Tusk Tusk Read online

  A smash from the basement.

  What was that?

  Eliot Nothing.

  Another smash.

  They’re building next door, all right? Adding forty-five skylights or some shit. Now GET OUT!

  Roland Let me help.

  Eliot If you don’t fuck off this instant I will scream so loudly your balls will curdle. I will shout until Katie rushes back in here, probably because it sounds like you are raping me, then I will tell her every sick fucking detail about your affair –

  Roland Oh for God’s sake, Eliot, grow up –

  Eliot Don’t believe me? Fine. KATIIIEE …

  Roland Just think for a minute. Just think about Claire, Katie is her only friend in London, do you really think telling her is –

  Eliot I will bomb Katie with every detail. The hotels you went to. Your craggy hand on her head, her back, her arse. I’ll tell her everything.’ Cause you know what, Rollo? Favoured son knows all.

  Pause.

  Go on. Go. Don’t pretend we ever meant anything to you.

  Roland You’re serious, aren’t you?

  Eliot Deadly.

  They stare at each other.

  Now get out. Gucci pig.

  Roland sighs.

  You know where we are.

  He goes to the door. He swings it open to reveal Maggie covered in dust. Her hand is bleeding.

  Maggie? What the …

  Maggie stands silent in the doorway. Suddenly she springs at Eliot, lashing, scratching. Blood gets on his face.

  STOP IT!

  He pulls her off.

  Jesus. Maggie. Your hand. What happened to your hand?

  Maggie struggles in his arms. Eliot backs away.

  Maggie I will never forgive you. I will never forgive you.

  Roland What’s happened?

  Maggie He locked me. He locked me down there. But I got out. I broke the window and I got out.

  Eliot It was a game.

  Roland It doesn’t look like a game to me.

  Eliot Go. This is between us. Just leave.

  Maggie How could you do that to me? How could you?

  Roland What happened, Maggie? He said you were with –

  Eliot I’LL TELL KATIE. I’LL SCREAM IT IN HER EAR!

  Roland You think I’m going now –

  Eliot I’ll do it. I will.

  Pause.

  Roland Tell her. Tell her everything. I’m not going anywhere. Hear me? I’m calling your mother. I’m –

  He calls.

  Eliot Don’t.

  Katie enters.

  The phone rings on the table. Eliot slams it off.

  Katie Maggie?

  Roland That’s her phone.

  Eliot And how would you know that?

  Katie I heard shouting. From across the street. I left your brother in the car. He told me some very worrying things, he said he’s been sleeping on the floor. Where’s Claire? Did she come back with Maggie? Where is she?

  Maggie Don’t you get it? We don’t know where she is.

  Eliot Don’t, Maggie. Don’t.

  Maggie She’s missing.

  Katie Since when?

  Maggie The day after we got here.

  Eliot turns his back. He is trying desperately to think of something.

  Roland That’s over a week ago –

  Katie You haven’t heard from her? Nothing?

  Maggie shakes her head.

  Roland And you’ve been on your own?

  Maggie nods.

  Katie Oh, Maggie. Oh, sweetheart.

  Maggie crumbles. Katie goes to her.

  I think we should call the police.

  Roland nods. Eliot, desperate, blocks the door.

  Eliot NO, you’ve done enough to us. Enough.

  Katie This is serious now, Eliot –

  Eliot Don’t you see? This is his fault. HIS FAULT. It all makes sense now.

  He is dangerously close to Roland.

  Eliot You were the last person to see her. It was that day. That same day. What did you say to her, Roland? What did you say to make her run away?

  Katie She came to see us both, Eliot, we –

  Eliot You believe that?

  Roland Don’t do this –

  Eliot Let the wild rumpus start!

  Katie What does he mean? Roland?

  Eliot What came out of your cunting mouth? I WANT TO KNOW!

  Katie What is he talking about?

  Eliot That she was too crazy for you, that she had too much lipstick on her teeth –?

  Roland I would never hurt –

  Eliot You led her on, didn’t you? She told me everything. Everything. Who do you think she whispered to? Maggie? She never was a girly girl. It was me. I put my ear against her stories and I heard. You and the ocean roaring in pleasure…

  He takes a step closer.

  Eliot You told her that your marriage was dead. That you were just waiting for the right time. And she believed you. She moved down to London to be nearer you. You told her that to fuck her, didn’t you? DIDN’T YOU?

  Roland It wasn’t like that –

  Eliot Liar, liar!

  Roland I promise you –

  Eliot Pants on fucking fire!

  Roland Look. I. It was –

  Eliot Tell me the truth.

  Katie Answer him.

  Eliot THE TRUTH!

  Roland I –

  Eliot steps closer.

  He pauses. He looks at Katie.

  Katie Go on.

  Roland I loved your mother.

  Katie makes a sound of pain.

  Eliot That’s not enough. Answer my fucking question, what did you say?

  Roland I told her… Christ!

  He looks at Katie, who has turned away from him.

  I told her it was over for good.

  Eliot You. I see it now. I see everything. It’s your fault. It’s his fault. You used her. Blood on your hands. Blood in your mouth. You cunt. Hell would be a holiday for you.

  Maggie You’re wrong, Eliot. So wrong.

  Eliot Maggie, it was him. He was the last person to see her –

  Maggie Fools. What a joke. Look at you. Joke on you both!

  Eliot Can’t you see? It was him.

  Maggie It was me.

  Small pause.

  Eliot I don’t believe you. You would have said, you would have –

  Maggie Said? You’re the one that does the saying, Eliot. You’ve had your say this whole rancid time, haven’t you? You’ve done what you wanted and I’ve let you. So sit tight for once in your life and fucking listen to me.

  Eliot What the fuck are you talking about?

  Maggie Once upon a time, there was a family. One mummy bear, two baby boy bears and a girl cub. And the mother seemed to hate the daughter yet love her two boys very much.

  It was a strange family. Because the thing is, Mummy Bear was sick. But she didn’t want to frighten her darling boy cubs. But the girl cub, well, scaring her she didn’t mind so much. Who knows why, but Mummy didn’t like girl cubs. They saw right through her. They weren’t made dozy with her charms. And Mummy Bear didn’t like that. She liked her charms, she did. They were all she had left.

  Time passed and the poorly Mummy Bear started coming to the girl cub in the middle of the night, pregnant with dark secrets. She would share them with the girl and they would lie together, spooning in the dark … and in those few poisonous hours they would be close because … because … what brings you closer than sharing hell –

  Eliot Don’t, please, don’t –

  Maggie So the girl bear would walk her around night after night when she couldn’t sleep and it was her, only her who would change her mummy bear’s clothes when she was too low to even move and it was only this girl, this girl cub, who knew she tried it twice. Then three times, but I sorted her out, I helped her be sick and we never told anyone. Anyone. It was our secret –

  Eliot That’s not true –

  Maggie Our black secret.


  Eliot You’re lying. She didn’t, she was getting better –

  Maggie She was getting worse and you slept your way through it –

  Eliot No.

  Maggie You don’t know. It was me who listened. It was me who held her and listened. Her sour breath on my face.

  Roland Christ.

  Eliot Stop it stop it stop it.

  Maggie I was the last person to see her. It wasn’t him. It was me. I never told you that. I wanted to so many times. So many times, Eliot. But I couldn’t, you had your face so firmly in the fucking stars I couldn’t tell you what I said to her, I couldn’t. I kept waiting for you to be my big brother and take me in your arms and ask what was wrong. Because I thought it was written on my face so bright it could have been lipstick.

  Eliot What did you say? What did you say to her …

  Small pause.

  Maggie Something inside me just… I just knew it would be like every other time. Over and over. And I was so angry. So fucking angry with her. My tummy hurt and I couldn’t even tell her. She was crying again. Walking in circles. I tried to make her something to eat. You two were at the park. She shoved it out of my hand. She told me I was an accident. A piece of shit like my dead father. The same old routine. She started crying again. And it was like she couldn’t see me. I was begging her to calm down, to pull herself together. And it was like she couldn’t see me. And she started threatening things. You know. What she would do…

  Eliot What did you say to her?

  Maggie I said …

  Beat.

  ‘Just go and do it then.’

  Silence.

  Maggie crumples.

  I ran out of the house. I got to the park and I watched you. For a bit, before you saw me. And I was going to tell you. I wanted to tell you everything. But you looked so happy. Playing in the sun. I couldn’t. I just couldn’t. So I pretended nothing had happened. And when we got back she was gone.

  Eliot No.

  Maggie She was different to you, Eliot. She thought the sun shone out of your mouth. She worshipped you. She protected you from it. From the worst bits, and so did I –

  Eliot Please tell me you’re lying.

  Maggie shakes her head.

  Maggie I told her to do it and she has. She has.

  Eliot Please …

  She shakes her head.

  Roland goes to Katie, to put a hand on her shoulder.

  Roland We should call.

  Katie Don’t touch me.

  Roland Katie, I …

  She shakes her head. She goes over to Maggie.

  Your hand. You need a plaster. You need.

  It’s not your fault. You know that, sweetheart? Never think it’s your fault. You have both been so brave.

  Maggie clings to her hand.

  I’m going to go outside now. I’m going to call the police. People need to be looking for her. OK? We still don’t know what’s happened. OK. But we’re going to find out, sweetheart… Now let go.

  Maggie keeps clinging.

  You’re going to stay with us tonight. You’re all going to stay with us for as long as it takes. I’ll look after you. I promise. We can even go shopping. Proper shopping.

  Just wait in here. The phone call shouldn’t take too long. Maybe pack a few things. I’ll get Finn.

  She exits.

  After a second Roland follows.

  Finn wanders sleepily through the door.

  Finn Maggie! You’re out!

  I fell asleep in the car. I had my sailing dream again.

  Maggie Where were you sailing?

  Finn It was all of us.

  Sounds of a muffled argument can be heard A loud slam. A sob. Finn peeks through the peephole.

  I didn’t like him. She was nice, though. Ooo, they’re fighting. She hit him with her bag.

  Maggie and Eliot look at each other. For the first time since she told him. They stare at each other. Eliot comes to her. He seems about to say something but can’t.

  She hit him again! Hard.

  Maggie Tell us more about your dream, Finn.

  Finn I told you. It was just us. In the boat.

  Maggie Made of golden-syrup cans?

  Finn Of course.

  Eliot spies Roland’s jacket. He slips his hand inside and takes out a wallet.

  Maggie What are you doing?

  Eliot has slipped out a sheaf of notes and two cards.

  Eliot Was it an adventure?

  Finn I would say so. Yes.

  Maggie Eliot, put that back.

  Eliot We’re going to need it … what are they doing,

  Finn?

  Finn checks.

  Finn He’s crying. She’s… she still looks mad.

  Eliot Then we’ve got time.

  He shoves some belongings into a bag.

  Maggie What are you talking about?

  Eliot We can get out through the garden.

  Maggie No.

  Eliot I’ll carry Finn. Come on. Quickly.

  Maggie shakes her head.

  They will separate us. You know that.

  Maggie I’m tired, Eliot. I’m so tired –

  Eliot Get up.

  He looks at the door.

  We have a few minutes … if that … Come on.

  She doesn’t move. He kneels down by her.

  If they come back in and we’re still here it’s all over. Understand that. All over. Even if Mum does come back. The game’s up.

  Maggie Where will we go?

  Eliot To Brighton, Stonehenge, Land’s End, anywhere … We could just take a train … We’ve got some money now. We’ll be together. We’ll be all right.

  Maggie shakes her head.

  We will. Somehow. We’ll figure it out. But anything. Listen to me, anything is better than what’s about to happen if we stay here. We have to try.

  Maggie No.

  Eliot (urgent) Other people’s hands putting him to bed at night, other people’s hands all over him. Our brother. We swore we would never let it happen. We promised. Get up. Come on. Don’t fall now.

  Get up.

  Beat.

  Get up.

  He drags her up.

  You wanted your big brother and here I am. I’m just telling you what we have to do. I’m leading the way. There’s nothing for us here. Just follow me.

  Maggie Do you forgive me?

  Their eyes meet.

  Eliot Do you forgive me?

  A pause. She nods sadly.

  Then follow me.

  Eliot exits.

  Finn looks around the room. Torn.

  Maggie You can stay if you want and I’ll stay too.

  Finn takes a final look around the room. He is small, unsure.

  They hear a call. The same call Eliot used at the beginning. Red Indian. Tribal. Finn listens. Finn calls back. He looks at Maggie. He nods. She nods.

  Slowly, they follow Eliot into the light.

  The End.

  Acknowledgements

  I would like to thank Jeremy Herrin, Dominic Cooke and Ruth Little for all their insight, support and belief.

  My friends, Lisa, Nutty, Al, Toby, Matt, Johnny, and Harry. Thank you for listening to me rant and rave, for making all that tea and never letting me give up. And of course, Daisy. My sister. To whom this play is dedicated.

  Author biography

  Polly Stenham received both the Critics’ Circle and the Charles Wintour Award for Most Promising Playwright for her first play, That Face, which opened at the Royal Court The atre and transferred to the West End. That Face was also winner of the TMA for Best New Play, 2008. She is adapting That Face into a feature film with a UK Film Council grant, under the mentorship of Pawel Pawlikowski. Her short play, Hotel California, premiered at the Latitude Festival in 2007.

  ROYAL COURT

  Royal Court Theatre presents

  TUSK TUSK

  by Polly Stenham

  First performance at the Royal Court Jerwood Theatre Upstairs, Sloane Square, Londo
non 28 March 2009.

  TUSK TUSK

  by Polly Stenham

  Cast in order of appearance

  Eliot Toby Regbo

  Maggie Bel Powley

  Finn Finn Bennett, Austin Moulton

  Cassie Georgia Groome

  Katie Caroline Harker

  Roland Tom Beard

  Director Jeremy Herrin

  Designer Robert Innes Hopkins

  Lighting Designer Neil Austin

  Sound Designer Emma Laxton

  Casting Director Amy Ball

  Assistant Director Natalie Ibu

  Production Manager Tariq Rifaat

  Stage Managers Joni Carter, Bonnie Morris

  Costume Supervisor Jackie Orton

  Fight Director Renny Krupinski

  Stage Management Work Placement Jessica Harwood

  Set Built by RCT Stage Department

  The Royal Court and Stage Management would like to thank the following for their help with this production: Barnet Recycling Centre, Paul Foster, MDF The BiPolar Jonathan Williams Organisation, Natalie Miles, The People Show, Rethink, Jonathan Williams (Royal Borough of Kensington & Chelsea), Dawn Willis.

  THE COMPANY

  POLLY STENHAM (Writer)

  THE ROYAL COURT: That Face (&Duke of York’s).

  OTHER THEATRE INCLUDES: Hotel California (Latitude).

  AWARDS INCLUDE: 2008 Critics’ Circle Award for Most Promising Playwright, 2007 Evening Standard Award for Most Promising Playwright, 2007 Best New Play TMA for That Face.

  After the success of That Face, Polly was awarded one of the UK Film Council’s first grants from their newly feature structured development fund and is being mentored by Pawel Pawlikowski to adapt her play into a feature film.

  NEIL AUSTIN (Lighting Designer)

  FOR THE ROYAL COURT: Flesh Wound, Trust.

  OTHER THEATRE INCLUDES: England People Very Nice, Mrs Affleck, Oedipus, Her Naked Skin, Afterlife, The Emperor Jones, Philistines, The Man of Mode, Thérèse Raquin, The Seafarer, Henry IV Parts 1 & 2, Fix Up, The Night Season, A Prayer for Owen Meany, The Walls, Further than the Furthest Thing (National); Twelfth Night, Piaf, Parade, John Gabriel Borkman, Don Juan in Soho, The Cryptogram, Frost/Nixon, The Wild Duck, The Cosmonaut's Last Message to the Woman He Once Loved in the Former Soviet Union, Henry IV, World Music, After Miss Julie, Caligula (Donmar); King Lear, The Seagull, Much Ado About Nothing, Romeo & Juliet, King John, Julius Caesar, Two Gentleman of Verona (RSC); The Homecoming, Marianne Dreams, Dying for it, Tom & Viv, Romance, Macbeth (Almeida); No Man’s Land (Duke of York’s); Dealer’s Choice (Trafalgar Studios); A Life in the Theatre (Apollo); Japes (Haymarket).