Canary

by Jonathan Harvey

  Scene Four – Hospital room, 1986

  Mickey, sitting up in bed, is livid. He is weaker than last we saw him. But has not lost any of his fight. Russell sits at the end of the bed.

  Mickey I don’t believe you. I do not . . .

  Russell Try not to get worked up.

  Mickey You had her sat there. Inches away from you. You could’ve touched her. Maimed her. And you didn’t say anything? Russell you amaze me. Surely you can’t still be a closet queen? Or worse still, a Tory.

  Russell I’m not anything. I refuse to be pigeon holed.

  Mickey You could at least have punched her. For me, if not for you. Or poisoned her. Or . . .

  Russell I’m only doing silver service waiting till . . .

  Mickey She was sat there talking about AIDS and you never said nothing?

  Russell Anything.

  Mickey Call yourself gay? You’re not gay. You’re a homosexual!

  Russell I was upset, okay?

  Mickey I thought we was sisters. Blood brothers.

  Russell We are.

  Mickey So how could you just stand there like she was Joe Anybody?

  Russell Okay, so maybe I’m changing my mind about politics.

  Mickey If you are going to be a Tory, at least own up to it. I’d have more respect for you then, if you were just honest. Honest about something.

  Russell I was having a bad day.

  Mickey Oh you’re having a bad day. You’re having a bad day.

  Russell Well I was!

  Mickey Put yourself in my shoes. See how you like this.

  Russell I was putting myself in your shoes actually. Maybe we are blood brothers. In more ways than one. I didn’t wanna tell you but I’ve gotta tell someone. Before I burst.

  Pause. But now he wants to say it, Russell finds he hasn’t got the words. Mickey’s face crumbles. Just then the Nurse comes in, slightly less covered up now, carrying food on a tray.

  Nurse Morning Mickey. Soup of the day. Chicken and tarragon. Try and eat your bread.

  She places it on the bed.

  Nurse Bon appétit.

  They wait for her to retreat.

  Mickey Russell.

  Russell I can’t say it. I can’t say the words.

  Mickey What can’t you say baby?

  Russell I don’t wanna say it. If I say it it’s real. And then I won’t be able to cope.

  Mickey No. No. No! You can’t get ill.

  Russell You better eat your food.

  Mickey You gotta be strong for me. It’s your turn now. It’s your turn to care for me. I’ve got no-one else.

  Russell Eat your crusts. Make your hair curly.

  Mickey Russell look at me!

  Russell turns and shrugs.

  Russell It’s all right for you. You’ll go first. Who’s gonna look after me?

  Mickey You have to copy everything I do.

  Russell You go on all the adventures. I get left behind.

  Mickey Oh this is an awfully big adventure. The biggest.

  Russell I don’t wanna be left behind. But I don’t wanna go neither.

  Mickey Either.

  Russell smiles.

  Mickey (Sings) Remember me as a sunny day That you once had along the way Remember me as a breath of spring Remember me as a good thing.

  Russell I have a recall.

  Mickey For what?

  Russell Second cast of Les Misérables. It’s this musical that’s coming into the West End. About a load of miserable French people.

  Mickey rolls his eyes.

  Mickey Great.

  Russell I come on in full drag on the barricades and sing this show-stopping number called ‘Let Them Eat Cake’.

  Mickey is tearful.

  Russell I don’t really.

  Mickey smiles.

  Mickey I wish you would. I wish you’d be proud.

  Russell I don’t know if it’s worth me going. I could be dead within a week.

  Mickey Yes but you could die onstage. You have to do it.

  Russell I just keep wanting to wash myself. I look at my hands and . . . they’re not my hands any more.

  Mickey How’s Robin?

  Russell I moved out. I’m sorry Mickey. About . . .

  Mickey Hey. I’ve got you back now. That’s all that matters.

  They lie there together, on his bed, staring into space.

  Scene Five – Ellie’s house, 1962

  Young Ellie stands in her wedding dress. She sings to herself. Linden Lea. As she sings, older Ellie comes in and watches her, eventually joining in.

  Young Ellie Within the woodlands, flow’ry gladed, By the oak trees’ mossy moot, The shining grass blades, timber-shaded, Now do quiver underfoot; And birds do whistle overhead, And water’s bubbling in its bed,

  Both Ellies And there, for me, the apple tree Do lean down low in Linden Lea.

  Young Ellie suddenly notices her and stops singing.

  Young Ellie Who are you?

  Ellie A concerned party.

  Young Ellie You must be on Mother’s side. You look like her.

  Ellie You have a beautiful voice.

  Young Ellie The choir are going to sing that. What d’you want? You should really be getting to the church.

  Ellie I’ve . . . come to show you these.

  She passes her a pile of letters, wrapped in a blue satin ribbon.

  Ellie You find them. In a few year’s time. You think you’re really clever opening out the chimney in the box room.

  Young Ellie unfurls the ribbon and reads the first letter.

  Ellie By then you feel it’s old news. He’s changed. He’s a different man. He’s not.

  Young Ellie This is Tom’s handwriting.

  Ellie Billy turns up. At the wedding. He’s probably there now. You’re walking down the aisle with Tom. Newly married. And there he is. Up in the gallery. And he drops these. So many letters. Raining down on you. Tom rushes to pick them up. You ask him what they are. He’s evasive. He’s always evasive.

  Young Ellie Billy’s an invert. A trouble maker. He attacked Tom.

  Ellie The letters show that’s just not true. I believe the French is billet doux. It sounds so much less hurtful in French.

  Young Ellie I like French. I wanted to study it at University. But Mam says I should marry and settle down. Have children. I really want children. Children respect their parents. Love them.

  Ellie It’s rarely that straightforward. Don’t go. It’s not too late to back out.

  Young Ellie I don’t know who you are. And I don’t believe these letters. Tom’s a good man. He loves me.

  Ellie When the letters rain down. And Tom’s evasive, you’ll know.

  Young Ellie Who are you?

  Ellie Can’t you see Ellie? I’m you.

  Young Ellie You’re dead old. And you speak dead posh.

  Ellie We move away from Liverpool.

  Young Ellie No. I’m never gonna leave Liverpool. My family. Tom’d never take me away from them. You’re off your cake you!

  Ellie Was I really this feisty?

  Young Ellie I’m pregnant. We’ve got to marry.

  Ellie When it’s raining letters. You’ll know.

  Young Ellie (handing the letters back) If you’re me, you’ll understand why I have to do this.

  Ellie (nods and helps her on with her veil) You’ll never look more beautiful.

  She kisses her and goes. The lights rise on:

  Scene Six – Theatre 1987 / Church 1962

  Ellie appears in her wedding dress and veil. She walks down the aisle to the front of the church, alone, to the music. Tom appears at the other end of the church, in his wedding suit, checking his buttonhole.

  Russell stands up on the bed. He is onstage performing in Les Misérables. and sings a portion of Do You Hear the People Sing?

  Russell Will you join in our crusade?

  …There is a life about to start when tomorrow comes

  As he sings it starts to rain letters. To
m’s love letters fall down on Ellie and Tom. They look up as the lights fade. As they do a phone starts to ring.

  Scene Seven – Festival of Light offices, 1971

  Mary Whitehouse standing in her office on the phone.

  Mary Hello, Festival of Light? (Beat.) Cliff Richard as I live and breathe! How’s my favourite popster? (Beat.) I’m wonderful thank you dear, if not a little overexcited about Thursday. Are you all geared up to show the world how much we abhor homosexuality? Prostitution? All that jazz? (Beat.) Of course.

  (She covers the receiver and calls, off)

  William!! (on phone) My new Man Friday. Been working in the office for a while now.

  Billy comes running in with a clipboard.

  Billy Yes Mrs Whitehouse?

  Mary What time is lovely Cliff being picked up on Thursday?

  Billy checks his clipboard.

  Billy Nine forty Mrs Whitehouse.

  Mary Twenty to ten dear. Is that all right? Lovely. (Beat.) You too Cliff. See you Thursday. And say a prayer that everything runs as smoothly as possibly. Bye now. (Hangs up. To Billy.) But of course with you as my side that’s hardly necessary.

  Billy Mrs Whitehouse, was that really Cliff Richard?

  Mary Yes dear.

  Billy Wow. Does he hate homosexuals too?

  Mary He pities them. He hates what they do. There is a difference.

  Billy But d’you know what Mrs Whitehouse? Sometimes I thank God for homosexuals and pornographers because it gives you the ammunition to get out there and kick ass!

  Mary Well that’s . . . very kind of you to say so William but please. No Americanisms here.

  Billy Oh I’m just passionate, Mrs Whitehouse. I can’t wait to alert society to moral pollution. Raise spiritual standards. Spread evangelical Christianity. All that jazz.

  Mary So. Run me through the transport arrangements for Thursday will you?

  Billy Cliff Richard you know about. We also have cars booked for Malcolm Muggeridge, Lord Longford, the Bishop and your good self. Car parking information for central London has been sent out to every single church in the country. Every ticket has been sold and. .

  Mary My beacons?

  Billy A chain of beacons will be lit through the country to shine a light into moral pollution.

  Mary Shall I put the kettle on William? Make us both a nice strong cup of tea?

  Billy Heavenly.

  Mary You do say the funniest things.

  She exits. He turns the page on his clipboard and clears his throat . . .

  Billy Opening ceremony. Enter the hall in small groups. Dress conservatively. Act unobtrusively. Make no sign of protest until it is your turn. Do not speak to each other. Let the previous group’s demonstration end before yours begins. Let everything settle down and the speeches start again. Our purpose is to slow down and delay proceedings. Stick to your agreed form of protest and do so clearly and loudly. Offer passive resistance only. Do not fight back. Let Operation Rupert commence!

  He turns and calls, off.

  Billy Oh Mrs Whitehouse. I’m so excited about Thursday. I think it’s going to be a day to remember!

  Blackout.

  Scene Eight – Hospital, 1986

  Mickey lies in bed, incredibly ill now. Russell sits one side. A Nurse is applying make-up to Mickey’s face to cover his lesions.

  Russell I know that one day I’ll wake up and find that the virus has come and attacked me. I just get so bored of waiting. I wanna scream out. Attack me now you bastard! I’m ready for you!!

  Nurse Oh. I found another clipping for his collection. John Junor in the Mail on Sunday.

  She hands it to Russell.

  Russell (reads) Dear Diana. Do you really want to go down in history as the Patron Saint of Sodomy?

  Nurse I was quite proud of myself, finding that one.

  Russell Some days I just know it’s here. Sore throat. Shortness of breath. Red rash when I shave. Red rash when I don’t shave. I bruise easily, so thin skin. A tendency to feel the cold. A tendency to feel the heat. Tiredness. Anxiety. Panic attacks on tubes. A fear of confined spaces. The inability to see in the dark.

  Nurse Not that you’re self obsessed or anything.

  Russell A tendency to yawn when nurses are dull. KS.

  Nurse Have you got KS?

  Russell Name that tumour.

  He very quickly lifts his top.

  Nurse It’s a bruise.

  Russell I know. I know. I should get a life other than eight shows a week and coming here. But what else can I do? Look at him.

  Mickey He’s fine.

  Russell She walks, she talks, she’s a freakin’ miracle!

  Mickey What were you talking about?

  Russell The view from this window. Stunning. Shame you’re blind really.

  Mickey Piss off.

  Russell Oh forgive me. You’re not blind, your retinas have become detached. I’m sorry.

  Mickey I can still tell you’re ugly.

  Nurse We’ve gotta get you better so we can get you out for Thursday.

  She hands him a mirror.

  Nurse I’ve covered it up quite well. Now you can greet your public.

  Mickey Thursday? What’s . . .

  Russell Robin’s funeral’s Thursday.

  Mickey Robin?

  Russell We told you last night. Don’t you remember? God, your memory!

  Mickey Of course, of course I rember.

  Russell They’re dropping like flies. Every day a different name. Joe on Tuesday. Lee on Wednesday. Mark on . . .

  Mickey Is this it then? He was diagnosed two weeks before me. Have I got two weeks left then?

  Russell It doesn’t work like that.

  Mickey How do you know? You’re not a doctor.

  Russell But we’re the fucking experts here. I don’t like that any more than you do but we are.

  Mickey Two weeks. Bollocks. Well you know what this means.

  Russell It might mean nothing.

  Mickey You’re gonna have to call my Mum and Dad.

  Nurse I thought they were dead.

  Russell He’s prone to exaggeration. They’re just a little bit dull and a tad homophobic. They’re also perenially middle class. That Billericay accent? It’s all an act.

  Mickey Time to resurrect them.

  Russell What do I say? Mickey, what do I say?

  Mickey ‘You know your son Michael? He’s got a touch of the AIDS about him’. Drama queen.

  Russell Piss off!

  Mickey Read me my clippings.

  Russell gets a plastic bag off the bed and pulls out some cuttings from newspapers.

  Russell Right, this is from The Sun. And it says ‘Straight Sex Cannot Give You AIDS’. Official.

  Mickey The breeders are so blessed.

  They all laugh.

  Russell ‘Robert Simpson, a vicar from Barmston in Humberside has vowed to take his eighteen year old son Russell – ah! My namesake! – vowed to take his son to a mountain and shoot him if he develops AIDS.

  Nurse Oh he sounds lovely.

  Mickey Dicky Divine!

  Russell ‘Russell would never get closer to me than six yards’ says Simpson. ‘He would be a dead man. And that would go for the rest of my family, and strangers.’

  A chill descends in the room. They can’t be bothered to joke about it any more.

  Russell When asked what he thought, Russell replied, ‘I sometimes think he’d like to shoot me whether I had AIDS or not.’

  Nurse Is anyone else cold?

  The lights fade.

  Scene Nine – Down by the railway line, Billericay, 1971

  It’s night. It’s pouring with rain. Young Tom comes on with a torch, soaked to the skin, looking for something.

  Young Tom Son? Can you hear me? Can you hear me lad? Are you there?!

  Presently Young Ellie comes on carrying an umbrella and shining another torch. Tom appears in the shadows, watching them.

  Young Ellie Tom? Tom?

&
nbsp; Young Tom Over here!

  Young Ellie Tom he’s safe. He’s home. One of the neighbours found him!

  Young Tom Where?

  Young Ellie They’d told him there were monsters at the bottom of their garden, he’d gone looking for them.

  Young Tom In the pouring rain?!

  Young Ellie He said it was an adventure. He could’ve caught his death Tom! I leave him with you for one hour . . .

  Young Tom I was showing Steve from next door the Datsun Cherry.

  Young Ellie Why didn’t you notice he’d gone?

  Young Tom We were in the garage.

  Young Ellie I don’t like Steve. Tom your shirt’s ripped.

  Young Tom Yeah I fell over.

  She takes his hand.

  Young Ellie Have you been in a fight?

  Young Tom Don’t be daft.

  Young Ellie You’ve ruined my night. Putting the fear of God into me. It was so embarrassing at the Tupperware party, when you called. I could’ve died.

  Young Tom I’m dying Ellie. Every time I step foot through the door. I see monsters at the bottom of our garden.

  Young Ellie It’s called married life, Tom. I don’t see why you think you’ve got a right to be any happier than the rest of us.

  Young Tom I don’t love you Ellie.

  Young Ellie Get a backbone Tom!

  She hurries off, heading home.

  Young Tom Sweet Jesus, when will it ever end?

  Suddenly Tom steps out of the shadows.

  Tom Tonight?

  Young Tom Keep away from me. Keep away from me!

  And he backs away into the shadows.

  Scene Ten – Mount Ararat, 2010

  It’s night. The swirling mists at the top of Ararat. Through the fog we find Ellie reaching the summit, shining a torch to light the way. A Vicar is sitting on a pile of clothes, waiting, with a machine gun, lit by a camp fire. It is raining heavily.

  Ellie That’s . . . quite some climb. What is this place?

  Vicar Ararat. Mount. The world’s drowning.

  Ellie Where God started again.

  Vicar I’d prefer not to converse ’til the Ark gets here.

  Ellie Do you mind if I sit? My legs aren’t what they were.

  He shrugs. She joins him.

  Ellie I looked for Tring. Couldn’t find it. Tried to change my destiny. I failed. (Gasps.) Oh! You have a gun!