Sea Blue

2006-05-11T07:58:00.000-07:00

Sea Blue

By Emily Holmden

Sea Blue

Act One

Scene 1

(curtains open on a stage awash with blue light, gradually fades into a blend of different blues, the colours separate like oil in water. Three video screens descend from the rafters USL USC and USR. The back wall is a slowly rolling sea with a gentle yellow horizon. The video screens show the back wall image.)

[Enter Jenna DSL sets up easel and begins to paint the scene before her. Video screens begin to show what she has been painting the creation of the painting before her.

Enter Sara DSR moves around the stage photographing the sea from various angles. Jenna ignores her. Right screen shows a blur in the ocean, Left screen shows it slightly larger, Centre screen shows jerky zoom as if the individual pictures as Sara zooms in on the object. VSR shows Jenna’s realisation as to what Sara has spotted, VSL shows Sara’s realisation. All three show Jenna’s painting and the body she has painted in, Jenna glances at the screens and wipes it out.]

SARA. (On mobile) Hello? Yes I need an ambulance and police to Southwold beach… yes the right side of the pier… there’s a… a… body in the water.

JENNA. I can’t see a body, Where is it??

[VSR focus Jenna’s face, impassive and unshaken. VSL focus Sara’s face, disbelief, shock. VSC the body as it bobs in the blue water. – Blackout]

Scene 2

[Police station. Jenna and Sara are sat at a table, Sara’s photographs are spread in front of them. The Superintendent is pacing behind them. VSR; busy street in front of the police station. VSL; live feed of the action on stage. VSC; shows images appropriate to each point of conversation, the body, the scene at the beach, arrival of the police and so on.]

SARA. … So I ran into the water and tried to pull him out. (Turns to Jenna) She was no help at all, just stood there gawping while I struggled with him. (Turns back to Super) he was dead when I pulled him out, and he was, so cold.

SUPER. Why didn’t you feel you should help Sara, Jenna? It was an awful chore to pull a weight like that out of the Sea.

JENNA. You speak of him as a ‘chore?’ how comforting for his poor family! He could have children, a wife! What would his little sister think… (She trails off)

SUPER. Well yes perhaps ‘chore’ was a bad choice of word, what did you see Jenna, we’ve heard Sara’s version of events, but what’s yours?

[Whilst the Super has been talking VSC has zoomed in on Jenna’s expression, her face appears confused, then conflicted and then resolved.]

JENNA. I didn’t see anything, what are you talking about?

SUPER (thoroughly confused) the body that you and Sara here found this morning, being washed up on the beach. (Glances at the camera USL)

JENNA. There wasn’t a body! Is this why you’ve bought me here? ‘Cause this stranger had some kind of panic attack and called the police. I thought it was odd you wanted a statement for a prank call.

SARA. It wasn’t a prank call! I pulled a body out of the sea this morning and you stood there and watched! (Obviously becoming frustrated)

JENNA. Superintendent Johnson I think it is obvious this woman is very disturbed! Imagine making something like this up and then convincing yourself it was true!

SUPER. Miss Sail I think you’ll find that Miss Patrick here did indeed pull a body from the sea today, we have her photographic evidence of the appearance of the body, photos of you yourself staring at the corpse, and the corpse itself in our Mortuary.

SARA. Look at the photos! They’re right there! (Gestures at the photos spread over the desk)

[Jenna examines the pictures before her, a look of intense concentration on her face, as if she is trying to remember.]

JENNA. No this isn’t me, it must be someone that looks like me (Gasp from Sara) now if that’s all, I’ll be on my way, there’s still some light left I should be able to finish my project this afternoon.

[She gets up and leaves, the VSR shows her leaving the station, stopping and shaking her head and carrying on down the street.]

SARA. I don’t understand…

SUPER. I’m not sure I do either, but if she sticks with this version of events her statement is void (Sara looks apprehensive) don’t worry, we all saw the body on the beach, and your photographs have helped to prove the rest of your story, I don’t think you could be suspected of the murder of this man. You’re free to go.

SARA. (Looking thoughtful) thank you officer. I think I will go, you can have the photographs I think. Good luck with you investigations.

[Goes to leave]

Oh, what was the... mans name?

SUPER. We don’t know yet, not local at any rate, this place is too small for us not to recognise a face.

SARA. Oh ok, Goodbye then.

[She leaves still visibly puzzled, VSR shows her leaving the station as the stage goes dark, she stops and shakes her head in an unconscious repetition of Jenna’s earlier movement, then she carries on down the street.]

Scene 3

[All video screens show blustery grey footage of Southwold on a windy day. Sara enters SL approaching Jenna who stands DSC gazing into the distance.]

SARA. (To self) I think she’s going to jump, at least she’s standing very close to the edge…

JENNA. What are you mumbling behind me? Go away! I’m thinking.

SARA. It’s me Sara! From the beach this morning.

JENNA. Oh, come to tell me I’m crazy have you? I didn’t see anything!!

SARA. I don’t think your crazy don’t be stupid. I just wondered why you denied it! Did you kill him?

JENNA. (Whirls around to face her, VSC focus on her face) I didn’t even know him!

SARA. So! You admit there was someone there!

[Sara moves so that Jenna is forced to move away from the edge to maintain eye contact with her]

JENNA. I… what? Where was there a person?!

SARA. (Now standing with her back to the water) Its ok I just wanted to get you away from the water. Jumping wouldn’t have solved anything…

JENNA. I wasn’t going to jump!? Don’t be stupid; when you’ve seen someone else die like… (Expression becomes vague) I love the Sea, all the colours mesh so beautifully. So many shades of blue…

SARA. What do you mean when you’ve seen someone die?

JENNA. Hmm? I don’t know what you mean, why do you ask so many stupid questions?

SARA. They aren’t stupid! Simple maybe, but that sonly because they have to be for you to understand! And you still don’t answer them.

JENNA. Why should I? I don’t know you or owe you anything. I respect you as an artist in another medium, just because your camera shows hideous irremovable untruths doesn’t mean it isn’t art.

SARA. How do you mean untruths!? The camera never lies, or don’t they teach you that in these backwards villages?

JENNA. (Angry) do not insult this place. Its backwardness is what keeps the city at bay. And anyway, I’m not from here, I’m from a city, and I even studied in London.

SARA. A petulant response, I expect no less from someone who blanks out something that may disturb them. That’s it isn’t it, you’ve blanked it out! At the beach I saw your painting, the man was in it! You can’t completely hide it! You go and look at it!

JENNA. There’s no man in my new painting! It’s just the beach in the morning look...

[Opens out the canvas, it’s a nice painting without the body. VSC shows a fade from the painting at the time of the body’s discovery to the present time.]

SARA. How?.. I saw, you doctored it!

JENNA. I haven’t touched it. Now would you please leave me alone, I was looking at the sea. (Becomes vague) blues and greens and Ben is a colour.

SARA. You are crazy.

[Sara turns and leaves the pier. VSR follows her retreat footage from the actual pier and Sara walking down it. VSL shows Jenna gazing at the water from the end of the pier, also actual footage. VSC shows the painting. As the lights fade out changes to moving water.]

Scene 4

[Sara stands SL and Jenna SR. The video screens above them show pictures which correspond to the mothers side of the conversation, those which pose questions, the conclusions reached by the mother and so on.]

JENNA. Hello? (Pause) yes it’s me, why didn’t I tell you about the…/

SARA. Body? I didn’t think it was worth troubling you over, it isn’t like…/

JENNA. I was really involved, I mean I didn’t even see a body I don’t know why she’s…/

SARA. Lying and saying that she didn’t even see anything, I saw her paint it into her…/

JENNA. Just a landscape yes, there’s nothing else in it, you know I always paint what I see into my pictures it’s a bad…/

SARA. Habit it’s got to be, I’ve never heard of anyone being that messed up with out being some kind of…/

JENNA. Head case! Yes mother I know! That’s what they’re trying to make me look like. It’s that girl and her spiteful…/

SARA. Photographs that’s right. It’s in my pictures the proof in them shows she’s obviously deranged I even have one of her…/

JENNA. Bending over the body I don’t understand how she faked that one, I mean I was sat at my easel painting away and then…/

SARA. The police turned up and took us in for questioning, that’s it! That’s all that…/

JENNA. Happened! Ok? Please if you don’t believe me I’ll start to think maybe I am making it all up. (Pause) but that would be impossible…

[Blackout]

Scene 5

[Same set up as the first scene, except Sara is taking photos before Jenna enters. Sky changes to a darker blue as it is near night. VS all show the gathering dusk, VSC shows the live action between Jenna and Sara. Jenna enters, some of Sara’s photos in hand.]

JENNA. Sara? (Sara ignores her) Look I have your photos, the police man…/

SARA. Superintendent, they don’t put ‘police men’ on murder cases.

JENNA. Right yes, him. He gave me your pictures to give back to you. He said they have the copies that they need… of the body.

SARA. Did you just say…?

JENNA. (Hurriedly) We’re being cleared of any blame, cos we just pulled him out of the water, and provided photographic evidence of the body coming in, and we have each other as alibis we didn’t put it in the water or just bring it down, and there’s no evidence that we know the man, or each other so…/

SARA. Stop! You’re blathering on so fast I can’t understand a single twittered remark. Let me get this strait. You’re admitting that there was a body in the water.

JENNA. Yes

SARA. And you’re admitting you were there when I pulled it out, that you saw it too?

JENNA. Yes.

SARA. Even though you’ve spent the last 3 days declaring that it wasn’t there and that I the police, the media and everyone who saw you there was mad and/or making it up.

JENNA. Yes.

SARA. Riiiiight. Ok so who gave you some sane drugs?

JENNA. (Ignoring the last comment) and he says we have to see the counsellor next week, no excuses. so why photography? What got you into it? I’ve always heard it’s not art but then again I am the impressionist here.

SARA. (Sighs) Fine. My brother gave me the camera when I was a kid, I liked the way you could always see exactly what was there with it. The camera never lies and all that. My brother kept telling me how wonderfully simple it was to produce truth in a photograph. I dunno something just clicked and I was hooked.

JENNA. Wow! He sounds great. Is he a photographer like you? You guys should go into business, or something. (Seeing Sara’s face) oh, not partners? Did u fall out?

SARA. (derisive laugh) you could say more that he fell in, he fell off my fathers fishing boat when he was 16, he nearly drowned but they brought him back. His brain was starved of oxygen for too long so he lost… he lost most of his mental functions… he’s… pretty damaged.

[Whilst Sara has been talking Jenna face gradually closes up, she starts to physically close up as well, body language screaming her introverted thoughts.]

SARA. (Concerned noticing her change) are you ok? You look like you’ve fallen in the sea yourself.

JENNA. No I didn’t he did, I, um have to, go. I uh, forgot to add spirit to my brushes and they’ll go hard.

[Exit Jenna, VSR shows Sara’s disabled brother, VSL shows Jenna’s brothers’ grave. VSC Sara’s uncomprehending face.]

SARA. Jenna! What?!? You are mental!

[Blackout]

Scene 6

[Stage still black, SFX phone ringing.]

SARA. Suz! Hey love how you doing? (Pause) Yeah I rang cos I’m back for the weekend, (pause) ok cool, 6:30pm then. Great, see you there!

[Lights come up. Sara is sat at a table in a restaurant, bog standard setup. SFX background crowd noise. VSL and VSR show various areas of the restaurant, one with a view of the kitchen one with a view of the bar. VSC accompanies Sara’s story with visual aids. Suz enters]

SARA. I was wondering if you were gonna show! I mean you! 5 minutes late. (Laughs)

SUZ. (Laughs) well you know me, never late! Nah I just got off the phone to a friend of mine, she’s had a bit of a trauma and she isn’t used to having to cope on her own, her parents are in Brazil so she’s freaking out a bit, had to calm her down.

SARA. Yikes no wonder you were late! What was the trauma?

SUZ. Oh her and this other girl found a washed up body on Southwold beach, I’d seen it on tele but hadn’t realised she was involved. (Pause) what’s that look for?

SARA. I was there; it was me that spotted it. You talked to Jenna?

SUZ. Yeah her names Jenna (confused) but what do you mean ‘you spotted it?’

SARA. I was taking photos on the beach that morning, when I spotted a shape out to sea, I zoomed in and there it was. Jenna was there too, she’s a mentalist though refused to tell the police she saw anything, almost had me going for a while. Oh Jenna that kid who moved away? The one you went to Uni with?

SUZ. Yeah, she moved to Southwold after her brother drowned. Don’t think the family could cope with living in the house he’d grown up in, not that they didn’t try mind. Just upped and left one day, reckon I was the only person got told.

SARA. But Jenna believed it had happened straight away right? She didn’t deny it at all?

SUZ. Why on earth would she deny it? She was there when he fell! He used to do this trick to make her laugh, right he’d balance on one of the railings on the pier and hop from foot to foot, except this time it was wet and he didn’t see it. Poor fellow broke his neck when he landed in the shallows. Jenna was the first to his body; some bastard of a holiday maker took a photo and sold it to the press, next day all you could see was Jenna hugging her dead brother on all the front pages.

SARA. That’s terrible! How could anyone be so crass? But I had no idea… and I thought she was going to jump… I’m such a fool… sorry Suz, another time got to go and sort something out.

[Sara abruptly leaves the restaurant, Suz is sat staring into space absently doodling on a napkin, VSC zooms on napkin, it s boy jumping on a railing and small girls clapping her hands.]

Scene 7

[Sara seated in the library, poring over old newspapers all with the same front page picture. VSC aerial shot of Sara showing the newspapers. VSL and VSR show various headlines and dates. Atmospheric music is played many voices speaking the headlines and fragments of the stories, as if in Sara’s head.]

SARA. There must be something… I mean you don’t end up with denial like that on your own… could have been the parents…herself…her paintings…wait…

[She puts a cassette into the TV in front of her, an image flickers, VSC shows the tape]

NEWSREADER. Today the local community is in shock when the Sail family abruptly packed up and moved out, exactly a month after the horrific death of their son, Ben Sail. No one is quite sure what could have caused this move by the Sail parents, both very successful scientists at the Heidfeld laboratory…/

SARA. Nothing! Damn, you’d think something would have caused her to react in that way…/

NEWSREADER. In other news local psychiatrist Dr Josh Benson is being sued by the parents of one of his patients for teaching their child to suppress memories of her missing father. The Dr responded…/

[The tape judders out.]

SARA. (Disbelief) No…

[Blackout]

Act Two

Scene 1

[Lights fade up to a single spot on an armchair in which Sara is sitting; VS show angles of the live feed. Sara speaks as if she is communicating with a shrink.]

SARA: My childhood? Well you know it was a childhood. I went to school, made friends, took exams and left after my A levels. (Pause) oh right you mean personally. Well I guess I was a pretty normal kid, had quite a few friends I guess but no one really close until I met Suz at senior school. (Pause as if listening to a question) I met her on the first day of school, she was being teased by these 2 girls about her glasses, so I walked over and told them that at least she could see if her label was sticking out of her skirt and did maybe they need glasses! (Pause) no I don’t know why I did it, actually no that’s not true I did it because I thought that’s what my brother would do. You know how you idolise your elder sibling at that age. It was just after the accident and I was still upset that he might not get better. I suppose… I don’t know maybe I just missed having him around, I guess I thought that if I pretended to be him then it wouldn’t matter that it wasn’t actually Him if you know what I mean. (pause) so anyway me n Suz just stuck together after that, we made each other laugh and I could talk to her, she just kind of has this way of looking at you as if she’s really interested and understands what your saying. It’s a good ego boost I suppose!

Scene 2

[Lights fade up to a single spot on an armchair in which Jenna is sitting; VS show angles of the live feed. Jenna speaks as if she is communicating with a shrink.]

JENNA: well what do you need to know about it? (Pause) well I guess I was a good kid I suppose, what with the move and everything I was pretty shy at school, I mean at senior school that is, I was at juniors in Southend but we had to move cos mum and dad weren’t happy with the house anymore. I didn’t really care at the time, but I always felt as if I was missing something in school, I didn’t really get on with the other kids, they thought I was common because I had an Essex accent. But hey I didn’t feel I needed friends I had my painting and the teachers were always really nice to me. I’m not overly sure why, probly just felt sorry for me cos I didn’t have many good friends. (Pause) no my grades were always good. Why on earth would I have been too stressed? (Pause) no I don’t think I was bullied, other than the accent thing, people just never seemed to have much to say to me they’d talk if I started the conversation but they were always looking for a way out I guess. After a while I just stopped trying, I expect I was too boring or something.

Scene 3

[Lights fade up to a single spot on an armchair in which Sara is sitting; VS show angles of the live feed. Sara speaks as if she is communicating with a shrink.]

SARA: Oh my parents could have been a lot worse! I’m not sure how but I’m pretty sure they could have been. They used to ignore me when I was younger Ben always said it was cos he was such a disappointment to dad, not wanting to be a fisherman like he was. I guess they’d just hoped I’d be a boy who dad could train up in his image. I didn’t care though cos I had Matt and he was all the roll model I could need. He gave me my first camera for my 9^th birthday, it was only a little red thing, no flash or anything complicated but he said “you can use this to see the truth in everything, the camera never lies”. It just stuck you know? (Pause) Mum said the only truth I should look for should be whether or not I looked pretty. She meant well I suppose, I think she was happy that I was a girl, but couldn’t show it for fear of what dad might say. One time he caught me playing with a Barbie a friend had leant me, he threw it off the pier saying that Barbies were for Nancy boys and I shouldn’t have one. So I never really had much time to play at being a little girl, but I couldn’t be a tom boy, mum thought that was horrendous. (Pause) It eased up a little after Matt’s accident, they just seemed to stop being bothered about how I acted, I guess I’m the breaker for that stereotype of the kid that goes off the rails cos the parents don’t pay them any attention, I just got on with it so I could start on my own. The worst thing though was that they’d only ever yell at me for missing a visit to Matt’s, not for not doing homework, or missing a sports team match or something, but for when I wasn’t there to sit and listen to them telling Ben he had to come back. I mean why would he want to come back to us?

Scene 4

[Lights fade up to a single spot on an armchair in which Jenna is sitting; VS show angles of the live feed. Jenna speaks as if she is communicating with a shrink.]

JENNA: How do you mean did I get on with my parents? They’re my parents of course I did. I don’t remember seeing much of them before we moved to Southwold though, always busy at the Labs they were. It didn’t matter though because I had a, a, boy who used to play with me and take me to school. I remember I didn’t like leaving him behind when we moved. He never visits… ah well old friends long gone eh? (nervous laugh) my mother used to cry a lot, I think it was because she didn’t like going to work for only half the day, I blame myself for that I suppose cos she had to be there to get me from school, just like dad was in the mornings to take me there. I guess I feel kinda guilty that I enjoyed spending so much more time with them in Southwold, they’d take me swimming in the sea, or along the pier. Mum used to say I had to hold onto her hand tightly because bad things can happen at the piers railings, it’s weird but I knew she was right, it was as if I’d seen something bad happen there, its not like me to obey unquestioningly, why would I do that!? (Pause) I don’t know anyone called Ben. No I don’t have any siblings. At least I don’t… wait I, no, no siblings (Sighs)

Act Three

Scene One

[Sara sits on a bench staring out to sea. VSR shows a seascape with a faint dot Jenna, VSL shows Sara on the stage VSC the accumulated evidence of the last Act.]

SARA: ok right, so. She’s not quite as mental as I thought she was. But how can I make her see sense?

[Jenna draws closer in VSR Sara stands to make her presence known.]

SARA: I’m sorry, about before I mean, if I said anything to upset you. I was out of order and I can’t presume to know what might affect you.

JENNA: Suz told me that you looked after her in senior school after I had to move away, thank you for that.

SARA: ah that was nothing (awkward) I’ve always felt a bit of sympathy for short girls, especially short and skinny ones like Suz was, and those glasses…!

JENNA: I so know what you mean, we’d go swimming but that was before… (Face starts to close up)

SARA: (spotting her discomfort) would you like to come and have a cup of coffee, I got paid for a job and now I’m feeling generous!

JENNA: sure, but come to mine I’ve got an espresso machine.

SARA: wicked! I love espresso coffee and I’ve been meaning to ask you if I could see some of your work, see how it compares to my uh non artistic art form... (Rye smile)

JENNA: did I really say that? I’m not a huge fan, although I’m sure you photographs are amazingly….um….clear??

SARA: Thanks I think…shall we then?

[They exit DSR Screens all show a shot of them laughing together then switch off]

Scene 2

[Jenna and Sara enter USL 3 walls covered in paintings have been erected as a ‘room’ on stage with a door USL so it is a room within the stage, VS all show a different angle of the room VSC shows the missing wall which has a window facing the sea]

Sara: …and then he said I should travel more, stop just photographing buildings, so I went to Germany and photographed Frankfurt for my final project, well at least I photographed the buildings (laughs, seems to notice her surroundings) wow! Look at all of these! I thought you said you had a shop!?

JENNA: Oh I do! These are just my favourites, I like to have them around, when it’s overcast I can’t see the Sea from the window, so these are my…replacement windows (nervous laugh)

SARA: good idea I suppose…although why are they all of Southend?

JENNA: oh, not all of them are from Southend (flustered) how about that coffee?

[She moves to the espresso machine in the corner and begins to fiddle with it, Sara moves around the room looking at each painting VSC zooms in on one of the images and tilts it so that it is apparent to the audience that one section of the painting is thicker than the rest]

SARA: (to self) that must be where…/

JENNA: sorry what? Here’s your coffee, cappuccino I should say I suppose (nervous laugh) oh that’s my favourite painting; it’s the view from my old house.

SARA: Suz never did say why you left; parents get fed up with the grey days?

JENNA: oh no we moved away after…/

SARA: well you can’t be expected to stay in the same place all your life

[Jenna looks confused and stares at Sara then she brightens]

JENNA: yes well it’s a nice enough place if you like Rock I suppose.

SARA: I always liked the rain on the pier my dad used to take me on it when I was a kid.

JENNA: Yeah! We used to play on the pier too, it was safer than the park my mum used to say but that was before…/

SARA: you moved of course, though the pier here’s pretty cool, I mean the amusement arcade is pants compared to Peter Pans.

JENNA: and they used to have never never land as well! Then some kids wrecked it, I cried for days!!

SARA: I know me too! Sucked didn’t it.

[Awkward silence and they sip their tea. Jenna starts to gaze of into the distance and Sara just sits staring at the patterns in the sea. Lights down blue green sea wash.]

JENNA: Sara

[Lights snap to white]

SARA: you don’t want to tell me. Believe me I won’t be able to help.

JENNA: I… what??

SARA: but you’re going to aren’t you? I know its something in you is trying to get out Jenna and shouting it to me won’t help, it’ll make it traumatic and so your defences will kick in. just look.

[She gets up and throws her coffee all over a painting; she walks to the door and exits then Sara stands on the other side of the door eyes raised heavenwards. VSR focuses on her. VSL shows Jenna’s facial expression, pre-recorded. VSC shows a painting on which the coffee has spilled the paint running to reveal a figure in the sea.]

JENNA: (runs to the ruined canvas) my painting... but what’s this??

[BLACKOUT]

Scene 3

[Sara CS talking to her mother on the phone]

SARA: do I have to? But I really don’t want too

SARA: yes and he’s your son! When was the last time you went over there hmm?

SARA: I… it was different then, and you know it! How can I? You just don’t understand us mum!

[The sound of him hanging up and the dial tone is heard.]

SARA: but I... oh.

[She puts the phone down onto the table. Moves over to the back wall and stares into a mirror. She turns and presses play on a remote control. The TV plays VSC shows Sara aged 9 being chased by whoever is holding the camera, she’s running down the pier at Southend laughing and jumping]

SARA: I was such a fool, so happy but never thinking of what could happen what did happen…

[Whoever is holding the camera catches her and spins her around footage just shows spinning sky and sea and the sound of her laughter and male laughter joining in the camera falls and the pictures stops.]

SARA: (audio) Matt! You dropped it mum will kill…

[Sara stands with her face in shadow the lights fade out to the sound of her weeping]

Scene 4

[Sara stands DSL on the phone once more; her attitude is not one of someone speaking with a parent but to an equal. VS show relevant material.]

SARA: I just don’t think it’s a good idea for me to visit him, you know how hard it was for me the last time…..look you don’t understand how hard it is, and all this stuff with Jenna hasn’t exactly helped.

[Moves centre stage in an agitated state]

SARA: no! I don’t think it should have made me want to see him more……..I know I’m lucky I still have him… actually no! No! I’m not lucky! Jenna’s the lucky one! She’s escaped him! She doesn’t have to see him wasting away... [Chokes back tears]

SUZ: (over the phone) IT IS SO DIFFERENT I CAN’T BELIEVE YOU (she fades down as Sara holds the phone away from her ear)

SARA; and no I don’t care about this miracle treatment! If there’s one thing I don’t believe in its miracles!.... I am not hysterical! Oh!!

[She throws the phone across the room and stands there staring at it. The lights pulse to red then back to a spot on Sara.

SARA: I’m not hysterical, though I should be.

[She sits on the floor and the phone rings]

SARA: Hi dad, you aren’t gonna yell at me too are you?.... he… what!? No I’ll be right there… I wow!

[She sits on the floor and looks heavenwards light fade down VS show a series of newspaper cuttings about the miracle drug that’s improved her brother so much a headline with his name in is on the front page of the Southend gazette]

Scene 5

[The 3 screens flicker with images. VSL and VSR show images from the news in 2003. VSC shows Sara spending time with her brother. Scattered audio of Sara and Jenna’s voices]

SARA: we went outside today, he laughed when he saw a pigeon fly…/

JENNA: he used to ride wheelies on his bike…/

SARA: I took him to the sea he didn’t like it…/

JENNA: he used to sing to me when I was sad, funny songs about empires and fallen kings…/

SARA: it’s really him, I can see him there, it’s like he’s back in his face…/

JENNA: dad didn’t like the songs, said they were silly and inaccurate, he was so crass before…/

SARA: you should have seen Fathers face, I thought he was going to keel over right there, mum cried for hours, he didn’t understand why…/

JENNA: the smile on his face was like turning on a lamp…/

SARA: he glows like the sun…/

JENNA: it was like nothing bad would ever touch us…/

SARA: nothing bad could ever touch us…/

Scene 6

[Sara sits on a bench staring out to sea. VSR shows a seascape with a faint dot Jenna, VSL shows Sara on the stage VSC the accumulated evidence of everything so far. Lights are a pale blue wash with stronger Cyan notes over the two characters]

JENNA: (overly cheery) hello stranger! How you been eh? Haven’t seen you in yonks! Oh god did I just say that?

SARA: (laughs) yes you did, and I’m sorry it’s been a while, but I’ve had stuff to do. (Cautiously) Plus you didn’t seem to keen to see me the last time we met.

JENNA: oh no I’ve always been prone to having a tantrum. Mother says it’s a family trait. Coffee?

SARA: (thoroughly confused by the change in Jenna) yes sure of course…/

[Without waiting for a reply Jenna abruptly leaves the stage, Sara follows shaking her head]

[BLACKOUT]

Scene 7

[Jenna and Sara enter USL 3 walls painted with a huge mural of the scene from the previous paintings, a large couch covers a section of the sea from sight, these have been erected as a ‘room’ on stage with a door USL so it is a room within the stage, VS all show a different angle of the room VSC shows the missing wall which has a window facing the sea]

SARA: wha..? Wow! It’s…/

JENNA: different, (nervous laugh) yes well I thought why have hundreds of pictures of the same thing when u can have one big one.

SARA: it’s stunning, and so accurate! I…. I have no words

JENNA: (pleased) thank you, it certainly took a while. Right now where’s that coffee…

[VSC shows her painting without the couch in place, and her painting a dark smear onto the wall, the painting which was smudged by the coffee is at her side, a small blur is visible in the foreground.]

JENNA: so how come you came back? You look very happy about something! Suz mentioned… no it’s not my place.

SARA: about my brother? Yes he’s on the up, I can even have conversations with him now. I actually can’t believe I ever thought we could be better off without him.

JENNA: brothers are precious things, mine is a complete angel, and he’s been gone a long time now.

[VSR shows the shock on Sara’s face as she delivers this revelation]

SARA: you never said you had a brother before.

JENNA: well I don’t really like to talk about him; he left me for…another place. But your brother? How did it happen!?

SARA: oh it was the new drug they gave him! And to think I was against it (shakes head) it’s so weird to talk to him though, like he was never gone at all, his psychiatrist reckons he’s been there all along just like stuck.

JENNA: I like shrinks, especially that one from after the thing at the beach.

SARA: yeah he was cool. No preaching eh? And didn’t try to ‘heal’ us

[Jenna takes s sip of her coffee.]

SARA: the dude who’s treating my brothers an expert though, you don’t half hear some horror stories about bad shrinks. Who alter people’s minds and stuff

[She colours and looks away]

SARA: like brainwashing in movies (nervous laugh)

[While Sara has been talking Jenna’s expression has grown more distant, as if she understands the connection that Sara is presenting to her]

JENNA: well this has been nice, I’m afraid my lunch time is over now and I’ll have to open the shop! Come by whenever sweets I’ll see you soon.

SARA: yes it was very nice to see you again, I’m glad we’ve had this chat. ‘Bye then!

[She leaves, Jenna stares into space as VS show the newspaper clippings about the psychiatrist who brainwashed children.]

[BLACKOUT]

Scene 8

[The lights slowly fade up on Jenna standing in her room holding an old fashioned telephone to her ear in the middle of a conversation]

JENNA: (as the lights fade in) yes it’s going well, I do like my new shop there’s so much more space (pause) yes she did come to see me (pause) she had the strangest story…./ (lights fade to half)

[VSC high speed playback of the previous 2 scenes filmed in the actual surroundings, no audio]

JENNA: yes I know, she doesn’t seem to think I’m so mental anymore (laugh) why do you sound sad?

SUZ: (offstage) he’s dead Jen, Sara’s brother.

JENNA: no… (Hangs up the phone)

[Jenna with carefully measured steps moves over to the mirror on the back wall VSC shows the back off her head and her reflection in the mirror VSL shows the missing wall of the room but darker.]

JENNA: dead. Sara’s brother is dead, and so is mine. Ben is dead. Ben is dead like Sara’s brother. Both our brothers are dead. Matt has left Sara like Ben left me. I should help…/

[her head snaps round to the audience as the lights flash back to full and in VSR her painting appears with the image of her holding her brother superimposed onto it VSL shows Sara and her brother replacing Jenna and hers in the painting.]

[BLACKOUT]

Scene 9

[Stage comes abruptly to full bright lights. Sara stands in the centre of the stage gazing up at the audience she is holding the fishbowl. Screens show the stage from 3 angles, left centre and right. Jenna enters]

JENNA: I heard, I’m sorry. I thought I’d find you here, don’t know why but I did.

SARA: he loved the sea, really he did, and this fish, it’s what brought him out of his daze.

JENNA: my brother loved the sea too, he’s dead too. I used to try and hide that he was, a nice man I met after he died told me I didn’t have to be sad anymore, all I had to do was erase him from my pictures and the pain would go too. (Sara bends down) it didn’t work so he told me to try changing the mood of the picture. But I could only paint it grey because it was; bad things are always grey when something bad happens! Have you never noticed that?

SARA: yesterday was grey, but today is very bright, no sun though.

JENNA: (ignoring her) my brother fell from Southend pier and died when I was 11. I know you’re a lot older than I was but I know how much you hurt. I couldn’t accept it so I made it disappear. It worked wonderfully well until you shook me awake, I should be angry but I’m not. I’m grateful that I don’t remember the months after he died every mention of him made in passing over the last half of my lifetime. But I’m grateful that now I can remember how fantastic he was it was a shame I hid his soul from me for all that time.

SARA: he loved this fish (holds up the bowl) I’d like it to be free like he is. Yes free is good removing the pain for a while is good too.

[Sara leans over and pours the fish bowl down a drain on the front of the stage]

JENNA: (moves to stop her) no! You shouldn’t….!

SARA: gone now. (She stares at the drain, then straightens up her normal self) so you finally admit you have a brother eh? I’m sorry you forgot about him but I’m very glad you’ve found him again.

JENNA: yes so am I, I can’t think how I lived without his voice in my head or his pictures on my walls.

SARA: you mustn’t think it’s your fault, no matter how many psychos like me think your mental and deranged, you were just sick for a while like some kind of amnesia.

JENNA: (laughs) I suppose so, it’s a shame I haven’t got a lost husband or family to return to though, just a grave in Southend.

SARA: well yes but we’ll find you someone. Now your not mental (laughs)

JENNA: thanks I think. Now come to mine and have a cup of coffee to warm you up, you must be frozen!

SARA: yes I am a touch chilly! (Starts to head offstage)

JENNA: oh and Sara?

SARAS: yes?

JENNA: I am so very sorry about your brother.

[Sara stops and turns slowly to face Jenna, a vaguely blank expression on her face]

SARA: I don’t know what you mean, I don’t have a brother.

[BLACKOUT]

THE END.

Sea Blue

My Script.

Sea Blue