johnstanley637's profile

SCENE TWO: Darkness. There is a bath chair in front of the dining table. The baby's pram is gone. When the lights fade up they do so from behind, silhouetting the figure, hiding its face. From the snoring, it appears to be asleep. The snoring continues for a few moments punctuated with indecipherable murmurings. Then there is silence (for as long as the Actress and Audience can bear it). GRANDMOTHER (sudden, shrieking) What time is it? There is a throaty chuckle of amusement. GRANDMOTHER (cou...

SCENE ONE: INT. GABRIELLE'S KITCHEN - NIGHT There is a dining table with a cordless telephone and a Baby Monitor on it. There are chairs around it. There is a baby's pram. GABRIELLE (O.S.) (sings, doleful) Hush little baby, don't say a word: mummy's gonna buy you a mocking bird. And if that mocking bird don't sing, mummy's gonna buy you a diamond ring. And if that diamond ring don't shine... Pause. GABRIELLE enters in a beautiful evening dress as though prepared for a night at the opera. She ...

INT. WITTS END, CHURCH - NIGHT POV: we pan around to see there are three women, dressed in black, faces veiled, kneeling separately in their pews. Underscoring the scene is the music of Billie Holiday. MARCUS HARRISON SENIOR (V.O.) Saturday October the Eighth, Nineteen Sixty-Six... POV SWITCH: close-up on the statue of Christ in his agony on the cross above the altar, lit by amber candle-light. MARCUS HARRISON SENIOR (V.O.) ...my name is Doctor Marcus Harrison: Psychiatric Consultant. CUT TO:...

INT. WITTS END, CHURCH - NIGHT POV: we pan around to see there are three women, dressed in black, faces veiled, kneeling separately in their pews. Underscoring the scene is the music of Billie Holiday. MARCUS HARRISON SENIOR (V.O.) Saturday October the Eighth, Nineteen Sixty-Six... POV SWITCH: close-up on the statue of Christ in his agony on the cross above the altar, lit by amber candle-light. MARCUS HARRISON SENIOR (V.O.) ...my name is Doctor Marcus Harrison: Psychiatric Consultant. CUT TO:...

What happened to the pen you gave me? It's odd but since I rang my way away and you just sat there: daring me to stay. I haven't seen my present: I've only seen my past and something close to a future that I'm terrified won't last. So now I'm writing late at night or morning: details no one cares about but you. Lying alone next door thinking we together are two. At night. In the dark. When the Vampires sing and the mortals park their cars, in the hope of no clamping: but once inside hope for ...