Wednesday, 28 March 2012

A Doll with a Porcelain Face

It was April 1915. Sergeant Harry Perkins had been wandering the French countryside for some time, lost and alone. He had no idea how long it had been since he had last seen another Allied soldier. Harry was tired and thirsty, and the wound in his leg was slowing his pace, he knew it was becoming infected. Still he carried on. The sun felt intensely powerful on his skin, making him sweat and the air felt heavy and thick, closing in around him. Perhaps it was due to his growing dehydration. Sitting down on a low wall which surrounded something that before the war might have resembled farmland, Harry looked up at the sky. He tried to gauge the time from the position of the sun but couldn’t, all he knew was that it was some time in the middle of the day. He was never very good at anything like that; he had been terrible on camping trips. He opened his canteen and drained the last drops of water. He would need to find fresh water if he ever hoped to rejoin his battalion.
                Sergeant Perkins had fallen behind as the troops moved out, heading to Ypres. A few days previously, during an attack, a large piece of shrapnel had lodged in his left leg as a shell exploded, killing three men and injuring god knows how many others. Harry had been lucky, and he knew it, even if it was difficult for him to believe right now. He surveyed the surrounding area. The land was so flat Harry could see for miles and miles, but there nothing but a huge expanse of fields of grass and farmland with golden corn which seemed to glitter in the sunlight, fenced off with primitive wooden barriers. To the east, he guessed about a mile, there was a grouping of trees, hardly big enough to be called a wood but enough to offer shade and cover should he need to hide.  In the distance, he could see what appeared to be a small hamlet, just a small cluster of buildings, silhouetted against the bright sky. Any kind of settlement must have a water supply nearby. Harry therefore decided to head in that direction, cutting through the cornfields, and pick the small dusty road he had been following until now up again later.
Determined, he attempted to stand up, but his injured leg buckled under his weight and had to sit back down again. While he waited for his strength to return to him, Harry planned his route. He would cut across the fields and walk east as the crow flies, that way he wouldn’t risk getting lost. He should be able to find the road again if he only moved in straight lines. Eventually, he attempted to rise again, slower this time, finding his balance. He winced as he felt a burning shock of pain as the skin around the wound stretched, re-opening it ever so slightly. He bit his lip as he felt a drop of blood ooze out onto his skin, but began to walk through the pain. The more he walked, the easier it was, though whether that was due to him relaxing or just getting used to it hurting he didn’t know. As he walked, he felt a welcome fresh breeze blow across his face, cooling him down. Evening was settling in. He hadn’t seen another soul in hours, friendly or otherwise, and he certainly did not want to be caught off guard after dark, alone and injured. He persevered, resolute on reaching the village by nightfall.
The sun was firmly in the west and covered by clouds, but night had not fallen by the time Sergeant Perkins reached the first building. The remaining sunlight cast long shadows of the buildings stretching far out in front of him. His own shadow was giant in comparison to his tired, weakened form; it dwarfed him. He was impressed with himself; the village had appeared much further away from his position on the wall, and yet it seemed to take no time at all to make the journey. The village was eerily quiet and dark. He could see no light in any window nor hear any sounds of movement or life. As he rounded the buildings he had first come to, more came into view and it became apparent as to why there was no one there. They had been burnt. Civilian homes and barns, all burnt.
There had obviously once been three terraced houses on one side of the dust path that cut through the centre of the village, but now the roof of the middle house had completely fallen in, taking with it parts of the roofs either side, exposing the skeleton of the house. The front wall had crumbled, leaving a huge hole of broken brick and wood through which the terrible effects of the fire could be seen. Carpets and curtains were in tatters; the furniture lay black and in pieces and ash covered the floor. A single, lonely armchair remained by the fireplace in one of the rooms, singed but not destroyed. Perkins could not help but imagine a woman, a wife and mother, sitting in that chair, perhaps mending the clothes of her children. What could have happened to her? To all of the people who had once inhabited the abandoned village. It was war. People died every day; soldiers, civilians, men, women, children.
Harry turned away and moved further down the track. He had come for water, nothing more. More buildings like the one he had stopped at lined his path. Some were clearly the remains of outhouses and barns, others family homes. Towards the far edge of the hamlet, he came across a lone cottage, separated on all sides from the rest of the buildings. It was small, and sported a singed lattice to which a few remaining stems of ivy clung, a mere hint to its former glory when it was covered in greenery. The windows had been burnt out and blackened, but other than that it looked almost untouched by the flames. A kennel stood in the front yard, almost intact but for a panel of wood in the roof which had broken in half and caved inwards. Whether it was curiosity or his growing need to rest which motivated him, he did not know, but he was suddenly overcome with the inexplicable urge to explore the house. Before he could rationalise against it, he ventured inside.
The front door gave way with a gentle push. The inside of the house was dark, though a few beams of fast-fading sunlight strained through the windows, illuminating small areas of floor, casting shadows. The air was thick, dank and smelled damp and smoky, like a bonfire extinguished by the rain. Looking into what had once been the parlour he found walls and upholstery blackened by soot. A china cabinet stood next to the fireplace on the opposite wall. Its glass was smashed and many little trinkets lay in pieces on the floor amongst dust and lumps of charcoal. He moved onwards, testing the stairs in the hallway. They still seemed to support his weight so he started to climb, leaning on the banister, using it to support his weight, giving his injured leg a rest. About halfway up, the banister suddenly gave way, causing Harry to fall, almost over the edge of the staircase. Being wooden, it had been badly damaged by the fire; it was a miracle it had not crumbled sooner. The fall could easily have been far worse, but the excruciating pain the impact had ignited in Harry’s leg was almost unbearable. He rolled up the leg of his trousers to examine the wound. Before, it had been crusty with dried blood and fluids, the skin around it had a yellowish tint, and the blue veins had been showing through clearly. His leg was in much the same state as it was, but it now bled badly again and from it seeped a terrible greenish pus. The force of the fall had pushed the shrapnel further into his leg. He needed a doctor and he needed one soon, or else he would fall victim to infection, which he knew all too well could kill him.
Harry forced himself to his feet and continued to climb, quietly murmuring to himself with the pain of each step. When he reached the top, he found he could reduce it by putting most of his weight on his right leg and limping slightly. He was battling a desperate yearning for sleep, and needed to find somewhere to rest. He had resumed sweating profusely, drenching his uniform so badly that it seemed no water could possibly remain inside him. He wondered momentarily whether this was a start of a fever caused by infection such as he had seen many times, but quickly pushed it out of his mind. Thoughts like that wouldn’t help him. Four doors faced him on the landing. He picked one at random and opened it to find the remains of a charred bed frame in the centre of the wall to his right. The leg at the foot of the bed nearest to him was broken, so it sat lopsided and drooping glumly towards the door. The wardrobe doors had been flung open and the remains of various articles of clothing were strewn across the room in patches with blackened edges, as though someone had tried to pack in a hurry, perhaps attempting to escape. The cottage was, after all, slightly apart from the rest of the village. Its unfortunate occupants may well have had time to run from the fate which Harry feared had befallen their friends and neighbours.
Closing the door on this particular miserable scene, he moved along the landing, trying a different one this time. Opening it, he found the remains of a beautiful children’s nursery. The amber glow of the last bit of daylight streaming through the charred curtains illuminated a white rocking horse knocked onto its side, its painted smile still grinning inanely at him from the floor. Its mane and tail had been singed by the flames and were now black and brittle. The wooden runners at its feet were blackened, and Harry doubted that, had he righted it, it would have held its own weight, never mind that of a child. The remains of a destroyed childhood littered the floor. A burnt doll’s house by the window mirrored the devastation of its larger counterpart. The tiny white fixtures, which some toymaker had painstakingly crafted, were now burnt relics of more peaceful times.  Although the house itself showed little scarring on the outside, the burnt walls, windows and doors of the front of the doll’s house emulated the true desolation the fire had wrought inside the main building. It was such a small thing, yet somehow it seemed more tragic than the destruction of the entire village. Harry felt ill at ease just looking at it, as though, had this small piece of the village survived, he would have felt better. He took a step further into the room, but his foot landed with a crunch on the face of a china doll left behind by a child in the panic, fracturing her face. He stooped to pick her up, stroking the black curls of hair on her head. She was small, small enough for her body to fit comfortably in the palm of his hand, while her skirt fell below his palm and her shiny face looked up at him from beside his outstretched thumb, one eye forced half shut by the weight of his foot. He lightly fingered the crack which spread from the centre of her forehead to the bottom of her right cheek, with a little bit tearing away towards her left eye. He lifted her to his face. Her dress smelled like smoke.
He left the nursery to its ruin, but took the doll with him. In the next room he found a bed that had survived well enough for him to sleep on. He hauled himself up onto it, dumping his pack on the floor beside him with a thud. He knew he should continue his mission to find water, but he was sweating even harder now, yet he felt so cold. The cool evening air blew through the window, sweeping up the ashes and swirling them around in the air before dropping them slowly back to earth. He lay on his back, holding the doll to his chest, stroking her hair. He fell asleep stroking her hair.

Wednesday, 13 July 2011

Letters to Harry

This is the opening to Act 2 of my new play. The last thing we have seen is Harry Band being killed in France in 1915 by German soldiers, who crucified and shot him. 5 years on, his fiancee Alice who spent all of Act 1 trying to write a letter to him is still not coping with his loss.


Act Two
Toronto, 1920. The parlour in Alice’s house. It is modestly decorated and furnished with a three-seated sofa centre stage and armchair to the side, separated by a side table with flowers. In front, a coffee table. Upstage a writing desk and shelves with knick-knacks on display. Downstage right, a huge fireplace with a shallow iron grate.
ALICE sits in her armchair sipping her tea as MOLLY and SARA chatter inanely.

Sara:             Of course it won’t last.
Molly:          I don’t know, I hear a proposal may be on the cards.
Sara:                Oh don’t be absurd! She’s only courting him for his money!
Molly:             People have married for less.
Sara:                Whore.
Molly:             Sara!
Sara:                What? She’s a woman selling herself to a man for his money. Forgive me if I’m wrong, but that sounds like a whore to me.
Molly:             And of course, every woman marries for love.
Sara:                Well of course not, but-
Molly:             But nothing. It’s not like any of us would do any different. You’re just jealous.
Alice:           Have you ever been in love, Sara?
Sara:                Well, no, but—
Alice:              Then you can’t possibly have any idea about what you are saying.

BAND enters, dressed in a decaying army uniform. His body is riddled with bullets, and the wounds from the bayonets are crusted with dried blood. He goes to the writing desk and pours himself a tumbler of whiskey.

Sara:             I suppose not. I was just saying—
Alice:           Well don’t just say. It’s a far more complicated business than you imagine.

An awkward pause. BAND sits himself between MOLLY and SARA on the sofa. Neither woman notices him. ALICE, however, watches him intently.

Molly:          Alice, my dear, are you quite well? You’re as white as a sheet.
Alice:              I’m fine, really I am. It’s just—
Molly:             Oh Alice, you’re not still seeing—
Alice:              It’s nothing. Just a headache.
Sara:                It’s been five years, my dear, surely by now…
Alice:              What would you know about it?
Sara:                We all lost people. Why can’t you let it be like everyone else?

Silence again. The women are growing more and more uncomfortable. 

Molly:             Perhaps you should lie down? Maybe that might help?
Alice:           (pulling an old telegram from her pocket) One sentence on a scrap of paper. That’s all he was to them. All he was worth. Here. Read it.
Molly:          Alice—
Alice:              Read it. In that one sentence, it was over. He was gone. Letting him go was harder.

BAND attempts to break the tension by pulling a bullet from his torso and throwing it at ALICE. It lands with a splash in her teacup. She stares at it, horrified.

                        So I thought, why couldn’t I keep him a bit longer. So I brought him back. But the war changed everything. Even him.
Molly:          Alice! Alice – look at me. Look at me. It’s all right. What you did, I understand. But it’s too much. It’s gone on too long. This isn’t healthy.
Alice:              How would you know?

Pause.

Sara:             Well, thank you so much for the tea my dear, but we really must be going.
Molly:             Lie down, my dear.
Sara:                Will we see you next Thursday for cocktails?
Alice:              We’ll see. Goodbye.
Sara:                Goodbye, feel better.
Molly:             Send for me if you need me.
Alice:              I will.

SARA and MOLLY exit, leaving ALICE and BAND alone.

Why can’t you leave me alone? Let me be alone with my friends without making me seem like a lunatic?
Band:           You brought me up.
Alice:           I did not.
Band:           Yes you did, you were thinking about me. I know.
Alice:           Why won’t you get out of my head?
Band:           It’s your head. Kick me out.
He stands over her chair, his face inches from hers, blocking her in with his arms.
                        Go on. Get rid of me. Forget me.
Alice:           I can’t.
Band:           Sure you can. The rest of the world forgot. I’m nothing. A sentence on a scrap of paper. You said it yourself.
Alice:              I didn’t say that.
Band:              I’m propaganda. A name to be forgotten. A name amongst many. So come on. Forget me.
Alice:              Stop it.
Band:              Make me.
Alice:              Please! Stop!
Band:              Make me!
Alice:              You were never like this when you were…
Band:              Alive. Yes. Well, that’s a temporary state. Death changes a man.

He releases her. She is visibly relieved.

Alice:           You’re always so angry.
Band:              So are you.
She goes to him and touches his wounds. The blood stains her fingers.
Alice:           It’s like I’m still in the trenches.
Band:              You were never in the trenches.
Alice:              Didn’t you carry me with you?
Band:              No.
Alice:              Would you carry me now?
Band:              I can’t.
Alice:              Why not?
Band:              I’m just a shadow of a war that’s over.
Alice:              It isn’t over for me.

She takes his face in her hands and kisses him. The sofa explodes like it has been hit by a German shell. A whistle blows. BAND pulls away and runs offstage to his post. Soldiers shouting. The smoke clears. Silence. ALICE is left alone. Blood now stains her clothes.

Saturday, 20 November 2010

Women at their Mirrors

I haven't posted in a while, so here's another scene.
It's about the idea of the public vs the private, and how something as simple as putting on your make up is a kind of mask.


Three women at dressing tables facing the audience, behind them, numerous mirrors. Tthey apply makeup and style their hair. Alice is a woman in her late 60’s, lamenting the loss of her youth, Bianca is a prostitute who dresses accordingly, and Daisy is a girl of about 4 or 5, playing with her mother’s clothes and makeup.

Daisy:                    You...You’ve got to pout...like this...when you put on the lipstick...
Bianca:                 The punters like it when you look like what you are. So we lay it on thick, ladies.
Daisy:                    ...and it’s got to be PINK!
Alice:                    I used to have my hair long. I’d wear this section up in rolls and have the rest of it in curls. Of course, that was the fashion then. Can’t do that now. Now it’s all thin and grey.
Bianca:                 Why can’t women put mascara on with their mouth closed? I can. I’m sure I...oh...maybe not.
Alice:                    I used to rub toothpaste on any blemishes I got. Don’t think it would work on filling in the laughter lines... They say wrinkles are a map of your life on your face. This line here...that’s from the first time Brian made me laugh...and this one’s the first time he made me cry.
Daisy:                    Mummy doesn’t put enough blush on...Pink is for girls...so...so people will know you’re a girl.
Bianca:                 I don’t mind having to put this much makeup on for work. It’s almost like a mask...like it’s not really me doing those things. When I’ve got my work face on, I’m in that mind-set...I feel like I can take on the world. You’ve got to be thick skinned to do what I do. It doesn’t hurt to put another layer on top of it.
Alice:                    This one is from the first time he was unfaithful, and this one was me trying to pretend I didn’t know.
Bianca:                 I like to have my hair long and loose. Some girls will tell you that it just gets in the way, but I guess it’s just...I feel more feminine that way. The guys are paying for a woman, so I give them a woman. A real woman. They’re not paying to see you looking like shit.
When he’s with me, he’s not your husband, or your father, or your brother, or your uncle. When he’s with me, he’s someone else entirely.  He’s whoever he wants to be, and that’s something he can’t get with you. With me, there are no rules, no social etiquette to tell us how to behave around each other, just the basest of instincts.
Alice:                    Who’s that old woman in the mirror there?
Daisy:                    Mummy says I’m too young for make-up. I think I look pretty.
Alice:                    This is the same perfume I sprayed on the day I got married; only now it smells old and musty.
                                Maybe that’s the problem. Life’s just made up of big events, and the bits in the middle just blend into one. There’s the first time you have a night out and a man asks you to dance, your first kiss. There’s the day you get married, the day your first child is born. You remember these days above all the rest and they’re like the peak of your happiness. You look back on them and remember how happy you were, and realise how unhappy you are now.
Bianca:                 No one wants this. It’s no one’s first choice. But it’s better than nothing, surely. I’d rather do this than not be able to support myself.
                                I remember when I got into a car for the first time. I cried the whole time. Not that he noticed, or cared. But after that, it somehow got easier. If you’ve done it once, then you can do it again.
Alice:                    Only once in my life have I ever felt desirable. It was something so simple, and in that moment, just for a second, I felt like the most beautiful girl in the world. There was a man. I remember the way it felt as he ran his hands over my legs. I remember this kiss. He kissed me just once on the skin left bare in between the suspenders that held up my stockings, and when he did that I felt...good. About myself, about what I was doing and about the power I had over him. Just that one moment, fleeting and stupid, but at least I had it.

Women at their Mirrors

I haven't posted in a while, so here's another scene.
It's about the idea of the public vs the private, and how something as simple as putting on your make up is a kind of mask.


Three women at dressing tables facing the audience, behind them, numerous mirrors. Tthey apply makeup and style their hair. Alice is a woman in her late 60’s, lamenting the loss of her youth, Bianca is a prostitute who dresses accordingly, and Daisy is a girl of about 4 or 5, playing with her mother’s clothes and makeup.

Daisy:                    You...You’ve got to pout...like this...when you put on the lipstick...
Bianca:                 The punters like it when you look like what you are. So we lay it on thick, ladies.
Daisy:                    ...and it’s got to be PINK!
Alice:                    I used to have my hair long. I’d wear this section up in rolls and have the rest of it in curls. Of course, that was the fashion then. Can’t do that now. Now it’s all thin and grey.
Bianca:                 Why can’t women put mascara on with their mouth closed? I can. I’m sure I...oh...maybe not.
Alice:                    I used to rub toothpaste on any blemishes I got. Don’t think it would work on filling in the laughter lines... They say wrinkles are a map of your life on your face. This line here...that’s from the first time Brian made me laugh...and this one’s the first time he made me cry.
Daisy:                    Mummy doesn’t put enough blush on...Pink is for girls...so...so people will know you’re a girl.
Bianca:                 I don’t mind having to put this much makeup on for work. It’s almost like a mask...like it’s not really me doing those things. When I’ve got my work face on, I’m in that mind-set...I feel like I can take on the world. You’ve got to be thick skinned to do what I do. It doesn’t hurt to put another layer on top of it.
Alice:                    This one is from the first time he was unfaithful, and this one was me trying to pretend I didn’t know.
Bianca:                 I like to have my hair long and loose. Some girls will tell you that it just gets in the way, but I guess it’s just...I feel more feminine that way. The guys are paying for a woman, so I give them a woman. A real woman. They’re not paying to see you looking like shit.
When he’s with me, he’s not your husband, or your father, or your brother, or your uncle. When he’s with me, he’s someone else entirely.  He’s whoever he wants to be, and that’s something he can’t get with you. With me, there are no rules, no social etiquette to tell us how to behave around each other, just the basest of instincts.
Alice:                    Who’s that old woman in the mirror there?
Daisy:                    Mummy says I’m too young for make-up. I think I look pretty.
Alice:                    This is the same perfume I sprayed on the day I got married; only now it smells old and musty.
                                Maybe that’s the problem. Life’s just made up of big events, and the bits in the middle just blend into one. There’s the first time you have a night out and a man asks you to dance, your first kiss. There’s the day you get married, the day your first child is born. You remember these days above all the rest and they’re like the peak of your happiness. You look back on them and remember how happy you were, and realise how unhappy you are now.
Bianca:                 No one wants this. It’s no one’s first choice. But it’s better than nothing, surely. I’d rather do this than not be able to support myself.
                                I remember when I got into a car for the first time. I cried the whole time. Not that he noticed, or cared. But after that, it somehow got easier. If you’ve done it once, then you can do it again.
Alice:                    Only once in my life have I ever felt desirable. It was something so simple, and in that moment, just for a second, I felt like the most beautiful girl in the world. There was a man. I remember the way it felt as he ran his hands over my legs. I remember this kiss. He kissed me just once on the skin left bare in between the suspenders that held up my stockings, and when he did that I felt...good. About myself, about what I was doing and about the power I had over him. Just that one moment, fleeting and stupid, but at least I had it.

Friday, 6 August 2010

Breakneck Productions presents 'Bones' by Peter Strachan

20th August

Square Chapel, Halifax, West Yorkshire
(part of the Halifax festival)



"Some Christmas - your eggs hard-boiled, p*ssing down with rain, and your brother kidnaps Reggie Kray."

...It's Boxing Day 1969. Benny and Reuben Stein own a run-down porn cinema in Gateshead, and owe a lot of money to a local gangster - who has just given Benny a week and a kick in the teeth to pay up. So when a drunk, rich-looking Londoner staggers through the door, Reuben sees an opportunity, both to make some money and to establish himself as a gangster in his own right. The one tiny little flaw in this particular kidnapping plan is that Reuben may have stumbled on the biggest gangster of them all - one of the infamous Kray twins.
Insults, punches and severed fingers fly in this fast-paced dark comedy from the writer of The Men Who Stare at Goats. In amongst the infighting, hostage negotiation and games of Snap, Benny, Reuben and the others discover how far they are really prepared to go to be Real Men - and learn that sometimes even the most fearsome of crooks aren't as manly as they seem.

Please Note: This performance is not suitable for children under 16.

Facebook event here: http://www.facebook.com/event.php?eid=149005021778701&index=1

An extract from a novel I'm writing...

This is just a small section from the novel I'm writing, which as a kind of modern fairy tale that undermines the traditional fairy tale conventions and values. This particular bit occurs fairly early on and marks the start of the combination of the horrific and the fantastic:

There was a dream that Lucy had often had for almost as long as she could remember. It always began in the same way. She was standing in an empty space in front of a full length mirror that was framed with silver vines. She would peruse her own face in this mirror until she was confronted with some manifestation of that which made her different from everyone else, as she inevitably would. More often than not her hair would become thick and blonde, a gold tiara encrusted with the most expensive of diamonds would appear on her head and she would be transformed into the lost princess of a distant land. At other times she would grow wings as translucent and thin as tracing paper, covered in swirling silver dust, and she would float away on the breeze, the fairy queen. In her nightmares her face would become distorted and hideously ugly, and then she would be suddenly surrounded by people who would shun her or run away in fright.



On this particular night however, the dream became far more obscure. She had grown wings before, but these were painful. Whilst looking into the same mirror she had seen a thousand times, she fell to the floor in sudden agony. She became aware of something trying to break out of her back, something that was obliterating her flesh and shattering her bones. Ripping out from between her shoulder blades irrupted a mass of feather shapes made of mahogany. She opened her eyes and watched as they formed themselves into huge wings which towered over her head and almost grazed the floor, even in their closed state. They were adorned with gold filigree shapes; mythical creatures which roared and fought one another and the most beautiful flowers that seemed to bend to a non-existent breeze.


Without her consent, the wings opened and it was only now that she appreciated their terrible magnificence. Slowly, they began to flap, but Lucy could not control them. She started to panic as she rose above the ground and attempted to hold onto the mirror to stop herself from soaring into the blackness on such a monstrous pair, but it disappeared at her touch and she was soon consumed by the dark.


She awoke in a cold sweat, with a very real pain in her back. That dream had terrified her more than it should, so she turned up her oil lamp. She was suddenly terrified of the darkness that had just engulfed her. She lay awake just watching the light flicker.

© Catherine Stiles, 2010.