Out of the Wings

Juego de 2 (1997-2008), Raúl Hernández Garrido

2-Player Game : ONE-ACT PLAY, excerpt 1 , ONE-ACT PLAY, excerpt 2 , ONE-ACT PLAY, excerpt 3

2-Player Game, translated by Gwynneth Dowling

ONE-ACT PLAY, excerpt 1

Context:

This is the beginning of the play. The Body gets an unexpected phone call. At the end of this excerpt, she learns the address of the Client. The Body is already familiar with this address, although the audience do not know this at this point.

Sample text

DARKNESS. Phone rings three times. Fourth ring cut off by an electronic click. Communication begins. A young woman’s voice answers. We cannot hear who has called. Just the voice of the girl on the other end of the telephone.

Hello?

The girl pauses. She listens. She nearly stops breathing in tense expectation, caused by what the speaker must be saying.

Excuse me … who are you?

Pause. She continues. Confused.

What? Yes, yes that’s my name. And you? Who are you?

How did you get this number? What do you want from me?

Did a mutual friend give you it? One of my clients? Tell me exactly why you’re calling.

A service? A visit? I’m sorry. It’s my day off.

No, it’s not possible. I’ve told you no.

Thanks, but it’s not about the money.

You don’t take no for an answer. Sorry? Where did you say I’d have to go?

Wait. Let me think about it. Tell me the address again. Yes, I know where that is.

Copyright

The above sample taken from the translation 2-Player Game by Gwynneth Dowling is licensed under a Creative Commons License.

ONE-ACT PLAY, excerpt 2

Context:

The Body reveals why she decided to come to the Client’s house. She suspected that she had met him before.

Sample text

BODY:

This house is also full of surprises.

CLIENT:

Like you. A complete surprise. Small, exotic. Surprising. (He moves a small glass of alcohol towards her.) Try this wine, Sarita. It leaves a sweet taste in your mouth and won’t give you a headache.

BODY:

That’s enough joking around. I know you.

CLIENT:

I feel like I know you, too.

BODY:

Stop pretending. Stop making fun of me. You know very well what I’m talking about.

I know you.

I’ve been here before.

It was unexpected. The call to my private number. I was completely stumped. Up until now nothing like this has ever happened to me. And you called me by my real name. Not that ridiculous ‘Noemi’ I use to advertise my services. But by my name. The name I keep away from this side of my life. My real name.

Sara, Sara.

When you rang me I kept you talking to gain some time, to try to work out for myself what was happening. Maybe I was just being paranoid. I didn’t want to acknowledge my suspicions. But when you gave me this address over the phone, I was sure I’d been here before. I was sure I knew you.

But you. You feigned ignorance. You pretended you’d never called me before. Like you didn’t know me. You asked me what I looked like, what services I offered. All that crap I say to get a man off.

I was sure you were pretending. I didn’t know why. To what end. But I needed to know if I was right or not, that’s why I had to come here. I needed to see you.

Copyright

The above sample taken from the translation 2-Player Game by Gwynneth Dowling is licensed under a Creative Commons License.

ONE-ACT PLAY, excerpt 3

Context:

The Client and the Body have been arguing. The Client tried to stop the Body leaving. Now, she points a gun at him, unaware he is blind.

Sample text

CLIENT:: What have you got there?; He struggles with her.; Tell me!; He immobilises her, seizing her in his arms.; You’re really threatening me. You’ve had the nerve to come into my house with a gun! Why? Are you mad?; He releases his grip on her and steps back.; Enough.; Pause.; I can’t go on with this.; He moves away from her. He takes out his wallet.; It’s over.; He gives her money.
BODY:: More money? Why?
CLIENT:: I hope this makes up for your troubles. Call a taxi and wait for it outside.
BODY:: I don’t owe you anything. When I leave by that door, I’d better not hear anything more from you.; She goes towards the door but he blocks her path and stops her leaving. He takes her wrists.
BODY:: Leave me alone. Don’t try anything else.
CLIENT:: I’ve no intention of hurting you, so don’t you threaten me.; She tries to point the gun at him. But he lowers it through sheer force.; Put that away. Get out of my house.; She steps back from him.
BODY:: And then what? Live in fear every time the phone rings? Knowing that it could be you on the other end? Not able to walk down the street without worrying? Always looking behind me in fear, always scared?
CLIENT:: Don’t worry. I’m not going to bother you. I’m not going to call you. Never again. You’ve made a mistake. I’m not what you think.; He steps back from the door, leaving her free to go. She starts to waver, but she is still pointing the gun, half-heartedly.
CLIENT:: Go.; She goes towards the exit. Stops, turns and looks at him. He has turned back towards the wall. He does not move. She lowers the gun. Silently, she goes towards him, until she is very close. Without him knowing she is there. She stretches her hand out in front of his eyes, with a sudden movement. Violently, but still not touching him. He does not flinch.
CLIENT:: Didn’t you hear me? I told you to go.; Silence. She realises that he cannot see her. He is blind. Nervously, she tries to apologise.

Copyright