avoid him and that they were all talking behind his back. I felt like such a creep....but I played real innocent-like, as is also my want. He was almost bald and yet he was only 25 years old. I said he didn't look old...well  I was never a good liar. Nobody's that innocent! Anyhows,  we gets to talking about where we'd both come from and all. Well, actually he started talking first and you couldn't stop him. He must have been dying to tell it only no-one would bother to listen...and I can understand why! Talk about depressing. He was, what, a kid of 12 when his mum got stung in the mouth by a bleedin' great wasp while his family were out on a picnic.

KEN
Died right in front of me...

JOE
Choked to death. A few years later, he comes down for breakfast and finds his dear old pater with his head...

KEN
Stuck in the gas oven.

JOE
All he did was turn off the gas, open the window, steps over the dear departed to...

KEN
Make a cup of tea.

JOE
Washes the dishes and then decides to call the police. Well, I pissed me self didn't I? He looked a bit offended didn't he? But after a while he seemed to cheer up so that was alright then. Well, after Larry, Max and myself gets kicked out of our Gower Street digs for non-payment of rent, well, we needed a new flat, didn't we?

KEN STEPS FORWARD

KEN
If you're hard up for digs, John, you could always  move in with me...temporary or permanent if you like.

JOE
Oh, Ken...ah...look...I'll let you know okay?

KEN
When you're ready.

JOE
Well, we moved in the next day. Things were getting desperate and the thought of sleeping in a bus shelter just did not appeal to me. Ken apparently got the money from his dad's inheritance. He was a dead good cook, our Ken. Knew all about wine as well. Very continental tastes. But I soon discovered just how continental his tastes really were. From the beginning he ignored Max and Larry and waited on me hand and foot. After the second night I found out why. Talk about being swept off your feet. He did everything for me....

KEN
John, I've washed your socks and underwear. They're on your bed.

JOE
Ken, you really don't have to do that, you know.

KEN
I don't mind.

JOE
What could I say? Here was a man who wanted to wash my undies...it were a love that knew no bounds!

KEN
People were jealous, of course. In those days and in that place, no-one was entitled to be happy...especially two queer actors.

JOE
He said it. Not me!
KEN
But we got on famously.

JOE
The Dolly Sisters an' all...if only...if only I hadn't been so young...impressionable, I guess. I don't know. It was all too sudden for me....and then after a while I got used to him...and the situation.

KEN
Do you love me, Joe?

JOE
Yes, Ken....I do. [TO AUDIENCE]...I think.

LIGHTS FADE ON KEN
 

SCENE THREE

MRS ORTON ENTERS READING A LETTER. SHE ALSO SPEAKS IN A LEICESTER ACCENT.

JOE
Dear Mum, how are you all? Hope things are fine. Everything here is going well.....

LIGHTS FADE ON JOE AS HE EXlTS. MRS ORTON READS ALOUD FROM THE LETTER

MRS ORTON
"I've moved into a new flat, addressed enclosed, with a few friends from school and the rent is very reasonable considering the neighbourhood is quite posh...a dead good flat really. How is Marilyn, Leonie and everyone?"

JOE'S SISTER LEONIE ENTERS DRYING HER HANDS ON A TOWEL.

LEONIE
Mum? Are you going to finish the washing or are you  going to flood the place out like the last time? What's that you've got there?

MRS ORTON
It's a letter from our John. He's sent his new address and says he's having a good time.

LEONIE
I'll bet he is! Let's have a look then. [SHE SNATCHES THE LETTER] Oooh, mum! He says he's seen Orson Welles in that play Macbeth. Orson Welles, mum! Says he's suppose to have done it in 28 days rehearsal and John says he looks like he did it in 2. [SHE LAUGHS] He also says that Wilfred Pickles came into his movement class..

MRS ORTON
Wilfred Pickles?

LEONIE
That's right. [TO AUDIENCE] It's like talking to a sick child sometimes. [TO MRS ORTON] He says that Wilfred Pickles came into his movement class where they do all this strange dancing in tights. [READS FROM LETTER] "...and I am quite convinced that the teacher invented a few more  positions just for Mr Pickles benefit resulting in six of  us having to be carted off to hospital to have our necks re-twisted" and John says he's got his left leg permanently round his right ear! [SHE  ROARS WITH LAUGHTER] He's such a card, he is!

MRS ORTON
[DRYLY] He's that alright.

LEONIE
Oh,  God but you're a wet blanket. Try to at least appear enthusiastic. He is your son.

MRS ORTON
Well, what else does he have to say?

LEONIE
[EXCITED] Oooh, mum! He says he's fallen in love and decided to get married. He says he's enclosed a photo of his intended.

MRS ORTON LOOKS INSIDE THE ENVELOPE AND TAKES OUT A SMALL PHOTOGRAPH

MRS ORTON
It's a bald old man!

LEONIE
It's got to be a joke. It has to be.....mum?

BLACKOUT
 

SCENE FOUR

JOE STANDS IN A SMALL SPOTLIGHT

JOE
I used to look across the room to him in class and he'd see me and smile and that's all it took. My face would tingle and I'd feel like I was floating on air. It were my first  great love affair, you see. Everything was  going perfectly. We were together all the time. Every  chance we'd get in class, we'd sit together. It became a bit of a joke. But it was like...I don't know...he made me feel, you know...secure. It was quite nice to be taken care of for a change. But it was like something was creeping in, though. We'd start to fight over the smallest things that would get blown up right out of proportion. He would get upset over the silliest details.  He didn't like any of my friends, so I would end up staying in with him just to avoid arguments...sometimes.

SPOTLIGHT COMES UP ON KEN

KEN
You know how it is. You want to talk and yet you don't want talk. You want people to leave you alone but you don't want to be deserted by your friends. The only problem being that I had no friends...none that I could call my own. They were always his, you know.

JOE
I was sick of arguing with him. After a while the magic had faded from it all. It were like an endless routine and I'd lay in next to him some nights wishing I was in someone else's bed...in someone else's arms. After  so many nights together you get just that little bit bored by it all. There was no excitement. I'd go out at first because I enjoyed the change...but later on I found it was like an escape.

KEN
We'd get these invites to parties from people in class but it would always be the same. John and Kenneth. Never Kenneth and John. Sometimes it was just John and friend.....and yet people knew. I felt so humiliated. Stay in the background, Ken....there's a dear....how dare they do that to me!

JOE
I suppose I've always been like that, though. Can't seem to see people in any decent sort of light. Always feel they're after me for something...want to possess me in some way. He was very much like that. That's why I need that excitement. Not actually the capture but....the thrill of the hunt, you know?

THEY TURN TO EACH OTHER

KEN
Well?

JOE
Well what?....Oh, don't Ken. I'm too tired for all this. In the morning, okay?

KEN
I made you dinner. Why didn't you come home?

JOE
The way you rabbit on sometimes, you sound like my mother. Only she used to hit me. Look, I'm sorry about dinner. I had a change of plans.

KEN
I'll bet you did. And what was his name? Or didn't you even bother to find out this time?

JOE
Look, Ken...cut it out!  I've got better things to do with my time than listen to you nagging on.

KEN
And better people to do it with, I'll bet!

JOE
Why do you do this? Look, I'm going to bed. You can sit up and stew if you want but don't expect me to sit around listening to it!

JOE GOES TO EXIT BUT KEN TAKES OUT A PIECE OF PAPER AND HOLDS IT OUT TO HIM.

KEN
This is for you.

JOE
What is it?

KEN
It's the cast list for the public show.

JOE TAKES IT

JOE
I didn't know it had been posted yet.

KEN
Well it has. I expect you've gotten a part.

JOE READS THROUGH IT AND EXCITEDLY FINDS HIS NAME. HE LOOKS AT KEN WHO TURNS AWAY. JOE LOOKS BACK AT THE CAST LIST TO FIND KEN'S NAME IS NOT ON IT.

JOE
Look, Ken...I'm sorry. I didn't know...but it really doesn't matter, you know. I know how you must be feeling.

KEN
Oh, do you?

JOE
What?

KEN
How could you possibly know how I must be feeling?!

JOE
You know how fucked they are. You don't have to be talented to get a part. You shouldn't let yourself get miserable by dwelling on it. It's not worth it.

KEN
That's your fucking answer for everything, is it?

JOE
What do you want me to do?

KEN
[SCREAMING] I don't know. If I did, why the fuck would I be asking you? But there's one thing I do know. It's no good expecting you to come up with any brilliant fucking ideas!

KEN STORMS OFF

JOE
I can't seem to get through to him sometimes. I mean, I knew how important the public show was and Ken's no fool. But I thought if I played it down then he wouldn't feel so bad. I mean, it's not like Ken's a bad actor or nothing, no, it's just that I thought he would go more into writing or something. When he's doing a part his heart's not in it. Or when it is then something goes terribly wrong somewhere. Like, when we did this scene in class, right, where we all had to pick an animal and improvise like it was really there Ken picks this kitten and there he is talking to it really nice-like but then all of a sudden he gets angry and ends up strangling the kitten. We were all too shocked for words. He was unpredictable, you see? Mind you, he wasn't the only one lost in those classes. I was trying to keep my head above water as well.  You know I think the only impression we made in those two years was on each other. I never really knew they wanted from me and I don't think they did either. In my fifth term I was suppose to have this diction test. All rather deadly dull and dreary. Well, I decides to send it up, don't I. Take the mick out  of all those old farts in high office and in typical RADA style. You know, centre the voice in the arse, lean forward like you're going to topple any minute and project like an air raid siren in an effort to wake up the superannuated old prats in the gods hopefully giving them a good old fashioned cardiac arrest in the process. Well, when I steps down and they start swarming all over me screaming "Wonderful darrlinng....absolutely spleeennddidd!" It was like flies to horse shit. The silly old bastards are so caught up in their petty little world they don't realise it when someone is taking the piss out of them. So here I am, getting a part in the public and Ken won't have any of it.

KEN ENTERS AND READS FROM A LETTER

KEN
"Dear sirs, as I am not in the public show I can see  no other valid reason in staying for the last few weeks in this shoddy establishment and therefore I fully intend getting on with the business of getting a job. I remain convinced that you have all made a great mistake." Bastards! They'll remember me one day!

KEN EXITS

JOE
A nice little letter I thought. There has to be a way of pulling those bastards down a peg or two. But that was it. We were finished with RADA and now it was time to get a job. This, of course, would be a lot harder than either of us could possibly have imagined!

A WOMAN ENTERS HOLDING A BROOM AND READING FROM A CARD

WOMAN
You.....John K. Orton?

JOE
Yes, that's right.

WOMAN
[HANDING HIM THE BROOM] Welcome to showbiz!

BLACKOUT
 

SCENE FIVE

KEN IS SITTING AT A SMALL DESK TYPING. JOE IS SWEEPING AROUND HIM WITH THE BROOM. AS HE SWEEPS CLOSE TO KEN HE CONSTANTLY LOOKS OVER HIS SHOULDER.

JOE
What are you writing then, Ken?

KEN
Oh, I don't think you'd be very interested.

JOE
Try me.

KEN
Well, it's just a play. Something I was working on long before I met you.

JOE
Oh yes? Good then, is it?

KEN
Well, I don't know. Not going to work today, then? You know you won't have that job much longer if you don't turn up for work once in a while.

JOE
Job!? Fucking dogsbody more like it! Assistant to the stage manager...fucking wonderful. Sweep the stage ten times a day whether it needs it or not and make sure whats-er-name gets the bunch of flowers from the silly old queen she jerks off every Saturday night in the theatre car-park, swearing her undying love while her legs are up in the air with half the chorus after the matinee. I'd drop it in a minute if there was anything else around. Fucking- well sick and tired of running around backstage with messages for all the washed up old hams who can't act for dust.

KEN
Why don't you pack it in then?

JOE
What? And give up showbiz!?....No, we can't afford to, really. We need the money.

KEN
We don't need it that much. I've still got money to see us through for awhile. Give it up.

JOE
I did...this morning.

KEN LAUGHS. JOE MOVES AROUND TO THE OTHER SIDE OF HIM.

Can I help you then?

KEN
Doing what?

JOE
Oh, I don't know. I could help. You know....you dictate and I'll type it up. It'll save you time and I'm a dead good typist. Went to secretarial college and everything. You just wait and see.

KEN
Alright...but do be quiet.

JOE
Not a peep. Swear it.

JOE SWINGS THE TYPEWRITER AROUND TO FACE HIM. KEN HANDS HIM A SHEET OF PAPER.

KEN
Well, you can start by doing this.

JOE
Right you are.

JOE STARTS TO TYPE AS THE LIGHTS FADE TO BLACK. LIGHTS COME UP AGAIN AFTER A FEW MOMENTS. JOE IS STILL TYPING WHILE KEN READS THE PAGES HE HAS TYPED.

KEN
Er...Joe?

JOE
Yes Ken?

KEN
There seems to be a few slight changes from the original I gave you.

JOE
Er...yes I know. I just thought that maybe they might help...that's all. Is it alright then? Are they good do you think?

KEN
Well, I...yes...they're alright, but...

JOE
Well, that's alright then.

BLACKOUT
 

SCENE SIX
 

JOE AND KEN ENTER CARRYING A LARGE NUMBER OF BOOKS. JOE IS EXCITED WHILE KEN IS SLIGHTLY NERVOUS.

JOE
You worry too much. That's your problem. Look, it's not as if we're stealing them or anything. No...we'll put them back just as soon as we're finished with them, okay?

KEN
Alright. But if anything happens, don't say I didn't warn you.

JOE
Look, it's dead easy. We take the books out. Just do a  little bit of doctoring to them....and smuggle them back onto the shelves of the library the next day. We'll be fine, I promise. Anyway, we've got a real nice lot to choose from this time and the insides are all white and just screaming out to be defaced. It's disgusting anyway having all these trashy books where people can read them. Why can't public libraries ever have anything that might be considered intelligent reading. They take us all for morons. This is just my way of saying...Get Fucked! ....in a word.

BLACKOUT
 

SCENE SEVEN
 

MAN A ENTERS FOLLOWED BY MAN B CARRYING ONE OF THE BOOKS

MAN B
I've got a feeling I know who they are, sir. They seem to be regular users. Come in at least once or twice a week, they do.

MAN A
And what sort of things are they doing to these books?

MAN B
Mostly writing false blurbs inside, is what I can make out, sir.

MAN A
Is this one of the books? [HE TAKES IT & READS] When little Betty Macdree says that she has been interfered with, her mother at first laughs. It is only something that the kiddy has picked up from the television. But when sorting through the laundry Mrs Macdree discovers that a new pair of knickers are missing. On being questioned, Betty bursts into tears. Mrs Macdree takes her down to the police station and to everyone's surprise the little girl identifies Police Constable Brenda Coolidge as her attacker. Brenda, a new recruit, denies everything. A search is made of the women's barracks. What is found is a seven inch phallus and a pair of knickers of the kind worn by Betty. All looks black for kindly P.C. Coolidge. What can she do? This is one of the most enthralling stories ever written by Miss Sayers. It is the only one where the murder weapon is concealed not for reasons of fear but for reasons of decency. Read this behind closed doors...and have a good shit while you're reading it! [HE HANDS THE BOOK BACK] Find them....and bury them!

HE STORMS OFF
MAN B
Right, me old beauties.....you're nicked!

BLACKOUT

TWO SEPARATE SPOTS COME UP ON JOE AND KEN

VOICE OVER
And for the theft of seventy library books and wilful damage to a large number of said books, I  hereby  sentence you both to six months imprisonment.

KEN
Oh dear.

JOE
Oh, shit!

BLACKOUT
 

SCENE EIGHT
 

LIGHTS UP ON JOE SITTING WITH A PRISON CHAPLAIN. KEN STANDS IN A SMALL SPOTLIGHT.

MAN
Well, it shows much malice to those fellow users in the library. What I don't understand is why you should want to do such a thing in the first place?

JOE
Oh, I don't know. The magic of the moment. You know how it is.

MAN
No, I'm afraid I don't. I don't know at all.

KEN
Fuck them!

JOE
[TRYING TO CHARM HIM] Well...I'm young. Easily led, if you catch my drift and I think you do. People try to take advantage of my innocence. Know what I mean?

MAN
Oh...yes...yes, of course I do. You can't help yourself. A young lad of your...um....physical nature...well,  it stands to reason. You need looking after. Someone to take care of you...

KEN
Fuck them all!

JOE
Oh, you're so right. I need guidance. Someone with a firm hand...to guide me like. Up the straight and narrow....as it were.

MAN
I'll handle you myself...er...I mean, your rehabilitation. We need to be firm if we are to succeed. But fear not, my son...God is with us.

JOE
Oh, thank you...I'll be eternally grateful.

MAN
Just you leave everything to me. I'll see what I can  do to make your stay here a little more comfortable. But as for your friend...well, I don't know. He's got too much of the criminal element in him already and I think he may be a bit......well, you know... queer.....a homosexual.

JOE
You don't say. Well, I never!

BLACKOUT
 

SCENE NINE
 

LIGHTS COME UP ON JOE READING A LETTER WHILE KEN UNPACKS A SUITCASE.

JOE
Those dirty cunts! I don't believe this. We've just gotten out of the nick and now they want us back in court.

KEN
Oh, dear. What for? Haven't they gotten enough out of us already?

JOE
Apparently not. They still want the money owing on the books. Talk about fucking hounds of vengeance. It's bad enough they've taken six months out of our lives. We're living just above the poverty line and they're still out to get us.

KEN
It won't do us any good worrying about it now. We've had enough humiliation already. I feel so ill...so sickened by the whole sordid event.

JOE
People like that have no right to sit in judgement over us. It's disgusting how those corrupt mongrels have power in this country. Well, we may end up paying but we'll get even with those shitbags one day!

JOE STORMS OUT

KEN
It's all going nowhere. The whole thing. I can't write anymore...the ideas just aren't there. Joe's doing more than me these days...and the money's running out fast. I feel like....Joe won't tell me where he goes to at night...but I know....oh, dear.

BLACKOUT
 

SCENE TEN
 

A MAN DRESSED AS A VICAR ENTERS HOLDING A GLASS OF SHERRY. HE IS SLIGHTLY DRUNK. A WOMAN ENTERS CARRYING A LETTER.
 

WOMAN
A letter for you, sir.

SHE HANDS HIM THE LETTER AND TAKES THE SHERRY GLASS.

It's from a Mrs Edna Welthorpe. Not that I noticed what it was about or nothing.

VICAR
Mrs Edna Welthorpe? Never heard of her. Can't be from our parish.

WOMAN
That's what I thought, sir.

SHE EXITS, DRAINING THE LAST OF THE SHERRY. THE VICAR OPENS THE LETTER

VICAR
"Dear sir, your name has been kindly given to me in connection with the availability of the Heath Street Baptist Church Hall....

THE LIGHT FADES ON THE VICAR AND COMES UP ON JOE WHO SPEAKS IN A SLIGHT FALSETTO.

JOE
If it is at all possible, I should like to rent the use of your hall for three weeks and to subsequently present the Phallus Players production of The Pansy, a play that leads to greater tolerance on the subject of homosexuality....although in this enlightened age of so called Gay Liberation it is comforting to see that the church still upholds the tradition of the family. I even understand that you forbid dancing in your hall. A wise move, in my estimation, although this may cause some problems as there are several scenes that do contain some form of dance. I have, however, put my foot down so to speak, and decided to cut the cripple nymphette's chorus number. Trusting to have your reply in due course. Yours faithfully, Edna Welthorpe.....Mrs!

BLACKOUT

LIGHTS COME UP ON A POSTMAN READING A LETTER

MAN
Dear sir, for some time now the pillar boxes in this area have had two holes in them. I am sorry to say that a great many of these boxes have been put to improper use....

LIGHTS FADE ON THE POSTMAN AND COME UP ONCE MORE ON JOE.

JOE
The unpleasant fact of the matter is that the slot marked London is being used for the disposal of old french letters and other bric-a-brac, while the ones marked other places are being wanked-off into! My object in writing this is to ask you to make sure you post only normal letters and that you insert these into the proper slot. It may be that you have already done this. If so, I should like to thank you. If not....I call only ask you to keep your great cock out of our boxes!

JOE STARTS TO EXIT THEN TURNS AROUND

A nice little creation, is Edna!

THE SOUND OF WASPS COMES IN AS THE LIGHTS FADE

BLACKOUT
 

SCENE ELEVEN
 

MRS ORTON AND WOMAN TALING OVER A FENCE. BOTH WITH HAIR IN ROLLERS, CARDIGANS AND SLIPPERS. CIGARETTES HANGIN OUT OF THEIR MOUTHS.

WOMAN
Here...Else. I see your John's in paper again.

MRS ORTON
Yes. That's right. His play's just opened in London. Big success, apparently.

WOMAN
Have you seen it, then?

MRS ORTON
Yes, but to tell you the truth I didn't understand a bleedin' word of it.

WOMAN
Must be marvellous. Having a famous son, an'all. I'd be over the moon. Is he doing well out of it?

MRS ORTON
Raking it in.

WOMAN
That must be nice.

MRS ORTON
Always sending me money. Not that I need it, but what can you do?

WOMAN
That must be nice. [PAUSE. SMUGLY] Is he still living with that man?

THEY LOOK AT EACH OTHER. MRS ORTON LOOKS GRIM.

That must be.....nice.

THEY BOTH LOOK OFF

BLACKOUT
 

SCENE TWELVE
 

KEN STANDING ALONE IN A SMALL SPOTLIGHT

KEN
Someone called out to him the other day in the street...someone he'd known quite a few years ago...and  this person suggested they get together again...one last fling for old time's sake. I felt like I wanted to smash something. .anything...to hurt myself....and then I...just wanted to hurt him...

JOE ENTERS AND STANDS DIRECTLY BEHIND KEN'S SHOULDER. WHEN HE SPEAKS IT IS WITH NO EMOTION

Yell at him....anything.....after a while he'd forgotten all about it....

JOE
What's the matter?

KEN
He took no notice...not a thing. Oh yes, he knew I'd be upset...but he doesn't think about these things when he tells me. Why do people do it? When they know you're settled down with someone...they think that just because they're promiscuous old queens, everyone else is ..anyway...all I...

JOE
Shut up!

KEN
All I wanted was for him to hold me...for a little while...to tell me that....that the most important thing in the world was for him to come home and hold me....not sex...that's not so important these days....

JOE
Please, Ken...I don't feel like it....I'm tired.

KEN
That's not so important these days....

JOE
Look, I've already told you nothing happened, haven't I?

KEN
But just be able to...to put my head on his shoulder for once...for just a little while...to...be...loved.

JOE
Why do you make such a big deal out of everything?

KEN
Loved!....and there's no reason for it...to hate him, I mean...but I do sometimes...and maybe he's to blame for the way I feel....

JOE
I love you, Ken.

JOE EXITS

KEN
[CRYING] Why can't I believe him? After so many years...why is he the success?....why not.....

BLACKOUT
 

SCENE THIRTEEN
 

KEN STANDS ALONE IN A SMALL FAINT SPOT. THE BUZZ OF WASPS IS HEARD FAINTLY. THE LIGHTS STARTS TO BECOME BRIGHTER AS THE SOUND GETS LOUDER. AS BOTH REACH A CLIMAX KEN SCREAMS, COVERS HIS EARS AND FALLS TO THE GROUND.

BLACKOUT
 

SCENE FOURTEEN
 

THE LIGHTS COME UP ON A GROUP OF PEOPLE. KEN IS STILL ON THE FLOOR AS JOE APPROACHES HIM.

JOE
Come on, Ken...We're going home.

KEN
[PUSHING HIM AWAY AND GETTING UP] Don't you come near me...don't you dare! You make me sick! You've paid no attention to me at all tonight. I've been totally ignored. Don't forget, you wouldn't have any of this if it wasn't for me.

JOE
Please, Ken...don't do this. You're making us both look ridiculous in front of everyone.

KEN
You've only yourself to blame. I didn't want to come to this fucking party in the first place. You've dragged us out of the flat to this farce! Well, I won't have any of it! They don't even deserve to know us! [HE SHOUTS AT THE OTHER GUESTS] You're all just sponging because you think he's talented...but it isn't just him that does the work! [TO JOE] I'm going home...you do what you want ....you always have. Stay if you like....I don t give a fuck!

HE STARTS TO EXIT BUT STOPS IN FRONT OF TWO QUEENS.

Your type makes me sick!

KEN EXITS. THE TWO MEN LOOK AT EACH OTHER THEN APPROACH JOE.

JOE
Look, I'm sorry about that. Ken's a bit upset, that's all.

MAN A
I would have thought that was fairly obvious. Is he always in the habit of insulting his hosts? No wonder no-one likes to invite him to anything.

MAN B
I knew it was a mistake. I can't understand why you didn't get rid of him long ago. You don't need him. And don't try telling me you're in love with him.

MAN A
Ssshh.

MAN B
Don't shoosh me, dear! It's true. Joe's wasting himself. And so young too! You couldn't do much worse.

JOE
No...no, he's just a bit upset. I really don't know what's wrong with him these days.  He's getting worse than ever.

MAN A
I think what you both need is a holiday. Why don't you take him off somewhere...might relax him a spell.

JOE
I don't think we can afford a holiday at the moment.

MAN A
Oh nonsense, Josephine! You're a success now.

MAN B
A success.

MAN A
Must be raking it in.

JOE
Hah! A few plays don't make me a millionaire. It's taken ten years before anyone even bothered to take an interest in my work.

MAN B
You've been with him that long!? My dear, you definitely need a break.

JOE
Maybe you're right.

MAN B
Of course we are.

JOE
We could both do with a holiday.

MAN B
Of course you could.

MAN A
Everyone needs a change....and honey, we ain't just whistling Stormy Weather!

JOE
Mmm.

MAN B
There! It's settled then. Take him off somewhere nice. I hear Morocco is beautiful this time of year. And of course if things don't go according to plan...

MAN A
There's always those beautiful young boys...

MAN B
Lovely...

MAN A
But that's not the purpose of the exercise, is it?

JOE
Er...no...of course not.

BLACKOUT
 

SCENE FIFTEEN
 

UN BEL DI FROM MADAMA BUTTERFLY IS HEARD. FAINT LIGHT COMES UP ON KEN CROUCHED ON THE FLOOR OVER A LARGE MURAL. THE FAINT SOUND OF WASPS IS HEARD. JOE ENTERS AND STANDS UNOBSERVED BEHIND KEN WHO CONTINUES PASTING CUTOUTS ONTO THE MURAL, BECOMING MORE FRANTIC IN HIS EFFORTS. THE ARIA REACHES IT'S CRESCENDO AS KEN FALLS ACROSS THE MURAL SOBBING UNCONTROLLABLY. JOE TURNS AND WALKS OUT. THE BUZZING WASPS CONTINUE.

BLACKOUT

SCENE SIXTEEN
 

JOE
I decided to take the bus down to Holloway Road and pop into the Tea House Of The August Moon...a polite name for a sordid little beat that Marlon Brando wouldn't be caught dead in...but plenty of others had been. Actually it was quite a nice little pissoir...just four pissers if you get my drift. Someone had smartly enough taken the light bulb out so naturally it was quite dark and full of ambience. I looked around. There were three figures pissing but only one worth having. A labourer type. You know the sort...lights on but no-one's home. Fortunately I wasn't here to discuss the theory of relativity so this was right up my alley...if you'll pardon the expression. Anyway, he's wearing jeans and a dark coat. Well, a man enters and the fellow next to the labourer moves away... not outside, mind you....just up against the wall, which is not such a bad place to be in this sort of establishment. The new man had a pee, looked around then left but before the man against the wall moved back, I darted in quick-like and stood next to the labourer...I knew those creative movement classes would come in handy one day. The labourer starts touching up me cock so I grabs hold of his and we're having a right jolly old time in that little pissoir. Then the man on the other side of me starts feeling up me bum, doesn't he. Then another man enters, not to piss mind you, no...as soon as he steps up, he flashes his cock and shows everyone how acceptable it is to be British. Kept puffing away on his fag so the glow kept the lighting very warm and moody... Tennessee Williams-like.....very considerate,  I thought. Another man came in but by this time nobody cared and immediately he gets down on his knees next to me and it becomes rather apparent what he's after. Then another man came in, bearded and stocky, pushes the man next to me away and starts to suck him without so much as a by-your-leave. That little pissoir had become a scene of frenzied saturnalia and no more than two feet away the citizens of  Holloway Road were going about their daily business.... and as I finished the job, quite nicely thank you, I thought to meself on the bus back....what an interesting position for a leading playwright to be caught in.

BLACKOUT
 

SCENE SEVENTEEN
 

KEN IS LYING ON THE BED DOWNSTAGE RIGHT. THE ROOM IS NOW COVERED IN MURALS. JOE ENTERS AND LOOKS ABOUT THE ROOM

JOE
They're beautiful, Ken.

KEN DOES NOT RESPOND

I mean it. They're dead-good. You could sell them. [HE SITS ON THE EDGE OF THE BED] Ken?

KEN
Yes.

JOE
I'm sorry about tonight. I wasn't thinking.

KEN
Mmm.

JOE
Look, Ken....if you like, we could maybe...go on a holiday...if you like.

KEN
Why?

JOE
I just thought it would be nice...to get away, I mean. Just you and me. Somewhere sunny...I'm sorry, Ken...I love you, Ken.

JOE LEANS FORWARD AND KISSES KEN LIGHTLY ON THE FOREHEAD. KEN JUMPS UP AND HUGS HIM TIGHTLY. JOE DOES LITTLE TO RESPOND. KEN KISSES HIM ON THE LIPS GENTLY BUT THEN BECOMES MORE VIOLENT AS JOE TRIES TO PULL AWAY. KEN TRIES TO UNDO JOE'S TROUSERS

JOE
Let me go!

KEN
I just want to..

JOE
Fucking-well let me go!

KEN
No!

THEY STRUGGLE TO THE FLOOR. KEN BEGINS TO BEAT JOE.

KEN
Stay with me...

JOE
Don't! Get off me!

KEN
No!

JOE
Get off!...Stop it!

KEN BEGINS TO BEAT JOE'S HEAD INTO THE FLOOR AND TRIES TO STRANGLE HIM. JOE IS VERY FRIGHTENED

No...please, Ken...no....

KEN TRIES TO UNDO HIS PANTS ONCE AGAIN

KEN
Let me fuck you.

JOE
Fuck off!

KEN
Let me fuck you!

JOE
Go fuck yourself!

KEN
[SLAPPING HIM ACROSS THE FACE REPEATEDLY] Selfish. Selfish little bastard! Who have you been with? Tell me! Who have you been with?

HE CONTINUES BEATING HIM AS THE LIGHTS FADE

BLACKOUT
 

SCENE EIGHTEEN
 

KEN STANDS CENTRE STAGE. JOE STANDS UPSTAGE. BOTH ARE IN SMALL SPOTLIGHTS.

JOE
He keeps saying he wishes he was dead...all the time....not just once in a while...sometimes I wish he was too...no I don't....it's just that he gets on my nerves these days...and I worry about him, but...I can't take it anymore.

KEN
You'll regret it when I'm gone....you'll be sorry then.

JOE
I'm quite worn out.

KEN
I want to...I don't know what I want these days.

JOE
Take a tablet or something.

KEN
I don't want a fucking tablet!

JOE
Sorry I mentioned it.

KEN
It's a big mistake.

JOE
What is?

FULL STAGE LIGHTS COME UP

KEN
All of it!. This. Coming here.

JOE
Morocco...things are going terribly wrong. We closed up most of the apartment so's it would feel like the room back home. [TO KEN] But I thought the idea in coming here was to get away from that room back home. You've always got to find something to whine about, haven't you?

KEN
I just don't like the looks of this hotel. It's too small. We could get robbed or something...beaten up.

JOE
Look, if there's any real nastiness we can just sling him out. We're never going to have more than one in at time and all our money is locked away. I've never had trouble with a boy yet.

KEN
There's always a first time.

JOE
Oh, just shut it, will you! [TO AUDIENCE] Sometimes he goes too far. And that's not the worst of it.....

KEN
Where have you been? I've been nearly out of my mind with worry. You've been gone an hour and a half. My nerves won't stand you going off without my knowing where you are. If  you're going to fuck around, at least have the decency to let me know where you're going...Oh, God, I can't take much more of this....

JOE
After this great scene he fills me in with some new information.

KEN
If you're going to insist on doing this sort of thing, then at least let me arrange it for you.

JOE
I don't believe this.

KEN
That boy Mohammed...with the gold tooth. I've arranged for him to come here tomorrow.

JOE
But I've already arranged for someone else tomorrow. I really wish you wouldn't play the procuress quite so much. You come across as a dirty old pimp and I think I'm quite capable of managing my own sex, thank you very much!

KEN
Well, you said you wanted to fuck him and he's going to Gibraltar in a fortnight. Besides, I know the one you've got in mind and I've told him not to bother. He's a nasty piece of work...he looks like an absolute nutter to me and you're quite mad to go along and fuck in some sand dune with every boy you meet.

JOE
There's no boy in town's good enough for the marvellous one you attach yourself to!

KEN STRIKES JOE HARD ACROSS THE FACE AND STORMS OUT.

BLACKOUT
 

SCENE NINETEEN

KEN STANDS ALONE CENTRE STAGE. HE WEARS AN ETON TIE AROUND HIS WAIST AND HE APPEARS SLIGHTLY GROGGY.

KEN
Hello...Dr Ismay, please....no, no...it's Kenneth Halliwell....yes...that's right, Halliwell. Look, I want to speak with the doctor...no, I can't...tell him it's quite urgent...yes, I'll wait....hello, Dr Ismay?.... yes......Kenneth Halliwell...yes...I wonder if I could poss....no, it was fine....we got back yesterday....no, he's fine as well....look, can I see you?......this afternoon......Why?.... No, you can't.

LIGHTS UP ON THE DOCTOR

DOCTOR
Well, I'm sorry Mr Halliwell but I've been planning this trip for several weeks. I could perhaps give you the name of a colleague of mine. I'll make the necessary arrangements.

KEN
But it's important

DOCTOR
I'm sorry, Mr Halliwell but it's the best I can do. In the meantime, I'll make out a prescription to increase the dosage on your tablets. Try not to worry too much, Mr Halliwell. Everything will be fine. [ASIDE] Filthy queer!

LIGHT FADES ON DOCTOR

KEN
But....it's important.

BLACKOUT
 

SCENE TWENTY
 

A PARTY SCENE. JOE IS TALKING TO MAN A. KEN IS TALKING TO A LOUD AMERICAN WOMAN BUT HE CONSTANTLY WATCHES JOE.

MAN A
Well, then Joe....how did it all work out?

JOE
What?

MAN A
Your latest trip. Did you enjoy your trip? Interesting, was it? Or was it [REFERRING TO KEN] the same old boring drudge? Mmm?

JOE
It was alright, I suppose. Actually it was all a bit of a nightmare really. The hotel stank, it rained... and worse, I didn't see a single cock the entire time I was there, except my own....and that was through a cracked mirror!

WOMAN
And you're with Joe, are you?

KEN
In a manner of speaking, yes.

WOMAN
That must be fascinating.

KEN
If only you knew.

WOMAN
And what is it you do? For a living, I mean.

KEN
I'm a writer.

WOMAN
As well? How lavish! Do you help Joe, do you?

KEN
To tell you the truth, I think Joe is beyond help ...if you get my meaning.

WOMAN
No, I don't think I do.

KEN
That's what I thought.

WOMAN
And where do you go, when you go out with Joe?

KEN
I don't go out with Joe...I go in!

HE CROSSES OVER TO JOE AND MAN A

MAN A
Oh, hello Ken...how are you? Joe was just telling me what a marvellous time you had on your recent jaunt to Spain. [HE NOTICES THE TIE AROUND KEN'S WAIST. HE IS HORRIFIED] Oh, dear. That's an Eton tie, isn't it?

KEN
Yes...er...it's a joke.

MAN A
Well, it's a joke on you then, I'm afraid. People will imagine you're passing yourself off as an old Etonian. They'll laugh at you.

KEN
[NERVOUSLY] I'm sending up Eton.

MAN A
Oh, no you're not. You're just being pathetic! I mean, it's disgraceful wearing that tie.

KEN
It's a joke! People will know.

MAN A
Not the people I'm connected with! You'll make them angry.

KEN
I don't care. I want to make them angry.

JOE
Ken, don't worry about it...Let's just drop it.

MAN A
But why make them angry? People dislike you enough already. I mean, if you were a younger man it might be dismissed as a careless foible of youth, but you...a middle-aged non-entity! It's sad and pathetic! You're certainly no match for your friend here....Great tit!

MAN A WALKS AWAY DISGUSTED

JOE
It's ridiculous...all this carry on over a stupid fucking tie!

JOE EXITS LEAVING KEN SPEECHLESS

BLACKOUT
 

SCENE TWENTY ONE
 

LIGHTS COME UP ON JOE AND KEN FACING EACH OTHER

KEN
They treated me like shit! How dare they do that to me. I won't be treated like this!

JOE
You've only yourself to blame. You shouldn't have worn it.

KEN
[SCREAMING] Stop it, will you, just stop it! I wanted support from you. And what do I get? A fucking lecture and an I told you so! If only they knew you like I do.

JOE
Maybe you should have expected it.

KEN
The only thing I expected was to be treated with a little more respect. Is that too much to ask for, is it?

JOE
Look, Ken...er...I think....I think it's time I moved out.

KEN SLOWLY TURNS TO HIM

I mean...you can see we're not getting on anymore...and...uh..

KEN
I don't believe I'm hearing this.

JOE
It's just that I can't...er...well, what I mean is ...my work...

KEN
You choose now to tell me this? Right now? Oh, dear God....this isn't happening.
JOE
Please, Ken....Look, you'll be alright. I've got some money saved for you....and there's this guy who might exhibit your murals....

KEN
Just like the last one you arranged? Stuck in some closet at the back of a junk shop...no, thank you! I don't need that kind of help. I've spent my life for you. Given up a career just to help you and what do I get in return? Nothing! Not a fucking thing! Well, maybe that way of saying goodbye will suit you, Joe, but that's not how it's going to be...

KEN RUNS OFF AS THE LIGHT FADES ON JOE

BLACKOUT
 

SCENE TWENTY TWO
 

FOUR PEOPLE ARE STANDING IN SEPARATE SPOTS. JOE STANDS CENTRE.

MAN 1
They came backstage.

MAN 2
It was after the show one night.

WOMAN 1
Packed house again.

WOMAN 2
Joe's becoming very popular.

MAN 1
Orton was bubbling.

MAN 2
Ken looked morose.

WOMAN 1
Very much the stranger.

WOMAN 2
Kept referring to it as "our play".

MAN 1
Sad really.

MAN 2
He's not the type to be endearing.

ALL
Hardly!

WOMAN 2
Joe and I were mucking about.

ALL
Sending up the scenes.

WOMAN 2
From the show.

WOMAN 1
All of a sudden, Ken says very quietly...

KEN
[OFF] Stop it.

JOE
Why don't you go home to bed. Go home.

ALL
Go to bed!

WOMAN 1
I was thinking...Joe....look at him...you haven't noticed.

MAN 2
He's looking very sick.

JOE
He tried to overdose a few weeks ago.

MAN 1
I think Joe wants out.

WOMAN 1
Why does he stay with Ken?

ALL
Who knows!

MAN 2
I think he loves him.

WOMAN 2
It's all that he can do.

WOMAN 1
Poor bugger'll go crazy if he stays with Ken.

ALL
Definitely!

WOMAN 2
No-one could be that insensitive though. Ken's looking very ill.

JOE
I'll never leave him.

ALL
We didn't say you should.

JOE
Oh.

BLACKOUT
 

SCENE TWENTY THREE
 

MUSIC FILTERS IN OF SAMUEL BARBER'S ADAGIO FOR STRINGS. IT PLAYS SOFTLY FOR THE ENTIRE SCENE. KEN IS SITTING ON THE BED HOLDING ONE OF JOE'S SHIRTS IN HIS HANDS. HE IS NOW WEARING THE DRESSING GOWN FROM THE FIRST SCENE

KEN
I just have to pick up his clothes. He doesn't even have to be there. I can smell him on everything. Not sweat or anything...just the smell of him. It's like mothers and their kids. I know every part of him like the back...when he's away, I reach over and hold his pillow ...he's there too...the smell, I mean..we don't kiss anymore...I wasn't one for kissing much anyway but...[CRYING] I miss it...I miss it, you know?...He walks around me now. We don't touch and he doesn't come near me at all...and if he does then I have a feeling that he's been with someone...just a feeling I have...just a feeling. [HE LOOKS AT THE SHIRT AND THEN AT THE DOOR] Come home, Joe...it's time to come home.

KEN MOVES INTO THE DARKNESS AS JOE ENTERS ALONG WITH THE FAINT SOUND OF WASPS. HE GOES TO THE BED AND BEGINS TO UNDRESS. KEN MOVES SLOWLY OUT OF THE DARKNESS. JOE IS STARTLED

JOE
Oh, Ken...you scared me. You oughtn't go creeping about like that....

KEN CONTINUES TO WATCH JOE UNDRESS. JOE IS VERY AWARE OF HIS GAZE.

I...er...just went for a bit of walk...you know?....get some air...bit stuffy in here tonight. You want something to drink?

KEN DOES NOT ANSWER

Cup of cocoa...hot milk...no?

KEN
I waited up.

JOE
Yes Ken, I know but....

KEN
[CALMLY] No...you don't understand. You never understand. I waited up for you. I did.

JOE
Look, Ken, what's the matter?....Look, I'm dead tired. I'm going to bed.

JOE IS STANDING IN HIS UNDERPANTS. KEN'S GAZE MAKES HIM FEEL UNEASY

Ken....if you want...you can sleep with me tonight ...if you want.

KEN MOVES TOWARDS JOE, PLACING HIS HAND ON JOE'S ABDOMEN. JOE CLOSES HIS EYES AND TURNS HIS HEAD AWAY; TRYING TO IMAGINE IT IS SOMEONE ELSE. KEN SEES THIS AND WITH A WRY SMILE, MOVES HIS HAND AWAY. KEN MOVES TOWARDS THE DARKNESS.

KEN
Go to bed, Joe....go to bed.

SLOW BLACKOUT
 

SCENE TWENTY FOUR
 

MUSIC IS PIE JESU FROM LLOYD WEBBER'S REQUIEM FROM SECOND BOY TREBLE ON. JOE IS ASLEEP ON THE BED AS KEN STANDS NEXT TO HIM SOBBING QUIETLY AND SWAYING BACK AND FORTH. THE SOUND OF THE WASPS IS BECOMING LOUDER. HE MOVES AWAY FROM THE BED AND STAGGERS ACROSS THE STAGE WITH THE SOUNDS RINGING IN HIS EARS. HE MOVES TOWARDS THE BED AND REACHES UNDER IT TAKING OUT A HAMMER.

KEN
Time to come home, Joe...time to come home.

KEN RAISES THE HAMMER ABOVE JOE'S HEAD THEN BRINGS IT CRASHING DOWN. THE STAGE GLOWS RED. JOE LURCHES FORWARD WITH A GROAN THEN FALLS BACK AS KEN RAISES THE HAMMER AGAIN. THE CHORAL PART OF THE MUSIC STARTS AS KEN FREEZES. THE LIGHTS FADE.

BLACKOUT

A SOFT SPOT COMES UP IN THE CENTRE OF THE STAGE. KEN IS STRUGGLING ON THE FLOOR. HE DRINKS FROM A SMALL CUP AND THEN SLOWLY SINKS TO THE GROUND. THE MUSIC CONTINUES ALONG WITH THE SOUND OF WASPS.
 
 

END