EDWINA: Then whose blood is that?
GAZ turns his head and stares at EDWINA.
LIZ: Blood?
EDWINA: On his sleeve.
As LIZ kneels to look:
You’re not very observant. Mind you, I’ve probably had more practice in recognising it.
LIZ: Was it an accident? Were you in an accident?
GAZ is still staring at EDWINA.
Talk to me, Gaz! Were you in an accident?
He continues to stare at EDWINA.
What is it? What are you looking at?
EDWINA: Yeah, what are you staring at?
SAUL takes the wine glass from him and hands him the brandy.
SAUL: Come on, mate, drink this.
GAZ’s fingers close around the glass but his attention does not waver. EDWINA is becoming unnerved.
EDWINA: Why is he looking at me like that?
LIZ: Drink it, Gaz.
EDWINA: Stop staring at me! [She takes a step backwards.] We brought you a painting. [Pointing] Look. Behind you. It’s for you. We brought you a house-warming present!
GAZ lowers his head. He drops the brandy glass and covers his face with his hands. He begins to cry. The lights fade to darkness.
There is the sound of traffic on a wet freeway. The lights reveal GAZ and the GIRL. GAZ has a torch which he directs at her. Her shirt is open and she is naked underneath. Her chest is streaked with blood. She is shivering uncontrollably. She backs away from GAZ. He follows.
GIRL: Get away from me!
GAZ: Get in the car.
GIRL: No.
GAZ: It’s freezing out here.
GIRL: Don’t touch me! Get away from me!
GAZ: I won’t touch you. Just get in the car. I’ll take you to a hospital. You need help.
GIRL: Get away! Don’t come near me!
GAZ: You can’t stay out here on the freeway.
GIRL: Fuck off, you bastard! Fuck off!
GAZ: For God’s sake—
GIRL: Don’t come any closer, you creep!
GAZ: I’m not going to hurt you. Do I look like I’m going to hurt you? I don’t know what’s happened to you, but you can trust me. I’m harmless. I just want to help you!
He takes a step towards her and puts his hand out to her. The GIRL steps back.
GIRL: [screaming] No!
GAZ: Please! Get in the car! All right. Have it your own way. There’s probably a phone box somewhere. I’ll go for help. Will you wait in my car while I go for help?… Will you?
The GIRL ignores him.
There’s a blanket in the car. I’ll get it for you.
He turns the torch away from her and goes. The traffic sounds continue, increasing as the lights fade—the roar of a semi-trailer, frightening in its intensity is heard. The GIRL begins to run in the opposite direction from GAZ. There is a screech of brakes, a car skids, then darkness.
When the lights come up again GAZ is back on the sofa with the others grouped around him.
I didn’t see anything, but I heard it. She must have run, thinking she’d get away from me, and she was hit.
LIZ: God.
GAZ: This poor woman saw her but wasn’t able to stop.
EDWINA: Jesus. You could have saved her. Why didn’t you just grab her and throw her in the car?
SAUL: You said she was bleeding?
GAZ: She was cut… all over her face and breasts everywhere.
LIZ: I don’t know what else you could have done, Gaz.
GAZ: So there I was with an hysterical woman and a dead one, and cars driving past.
SAUL: But at least you stopped.
GAZ: If I hadn’t tried to play Good Samaritan she’d probably still be alive.
LIZ: You don’t know who was after her?
GAZ: No.
SAUL: You didn’t see anyone?
GAZ: No. [Pause.] She only had one shoe… and she was holding it in her hand… Afterwards I saw it lying in the gravel. I could see it in the car headlights, and I remember thinking, ‘Good for her: she was wearing an Australian shoe.’
EDWINA: I didn’t know we still made shoes.
GAZ: All the time we were waiting for someone to stop and nobody would stop and I put the blanket over her and I picked up the shoe and I ran towards the headlights waving it and finally somebody paid attention.
SAUL: What about the police?
GAZ: They took our statements by the road. Carol was still in shock.
LIZ: Carol?
GAZ: The woman who hit her. Girl, really. I think we both aged about ten years.
LIZ: Will there be an inquest?
GAZ: In about three or four weeks.
LIZ: So it’s not over.
EDWINA: It’s over for her. Well and truly over.
SAUL: I think we should go. [To GAZ, indicating the painting] I brought you this, from the last show you framed. I thought it should go to a good home.
GAZ: Thanks.
EDWINA: [kissing GAZ] Bye, Gaz, sweetie. [She goes to LIZ.] Bye, Liz. Let us know what happens.
LIZ: [avoiding kissing her] I’ll see you out.
GAZ: Where are you going?
SAUL: To a motel.
GAZ: Where?
SAUL: We don’t know yet. We’ll find one.
GAZ: Why aren’t you staying with us? Why do you think we bought a two-bedroom cottage?
Too late he sees LIZ’s frantic signals.
LIZ: It’s only a mattress on the floor.
EDWINA: That’s no problem. If it isn’t a problem for you.
LIZ: No—no problem.
SAUL: You’re sure?
LIZ: We’re delighted to have you… I’ll um…I’11 show you where things are. [She sighs.] And then we’ll think about dinner.
She leaves, followed by EDWINA and SAUL. GAZ stares at the painting as he slowly removes his coat. His foot encounters the glass on the floor. He bends to pick up the pieces. LIZ comes back.
Are you out of your mind? I came here for peace and quiet, not to be invaded by Generation X. What were you thinking of?
GAZ is silent. He stands holding the pieces of glass.
GAZ: I was thinking about her.
LIZ: Who?
GAZ: That poor girl. [Pause.] I keep seeing it. Anything’s better than that. Even Edwina.
LIZ: You’re in shock.
GAZ: She was terrified, Liz.
LIZ: Not of you personally.
GAZ: It felt personal—as if I was somehow part of it
EDWINA appears.
EDWINA: Liz, would you mind if I took another towel? I’ll need one for my hair as well.
LIZ: In the cupboard in the hall.
EDWINA: [leaving] Thanks.
GAZ: I’ve never seen an expression like that before. [Pause.] It was as if she was looking into hell. As if she was seeing something I can’t even begin to imagine.
LIZ: Don’t think about it.
EDWINA returns.
EDWINA: By the way, Liz?—
LIZ: Yes?
EDWINA: There’s no mirror in the bathroom.
LIZ: No.
EDWINA: There’s none in the spare room or your room either. I can’t find a mirror anywhere.
LIZ: Don’t you have a little make-up mirror?
EDWINA: Yes. [Leaving] But it’s not really adequate.
GAZ: There’ll be an inquest.
LIZ: I know. You said.
GAZ: I think they thought I had some connection with her. Carol certainly did.
LIZ: What do you mean?
GAZ: Carol thought she was running away from me. Which she was, in a sense—but not the way Carol meant. [Pause.] It was weird: I actually felt… guilty. As if I’d done whatever Carol thought I’d done—
LIZ: Carol. You keep talking about Carol.
GAZ: [simply] She was there.
LIZ stares at him. GAZ is silent. They go.
SAUL comes in with the Saturday papers. He settles himself on the sofa. GAZ enters in a dressing-gown and picks up the Sydney Mor
ning Herald.
SAUL: You ought to get them delivered.
GAZ: Liz doesn’t want them.
He starts to go rapidly through the news section searching for something. SAUL opens the arts section of the Australian.
SAUL: She doesn’t read the papers?
GAZ: No.
SAUL: How does she keep up with what’s happening?
GAZ: She reads New Scientist and Omni.
A silence as they read.
SAUL: Can I ask a silly question?
GAZ continues searching.
How do you shave here without a mirror?
GAZ: I shave in the car.
SAUL: Ah.
GAZ: [reading] ‘Police found nine-year-old Tracey Marie’s discarded body in bushland near the playing field’… Discarded body? [He continues scanning.] Doesn’t seem to be here.
SAUL: What?
GAZ: The accident.
SAUL: Would it be?
GAZ: It ought to be.
SAUL: They don’t put in every accident, do they?
GAZ: A nine year-old girl?…
SAUL: Sounds like you’re still upset.
GAZ: Of course I’m still bloody upset!
GAZ throws the paper aside and picks up the news section of the Australian. SAUL looks at him, amused.
SAUL: Remember that portrait I did of you at East Sydney Tech?
GAZ: I don’t remember any portrait.
SAUL: I found it the other day, the bloody paint’s falling off the thing—you look like you’re moulting… Anyway, I thought at the time it was a bit simplistic, but if I painted it now it’d be exactly the same expression.
GAZ: What are you talking about?
SAUL: That baffled look you used to get.
GAZ: What baffled look?
SAUL: I always had to paint the hands for you. Remember? In life class. You couldn’t paint the hands. Or much else, come to think of it.
He goes back to his paper. A pause.
GAZ: Saul?
SAUL: What?
GAZ: Did you ever hit anyone?
SAUL: Nope. Not as I recall. Never—I have to admit it. I never did.
GAZ: You never hit a woman?
SAUL: A woman?
GAZ: Did you ever hit a woman?
SAUL: I didn’t realise that was what you meant.
GAZ: What did you think I meant?
SAUL: I thought you meant punch-ups. Fighting.
GAZ: Men’s stuff?
SAUL: Right. Men’s stuff.
GAZ: Who did you?…
SAUL: Hit? [He hesitates.] Christ, I don’t know. Whoever I happened to be living with I suppose.
GAZ: Edwina?
SAUL: What the hell do you think? What are you getting at?
GAZ: I’ve never hit a woman. I can’t even imagine hitting Liz.
SAUL: You’re unique, you two.
GAZ: Unique?
SAUL: You’re the only couple I know who got married in the sixties and stayed that way.
GAZ: I don’t even understand it. I don’t understand why you’d want to.
SAUL: I can’t stand submissiveness.
GAZ: Edwina’s not submissive.
SAUL: No. Eddie fights back. That’s why we’re still together.
LIZ and EDWINA come in.
EDWINA: Don’t—no matter how many times I ask you—don’t give me the recipe.
SAUL: What recipe?
EDWINA: For what we had for breakfast… What was it?
LIZ: Pain Perdue… ‘Lost Bread’. It’s a Cajun version of French toast.
EDWINA: Heaven.
SAUL: You can give her the recipe. She’ll never make it.
EDWINA: What do you mean, I’ll never make it?
SAUL: You never make anything.
EDWINA: That’s bullshit. I make lots of things.
She uncaps some pills. They spill.
GAZ: [helping her] What are these?
EDWINA: Diet pills. I won’t have to eat for the rest of the day.
She finishes picking up the pills.
So what do you think this morning?
GAZ: About what?
EDWINA: The painting. I told Saul you might like something less violent.
SAUL: There wasn’t anything.
EDWINA: Very perceptive of me, wasn’t it?
SAUL: Perceptive? When it comes to painting you’re about as perceptive as a maggot.
EDWINA: Right—that’s why I live with you.
She goes to the window. A silence.
‘There’s frost outside and the cherry trees are all in bloom.’
LIZ: [interested] Is that what they are?
She joins EDWINA at the window.
EDWINA: Beats me. I was quoting Chekhov.
LIZ: The estate agent told us what the various trees were, but it was winter and they all looked the same. I’ve tried asking the people next door but they’re only here on weekends, and they seem to know less than I do.
SAUL: I ought to know, but I’ve always found nature pretty boring.
EDWINA: ‘I can’t approve of this climate of ours, you know. I can’t. It doesn’t contribute to… things.’
SAUL: Edwina fancies a life in the theatre.
GAZ: Really?
SAUL: She’s writing a play.
EDWINA: I’ve written six plays. I write all the time. I paint all the time. I eat all the time. I throw up all the time. It’s all much of a muchness really.
SAUL: Don’t grow up to be a cliché, Eddie.
EDWINA: Why shouldn’t I? You did. [She turns to LIZ.] I was looking through that book you wrote a few years ago—What We Had When?
LIZ: What We Used When.
EDWINA: I think it’s a great idea. If I write an historical play or novel I’ll know exactly when we first had Kleenex and biros and Vogel’s bread. I’d really love to have a copy.
LIZ: You could ask in the local bookshop.
EDWINA: Sorry. You’re quite right. Point taken.
SAUL: Ask her nicely and she might autograph it for you.
EDWINA: Okay! Okay! You’re all so bloody superior! Except for Gaz—
GAZ looks up sharply.
—though he dresses beautifully, of course—you’ve had years to work out what you’re doing. I haven’t. It’s not my fault I’m multi-talented!
LIZ starts to leave.
GAZ: Where are you going?
LIZ: I think I’ll sit in the garden.
GAZ: It’s cold out there.
SAUL: Liz?
LIZ: Yes, Saul?
SAUL: You like it, don’t you?
LIZ: What?
SAUL: The painting.
LIZ: I think it’s a very good example of your work, Saul.
She goes.
EDWINA: [laughing] You see? She hates it.
SAUL: She doesn’t hate it. How could she hate it? I sold the whole series. This was the only one left over. It was a very successful show.
He swats EDWINA with the rolled-up newspaper. She stops laughing.
GAZ: [staring at the painting] Why?
SAUL: Why what?
GAZ: Why do you think it was it so successful?
SAUL: People like my work.
GAZ: Why?
SAUL: Don’t ask me.
EDWINA: He sold so many paintings during the boom it wouldn’t have mattered if nobody’d bought a thing. He could coast till the end of the century.
SAUL: What’s your problem? You always liked my work. You’ve framed enough of it.
GAZ: [disturbed] Where did it come from?
SAUL: What?
GAZ: This painting. Where did it come from? Did you know what you were doing when you painted it?
SAUL: If I knew what I was doing I wouldn’t be doing it, would I? I’d be laying bricks!—or framing. I’ll take it away if you like. Do you want me to take it away?
GAZ: No. Of course not. It’s just… I look at you—I look at people—and I think I really don’t know anything.
EDWINA: Stay tha
t way. That’s the best way to be.
GAZ: It makes me a fool.
EDWINA: It makes you a lovable fool, Gaz. We love you for it.
He stares at her.
GAZ: [at last] She’s dead, Edwina. Yesterday she was as alive as you are, and now she’s dead because I stopped to try and help her. She’s dead because she saw something I can’t even begin to comprehend.
A silence. Then LIZ comes in rubbing her arms.
LIZ: You’re right—it’s cold out there. And it reminds me of all the work that needs doing.
SAUL: Why don’t you try that no-dig gardening Patti’s into now? You put copies of the Sydney Morning Herald under straw and you grow snow peas and pumpkins on it.
LIZ: If I don’t start out by digging, I’ll have no idea how many plastic bags, clothes pegs, stockings and old singlets are buried there.
SAUL: That’s presuming you want to know.
LIZ: It’s our land, and I want to take care of it. There’s less good soil than meets the eye.
EDWINA: This is like living in a fridge today.
LIZ: I heard this beautiful bird singing, and I had no idea what it was. How do you find out these things? Do you hire somebody? What do you do?
EDWINA: Look it up in a book.
LIZ: You can’t look up a sound. If I turned on the radio and didn’t know Mozart from Beethoven I’d think I was an idiot.
SAUL: I think you can buy a CD, can’t you? Isn’t there a CD with Australian bird sounds?
EDWINA: There are people leaving the land and the wrong people replacing them.
SAUL: Will you shut up with your quoting?
EDWINA: I wasn’t quoting!
A silence.
LIZ: I went into the local library the other day. I picked up a novel and read the opening sentence—I picked up book after book. I couldn’t find anything I was the least bit interested in. I felt a kind of disgust. Despair.
GAZ: What do you expect in a place this size? If you came back to Sydney—
LIZ: It would be exactly the same in Sydney. Believe me. [Pause.] We’re in a sort of glue.
GAZ: What do you mean, glue?
LIZ: I mean nothing transcends anymore. We act like we’ve come to the end of culture. No one tries to be original—it’s just endless recycling. [With a sideways glance at SAUL’s painting] The idea of art being ahead of society seems ridiculous now: how can you shake society if reality keeps getting there first? When everything’s permissible, nothing’s worth doing.’
The Girl Who Saw Everything Page 2