STEVENo. I’ll call her. I’ll see if she has any more suggestions. Maybe we could do the Nativity?
Silence.
MELIs all this… really about the play?
STEVEWhat do you mean?
MELIs this about the play?
STEVEOf course it’s about the play. What else would it be about? (Beat) What else is it about, Mel?!
MELOk.
STEVEWhat?!
MELFine.
STEVEWhat else is it about?!
MELI just think you might want to tread carefully with… overreacting. With everything that’s happened this week.
Silence.
STEVEOverreacting?
MELSteve hear me out–
STEVEHow am I overreacting?!
MELLook… The… This weekend has knocked everyone for six. Everyone. It’s been a shock for everyone. Do you think you need a break? (STEVE is silent.) You can take as much time as you need. Kath can step in, I can speak to the English department, pull some cover for your Key Stage 3 classes. (Silence) What do you think? (Silence) You know, I think… I think you’re still in shock. (Silence) Steve… (Silence) I just think… I just think this bombing is a lot to take in. Such a tragic waste. (Beat) Steve, say something. How can I make this easier–
STEVEPlease Mel, if you start being nice to me I am going to cry and I am not doing that in this office.
MELTake some time… Please?
Silence.
STEVEYou think Michael… (He turns away from MEL.)
MELDo I think Michael what?
Silence.
STEVEThose people… just standing in that pub. Just drinking. I heard it on the radio. I could just about bare to listen to it… there was this noise. Bang. Like rolling thunder. (Beat) Glass. Debris. Dust. It blew the front of the pub straight off, straight into the street. People wounded. Bleeding. So many wounded. The impact of this bomb had blown people into the street. Can you imagine? Blood and dust everywhere. (Beat) And the people still inside were shouting at each other to run. Get out. Just run. The damage had been done, you know? They’re still running, Mel. (Beat) I reckon they feel like they’re still running from hate. Those people just enjoying their evening. Work hard, play hard. And we do. That’s this school’s thing, right? I’m not knocking it Mel — we pray for a bank holiday. I know I do. But… But now everything has changed. Not just for those that have died, those that have been cheated… cheated out of a future. And somehow describing that as a waste… seems like an awful disservice.
MELPeople have different ways of–
STEVECoping?
MELGo home, Steve and–
STEVEDo what?
MELWhatever you need to do.
STEVELike what?
MELGo to the hospital. Go see him.
STEVESee him? I know Michael’s one of my best friends but I don’t really know Alex. Michael keeps his love life… his life very separate from this place.
MELI… I didn’t know that.
STEVENo one really knows Alex. Michael keeps his photo in his cupboard. He wouldn’t dare have it out on his desk. (Beat) But that’s this school’s thing, right? You keep a picture of your daughter on your desk, Mel? I expect you love her very much. (Beat) I know Michael loves… loves Alex very much. I know those kids at Elmers End love their teacher very much. (Beat) I’m just not sure if Michael will recover from this you know. Alex keeps him strong… He’s in more than a bad way.
MELMichael is?
STEVEThey both are. Walking wounded doesn’t quite paint the picture you know? Michael’s at Alex’s bedside refusing to leave.
Silence.
MELIt’s about looking after yourself, supporting your community.
STEVEMy community? What as a teacher? Oh, you mean my other one. Why do you always want to group people off? I don’t know any of those people... (He begins to cry.)
MELLook…
STEVEI am… (He steps away from MEL) I am so angry I… I’m not going to stand outside some pub in Soho looking mournful. I’m not going to… I’m not going to do that. Why? For what reason? But I am so angry… I just… I just want to…
MELYou want to…
STEVEI just… (Beat) I just want to do this play.
MEL walks over to STEVE and hugs him.
Strobe begins. Music begins. Lunchtime 2000 is written on the wall. Music stops. Strobe ends.
Scene 7 – Lunchtime: 2000, A form room.
CHLOEWhy are men such sensitive little bitches sometimes?
SIMONChloe, that is not what you said.
CHLOEOk sir, so maybe I said why are men such fucking pussy-holes sometimes?
SIMONYes, I believe that is in fact what you said.
CHLOEAnd…
SIMONWell, it’s not appropriate.
CHLOEWhy?
SIMONOk…. Do you mind me asking what your mum or dad does for a living?
CHLOEWhy?
SIMONI am trying to give you an example of–
CHLOEMy dad’s inside, my mum works at Woolworths’.
SIMONOk and if your mum said in front of her boss… her line manager, whoever, at work ‘Why are men such fucking pussy-holes sometimes’, I don’t think they would appreciate it.
CHLOEOh my god, sir, you just said ‘pussy’, that is so weird.
SIMONChloe, do you appreciate my point? The principle is the same. You can’t go around talking this way in school… or anywhere for that matter.
CHLOESir. You said pussy. That is weird.
SIMONI was quoting what you said.
CHLOEIt’s just wrong.
SIMONThen you shouldn’t say it.
CHLOENo, I mean hearing you say it. It just sounds so wrong. Sweet though.
SIMONChloe.
CHLOEYou say it like a choir boy, but it’s sweet. Puss-eeee.
SIMONHave I made my point? Your behaviour is a reflection on our form. I’m your tutor and I will be the one having to clear this whole mess up if it happens again.
CHLOEBut I had your back, sir.
SIMONWhat?
CHLOEI had your back.
SIMONWhat do you mean?
CHLOEI’ve been seeing this girl, right. She works in The Glades, at that Belgian restaurant. You know the posh one? With the mussels? The food… not her arms. I mean she looks like Janet Jackson, like proper beautiful. I was outside Churchill Theatre yesterday, having a Burger King. Anyways, I was standing there holding her hand and Charlie Pike walks past us and he’s smiling at me all sly nodding. And I’m like ‘What?’ and Charlie’s like ‘I didn’t say nothing’ and I know what he’s thinking. He’s proper sly. Anyways, today in English he’s passing this note around. Mr Turner’s writing on the white board keeping himself to himself, he’s been pretty quiet since he’s come back to school, so he doesn’t see. But Charlie throws this note at me and I open it. It says ‘Batty Boy Boyfriend RIP’. (Beat) I mean that’s bang out of order. His boyfriend was depressed, right? Never went back to teach at Elmers End. I mean, I know you can’t say anything, sir. But everyone knows… he… overdosed, I know you can’t say anything, but I just think it’s wrong, man. Charlie’s smiling at me and he mouths the word ‘lesbian’ at me really slowly. No one sees. But he’s smiling at me and I was just about ready to kick his teeth in. Anyways, I put the note in my pocket and we carry on with the lesson. Anyways, at break he comes to me and asks for the note, I tell him I’ve given it to you. He starts calling me a dyke in front of everyone. ‘You’re a dyke, you’re a fucking dyke’. I was like ‘Your fucking mum’s a dyke’ which is kind of funny, because her surname is actually Pike. Anyways, I don’t care what he says about me, but then he says ‘Tell your form tutor to shove my note up his arse, he’ll probably enjoy it.’ And I’m like, ‘What did yo
u say?’ And then he comes right up to my face. He proper squares up to me, and he says ‘Tell your form tutor…’ Bang! I hit him right in the face. (Beat) Everyone’s like, silent. Then I said ‘Why are men such sensitive little pussy-holes sometimes’. Miss Gregson, that PE teacher, came out and heard me. Charlie legged it so she didn’t see. Then she’s all like, ‘Chloe Hirst, come here right now’. So I did. That’s why I’m here. That’s it.
SIMONChloe. You realise if you want me to organise someone to speak to you about what Charlie said I can–
CHLOEFor what? (Beat) Are you joking? I mean I’m cool. My mum couldn’t give a shit. Sir, you know what, right? Maybe you need to see someone?
SIMONChloe, I’ll tell you what happens now.
CHLOEWhat?
SIMONEverything you just told me you need to write down.
CHLOEWhy?
SIMONYou need to write a statement.
CHLOEBut why? (Silence. She smiles.) Why are men such sensitive little bitches sometimes?
Strobe begins. Music begins. ‘Afternoon Registration 2001’ is written on the wall. GAIL walks into the classroom carrying a balloon that says ‘Happy Birthday’. MICHAEL is focused on his books. Music stops. Strobe ends.
Scene 8 - Afternoon Registration: 2001.
MICHAELLunchtime isn’t over, can you wait outside, please.
GAILHappy Birthday.
MICHAEL freezes. He doesn’t look up.
GAILHappy Birthday, darling.
MICHAEL finishes reading to the bottom of the page and slowly looks up.
GAILI thought I would surprise you.
MICHAELWell, this certainly is a surprise.
GAILLook at you. You look well.
MICHAELLeave.
GAILMichael.
MICHAELI said leave!
GAILLook, I know I have… some making up to do.
MICHAELActually, you don’t. Actions speak louder than words… and there has been a distinct lack of words from you. So, I will leave you to guess what I think you should do.
GAILI only need–
MICHAELGet out. (Beat) Leave.
GAILMichael. I only need a few minutes to explain–
MICHAELGreat, well let’s call it a three-minute starter activity, shall we? (He takes a timer from his drawer and places it on the desk.) Go on then. You have three minutes before I physically remove you from my classroom. Go on…
GAILMichael, stop rushing me! I know you’ve not been yourself lately. I know that. Well, I was told that. (Beat) And since your Dad’s… passing, I feel differently. That maybe we can build something stronger, or we could maybe even begin to make more time for one another. I came here to say… Well, I came here to say a lot of things. But… I don’t want you to think that you don’t have somebody. You do. (Beat) I can imagine it must have been quite an adjustment after your… partner’s passing. But I wanted to come here today to say… you do have somebody.
MICHAELAlex.
GAILPardon?
MICHAELHis name was Alex.
GAILRight… Alex.
MICHAELIs that it? That’s what you came to say?
GAILMichael, I’m sorry.
MICHAELRight. (Beat) You just expect to wander in with some half-hearted change of mind and expect me to say all’s forgiven? No. And whoever told you that I haven’t been myself lately quite clearly hasn’t got a fucking clue what they are talking about.
GAILWell, then why don’t you tell me what’s been going on?
MICHAELNo.
GAILThis isn’t like you… talk to me.
MICHAELJust how would you know what is and isn’t like me? Leave!
GAILOk. Here it is then… I love you. Always will. But when I married your father I knew the man I married. I knew the man I wanted to spend the rest of my life with. You say ‘I do’ and even in the back of your mind you know those parts of a person that will… challenge the days ahead. But you say ‘I do’. I wouldn’t have changed him for the world, I wouldn’t. But as you grew up I began to realise that your way was very different from his. From ours. You were never a father’s son… or a mother’s son for that matter, but you were you and that was all you ever wanted to be. All I ever wanted. I did it all to… protect you, Michael. I did it to ensure you were safe. Protected from the fight. Protect you from his way.
MICHAEL (begins to laugh to himself) You never called. Not once. Not ever.
GAILI know.
MICHAELDo you know how much I wanted you to call?
GAILWe knew you were safe. I chose to–
MICHAELYou chose to stand by your man. For better or worse, in some fucked up way, I get that, but you never called.
GAILI knew he was never going to… accept you for you… it’s your Dad. (Beat) I was relieved when you said you were going to go into teaching. But coming back here after university was not the answer. It wasn’t. You should have stayed in Brighton, Michael. He didn’t need to see you here — I couldn’t be any clearer. I’d explained all that when you left. But turning up at his work and making a scene… it broke him. It broke his heart to explain himself. He wasn’t going to back down, explain his son to his work friends. He would never explain himself. (Beat) You were always in our thoughts. (Beat) I don’t think one parent’s stomach didn’t lurch the day they heard the news about the bombing.
MICHAELI’m sure… You know a phone call might have been nice. (He sits on his desk.)
GAILWe knew you were safe.
MICHAELHow?
GAILI just knew. (Silence) When you were eight and we lived on Derek Road… You were out in the front garden playing on your bike.
MICHAELThe blue one?
GAILThat’s right.
MICHAELI loved that bike.
GAILIt’s still in the garage.
MICHAELYou kept it. Sorry I interrupted, go on.
GAILOf course we kept it. It’s yours. (Beat) Anyway, you were on your bike alone outside in the garden…. Then suddenly I heard a car break sharply outside. My stomach lurched. It was the same lurch I had when I heard about the bombing. (Beat) Somehow, I knew you were safe. But I couldn’t explain it, I just had a feeling. (Beat) I imagine getting over something as traumatic as that must be difficult for someone. It must have been a difficult recovery for him. Forever the walking wounded. Then last year I read in The News Shopper about… well you know. Alex. (Beat) Now for that I am sorry. I am, truly.
GAIL walks over to the board and ties the balloon to the whiteboard.
MICHAELWhat you mean is… now you know what it’s like to lose someone. (Silence) Time’s up. (Beat) Now leave.
Music begins. Strobe begins. ‘Lesson 5 2003’ is written on the wall. Strobe stops. Music stops.
Scene 9 - Lesson 5: 2003
JENLook, I know you want to chat about this Christmas dinner thing, but I’ve got at least nine more reports to finish before I can get out of here. (Beat) Then a couple more emails and I’m done. (Beat) I’ve missed you today, lovely.
SAMRight.
JENYou go ahead and I’ll see you back at home, yeah? (Beat) I don’t mind picking something up on the way back for us. You need a night off.
SAMFine.
JENI’ve got to get this done, babe, otherwise Mel is gonna kill me.
SAMOk.
JENWhat do you want food-wise? I was thinking Chinese.
SAMI was thinking chicken.
JENIs that meant to be a dig?
SAMNo.
JENIt sounded like a dig.
SAMWell, that’s the way you heard it.
JENI’m not going to sit here listening to you bitch at me about me not coming to your Christmas department dinner, Sam.
SAMI wouldn’t expect anything more.
Silence.
JENI said when I was ready to make that step I would. I said that. I’m not going to just throw something like that out there without thinking about it.
SAMThrow something out there? Throw something out there like the fact that I’m your girlfriend or the fact we’ve been together for eight months?
JENIt’s more complicated than that.
SAMHow?
JENBecause it is.
SAMYeah. I’m asking you to tell me how?
JENIt’s different for you.
SAMHow?
JENStop saying how and let me speak.
SAMFine.
JEN (stops typing) You’ve been out to your department since you arrived, before that, since you started teaching. They’ve met girlfriends and it’s no big deal to them… This is me. This is my way. It’s not the same, Sam. You think it’s the same, but it’s not. It’s not as straightforward as that.
SAMI think it is, Jen.
JENIt’s not. (Beat) You’ve forgotten what it’s like at the start.
SAMReally? I think you’re scared.
JENYou don’t get to decide for me.
SAMThat’s right, I don’t get to decide for you. But I get to stand beside you. I get to be beside you every day in staff briefing, knowing that I’m more than… I’m more than the girl that gives you a lift home every night.
JENSam.
SAMWe live together and for some reason you don’t want a soul to know.
JENI need time.
SAMYou’ve had time. You said in September that we would move forward.
JENWe have.
SAMI live with you!
JENExactly, I moved in.
SAMBut I’m not allowed to tell anyone?!
JENSam, I need time.
SAMWhat’s going to change?
JENI need to feel ready.
SAMBut how is time going to make it different? Feel any different?
JENJust give me a term.
SAMWhy?
JENJust let me get my feet under the table a bit more.
Silence.
SAMIs this about us or work?
JENWhat?
SAMThe need to have everything in its place.
JENJust stop pushing me.
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