40. INT. NIGHT. CORRIDOR FIRST FLOOR
ELIJAH stands embracing the TUBA; playing the solo piece carnival of Venice
The door to room 40 opens; CLEM stands in the doorway, hood up, fists clenched.
CLEM
You looked in the fucking bag didn’t you!
Is that it! Is that what you aspire to be
is that your dream ! A fucking tuba solo in
the corridor of a resettlement hostel !
ROOM 40
RADIO ANNOUNCER
(Heard only)
Clem Conti is a free man! Clem Conti
Is innocent!
Confused, frustrated and angry CLEM takes the radio from his pocket which is switched off and throws it against the wall; it smashes into pieces. He looks around the room then tips his bed
CLEM
You wholesome…prick, pure…do good’er…shut up!
ELIJAH enters the room still playing the tuba.
41 INT. NIGHT. RECEPTION AREA
The sound of the door being furiously rattled kicked
TELEVISON ROOM
MUSTAFA drops to his knees in frustration at the giggling BAG ED and WESLEY
MUSTAFA
Allah Akbar! Allah Akbar! Allah Akbar!
BAG ED Draws his knees up and clutches WESLEY
BAG ED
What’s he on about?
WESLEY
(Laughing)
I think he said open sesame !
RECEPTION AREA
The door bursts open and the dishevelled DOC appears; his face and suit blooded and dirty.
TELEVISON ROOM
MUSTAFA rises to his feet arms outstretched.
BAG ED and WESLEY are taken aback looking decisively worried and confused; they edge past MUSTAFA and exit the room.
MUSTAFA
Allah Akbar! Allah Akbar! Allah Akbar !
God is great! God is great! God is great!
RECEPTION AREA
There is a loud noise of glass smashing
42. EXT. NIGHT. SALVATION HOUSE
The yellow chair is projected through the air; splintered glass scatters into the night
43. INT. RECEPTION AREA
The attention of WESLEY, BAG ED, DOC and the POLICE OFFICER is drawn to the glass stairwell; they stare open mouthed.
ELIJAH is making his way down the stairs playing his tuba; the solo piece carnival of Venice
44. EXT. NIGHT. GRASS VERGE. SALVATION HOUSE
The broken yellow chair is abandoned on the grass verge surrounded by shards of glass.
45. INT. NIGHT ROOM 40 SALVATION HOUSE
CLEM sits on the floor, head bowed, hood up, fists clenched.
He takes his hood down.
CLEM
Fuck it…
Finally he lays flat on his back and exhales reaching out he unclenches his fists and flexes his hands
CLEM
Let go.
46. INT. NIGHT. RECEPTION AREA
ELIJAH stands playing his TUBA, DOC, BAG HEAD, MUSTAFA WESLEY and the POLICE OFFICER are gathered around watching and listening.
ELIJAH stops playing, looking satisfied, smiling, he walks off to the reception.
RECEPTION
ELIJAH places the tuba into the case.
RECEPTION AREA
The group disperse
BAG HEAD Coheres WESLEY and they make their way up the stairs.
MUSTAFA
What the fucking hell was that all about.
The POLICE OFFICER shakes his head places his note book into his pocket.
MUSTAFA
Don’t you want my statement?
POLICE OFFICER
No, no I’ve heard enough.
The POLICE OFFICER leaves the building
MUSTAFA
Raciest!
MUSTAFA makes his way upstairs.
DOC stands at the reception window and holds out his hand.
DOC
Can I have my medication please Elijah?
47. EXT. DAY. GARDEN-SALVATION HOUSE
The skip stands at the rear of the garden, it’s full of broken furniture; wardrobes, bed frames, mattresses and chairs.
A side door opens; DOC appears, in his worn three piece suit, he looks at his fob watch; noticeable is his swollen lip and black eye; he begins his routine of pacing around in circular cycle.
48. INT. DAY. TELEVISON ROOM-SALVATION HOUSE
ELIJAH looks on; he is joined by CLEM who is wearing a
shirt and is clean shaven.
CLEM
It didn’t work for him, did it?
ELIJAH
Oh I don’t know. For a couple of hours
there, he was the man he was forty years ago.
CLEM
I suppose when you look in the bag, it
depends on the man, his dreams and
aspirations...and what you aspire to be.
ELIJAH
Yes, I suppose right, it does. So…what did
you do with the bag?
49. EXT. DAY. GARDEN-SALVATION HOUSE
SKIP
An old stained mattress is pushed aside; DEWI slides his body from underneath. He sits up and peers over the side of the skip and surveys the garden.
DOC walks around the garden
DEWI slips back into the skip; directly to his front secreted into a broken chair is the BROWN PAPER BAG.
DEWI loosens it from the chair, sighs heavily with anticipation and licks his lips he then carefully opens the bag and looks in.
A chink of light emulates from the BROWN PAPER BAG; DEWI’S face lights up, wide eyed and displaying his toothless grin.
Music of fat Larry’s band and the record ZOOM echoes around. DEWI begins to dance around with his young bride in her wedding dress; he is dressed in top and tails unshaven, holding a bottle of cider.
FAT LARRYS BAND
(Heard only)
Zoom, just one look and then my heart went boom
Suddenly and we were on the moon
Flying high on the neon sky, oh
Bang, just one touch and
All the church bells rang
Heaven called and all the angel sang
Sunrise shine in the morning sky, oh
Zoom, you chase the day away
High noon, the moon
And stars came out to play
Then my whole wide world went zoom
(I passed the rainbow as it went flying by
Faster and faster we were higher than high)
For once in my lifetime I was finally free
And you came back to me
Oh, zoom you chase the day away High noon
The moon and stars came out to play
Then my whole world went zoom
Moonbeams dancing in the afternoon
Shadows blowing as the roses bloom
Looking down on a wonderland, oh
Smack, just one kiss and I was outta whack
All at once there was no turnin' back
Oh so far above the brightest star, oh
Fade out
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