The Space Between

The Space Between

Scratch Night Scene

Blurb -

The Space Between is a comedy drama about what makes us human. The experiences that shape us and harden us to the experiences or feelings of others, and the ones that unite us and connect us to what matters most in life. As the lives of our four very different characters intertwine, the positive and negative interactions between them reveal and acknowledge the true reality that exists between ourselves and others - the reality that lies not in what is said or not said, but in moments that we connect with who we really are and how we make each other feel. This reality exists within the space-between.

Cast -

Glynis - 40’s Accountant, married to Gordon

Ruled by head. Capable, impatient, cynical. A Pessimist.

Speech pattern strong and flat as if she doesn’t suffer fools gladly.

Bio - As a hardworking and intelligent child, her dreams of a high-flying career were quashed by a misogynistic father who forced her to work in the family business rather than go to college. She is envious of those who she feels have the money, support or freedom to do as they choose and represses her true feelings in order to avoid disappointment which makes it hard to connect to others. Needs to learn to give love in order to feel love.

Izzie - 20’s Student, cohabiting with Jamie

Ruled by heart. Caring, enthusiastic, naive. An Optimist.

Speech pattern is laid back as if she is a bit dozy.

Bio - An easy life with loving, wealthy parents mean she has never had to work hard for anything and therefore doesn’t bother. She focuses on being popular rather than being herself and avoids conflict by projecting a childlike simplicity, which can make her superior comments and virtue signalling difficult to challenge. But she lacks the emotional depth of real lived experience to feel true empathy and fully connect with others. Needs to learn to be her true self and accept the consequences.

Moira - 60’s School Cook, Married to Stan

Ruled by her gut (instinct and appetite).

Direct, self-absorbed, practical. A Pragmatist.

Speech pattern is rhythmic and melancholy as if she is reading a poem.

Bio - The poverty of her childhood, the death of her father and a lifetime in the school of hard knocks has taught her to put up, shut up and suppress feelings by eating and doing. The emotional neglect she received in her life has led her to be intolerant of her own emotional needs and insensitive to the needs of others which makes her appear hard and too indifferent to really connect with others. Needs to learn to recognise others feelings and state her needs in order to connect with others.

Su Lei - 50’s House Wife, Married to Dennis (deceased)

Ruled by heart. Reserved, insecure, sensitive. A Realist.

Speech pattern earnest and expressive. Almost pleading as if she is trying to be understood.

Bio - A loving and dutiful child, who worked hard to support her family when her father became too ill to work. Always a keen anglophile with a skill for languages, her mother persuaded her to marry a wealthy English man to escape poverty and send money back to Japan. But the pain of inevitable estrangement from her family and the cultural dissonance of her new home made her withdraw from others and become codependent on her husband. Needs to learn self-reliance and to face the world as an independent woman.

Solicitor - 30 - 50, Batchelor

Ruled by head. Unprofessionally informal, emotionally disconnected. An Idealist.

Speech pattern, camp and melodramatic. As if channelling his inner Alan Carr.

Bio – An introverted child from an erratic and emotionally dysfunctional family, he struggled to develop the social skills required to engage with others. Uncomfortable with displays of emotion and avoidant of intimacy or conflict, his tendency to patronise others makes him difficult to connect with. Needs to learn how to communicate sensitively with different people on different levels.

Wardrobe - The 4 women are dressed soberly in dark colours as befitting a funeral reception or Wake. The Solicitor is wearing a business suit, shirt and tie.

Props - Two armchairs, one foot stool, a drop leaf table, a small side table, a piece of furniture with a drawer full of papers, an oriental style vase and a cloth place mat or crocheted doily. A long-handled brightly coloured shopping bag, two paper plates, sushi poles, tofu, one open champagne bottle and three champagne flutes. A Glue gun, a hand-held vacuum cleaner, one dust pan and brush and a roll of bin bags. One Marriage certificate.

Sound effects - A ceramic vase shattering.

ACT 1
SCENE 1

A large and expensively decorated drawing room in a traditional country house. USR a floor to ceiling bay window, dressed with heavy drapes and a door leading to the entrance hall. DSL a large open fire, with two leather chesterfield chairs and a foot stool. The floors are covered with large rugs and the walls lined with gilt framed pictures. Ornate lamps and expensive vases rest upon the dark wood antique furniture.

(GLYNIS enters carrying a champagne flute and a paper plate containing a piece of tofu.)

(MOIRA follows carrying a Champagne flute and a paper plate loaded with sushi. Over her shoulder is a long-handled shopping bag from which protrudes an opened bottle of champagne. They stand centre stage and gaze around the room in awe, eventually turning toward the audience, and staring at the invisible paintings on the fourth wall.)

GLYNIS: Blood-y hell... How the other half lives, eh Moira?

MOIRA: Aye, you’re right there Glynis. They must have more money than sense.

(IZZIE enters carrying her empty champagne flute and gazes around the room in awe.)

IZZIE: Aw my God. This room is ama-zing...

GLYNIS: Aye, an’ so it should be Izzie. What wi’ all the money that greedy, out for nowt Dennis McNally had to spend on it.

(IZZIE stares wide eyed at the fourth wall.)

IZZIE: Aw, I know. But just look at all these paintings... I think silk paintings are beautiful... What do you think Moira?

MOIRA: I think they’d be a bugger to dust.

(MOIRA and GLYNIS sit on the chairs.)

(MOIRA takes the champagne from her bag and tops up their glasses.)

(IZZIE turns to join them.)

IZZIE: Aw, I’m not sure we should be makin’ ourselves at home in here though really, are you?... I mean... Don’t you think we should go back in there, with the other mourners?

MOIRA: Mourners my arse. Scroungers more like. That lot aren’t here to pay their respects. (She forces a whole sushi role into her mouth and speaks with her mouthful.) They’re here for what they can get.

IZZIE: Well, yeah, but still. I mean, she might not like it if she knew.

MOIRA: Oh, she won’t mind. We’ll go back in a minute, were not doing any harm.

GLYNIS: Well, I’m in no rush to get back in there. It’s not what I would call a dignified occasion. Millin’ round a dead body, while trying to balance a prawn dumpling on a paper plate. It’s not hygienic.

(IZZIE squats awkwardly on the footstool and stares around the room in awe.)

IZZIE: Aw, I always wanted to know what this house looked like inside... Did you Glynis?

GLYNIS: It’s the only bloody reason I’m here Izzie. It’s certainly not to pay me respects to that, cowboy builder Mc Nally. I’m here for the nosey just like you and everybody else. Well, that and the free food and drink. Not that this poncy shite was worth turning up for.

IZZIE: Aw, don’t you like it then?... I thought the sushi was quite…

GLYNIS: No. I don’t like it Izzie. And don’t pretend you do. The salmon’s raw, the rice is like wall paper paste. And them noodles were like chewin’ knicker elastic... with somebody’s arse still in the knickers... And as for this! (she picks up the tofu from her plate) Well, I don’t even know what this cube of crap is supposed to be, (puts it back down on her plate) but it’s ab-solutley tasteless.

IZZIE: It’s supposed be tasteless... It’s tofu.

GLYNIS: And what the hell is that when it’s at home?

IZZIE: It’s a type of...

GLYNIS: I know what it is, thank you Izzie, Its emperor’s bloody new clothes, that’s what it is. And before you pretend to be an expert on Asian cuisine, a two for one Wowcher for Wagamama’s, does not make you Ken friggin’ Hom. I’m not a stranger to foreign finger food you know. I was one of the first people on my street to shop at Iceland. I’m just saying, that this fancy stuff is not to everyone’s taste.

MOIRA: Oh aye, you’re right there Glynis. This posh sushi stuff is barely touching the sides wi’ me. I’m starving. It’s like my mother always used to say, you want quiche for a christening, pork pie for a wedding and dim sum for a death... I wonder why t’lass din’t just knock up a load of Chinesey starters?

IZZIE: (smugly) Probably because she’s not Chinese...

MOIRA: What do you mean, not Chinese?

IZZIE: (cockily) I mean I don’t think she comes from China.

GLYNIS: (mocking) What do you mean, you don’t think? What do you know?

IZZIE: (slightly condescending) I’m just saying, that going by the food and the art work and stuff. I don’t think she comes from China. I think she comes from Japan.

MOIRA: (annoyed) Oh, here we go again!... This is what two days a week at bloody college does for ya...

(GLYNIS shakes her head.)

IZZIE: It’s a university college actually. And its full time...(defensively) I just don’t have to go in every day. If I don’t want.

(GLYNIS braces herself for Moira’s response.)

MOIRA: (frustrated) Oh, it’s the same thing Izzie. And it’s like all this now. Chinese, Japanese, what difference does it make? You’re all the same you bloody incomers. You think you know it all... You’ve been here ten bloody minutes...

IZZIE: (arrogantly) Ten years... As of last week...

(GLYNIS winces, closing one eye anticipating Moira’s temper.)

MOIRA: (angry) Aye, well I’ve lived here all my life, and I can tell you this for nothing. I don’t care where she’s from, but she’s not from ‘round here, and neither are you Izzie. And ‘round here, that’s all that matters.

(GLYNIS puffs out her cheeks and swishes her champagne around her glass.)

(MOIRA Knocks back the rest of her champagne and reaches for the bottle.)

(IZZIE sighs stares around the room awkwardly.)

MOIRA: (calming down) Look, why don’t you do us all a favour. Take these next door and pop ‘em back on the buffet (brandishing her paper plate at IZZIE). And while you’re at it, ask her to knock us up a couple of plates of sandwiches. My stomach thinks me throat’s been cut.

IZZIE: Aw, I can’t do that.

MOIRA: Course you can. I’ll have a couple of rounds of ham and cheese... Glynis?

GLYNIS: Just ham... I don’t like other people’s cheese...

IZZIE: Aw, I don’t think we should be asking her to make us sandwiches. I mean, her husband’s just died and everything.

MOIRA: Well, if bothers you that much, just ask her for four rounds of plain ham and I’ll eat yours. Besides, we’re doing her a favour. We’re keeping her occupied. Aren’t we Glynis?

GLYNIS: That’s right. Taking her mind off things... Best thing you can do if you’re bereaved is to keep busy. Everyone knows that Izzie.

MOIRA: Oh aye. That’s what kept my mother going... When my dad died, the first thing she did was to get stuck into redecorating the kitchen... She’d hung three rolls by the time the ambulance arrived... and two of them were round the window.

(GLYNIS and IZZIE look impressed.)

MOIRA: (wistfully) Oh. She were an amazing woman my mother... I recon she’d ‘ave had the whole wall done... but the paramedics point blank refused to man handle him over the pasting table.

(GLYNIS and IZZIE look dumbfounded and MOIRA eats another sushi roll.)

(IZZIE places her glass on the small table between her and Glynis and hugs her knees as she stares around the room, occasionally opening her mouth and trying to think of what to say.)

(GLYNIS glances at her watch and looks bored.)

IZZIE: It must be amazing to live in Japan... I wonder why she chose to live here? (pause) For love, I suppose... She chose Dennis and Dennis chose here.

GLYNIS: Love my arse! And as for choosing Dennis, he chose her. I doubt there was much love involved. Just a financial transaction.

IZZIE: You mean, like... A mail order bride?

GLYNIS: Yes Izzie. Exactly like that. Only as you and the political correction police would have it. She was a 20-year-old “Japanese” woman in search of a better life, that Dennis, a man old enough to be her father, paid thousands of pounds to be introduced to. So, you and your equality buddies can politically correct the shit out of it as much as you like, but once a woman enters into a marriage like that, she waves goodbye to any hope of equality let alone love.

IZZIE: Aw, poor Su Lei...

MOIRA: Oh, she doesn’t need your pity Izzie, and she’s far from poor. You can see for yourself that she’s not done too badly out of it. I wouldn’t have said no to half of what she’s got. No matter who I had to shag in order to get it.

IZZIE: Aw, would you really though Moira? You know, if it came to it?

(MOIRA Shrugs sulkily and takes a swig of her drink.)

GLYNIS: What Moira’s saying Izzie, is that Su Lei isn’t the only one to make compromises. We all make trade-offs... But I don’t envy her for what she’s got. There’s isn’t enough money in the world to make me sign away my right to have a headache, the minute I feel that expectant poke in the back of an evening. Or some fool fumbling with my nightie... 30 years is a very long time to be “in the mood” whenever he drops his trousers. Especially with a wrinkly arsed old skinflint like Denis McNally.

IZZIE: Aw. I didn’t realise that he expected her too... Well not all the time... But, there can still be love in a marriage like that can’t there? I mean, I get that they met through like, an agency or whatever... But it must have been love that kept them together... Mustn’t it?

GLYNIS: Aye, it was love alright. He loved sex and she loved his money. That’s what kept them together.

MOIRA: Oh, he loved sex the saucy monkey. It was the sex that killed him in the end. An overdose of Viagra, so they say. Apparently, he was on the job at the time. A bit of afternoon delight, I heard. Stark bollock naked the pair o’ them. At it like knives. Then suddenly, all the blood drained from his face and rushed to his cock. Apparently, it was still there when the ambulance arrived...

IZZIE: Aw my God! How awful... I mean, I can’t imagine what I would do in that situation. Can you?

MOIRA: Well, I don’t know what you would do Izzie. But I can tell you what she did... She uncoupled herself, had a shower, put on a new frock and made the bed before she called an ambulance.

IZZIE: Aw! Did she? Really? How do you know?

MOIRA: Because I know one of the paramedics who responded, and they were there in minutes... But when they arrived, she was already pegging out a bath mat and shower cap, in a dress with the price tag poking out the back of her neck...

IZZIE: Aw, was she? (pause) But still, I suppose she would have to put some clothes on. I mean, I don’t like answering the door to the Evri man in me house coat, unless I’ve got me bra on...

GLYNIS: Speaking of coats, where’s mine? I’ve had enough of this poncy plonk and paper plate, party. I’m phonin’ a taxi. You comin’ Moira?

MOIRA: Aye, I’m comin’ love. Go fetch us coats Izzie. And here, take these plates and glasses through to the kitchen while you’re at it. Look sharp. Then she won’t know we were ever in here.

(MOIRA, GLYNIS and IZZIE stand up. IZZIE picks up her glass from the table.)

IZZIE: Oh my God! (eyes wide with panic) I’ve marked the table. My glass... (rubs the mark) It’s left a ring on her posh table. (rubs again) Oh my God it’s not coming off... (rubs) Oh no! What are we gonna do?

GLYNIS: We?!

IZZIE: (paces about in panic) Oh, my God. Oh my God! Oh my God...

MOIRA: Get a grip girl. We’re women, we don’t stick fast. Quick, fetch us a cloth or summat to cover it over so she won’t notice... Here, that doily, that should do it.

(GLYNIS and IZZIE rush to USC and lift a large, heavy oriental style vase from a drop leaf table. MOIRA follows and snatches the cloth circle from beneath it, as GLYNIS and IZZIE lower it back down carefully and back away from the table hands out stretched and sigh with relief. MOIRA places the doily over the mark and smooths it out.)

MOIRA: There, look. She’ll never know.

GLYNIS: Great! Now let’s get our arses out of here, sharpish.

(MOIRA grabs her bag and rushes to the door along with GLYNIS and IZZIE. As the three jostle to exit, the supporting leg of the dropleaf table slides inwards on the polished wood floor and the vase hits the ground and smashes into pieces. GLYNIS, IZZIE and MOIRA freeze and turn around slowly, staring at the vase in disbelief for one beat.)

IZZIE: Awwww...

(MOIRA, GLYNIS and IZZIE; simultaneously) Bollocks!

GLYNIS: Right ladies! Action stations. Let’s get this shit sorted before she sees it. Izzie, you track down a dust pan and brush, Moira, find some glue. I’ll go look for a spade.

IZZIE: What’s the spade for?

GLYNIS: Cos if the glue doesn’t work, we’ll have to bury it.

(IZZIE, MOIRA and GLYNIS leave the room.)

(O/S we hear the distant sound of a heated conversation between SU LEI and McNally’s SOLICTOR off stage, becoming louder as they walk along the corridor towards the drawing room.)

SOLICITOR: O/S (distant but audible) Yes but not in the eyes of the Law I’m afraid.

(SU LEI enters the Drawing room briskly followed by McNally’s SOLICITOR.)

SU LEI: (flustered) Here, I have my marriage certificate. (She opens a drawer full of paper and produces the document.)

SOLICITOR: Yes, dear. And I have a mug with Worlds Greatest Solicitor on it, but that wouldn’t stand up in a court of law either.

SU LEI: But how can...

SOLICITOR: I mean, she is his wife at the end of the day, she’s bound to get the lions share... But if you can just hear me out. You might find that it’s not as bad as you think.

SU LEI: Not bad? 30 years of my life, and he left me with nothing...

SOLICITOR: But that’s what I came here to tell you dearie. He did leave you something. He left you this delightful, mock Tudor mansion! Which you can sell. Providing, you can find someone with the same passion for pastiche that he had...

SU LEI: But how will I pay the bills in the mean time? Pay for his funeral?

SOLICITOR: That’s what I’m trying to tell you dear, if only you’d stop interrupting. In addition to the house, it was Denis’s wish that you benefit from the full value of your wedding present... Which is estimated at around half a million pounds! So, that’s not a bad little runner up prize, now, is it?

SU LEI: (frustrated) But there was no wedding present. My family were too poor... The only present I got was from Dennis... Some cheap ornament that he bought at the flea market. This... (She waves her hand dismissively in the direction of the drop leaf table.)

(SU LEI and the SOLICITOR stare at the pieces of shattered pottery in disbelief.)

SOLICITOR: Genuine... 15TH Century...

(GLYNIS, MOIRA and IZZIE rush through the doorway armed with a glue gun, hand-held vacuum cleaner and a child’s plastic spade and freeze in a Charlies Angels style pose as SU LEI and the SOLICITOR turn and stare at them in surprise.)

SOLICITOR: Ming, Vase.

End of Scene.

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