performed at the Performing Arts Centre, Elizabeth College, Hobart, Tasmania,
August 2003 by the Old Nick Theatre Company.
The first U.K. performance was given at the King’s Head Theatre, Islington,
London, June 2004.
(Also adapted as a One Act Opera by Robert Hugill. Click here for more
Lorne Drama Festival. Pitlochry.
Castle Douglas. Davenham,
Abingdon, Oxfordshire. Wallingford,
and Carrigallen, Co Leitrim, Ireland.
Ballymahon, Co Longford,
Ireland. Tubbercurry, Co
Dunmore, Co Galway, Ireland. Airdrie, Lanarkshire.
in the SCDA Play on Words Competition.
Short-listed in the Drama Association of Wales Short Play Competition.
"A chilling piece of writing... an
excellent choice for a festival entry" - GODA Adjudicator
"Dark, disturbing, imaginative, and yet compelling and
intriguing piece of writing" - Director, Goldfields Repertory
Club, Western Australia
"An absolute pleasure to direct" - Director, Hull
"A powerful chilling two-hander... Exceptionally tense" -
"Superb... very well received" - New Theatre Players,
best actress, best actor nomination, best sound and best lighting at the
Dunmore Festival, and runner-up, best actor
and best actor nomination at the Tubbercurry Festival for KODE
Theatre Group at the 2009 All-Ireland One Act Festival.
Best Actor for Martin Wharry as "Eddie" and Best Use of Sound for Hull Playgoers Society
2006 All England Theatre Festival.
Best set and lighting design
and Best Actor Nomination for Hereford Players
at the 2006 All-England Theatre
Runner-up for Thornhill Players at the Stirling District round of the
Best actor award for John
Xintavelonis as "Eddie" at the 2003 One Act Festival in
Published by New Theatre Publications
A businessman is held captive by an unknown
woman. Who is she? Why has he been kidnapped? What does she want? The shocking
truth is revealed in a powerful and challenging two-hander.
A deserted factory Time:
(Approx running time: 35
The Setting is a deserted factory. Eddie
Harris finds himself being held captive by a woman he doesn't know, but who
claims to know him. He is chained by his leg to a huge concrete block and she
refuses to answers his questions or let him go. By this scene, Eddie is
stumbling upon the reason.
nothing they can't be bargained, Pamela. You've obviously got an agenda here. So
cards on the table, OK? I'd ask you to pull up a chair, but seems like I've got
the only one.
PAMELA Still flippant. Still dismissing your predicament.
EDDIE And what exactly is that? As I see it, I'm held by a person, seen
but unknown, aided and abetted by persons unseen and unknown.
PAMELA Nicely summarised, Eddie. Very businesslike.
EDDIE Yes, the business. You seem very interested in that. Too
interested. Is that what all this is about?
PAMELA (laughs) Your business?
EDDIE Industrial espionage, right? My company's high tech. Specialised
components for some pretty big companies. You must know that. But you've got it
sadly wrong if you think you can extract any valuable info by kidnapping yours
truly. OK, we have two government contracts. But not military. Sorry. No big
secrets. And, yes, we're having problems with the bank, but, hell, what business
PAMELA Eddie, I couldn't give a toss about your precious business.
EDDIE What then?
He gets up and moves to the limit of his chain, as if discovering how far he
can reach, and, in the process, unsettling her. She makes sure she is always
well out of reach.
It has to be ransom. I hate to disillusion you, but the company can run
without me, and both junior managers would love to get their names on my office
door. They'd pay you more to keep me. Who else? My wife... of course. Or as your
painstaking research will undoubtedly have revealed, my ex wife. Oh dear,
Pamela. You got it even more wrong there. The divorce was very messy. She got a
fraction of what she expected. So no love lost there. Last time I heard, she was
shacked up with some kitchen salesman half her age. You won't get any change out
He notices a length of pipe on the floor and stretches towards it, as if
measuring the distance. Unfortunately for him, it is tantalisingly just beyond
PAMELA I don't want your money, Eddie.
EDDIE Ah... wait a minute. I've got it now. Why didn't it dawn on me
EDDIE All this. Handcuffs. Chains. Blindfold. Just a bit on the kinky
side, yes? What else is in that bag? The leather whip? Is this what turns you
on, Pamela darling?
PAMELA Is that sad fantasy the best your twisted little mind can conjure?
EDDIE You're the one with the twisted mind. All these games you're
playing. The way you're torturing me.
PAMELA Torture doesn't begin to describe what I've been through.
EDDIE Excuse me, darling. Let me remind you? I'm the victim here.
EDDIE I'm the one who got kidnapped. I'm the one being held against my
will. I'm the victim. Don't forget that.
PAMELA Wrong way round, Eddie. You're the criminal.
EDDIE Prove it in court.
PAMELA I don't need a courtroom to get justice.
EDDIE Justice, for what?
PAMELA You really don't have a clue, Eddie. Or maybe you're just
pretending you don't. Or you simply don't listen. Just think for a minute.
EDDIE About what?
EDDIE I can't think straight. Not like this. My throat's so dry. I need
something to drink. (He sits again)
PAMELA A nice dry martini perhaps? That was your usual.
EDDIE How do you know that?
PAMELA You're still not listening. I told you. We've met. Remember?
EDDIE I honestly don't. That's the problem.
PAMELA Come on, Eddie. (She moves closer) Take another look. Go
EDDIE I've told you how many times, I don't know you. Just tell me what
PAMELA In a word; you.
PAMELA Yes, Eddie. I want you.
PAMELA Why not? You once wanted me.
EDDIE Wait a minute... when you say we know each other, do you mean in
the "biblical" sense?
PAMELA Congratulations! Give the man another cigar!
EDDIE So that's all you are? Somebody I once screwed?
PAMELA Eloquently, but typically put, Eddie.
John Xintavelonis and Sandra Wilson in the first production,
the Old Nick Theatre Company, Hobart, Tasmania, Australia, August 2003.
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