Valhalla (NHB Modern Plays) E-Book

Paul Murphy

• Herausgeber: Nick Hern Books
• Kategorie: Poesie und Drama
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Seitenzahl: 82

Beschreibung

As violence sweeps the city, a couple escape to an isolated Nordic research facility. On the brink of discovering a cure for the devastating disease, cracks in their marriage start to appear. The outside world grows increasingly hostile and the couple are forced to choose between conflicting allegiances. As they battle for power and truth, the future of the human race is at stake. Suffused with Norse mythology, Valhalla depicts a world where the boundaries of scientific research and the endurance of human love are stretched to their limits. It was joint winner of the inaugural Theatre503 Playwriting Award, and premiered at Theatre503, London, in 2015.

Leseprobe

Paul Murphy

VALHALLA

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Title Page

Original Production

Acknowledgements

Epigraph

Character

Valhalla

About the Author

Copyright and Performing Rights Information

Valhalla won the Theatre503 Playwriting Award 2014 and was developed and produced by Theatre503 in association with Sheer Drop Theatre. It was first performed at Theatre503, London, on 30 September 2015. The cast was as follows:

MAN

Clint Dyer

WOMAN

Carolina Main

Director

Jo McInnes

Designer

Katie Lias

Lighting

Nigel Edwards

Sound

Becky Smith

Acknowledgements

I would like to thank the following;

The cast and production team of Valhalla and all at Theatre503.

The Richard Carne Trust.

To Michael, Craig, Sarah, Henry and Mel for their encouragement and support.

To everyone at The Globe Shop.

My agents at Alan Brodie Representation and all at NHB.

P.M.

‘The human body is the best picture of the human soul.’Ludwig Wittgenstein

Characters

MAN

WOMAN

Setting

Act One – The City

Afterwards – The Island

Note on Text

A forward slash (/) indicates interrupted speech.

This ebook was created before the end of rehearsals and so may differ slightly from the play as performed.

ACT ONE

Midgard

Scene One

In the darkness, noises begin to filter through. Human speech, indistinct, fractured. Glass shatters, screams, crashes, a howl of pain. A fire breaks out, spreading rapidly, it swallows everything in an almighty conflagration. Lights up. The living room of a modern apartment. The WOMAN is sat on the floor, newspapers strewn around her.

Pause.

The MAN enters.

MAN. Hi.

Beat.

Sorry I’m late, trains were packed. What we need, is a nice virulent flu epidemic. (Goes into the kitchen.) Have you eaten? I’m starving.

Beat.

He re-enters, he is drinking from a sports bottle.

Jesus I’m sore. Bruises, look. Be worse tomorrow.

WOMAN. I thought your class was on Tuesdays.

MAN. It is Tuesday. (Drinks.) God that’s disgusting. I’m going to shower.

WOMAN. You got on the train without having a shower?

MAN. Not very sociable. (Holds up the bottle.) Forgot this.

Twenty-minute window to absorb the protein. Want a taste?

She shakes her head.

Are you hungry?

Beat.

How was your day?

She shrugs.

Have you been out? Are you going to get dressed or…?

WOMAN. I am dressed.

Beat.

It’s comfortable.

MAN. You could come. I know I’ve said it before.

WOMAN. Yes.

MAN. They have classes…

WOMAN. I don’t want…

MAN. Or you could work out on your own, swim, run.

WOMAN. No.

MAN. Okay. Fine. I just think… something. This isn’t healthy.

He goes through the newspapers.

WOMAN. You buy a newspaper every day.

MAN. That’s different.

WOMAN. Just leave them.

MAN. The TV, the radio, the internet.

WOMAN. How can you not care?

MAN. I do care. But right now I care more about you.

WOMAN. That’s how it starts.

Blackout.

Scene Two

The WOMAN is sat at the table eating. Takeaway bags, etc.

The MAN comes in.

MAN. So, you were hungry?

WOMAN. Sorry.

MAN. It’s fine. How is it?

WOMAN. Try some of this. (Picks up a piece of food.)

MAN. What is it?

WOMAN. Close your eyes.

MAN. Come on…

WOMAN. Don’t you trust me?

MAN. Mmm. Okay.

He closes his eyes.

WOMAN. No looking.

MAN. Okay.

WOMAN. Open.

MAN. I’m allergic to mushrooms, remember.

WOMAN. Shush.

She puts a piece of food in his mouth. He chews.

MAN. Mmm, that’s good. That’s really good.

WOMAN. You’re not allergic to mushrooms.

MAN. I don’t like them.

WOMAN. Are you tired?

MAN. No.

WOMAN. You shouldn’t overdo it.

MAN. I don’t.

WOMAN. You look good.

MAN. It’s futile really. Man versus machine, man versus nature. Doesn’t get easier.

WOMAN. Not that old.

MAN. No.

WOMAN. Do you want some dessert?

MAN. I can’t.

WOMAN. Course you can.

MAN. I shouldn’t.

WOMAN. I think you should.

MAN. I’ll have to spend even longer at the gym.

WOMAN. I thought you liked going.

She exits.

(Off.) The park’s open again. I walked through it.

She re-enters with desert.

MAN. We could go for a walk?

WOMAN. We’ve got dessert.

MAN. Not necessarily now.

WOMAN. It’s late.

MAN. Still light.

WOMAN. Maybe.

MAN. Most of the shops have reopened. Waiters are out on the street trying to entice people in? Remember Bangkok?

WOMAN. I’m tired.

MAN. You probably feel lethargic because… /

WOMAN. I’m tired.

MAN. Have you thought about work?

WOMAN. Yes.

Beat.

MAN. I thought you’d want to get back /

WOMAN. Did you?

MAN. Aren’t they short-staffed?

WOMAN. Is that what worries you?

MAN. I just meant /

WOMAN. They’ll survive. I’ll go back when I’m ready.

Beat.

MAN. Okay. It’s fine. Whatever you want.

Blackout.

Scene Three

WOMAN. Fuck off. Just fuck off.

MAN. You lied to me.

WOMAN. Fuck you.

MAN. Can we please stop this.

WOMAN. I made a choice.

MAN. That’s what I’m saying.

WOMAN. I decided.

MAN. You decided to hide things?

WOMAN. I wanted to feel better.

MAN. Is this better?

WOMAN. This is about you.

MAN. No, it’s about you.

WOMAN. Then you have nothing to say.

MAN. What about professional conduct?

WOMAN. What about it?

MAN. There are rules. There are guidelines.

WOMAN. Excuse me?

MAN. There’s protocol.

WOMAN. Are you accusing me…

MAN. What about side effects /

WOMAN. I’m aware /

MAN. Mood swings, memory /

WOMAN. I’ll decide.

MAN. Unilaterally.

WOMAN. It’s perfectly legal.

MAN. It’s unethical.

WOMAN. I’m objective.

MAN. Really?

WOMAN. Yes /

MAN. What about trust?

WOMAN. If I don’t trust myself, how can I expect anyone else to trust me?

Scene Four

MAN. I think it would be good. For both of us.

WOMAN. Why there?

MAN. The country has kept incredibly accurate records. And the gene pool is probably the purest in the world. They’ve done some pioneering work on genetics already. I’ve already done some groundwork but /

WOMAN. What about your work here?

MAN. There’s nothing to do but wait for the results. It would be good to start something new.

WOMAN. It looks beautiful.

MAN. Plenty of fresh air. Mountains, glaciers.

WOMAN. Isolated.

MAN. Peaceful. I can focus.

WOMAN. I’d be in the way.

MAN. We’d have some space.

WOMAN. Together.

MAN. There’s a volcano. Just here.

WOMAN. I can’t pronounce it.

MAN. Me either.

WOMAN. Ejaf… / Eyaf, Effaay…

MAN. Sounds like a disease. (Adopts a voice.) ‘Doctor, I seem to be suffering from acute Eyfalakulljiol.’

Beat.

I think it could be good for both of us.

WOMAN. We haven’t had much time together /

MAN. I know and a lot of that’s been my fault /

WOMAN. I wasn’t saying that /

MAN. I know but it’s true. But we could spend some time together, relax, think about… /

WOMAN. What /

MAN. I don’t know, the future…

WOMAN. Why does ‘the future’ always have such an ominous ring about it.

MAN. I just mean /

WOMAN. I know. You’re right. Everything that’s happened this year… /

MAN. Come with me.

WOMAN. Yes.

MAN. Yes?

WOMAN. Yes.

He kisses her.

No.

MAN. Hmm?

WOMAN. No. I’m…

MAN. What’s the matter?

WOMAN. It’s… I’m due…

MAN. I don’t mind.

WOMAN. I do.

MAN. Okay.

WOMAN. Just a few more days.

MAN. Okay. (Kisses her.) Why don’t we have something to celebrate. Wine.

WOMAN. Sure.

He exits into the kitchen.

I think I’ll /

MAN. I’ll have to go out.

WOMAN/MAN. What?

MAN. You…

WOMAN. I was going to take a bath.

MAN. Sure. I’ll have to go out.

WOMAN. Why?

MAN. The wine.

WOMAN. Oh.

Beat.

MAN. Are you okay?

WOMAN. What?

Beat.

MAN. It’s the fifteenth.

WOMAN. What do you mean?

MAN. It’s usually… at the end.

WOMAN. What are you saying?

MAN. I’m asking if everything is okay? I’m just asking.

WOMAN. For fuck’s sake.

MAN. I know it can become erratic…

WOMAN. I’m having a bath.

She gets up.

MAN. I didn’t mean it like that.

Beat.

Shit.

He picks up his coat, wallet, etc. He heads to the front door.

The WOMAN appears in the bathroom doorway. She is naked except for her bra and panties. The top of her leg and her panties are visibly stained red. She holds up her hand, the fingertips of which are spotted with blood.

WOMAN. Happy now?

Blackout.

ACT TWO

Helgafjell

Scene One

A spacious living room. Decorated in Scandinavian style.

The MAN is stood, a cup of coffee in his hand. The WOMAN stands near the door.

WOMAN (a little breathless). Hi.

MAN. Hi. How was that?

WOMAN. Amazing.

MAN. How far did you go?

WOMAN. I don’t know. I just ran. There’s a hill we passed on the way here, with that huge tree.

MAN. A long way.

WOMAN. Over the other side, down to the beach.

MAN. The beach?

WOMAN. Black sand. It’s beautiful. You have to see it.

MAN. I heard.

WOMAN. I’m going to go again tomorrow.

MAN. Careful you don’t overdo it.

WOMAN. I feel great.

MAN. I told you.

WOMAN. The air tastes… God it was so cold at first, when your lungs feel like they’re burning. Then, after a while it’s incredible.

MAN. You should stretch.

WOMAN. Mmm. (Does some stretches.) You’ve got to come and see the beach.

MAN. Black sand.

WOMAN. And the cliffs.

MAN. I saw them.

WOMAN. When?

MAN. On the way here.

WOMAN. I don’t remember.

MAN. You slept for most of it. Legend says that they were trolls. Caught in the sunlight.

WOMAN. Trolls?

MAN. I think. They turn to stone don’t they?

WOMAN. Petrify.

MAN. Do you want some coffee?