Salt Creek Murders

This script is distributed by The Australian Script Centre 77 Salamanca Place Hobart 7004 Tasmania Australia email [email protected] www.ozscript.org ph +61 3 6223 4675 fax +61 3 6223 4678

Salt Creek Murders

by Melissa Reeves

© 2002 Melissa Reeves

This script is distributed by the Australian Script Centre 77 Salamanca Place Hobart 7004 Tasmania Australia email [email protected]

www.ozscript.org ph +61 3 6223 4675 fax +61 3 6223 4678

ALL RIGHTS RESERVED. This script is protected by Australian and

international copyright law. You have

a legal obligation to obtain permission

before either making copies of this script

or performing the play. Information on

who to contact for further information is

outlined below.

COPYING Photocopying or printing more than 10% of this

script without permission is illegal. You can use

CAL (the Copyright Agency Limited) for

photocopy rights, or you can buy a Copy

Licence from the Australian Script Centre.

E [email protected]

Ph +61 3 6223 4675

PRODUCTION RIGHTS Before producing or performing any play

you must obtain the permission of the

playwright or their agent. Contact details

for this script can be obtained from the

Australian Script Centre.

E [email protected]

Ph +61 3 6223 4675

PRODUCTION ROYALTIES

Production royalties can vary and must be

negotiated with the playwright or their agent.

At least 10% of gross box office is

recommended as the MINIMUM royalty

payment for playwrights. Contact the

Australian Writers Guild (AWG) for more

information on recommended rates and

payments.

www.awg.com.au

PERMISSIONS FOR SOUND RECORDINGS & MUSICAL WORKS

Some play scripts will require specific

music or sound recordings. Producers

are advised to contact the Australasian

Performing Rights Association (APRA)

for more information on licensing

requirements.

www.apra.com.au

COPYRIGHT ADVICE For general advice and information on

copyright issues contact CAL, the Copyright

Agency Limited.

www.copyright.com.au

AUSTRALIAN SCRIPT CENTRE The Australian Script Centre holds Australia’s

only large collection of contemporary

unpublished play scripts.

For more information contact us at:

77 Salamanca Place,

Hobart Tasmania 7004

Ph +61 3 6223 4675

Fax +61 3 6223 4678

E [email protected]

Help promote the ASC and Australian plays > Tell your friends and colleagues about us

> Mention www.ozscript.org in your program

> Link www.ozscript.org to your website

> Spread the word about Australian plays

you have enjoyed.

Note on the script: This is an unedited manuscript as provided to us by the playwright. We distribute it in good faith, however it may contain layout inconsistencies or typographic errors that are beyond our control.

Melissa Reeves

SALT CREEK MURDERS


2

CHARACTERS NELLIE MALACHI JANE AND ANNE JOHN AND TROOPER TRACKER This play was first produced by Mainstreet Theatre Company on the third of August, 2002, performed by Cathy Adamek, Lancho Davey, Sally Hildyard, Steve Mouzakis, and Ken Radley, directed by Tom Healey


3

SCENE ONE FROM UTTER DARKNESS, A CONFUSINGLY SLOW FADE-UP ON A COUPLE TUSSLING AND WRITHING TOGETHER ON AND OFF THEIR FEET. IT IS NOT APPARENT FOR A WHILE WHETHER THEY ARE ENGAGED IN A STRUGGLE OR AN EMBRACE. AS THE LIGHT SLOWLY LIFTS IT BECOMES CLEAR IT IS THE LATTER. EVENTUALLY THEY PULL APART, LOOKING AT EACH OTHER, A LITTLE PUFFED. THE MAN MOVES TO THE FRONT OF THE STAGE AND LOOKS OUT, AS THOUGH THROUGH A WINDOW NELLIE Get away from the window. MALACHI Why? NELLIE Come away. MALACHI There’s no-one out there. NELLIE Come away MALACHI Just scrub and salt NELLIE You come away from there MALACHI I love the smell of salt NELLIE You can’t smell salt MALACHI I can NELLIE You’re wicked SHE PULLS HIM BY THE ARM AWAY FROM THE WINDOW AND TRYS TO CHECK THAT NO ONE IS OUT THERE FROM A SAFE DISTANCE MALACHI I’m telling you there’s not a soul out there

NELLIE CONTINUES TO PEER ANXIOUSLY THROUGH THE WINDOW FROM A FEW FEET AWAY Go on then, if you’re going to, take a proper look HE PUSHES HER RIGHT INTO THE WINDOW. NELLIE FREEZES NELLIE He’s coming MALACHI Where


4

NELLIE By the Woods Well road MALACHI Where NELLIE Look MALACHI That’s not him NELLIE It is him MALACHI That’s Devaney’s black-fella NELLIE No it’s him. He’s got the girls cases with him MALACHI Where’s the girl... NELLIE You know it’s him MALACHI He’s miles away NELLIE He can see us MALACHI He can’t see a thing from there NELLIE There’s the girl. Look, there’s the girl MALACHI Where? NELLIE Get out from the window HE WRAPS HIS ARMS ROUND HER INSTEAD ...Malachi MALACHI Come here NELLIE No....He’s seen me. He’s seen the white of me. Get away SHE TRIES TO PUSH HIM AWAY Malachi.. MALACHI SLIDES DOWN HER BODY AND EMBRACES HER ROUND THE WAIST FROM THE FRONT. NELLIE STARES OUT THE WINDOW LIKE A RABBIT CAUGHT IN THE HEAD LIGHTS NELLIE He’s seen me... MALACHI IS NUZZLING INTO HER BELLY


5

He’s seen me... MALACHI Smile at him NELLIE I can’t MALACHI Go on smile at him HE BITES INTO HER STOMACH NELLIE He’s reached the gate. Malachi, he’s reached the gate MALACHI Wave to him.. NELLIE I can’t MALACHI Wave to him NELLIE SMILES AND WAVES OUT THE WINDOW. MALACHI CARRIES HER BACKWARDS ON HIS KNEES NELLIE Oh that was stupid...that was stupid. Why would I wave to him...I never wave to him MALACHI sshh NELLIE Waving like a queen out her carriage

window..I’d never do that, not if I didn’t have something to hide, not if I didn’t have a black haired succubus clinging on to me like a crab...

MALACHI shh NELLIE He knows about us. He looks at me daggers. MALACHI STARTS UNDOING HER SKIRT What are you doing. What are you doing SHE DOES IT BACK UP AGAIN. HE STARTS UNBUTTONING HER BLOUSE I’ve got to go MALACHI He’s got the horse to put away


6

NELLIE No Malachi MALACHI He’ll be ages yet NELLIE I’ve got to go SHE SUCCUMBS TO HIS EMBRACE. JANE, THE NEW DOMESTIC HELP, WALKS INTO THE ROOM, DRESSED IN HER TRAVELLING CLOTHES. SHE STOPS AND STARES WHEN SHE SEES THEM. THEY STARE BACK AT HER. SHE TURNS AND GOES STRAIGHT OUT AGAIN


7

SCENE TWO NELLIE IS INSTRUCTING JANE IN THE RUNNING OF THE HOTEL. NELLIE, AN EX DOMESTIC HERSELF, HAS NEVER EMPLOYED A DOMESTIC BEFORE. THEY ARE ABOUT THE SAME AGE, IN THEIR LATE TWENTIES. JOHN IS SITTING AT THE TABLE. NELLIE I expect of course the highest

possible standard. You come highly recommended, but I assure you you’ll find a very different set of circumstances here than your soft town job. This is the end of the earth.

JANE SAYS NOTHING

We spent hours choosing between the all the young women leaping at the chance to take this position, didn’t we John? There is a glut of girls at the present moment, a world wide glut and one can take one’s pick. I hope you won’t take it in the wrong way if I tell you I personally was in favor of a Miss Beatrix Zwager who was younger than you, and fresh off the boat and very eager to please.

JANE I’m eager to please. NELLIE She played the piano accordion and

the banjo mandolin. Do you play an instrument?

JANE No. NELLIE But John was impressed by the glowing creature painted by Mr. Macbride in his letter. Let’s hope you can live up to it. JANE I’ll do my best ma’am. NELLIE People often turn up at two or three

o’clock in the morning, wanting a bed and something to eat, so your nights are not your own, your nights belong to the hotel just like your days do. I hope Mr. Macbride communicated that to you.


8

JANE He said it would be hard work. NELLIE At meal-times you will sit in the

green chair nearest the stove and be careful not to over-indulge in small talk.

JANE LOOKS AT THE GREEN CHAIR NEAREST THE STOVE. JOHN IS SITTING ON IT ...Are you overly fond of talking? JANE I wouldn’t say so. NELLIE My husband doesn’t like idle gossip. JANE I’m sure I’m no gossip Mrs. Robinson. I have a strong devotion to the church. NELLIE A cardinal sin in domestics is their

constant chitter chatter. JANE I rarely feel the need to chat. NELLIE You can bring your luggage in through the kitchen. JANE EXITS. JOHN AND NELLIE SIT FOR A MOMENT IN SILENCE.


9

SCENE THREE JANE ENTERS CARRYING AN ENORMOUS LOAD OF BAGGAGE IN BOTH HANDS AND SHAKING HER HEAD TO AND FRO TRYING TO ESCAPE A FLY BUZZING ROUND HER FACE. MALACHI EMERGES AS IF FROM NOWHERE AND CATCHES THE FLY IN HIS HANDS JANE Thank-you MALACHI SHAKES HIS CUPPED HANDS MALACHI It’s angry now. JANE MAKES TO GO ON HER WAY Shall I kill it for you or shall I let it go? JANE Kill it please. The fewer flies there are the better. MALACHI How shall I kill it? JANE I don’t mind. MALACHI What sort of death is the most appropriate for a fly? I don’t much want to squash it...I

don’t like to get my hands mucky... perhaps if I cut off all its air, it

might suffocate... JANE Perhaps. MALACHI But I wouldn’t be much use to anyone

for a couple of hours, would I, sitting with my hands cupped.

JANE Just let it go if you’d prefer. MALACHI And if I kill it we shall have to

have a burial service and the burial services in these parts are very elaborate.

JANE oh? MALACHI You’ve not heard of them? JANE No.


10

MALACHI The natives set great store by their burial practices.

JANE I should get these cases- MALACHI They put it up a tree. JANE Put what up a tree? MALACHI The body. First they smoke it, then

they take off it’s skin like it was pants and a cardigan, and they prop the poor remains in a tree, looking out to the ocean......

HE PAUSES FOR EFFECT

It’s not wise to go bird-watching in the Coorong.

JANE Why do they do that? MALACHI Why? I don’t know Miss… JANE Macmanamin. Jane Macmanamin. I should

very much like to see one of those burial trees Mr.Martin.

JANE EXITS WITH THE CASES. MALACHI ABSENT-MINDEDLY SQUASHES THE FLY.


11

SCENE FOUR A FEW DAYS LATER, IN THE EVENING. NELLIE IS PEELING APPLES TO PUT IN A PIE. JANE IS SEWING. JOHN IS DRINKING STEADILY. NELLIE You should have seen them John. Last

night in the bar. Jane… and Malachi. JANE LOOKS UP FROM HER SEWING

His arm brushed against hers as she was pouring the beer and she dropped the whole jug…

JANE No.. NELLIE I saw you. JANE He bumped me. NELLIE You blushed. JANE I was embarrassed. NELLIE There’s no need to be embarrassed. JANE ..About the jug, I was embarrassed

about dropping the jug. NELLIE You could do worse than him Jane.

It’s not like men are crawling out of the wood-work are they?

JANE No. NELLIE What do you think of him? JANE He’s alright. NELLIE Go on JANE He’s… quite entertaining NELLIE Do you like his physique? JANE aahh.. NELLIE He’s short, but he’s very powerful. JANE I suppose so


12

NELLIE Not much neck, but big strong arms and shoulders. Wouldn’t you say? JANE …Like a bull NELLIE Yes like a bull. Do you like bulls? JANE Oh I don’t mind them NELLIE The very first time we met him, I saw

him lift the back of a box-cart all by himself, remember that John.

JOHN No not really. NELLIE Oh you remember. We got stuck coming

round the coast road. JOHN DOESN’T RESPOND

The waves were pounding into us, I almost had the sea in my lap, when Malachi appeared out of nowhere. He stood knee deep in the sand and heaved and you could see the chords in his neck, stretched like piano wire, and the cart began to rise into the air, I’ve never seen a man so strong…

PAUSE. JOHN IS STARING AT HER. NELLIE SEEMS OBLIVIOUS

I fitted a waist-coat for him, and his chest is like a wine barrel, and so broad, and the muscles in his shoulders and his arms are so big that he can’t touch his hands behind his back. They just don’t reach, try as he might they remain at least a foot apart. If he ever did anything bad, and the law came for him, they’d never get hand-cuffs on him, not behind his back, they’d have to use two pairs to cover the span. ...And you’d be a match for him Jane, more than a match

THEY SIT IN SILENCE. NELLIE KEEPS PEELING AND SLICING THE APPLES FOR THE PIE. JOHN KEEPS DRINKING STEADILY MALACHI ENTERS. THEY SIT FOR A MOMENT THEN JANE GETS UP.


13

JANE Good-night MALACHI OFFERS A STRING OF APPLE PEEL TO JANE. MALACHI Here JANE What’s that for? MALACHI You hang it on your bed-post JANE Oh…Thank you. MALACHI You’ll dream of the man you’ll marry. SHE EXITS. MALACHI, NELLIE AND JOHN SIT IN SILENCE.


14

SCENE FIVE JANE IS ASLEEP IN BED VERY LATE IN THE NIGHT. THERE IS A HUGE THUMPING AT THE DOOR. JANE WAKES UP. MORE THUMPING JOHN Open up, Open up. JANE OPENS THE DOOR. IT IS JOHN WITH AN AXE IN HIS HAND Who’s that? JANE Jane. It’s Jane JOHN Who? JOHN The new help. I’m the help JOHN What are you doing in here JANE Mrs. Robinson put me in here JOHN She locked you in? JANE No, no to sleep, I was asleep JOHN Have you got him in here? JANE Who JOHN Malachi Martin. JANE No, why would he be in here? JOHN Where is he. Where’s he hiding? HE TOSSES THE COVERS AND LOOKS UNDER THE BED JANE He’s not in here Mr. Robinson. I haven’t had anything to do with him. JOHN What did she say to you? JANE Nothing. She hasn’t said anything to

me. JOHN About what? JANE About anything. JOHN Why are you in here? JANE She put me in here. She said I’d have

to sleep in Mr. Martins occasional


15

room because my room was closer to the double bedroom and the Henty’s boy needed a bed

JOHN Where did she put him. Where did she

put Martin? JANE I don’t know. She swapped us all around. PAUSE. Can I get you anything Mr. Robinson JOHN You’re a good girl Jane.I should’ve turned you round and put you back on your cart... HE LEAVES JANE But I like it here... JANE SHUTS HER DOOR AND LOCKS IT AGAIN. SHE IS VERY SHAKEN. SHE LIGHTS A LAMP AND IS JUST ABOUT TO GET INTO BED WHEN A HAND REACHES OUT AND GRABS HER ANKLE. JANE SCREAMS. MALACHI PULLS HIMSELF OUT FROM UNDER THE BED MALACHI Ssh… Sshhh… JANE Oh Mr. Martin. MALACHI Stop trembling. JANE I’m alright. MALACHI MOVES CLOSER TO HER. MALACHI You’re sure you’re alright? JANE Yes I’m sure. MALACHI UNSCREWS A HIP FLASK. MALACHI Have a drink. JANE No thank-you. MALACHI Go on. JANE I don’t drink. MALACHI A glass of water then?


16

JANE Yes…a glass of water. MALACHI POURS HER A GLASS OF WATER. SHE DRINKS IT. MALACHI Better now? JANE Yes I feel much better. SHE GOES TO UNLOCK THE DOOR FOR HIM. MALACHI Don’t touch the door. JANE STOPS IN HER TRACKS. MALACHI HAS A DRINK FROM HIS FLASK. HE SITS ON THE BED. HE TOUCHES THE APPLE PEEL SHE HAS BROUGHT FROM HER OWN ROOM AND HUNG ON THE BED HEAD, THEN HE PICKS ONE OF THE BOOKS LYING ON HER BEDSIDE TABLE MALACHI What’s this? JANE My bible. MALACHI You read it do you? JANE sometimes. MALACHI sitting up in bed… HE SMILES AT HER. HE PICKS THE OTHER BOOK. JANE Sometimes. MALACHI What’s this one? JANE It’s a novel. MALACHI What’s it called? JANE …The quill. MALACHI Why’s it called that? JANE It’s about a man who writes a letter. MALACHI With a quill? JANE Yes. MALACHI What happens to him? JANE …He writes a letter, and then he…


17

MALACHI Go on. JANE And then he… receives a reply… MALACHI Sounds a dull sort of book. Are you

allowed both of them? JANE What? MALACHI The bible and the novel. JANE Yes MALACHI Seems to me one would cancel the other out.. JANE SAYS NOTHING So you like it here? JANE So far I like it. MALACHI What do you like? JANE …I like walking across the salt-pans

to the ocean beach. MALACHI It’s very windy down at the ocean

beach.. You don’t find it unpleasant? JANE No I like it. MALACHI This place you’ve come to, it’s

different to any place you’ve ever been.It’s the frontier. A piece of paper with nothing written on it, not a word written on it.

HE COMES UP VERY CLOSE TO JANE. And you can become something quite

different than what you were before, if you have a mind to.

THERE IS A GENTLE TAPPING ON THE DOOR.

You can take what you want,take whatever you want, and feel no guilt, feel nothing… does that shock you?

JANE CAN’T TALK. HE EXITS.


18

SCENE SIX NELLIE IS SITTING BY HERSELF, STARING OFF INTO SPACE. IT IS AROUND DUSK THE NEXT NIGHT. JANE ENTERS JANE What shall I do about his dinner Mrs. Robinson? NELLIE Just keep it warm. JANE It doesn’t look very appetizing… NELLIE SAYS NOTHING It’s gone completely black. NELLIE DOESN’T RESPOND. JANE EXITS. SCENE SEVEN IT IS VERY LATE THE SAME NIGHT. JANE AND NELLIE ARE SITTING TOGETHER ALMOST IN THE DARK. HER HUSBAND HAS BEEN MISSING FOR FOURTEEN HOURS. NELLIE I never liked this house. As soon as

I saw it I hated it, but I wanted to please John so I smiled and ran down to the creek and took a huge gulp of water, and that was when he laughed and told me I should’ve paid attention to the name, that it was called Salt Creek for a reason, the water was foul, and I wondered again for the twentieth time if I had done the right thing marrying a man who would wait until after I had half poisoned myself, without warning me first. There’s something wrong in that. There’s something cruel in that...

SHE PAUSES What’s the time now? JANE Quarter past two NELLIE This isn’t the first time he’s gone

and lost himself, he’s useless in that bush, wasn’t brought up for it, rides a horse like a stick, not like


19

Malachi, Malachi’s like he grows out of the horse’s back like one of those half man, half horse people...

He’s probably gone and hurt himself, stumbled into some disaster, and who’s to know if he dies that some sister or cousin won’t crawl out of the wood-work and claim she should inherit everything, cause he’s left no will. I know that much, he’s left no will. Who knows what happens when you’ve left no will?

JANE The wife inherits everything. NELLIE Does she? JANE Oh yes the wife gets everything. PAUSE NELLIE I didn’t mean to marry him. He asked

and asked, and I told him, you’re not my type John, slow and wooden and no sense of humour, but he wouldn’t take no for an answer and when my friend Alice got married in Meningie, John was there, because he’d known Alice from somewhere or other, and the priest started talking about the divine state of marriage, about taking your rightful place in the world like the very first couple, like Adam and Eve in their paradise. Hand in hand we would be the first ones, the special ones, and I could see what he was saying, I could see all the big couples hand in hand, with the gum-trees and the tree ferns, and I could feel John looking at me with a peculiarly intent gaze, and I tried to not look back but I couldn’t not look, he was staring at me and normally I would’ve laughed at his serious face, but a shaft of light had caught his hair and he was all lit up and looked noble and important, and I was full of what this priest was saying, and I was hot in my frock and my heart was beating and I said ‘Lets get married. Lets get married right now.’ And John


20

strode over to me and grabbed my hand and we walked up to the priest, and the priest said we’d have to wait until he’d married Alice and Ryan Leckie cause they were first in line, so we waited, and already I started feeling like it was maybe a mistake, John’s hand was unpleasantly damp and his slight stoop was irritating me, but I couldn’t get out of it then, I couldn’t run out the church, so we got married and everyone was excited because it was such a surprise, but as soon as I got back to where I worked for Mrs. Packham, I told her I wanted to be out of it, that I didn’t want to be married, not to John Robinson, and she said that I couldn’t get out of it, that marriage is like an iron weld, once it’s done, it’s done for ever.

THEY SIT IN SILENCE FOR A FEW MOMENTS

...and to bring me here..to this place.. the plants are all grey and black, like dead things growing… No wonder with all that salt feeding poison into the roots. Bleaching any colour from the land…except for the pig-face.. creeping over everything.. spreading like a blood-stain...and the strange pink glow of the salt just before it gets dark...

SHE SHIVERS. JANE IS CAUGHT UP IN THE MOOD JANE Yes. The salt. I was told to expect

it, but I was still amazed....it’s like snow…

LONG PAUSE NELLIE It’s late….Why dot you go to bed...I

can wait up by myself.... JANE SHAKES HER HEAD. THERE IS A LOUD KNOCKING AT THE DOOR. MALACHI ENTERS MALACHI There’s no sign of him. NELLIE STARES AT HIM


21

Are you alright Nellie? NELLIE NODS I’ll be back in the morning. HE LEAVES. NELLIE LOOKS STUNNED. JANE LOOKS CONCERNED JANE Mrs. Robinson. NELLIE I’ll be alright...I’ll be alright... JANE I was wondering... NELLIE I’ll be alright...I’ll be alright

now. What time is it? JANE It’s nearly three. NELLIE If that beam of light hadn’t lit up

his hair I never would’ve married him.

JANE Mrs. Robinson. NELLIE Yes. JANE It’s well past Thursday now and it’s

not wise to lose the regularity of these things.

NELLIE What? JANE I hate to be a bother but I like to

keep a record and it’s easier if it’s nice and regular, and once you get even a little way behind, sometimes these things run away from you.

NELLIE REMAINS UNCOMPREHENDING.

My wages Mrs. Robinson. I get paid on Thursdays.

NELLIE STARES AT HER A MOMENT THEN GETS UP IN SILENCE AND GOES AND GETS THE CASH BOX AND GETS OUT THE MONEY AND A BOOK. SHE SILENTLY COUNTS OUT ONE POUND, TWO SHILLINGS AND PUSHES IT OVER THE TABLE TOWARDS JANE WITH THE WAGE BOOK. JANE SIGNS THE BOOK AND PUSHES IT BACK. NELLIE IS SILENT AND QUITE FRIGHTENING AS SHE STANDS BEHIND THE TABLE.


22

SCENE EIGHT THE LIGHTS SLOWLY COME UP. A BLACK TRACKER, DRESSED QUITE STYLISHLY, WHEELS IN A BODY ON A BARROW, COVERED IN A BLANKET. MALACHI FOLLOWS. NELLIE RUSHES ON. JANE FOLLOWS. NELLIE STARES AT THE COVERED PRONE FORM OF HER HUSBAND. MALACHI COMFORTS HER. NELLIE It’s him. MALACHI It’s your husband.... PAUSE He’s done away with himself... NELLIE What did he do? MALACHI Cut his own throat. AFTER A MOMENT NELLIE STARTS GASPING HYSTERICALLY, NOT BEING ABLE TO GET HER BREATH. MALACHI HOLDS HER. SHE CALMS DOWN. NELLIE He was a good man He was ... a good man NELLIE AND MALACHI GO INTO THE HOUSE. THE BLACK TRACKER BEGINS TO WHEEL THE BODY AWAY. JANE May I look? THE BLACK TRACKER NODS. JANE WALKS UP TO THE BARROW AND SLOWLY LIFTS UP THE BLANKET, AND DRINKS IN WHAT SHE SEES FOR MANY MOMENTS, OPEN MOUTHED, FASCINATED... JANE He’s very pale. BLACK TRACKER Lost a lot of blood. JANE His eyes are open. BLACK TRACKER Docter’ll shut them. JANE Is he cold? BLACK TRACKER Cold as the sea. SHE LIFTS THE SHEET UP FURTHER AND LOOKS CAREFULLY AT WHERE HIS THROAT IS CUT. SHE EXHALES SOFTLY. Look at that...


23

He won’t get into heaven. They don’t let them in, not if they do it to themselves. And they’re not allowed inside the cemetery proper, he’ll get put outside the wall.

BLACK TRACKER This man didn’t kill himself JANE LOOKS AT HIM. The knife was clutched in his right hand... JANE LOOKS AT HIM....

...and this man, Robinson, his right hand couldn’t clutch anything, his right hand was withered away....

JANE STARES AT HIM AS HE WHEELS THE CART AWAY


24

SCENE NINE THE TROOPER AND THE TRACKER ARE RELAXING IN COMAPANION CHAIRS. IT IS EVENING. THEY ARE LOOKING AT A LARGE SCALE MAP. TROOPER The water hole seems a curious digression... TRACKER Not if one’s hands are covered in blood. TROOPER ...but with the creek on the way home. TRACKER Martin missed the creek...he came

straight across the salt pan... TROOPER ...aaah... PAUSE So he followed him from the hotel? TRACKER No, they set out together... HE LEANS OVER AND POINTS AT THE MAP, TRACING THE JOURNEY WITH HIS FINGER See. Here. Trit trot, trit trot. They

reach the point of Young Husbands Peninsula and they talk for a bit, not companionably, the horses are edgy, and then they split up, Robinson heading for the inlet, and Martin returning by the Woods Well road.

TROOPER But Martin comes back. TRACKER He rides along the ridge above

Robinson, hidden by the sand-hills. When they get to Caffeys flat, Martin jumps him. Gets him off his horse without dismounting himself, then grabs him from behind and slits his throat.

THE TROOPER WHISTLES. But Robinson doesn’t die, he staggers

about clutching his neck, so Malachi Martin stabs him twice in quick


25

succession, then he arranges him, leaning up against a tree, with his knife clutched in his useless right hand...

THE TROOPER NODS. TROOPER Whose knife? TRACKER Martin’s knife... Martin says

Robinson borrowed it the week before to kill a pig.

TROOPER Such a clumsy crime. TRACKER Yes, and he can’t resist boasting

about it. I said to him in the morning perhaps we should we take horses and he says oh we won’t need the horses..it’s not far away...

THEY LAUGH.

He took me straight there... didn’t seem to want to waste our time, looking for a dead body in the wrong place.

THEY LAUGH TROOPER ....Could cope with committing the

crime but gets bored by all the tedious covering up one has to do ...

THEY LAUGH What a stupid man. TRACKER No ...I wouldn’t say stupid... a very

dangerous sort of man... A man who kills without compunction.

TROOPER Is there such a man? TRACKER I think so. He kills methodically, as

though he kills an animal that he is going to eat for his supper.

TROOPER Does it excite him? Killing. TRACKER Well… yes, after the act, he’s

excited, yeah, he enjoys the play of


26

it, he replaces Robinson’s hat that has fallen off in the scuffle back on his head, and he tries the head in different positions, finally tilting it to the side in the manner of a tragic illustration, the wrong side unfortunately..

THEY SMILE GHOULISHLY. TROOPER Have you met the widow? THE TRACKER NODS. THE TROOPER SMILES TRACKER What? TROOPER Apparently she and Martin are always

embracing, they hardly attempt to keep it secret, behind trees, in door-ways, behind sheds, they’re in a fever and can’t get enough of each other....So he is a man of some passion.

TRACKER He likes fucking. TROOPER I beg your pardon. TRACKER I said he likes fucking. THEY SMILE AT EACH OTHER TROOPER He’s an ugly looking brute don’t you think? TRACKER I suppose so. TROOPER Savage face, big cranium, physiologically the type to do evil.. TRACKER All you migloo look ugly to me. TROOPER I look ugly? TRACKER oh yes..Like a man who’s been peeled..


27

SCENE TEN NELLIE IS SITTING AT THE KITCHEN TABLE IN HER WIDOWS BLACK. JANE ENTERS WITH THE TROOPER TROOPER Good afternoon Mrs. Robinson NELLIE Good afternoon TROOPER I’m very sorry about your husband

You won’t mind if I ask you some questions

NELLIE Not at all TROOPER They’re just the usual run of

questions...when a man dies in these circumstances.

NELLIE I understand. TROOPER You are Catherine Margaret Robinson,

born Catherine Margaret Bracken, known as Nellie?

NELLIE Yes TROOPER And you’ve been married for how long? NELLIE For eight years... TROOPER Had your husband been acting at all

differently of late? NELLIE SHAKES HER HEAD. Was he having black moods. Was he low

in spirits? NELLIE Not really. TROOPER Did he have any enemies to speak of. NELLIE No, he was loved by everybody. TROOPER And forgive me for being presumptuous

Mrs.Robinson, but your relationship with the deceased. Were you .....

NELLIE If ever two people were soul mates,

if ever two people were intended for each other and would have pined away alone and loveless if they had not


28

found each other John and I were that couple. Fetch us some fruit-cake Jane. I’m sure the Superintendent is hungry.

JANE CUTS A SLICE OF FRUIT CAKE. THE TROOPER HOES INTO IT TROOPER I understand Mr. Robinson had some

sort of malformation of the right hand

NELLIE Yes he did. His spine was also

slightly twisted. An accident of birth.. or that was what he told me...

TROOPER Did he have any use of the hand? NELLIE He could do some things with it. TROOPER Such as... NELLIE SMILES SLIGHTLY COYLY NELLIE He could... turn a door handle. He

could lift a bucket. TROOPER The doctor is of the opinion the

sinews were frozen in position and he could grasp nothing tightly.

NELLIE He had limited movement, but he had some. TROOPER Did you recently have a pig killed Ma’am. NELLIE Yes we did....the bacon is hanging in

the cool store. TROOPER How long ago would this be? NELLIE Perhaps two or three weeks ago. TROOPER Who killed the pig Mrs. Robinson? NELLIE I killed the pig. TROOPER And what knife did you use?


29

NELLIE I used Mr. Martins knife. Mr. Malachi Martin, a man who occasionally offers assistance around the Hotel.

TROOPER What did you do with the knife Mrs.

Robinson, after you had finished killing the pig...

NELLIE HESITATES Did you return it to Mr. Martin? NELLIE ..no ...I kept it...I put it in the drawer... SHE GOES CONFIDENTLY TO LOOK FOR THE KNIFE. It should be in here... THE KNIFE IS NOT THERE. ...it should be here... SHE LOOKS IN AWE AT THE TROOPER AS THE REALISATION THAT THEY ARE TALKING ABOUT THE INSTRUMENT OF DEATH DAWNS. SHE IS EITHER TRULY AMAZED OR A FABULOUS ACTOR. THE TROOPER HOLDS UP A KNIFE TROOPER Is this the knife? NELLIE IS UPSET NOW NELLIE Yes that’s the knife… TROOPER You are aware Mr. Malachi Martin is

under arrest charged with the murder of your husband.

NELLIE Mr. Martin is almost a stranger to

me. He works mostly with John and they seemed to get on alright although I would say Mr. Martin as a man is a good deal courser than my husband...

TROOPER In what way courser? NELLIE HESITATES. May I speak to you in private sir


30

THEY BOTH LOOK AT JANE WHO EXITS NELLIE Mr. Martin did once try to ... TROOPER Go on NELLIE He stopped me in the yard when John

was away from home. He had been drinking, and he tried to ...

TROOPER I think I understand... NELLIE He touched me... THE TROOPER IS UNSETTLED BY NELLIES FRANKNESS. TROOPER yes... NELLIE I have never spoken of this to anyone. TROOPER I understand. NELLIE I pushed him away. TROOPER Yes. NELLIE It was over a year ago. The very next

day Martin came to me in absolute distraction, crying and hitting his hand to his head, hurting himself. He was making such a noise and we had an important man from Adelaide staying so I took him down to the laundry shed where no-one could hear him, and I shut the door and he kneeled down before me and he kissed my hands and he cried real tears and he said he couldn’t live with himself for what he had tried to do, to me a respectable married woman with a husband held in such high esteem as Mr. Robinson... and he made me swear not to tell Mr. Robinson, that he regarded Mr. Robinson as a friend and a benefactor and he could not bear him to think ill of him. And he pushed his wet brow against my skirt and he prayed to god, there in front of me....for a whole fifteen minutes...he prayed to god.


31

TROOPER I see...well....I see.... NELLIE It was very moving and I forgave him. TROOPER I see... NELLIE And never since have I had a hint of trouble from him TROOPER ....Well...I had better get going... NELLIE Of course...Jane.... JANE ENTERS AND FETCHES THE TROOPERS HAT AND COAT TROOPER I should tell you Mrs. Robinson, that

with-out a doubt it was Malachi Martin that killed your husband with a pig-knife, and he should swing for it, but the only hard evidence we have is the word of a black-fella, and for some asinine reason that makes sense to the bankers and clerics that run this place, he can’t take the oath and his word won’t stand up in court, so Martin was released last night on a technicality. I told him to get out of the district or I wouldn’t answer for the consequences.

NELLIE He’s gone then... TROOPER So far as I know. He’s scuttled off

to the gold-fields or some such place...I’d steer clear of him Mrs. Robinson

HE PUTS THE KNIFE ON THE TABLE AND LEAVES ABRUPTLY NELLIE SAYS NOTHING. NOR DOES JANE. NELLIE LOOKS COMPLETELY BEREFT. NELLIE Stay with me...You’ll stay with me? THE LIGHT FADES VERY SLOWLY ON THEM.


32

IT IS EARLY IN THE MORNING A YEAR OR SO LATER. JANE HAS COLLECTED SOME FLOWERS FROM THE GARDEN ON THE TABLE AND IS ARRANGING THEM INTO A POSY. NELLIE ENTERS. JANE HURRIEDLY TRYS TO HIDE THE BUNCH OF FLOWERS. NELLIE Are they for me? JANE SHAKES HER HEAD. You’re blushing… JANE STARTS TO LEAVE. You’ve got a fancy-man. JANE No. NELLIE I don’t believe you. JANE I haven’t... NELLIE It’s not that german cabinet maker.

You’re not in love with him. JANE no... NELLIE He’s too old for you. JANE It’s not him. NELLIE Who is it then? JANE It’s no-one. NELLIE sly fox... JANE I haven’t anybody. NELLIE Then who are the flowers for? JANE Just a friend. NELLIE You haven’t got any friends. JANE I’ve made a few. NELLIE Who? JANE SAYS NOTHING. NELLIE LAUGHS. You dont have to tell me if you don’t want to...If it’s embarrassing....


33

JANE It’s not embarassing. NELLIE Well then? JANE The flowers aren’t for anybody that’s

living... NELLIE oh. JANE They’re to put on a grave. NELLIE Oh. Whose grave? JANE ALMOST WHISPERS. JANE Your husbands..... NELLIE Where did you get them from? JANE I picked them. NELLIE Where did you pick them? JANE I picked them from the garden. NELLIE You stole them. JANE I grew the garden. NELLIE With my money. JANE I wanted to use proper flowers. I’m sorry. NELLIE I didn’t know you were so fond of him. JANE I hardly knew him. NELLIE He must have made quite an impression

on you. JANE No.I just felt sorry for him. I was

walking in the bush and I stumbled over it, his grave. And it was all neglected.I mean it was overgrown,so I…

NELLIE So you what… JANE I tidied it up…


34

NELLIE Give me the flowers. JANE DOESN’T MOVE. Give me them. JANE I can’t see any harm... NELLIE HOLDS OUT HER HAND. JANE GIVES NELLIE THE FLOWERS. NELLIE RIPS THEIR HEADS OFF AND DROPS THEM ON THE FLOOR. NELLIE Now clean that up! JANE I haven’t been paid for a whole year.

I haven’t had a penny from you in a whole year.

NELLIE Why don’t you leave then? JANE I would like to be paid. NELLIE We haven’t got any money. JANE You bought new sheets from the pedlar. NELLIE Do you think I put them on my bed. Do you think I’m sleeping in them! JANE I’ve written to Mr. Macbride. NELLIE I haven’t got anything more than what

you’ve got. Do I give myself any little treats. I haven’t bought myself anything new in months. What have you got to complain about?

JANE But I work for you. NELLIE I work just as hard. JANE But it’s your hotel. NELLIE The bank owns most of it. JANE You owe me a hundred and four pounds,

twelve shillings and sixpence... NELLIE I haven’t got it. I can’t give you any of it.


35

JANE You used to work for your living. NELLIE yeah and I got out of it. JANE But you wanted to be paid..when you

did work, you wanted to be paid. NELLIE Of course I did. JANE Well I want to be paid. I’ve waited.

You said to wait and I’ve waited. NELLIE You’ll be paid when business picks

up. JANE Business won’t pick up. NELLIE Why not. JANE SAYS NOTHING. Why won’t business pick up? JANE SAYS NOTHING. NELLIE TALKS SOFTLY AND INTENSELY NELLIE I don’t know the truth of those

events that have given us such a sinister reputation, so that even if some ignorant traveler stops for the night and enjoys his food and sleeps soundly in his bed, he’ll quickly be told on his departure the odious nature of the place he just quitted, and thank his god that he didn’t lose his head in the night. Do you think I haven’t thought about it, that I haven’t racked my brain time and time again over whether Malachi could have done such a thing?

JANE SOFTENS A LITTLE

We’re the same you and me. Set off halfway across the world all by ourselves, that’s no small undertaking…

SHE SOFTENS A LITTLE MORE

The sourness will leave this place. People will come back. You’ll see. We’ll build a second floor, and dig a


36

cellar, and buy a piano and install a front verandah for young ladies wanting a taste of the wilderness.

I’ll be the mistress of a grand establishment, and you’ll get paid everything you’re owed and more I promise...


37

SCENE TWELVE THE TROOPER AND THE BLACK TRACKER . THE TRACKER IS PEELING POTATOES AND THE TROOPER IS CUTTING THEM INTO CHIPS TROOPER I didn’t think armed guards were

necessary. Not for Meningie. But Adelaide is insisting

TRACKER Why? TROOPER Apparently some women are very

affected and throw themselves onto the coffin wailing, like they had been secret lovers...

TRACKER Perhaps they had. Perhaps there’s a

string of fatherless babies stretching all the way to Melbourne

TROOPER All called Robert or William TRACKER Or Roberta TROOPER Or Wilhemina. Thick or Thin TRACKER I like them thick TROOPER Well, even if the poor women brave

the armed guard, open up the coffin and rip apart the human packets inside, they won’t get much satisfaction. I’ve heard the bones bear as much resemblance to human remains as fish to chicken

TRACKER really TROOPER Dingoes had dug up most everything,

so the poor Victorians collected any old bones they could find, wrapped them up in white canvas, called one Burke and one Wills, and are bringing them down, town by town, flanked by six black plumed horses...

TRACKER Burke and Wills...aren’t they the ones that drowned? TROOPER What ones that drowned?


38

TRACKER ..some boat-load of explorers that drowned

TROOPER I don’t know of any boat-load of

explorers that drowned TRACKER Trying to find the great inland sea... THE TRACKER LAUGHS TROOPER That wasn’t such a far fetched idea surely TRACKER They took their boat with them... TROOPER Burke and Wills aren’t the ones that

drowned. Burke and Wills are the ones that starved.

TRACKER Oh that’s right...they buried their

food and water underneath a tree and then they couldn’t find the tree...

TROOPER They found the tree… It had an arrow

carved in it pointing to where the provisions were buried, they found the tree and they ate the food and drank the water… but then they couldn’t find any more and they starved ...

TRACKER I love that story TROOPER I don’t quite see what there is to love about it... TRACKER I like to think about them sitting under their tree. TROOPER Why TRACKER I don’t know. Two men, sitting under

a tree, waiting for rescue, waiting for death. There is something quite evocative about it.

TROOPER You find nothing poignant about it? TRACKER It has always struck me more as a comic situation.


39

….You don’t find it funny? TROOPER No. TRACKER But you were laughing before. TROOPER I was laughing at man’s need for a

keep-sake overwhelming his love for the truth and I was laughing at the silly women who grieve for a stranger as though he were an intimate acquaintance, but the essential story of two men who set out to find what lies at the heart of their land and die in the attempt, that I don’t find funny...

TRACKER Not when you close your eyes and picture them sitting under the tree in the hot sun. TROOPER No TRACKER It tickles my funny bone TROOPER …And is your funny bone tickled at

all by a story a little closer to hand and not so long ago when an entire boat-load of people were murdered in cold blood by your country men.

TRACKER Remind me of the story TROOPER You know the story TRACKER I have forgotten it TROOPER Very well. The ship Maria runs

aground off the Coorong and all twenty six souls aboard are set apon and killed...and all their money and possessions stolen...and when the troopers go to investigate they find the entire tribe decked out in dead men’s shirts and dead women’s dresses....is that amusing...

TRACKER The costumery is mildly amusing. TROOPER Or do you just find death amusing


40

TRACKER Depends who’s dying TROOPER When white people die it’s funny TRACKER Sometimes PAUSE TROOPER Malachi Martin’s back TRACKER Is he. Is he at the widows? TROOPER He’s camped out by the wash-pool, by

his own bloody memorial.... I want you to keep an eye on him.

TRACKER Sure I’ll follow him round. TROOPER More than that. Ask him for work. TRACKER Work? TROOPER You can go under-cover for a bit... THE TRACKER SMILES. PAUSE TROOPER Damn it. Why is it that I can feel

massive sympathy for the treatment of your fellow countrymen, can mourn the hundreds dead from small pox and flu, can cry with you when the Robe River people were heinously murdered with poisoned flour… and yet you can’t find it in your heart to sympathize with two men dying hungry under a tree.

TRACKER Oh come on Jack. Would you ask a

Carthaginian to toast the health of his Roman overseer?

TROOPER I should never have let you in my

library…


41

SCENE ELEVEN NELLIE IS WAITING IN THE KITCHEN. SHE IS DRESSED UP FOR SOME OCCASION. SHE HAS ON A BLACK ARM-BAND. NELLIE Are you nearly ready...Come on Jane,

we’ll be late. SHE CUTS A PIECE OF BLACK VELVET.

What are you doing in there, come on. Doesn’t it fit you? I can alter it if it doesn’t fit you...

THERE’S NO RESPONSE.

I’m coming in.

JANE (off) No. Go without me. NELLIE It can’t be that bad. Come on. We’ll

miss everything... JANE EMERGES SLOWLY. SHE HAS ON A NEW DRESS THAT NELLIE HAS MADE FOR HER. IT IS SIMPLE AND WELL MADE AND SHE LOOKS QUITE LOVELY. NELLIE SHRIEKS WITH PLEASURE. JANE I don’t think I want to wear it. NELLIE Why not? JANE It’s very pretty, but... NELLIE What’s wrong with it? JANE Thanks for making it for me but... NELLIE Jane..You have to wear it. JANE I feel stupid. NELLIE You look like a lady in a shop. JANE Do I? NELLIE Better than that. You look...French. PAUSE JANE I’m too tall. NELLIE You’re not too tall.


42

JANE My hands and feet are too big. NELLIE I’ve never noticed. JANE They look like they belong to

somebody else’s body. NELLIE They don’t... Show me. JANE LIFTS UP HER SKIRT AND SHOWS HER BIG FEET. NELLIE LOOKS AT THEM IN SILENCE. JANE They’re big aren’t they. NELLIE They’re not that big. JANE And my hands… JANE LOOKS AT HER BIG HANDS NELLIE They’re fine.. JANE They’re huge. NELLIE They’re not huge. JANE My mother had tiny hands...like your

hands... NELLIE I hate my hands. They’re horrible... SHE HOLDS OUT HER HANDS I’ve got stumpy fingers. JANE They’re not stumpy. NELLIE Of course they’re stumpy. SHE HOLDS UP HER HANDS TO JANE’S AND THEY BOTH SMILE. NELLIE SEWS A BLACK VELVET ARM-BAND ON TO JANE’S ARM AS SHE TALKS.

I knew that a fitted bodice would suit you. And the full skirt. And the fine print, see, I was right wasn’t I? Those dreadful roses you liked, they would’ve been completely wrong, this, look at it, it’s like what you’d see on a beautiful chair in a rich lady’s dining room, it’s elegant and refined.


43

SHE BITES THE COTTON THREAD. Nothing flashy about it..And the special pocket! You must like the special pocket? JANE SMILES BASHFULLY. JANE Yes I like the special pocket. NELLIE Have you put anything in it yet? NELLIE FEELS JANES WAIST. You have! Wasn’t it clever how I tucked it in behind? JANE SMILES. Come on.


44

SCENE TWELVE LATE THAT NIGHT. NELLIE AND JANE ARE TALKING ON JANE’S BED. JANE She’d line jobs up for me till

eleven-thirty, twelve oclock at night-

NELLIE Some of them are such bitches. JANE ..meanwhile she’d be snoring in bed

with her dogs, she used to sleep with her dogs, three of them..

THEY LAUGH. NELLIE Shh, not too loud. JANE Washing her sheets was enough to make

you throw up, they were so foul, they were covered in dog hair-

NELLIE Auggh JANE She was the one that accused me of

stealing her comb set, her ivory comb set, I didn’t take her comb set. She sent a letter to Adelaide-

NELLIE sshh.. JANE ..and got me into trouble, and for

three weeks I had to stay in a wayward girls home.

NELLIE You didn’t mention that in your

application letter. JANE No, I.. NELLIE LAUGHS. Don’t! It was awful. My sister came

and vouched for me and got me out, and found me work at Murray Bridge with Mr Macbride.

NELLIE What was he like? JANE He was very nice. NELLIE What was wrong with him?


45

JANE There was nothing wrong with him. NELLIE Did he try to kiss you? JANE No. NELLIE He did didn’t he? They all do. JANE He didn’t. THEY LAUGH. SOMEONE BASHES ON THE WALL. THEY WHISPER. NELLIE Which one’s that? JANE The old one. NELLIE The one with the limp? JANE NODS. NELLIE LIES BACK ON THE BED. THEY ARE LOST IN THEIR OWN THOUGHTS FOR A MOMENT. NELLIE Have you ever kissed anyone? JANE ...a man on the boat..coming out... NELLIE Did you like it? JANE It was alright. NELLIE And you only kissed? JANE Yes. NELLIE What else did you do? JANE That’s all. We just kissed. NELLIE The first time Malachi kissed me, he

bit me, on the mouth, and I thought he must be really inexperienced... but he wasn’t...he liked it... I’m bad aren’t I?

JANE No. No... you’re not bad. NELLIE I am bad. JANE Malachi’s bad. You’re not bad. NELLIE I’m glad he’s gone.


46

JANE Are you? NELLIE I’m glad it’s just you and me.I

missed him, oh, that first year, it was like half of me was gone... what was that?

JANE What? NELLIE I heard something. THEY ARE QUIET. Who’s there? THERE IS NO ANSWER. Is there anyone there?

NELLIE MOVES TO THE DOOR. JANE REACHES UNDER THE BED. DARKNESS HAS FALLEN AND THE DOOR IS IN SHADOW. A FIGURE ENTERS AND GRABS NELLIE FROM BEHIND. SHE SCREAMS. JANE POINTS THE SHOT-GUN. JANE Let her go. MALACHI I will if you ask nicely. NELLIE Malachi....Oh Malachi. THEY EMBRACE. JANE STILL HAS THE GUN RAISED AND POINTED. MALACHI You can put the gun down now. JANE LOWERS THE GUN. JOCKEY ENTERS, CARRYING THE BAGS.


47

SCENE FOURTEEN A COUPLE OF DAYS LATER. JANE IS WAITING FOR NELLIE TO GET UP. NELLIE IS UP VERY LATE. SHE FINALLY ENTERS IN HER NIGHT-DRESS JANE Nellie… NELLIE What is it? JANE I want to give my two weeks notice. NELLIE Why? JANE My sisters sick. NELLIE What’s wrong with her? JANE She’s alright, she’s just… unwell. NELLIE Do you want to visit her, and then come back. JANE No. PAUSE NELLIE When did you find out? JANE …I got a letter from her… on Tuesday. NELLIE You didn’t mention it. JANE I was.. thinking about it.. NELLIE Do you want to go? JANE No I don’t want to go. NELLIE Well why go? JANE SAYS NOTHING. MALACHI ENTERS. HE HAS NO SHIRT ON. HE LEANS LANGUIDLY AGAINST THE DOOR-JAM. NELLIE Jane wants to leave.. Her sisters sick. MALACHI I’m sorry to hear that... HE EXITS BACK INTO THE BED-ROOM. NELLIE WHISPERS. NELLIE I asked him point blank last night.


48

JANE What? NELLIE Whether he killed him. Whether he

killed John. That’s what you’re worried about isn’t it.

JANE I...No...I.. NELLIE Well I asked him. I asked him

straight out. JANE What did he say? MALACHI ENTERS. HE HAS PUT HIS SHIRT ON. NELLIE Ask him. Ask him yourself. JANE What. No. NELLIE Go on. Ask him. MALACHI What do you want to know Jane? JANE I.... NELLIE She wants to know if you murdered my

husband. She doesn’t want to live in a house with a murderer. You have to tell her you didn’t murder him.

PAUSE. MALACHI I didn’t murder him. NELLIE See. PAUSE Please stay Jane. Say you’ll stay. JANE I’m sorry.. but I think I have to go to my sister. PAUSE ....There’s the question of my wages. NELLIE How much is it? JANE A hundred and ninety pounds and twelve shillings…


49

NELLIE SAYS NOTHING.

Perhaps if you gave me half of it.. if you gave me ninety five-pounds…six shillings..and then…

NELLIE We can’t afford it. I’ve got your

sisters address. When we have the money we can forward it to you there.

JANE SAYS NOTHING. Do you want to do that? PAUSE JANE …There’s forty-seven pounds in the

sewing box. If you gave me that, we could say that we were settled. That would be sufficient. If you gave me that…

SHE LOOKS AT NELLIE PLEADINGLY. NELLIE CONSIDERS. NELLIE I’m afraid we’re going to need

that…for running costs…


50

SCENE FIFTEEN JANE IS IN HER BED-ROOM, FURIOUSLY FOLDING THINGS UP AND THROWING THEM INTO HER SUIT-CASE. ALL OF A SUDDEN SHE STOPS PACKING AND BURSTS INTO TEARS. SHE STIFLES THEM AND WHISPERS FIERCELY. JANE I won’t go without my money. SHE PUSHES THE SUIT-CASE OFF THE BED Make them give me my money. SHE KICKS THE SUIT-CASE They should give me my money. SHE IS REALISES SHE IS MAKING A BIT OF NOISE AND COVERS HER MOUTH AND IS QUIET FOR A MOMENT. FOR COMFORT SHE TAKES OUT A SMALL BUNDLE HIDDEN IN THE WAIST SEAM OF HER NEW DRESS. IT IS A ROLL OF MONEY. THERE APPEARS TO BE QUITE A LOT OF IT. SHE SITS DOWN ON THE BED AND SHE STARTS COUNTING HER MONEY SOFTLY. one, two, three, four, nine,

fourteen, nineteen, twenty four, twenty-five

SHE REPLACES THE ERRANT ONE POUND NOTE LOVINGLY BACK IN IT’S SPOT. thirty, thirty-five, forty, forty-

five, fifty, fifty-five… SHE BREATHES DEEPLY. SHE IS CALMING DOWN. sixty-five, seventy-five, eighty-

five... THE VOICE AND THE PICTURE FADE.


51

SCENE SIXTEEN NELLIE PULLS HER HANDS AWAY FROM HER EYES. A BEAUTIFUL BOX SITS ON THE TABLE. MALACHI WATCHES HER. “JOCKEY” STANDS SILENTLY BY. NELLIE What is it? MALACHI A box. NELLIE What’s in it? MALACHI Open it and see... NELLIE GOES CAUTIOUSLY TOWARDS THE BOX. NELLIE It’s not snakes is it. There’s

pictures of snakes on it. MALACHI ...might be snakes. NELLIE and ladies heads with fancy hair-do’s. MALACHI Maybe there’s a ladies head inside. NELLIE augh.... Haven’t you looked? MALACHI No... NELLIE Where did you get it from? MALACHI I found it. NELLIE Where? MALACHI It was sitting out in the salt, in

the middle of nowhere. NELLIE Is that true Jockey? It was just

sitting out in the salt? JOCKEY SHRUGS. But who does it belong to? What’s in it? MALACHI It probably belongs to a hair-dresser. It’ll be full of scissors and Chinamen’s plaits.


52

JANE ENTERS THE KITCHEN. SHE HAS TAKEN OFF THE PRETTY DRESS THAT NELLIE MADE HER, AND HAS HER OLD CLOTHES BACK ON. NELLIE It wouldn’t be Chinamen’s plaits. Chinamen don’t get their hair cut. They need it, it’s to pull them home or something like that. MALACHI Open the box Nellie. NELLIE I’m not opening it until I know whose box it is... MALACHI I can’t tell you. NELLIE Well then I’m not opening it! MALACHI I don’t know whose box it is! JANE It’s the pedlars box. THEY LOOK AT HER. THERE IS A PAUSE. NELLIE His box isn’t painted all gaudy. His

box is plain red... JANE He had it painted. It was covered all

over like that last time he came. A man in Tailem Bend did it for him, rather than pay for his paints...

NELLIE The pedlars box.... SHE GOES TO OPEN IT. Malachi...It won’t open. It’s locked! MALACHI I forgot....I found a key lying

nearby.... NELLIE Give it...give it here... quickly... HE HOLDS IT UP. NELLIE GRABS IT ooh it’s all wet... SHE WIPES IT ON HER WHITE DRESS LEAVING LONG STICKY RED STREAKS....AND EAGERLY OPENS THE BOX. Look...oh look...


53

SHE PULLS OUT LENGTH AFTER LENGTH OF MATERIAL.

Silk...purple silk..and ribbons... Look. Look at all the ribbons...

SHE PULLS OUT A HANDFUL OF LOVELY RIBBONS.

Tie my hair Malachi... MALACHI TIES A RIBBON ON TO HER HAIR. NELLIE HOLDS OUT THE HANDFUL OF RIBBONS TO JANE What colour do you want Jane? JANE I have enough ribbons... NELLIE Go on.. JANE TAKES A RIBBON AND HOLDS IT LIMPLY IN HER HAND. NELLIE DIVES BACK IN THE BOX.

Slippers.. We could sell them… and Turkish cigarettes…

SHE PULLS OUT TWO BAMBOO SEGMENT “SNAKES”

Ha. Here are the snakes! I told you. I told you there’d be snakes!...oh look.

SHE TOSSES THE SNAKES AND PULLS OUT WHITE SHEETS.

Sheets.. We never have enough sheets. But where’s the pedlar... what if he comes back....What if he’d just gone for a walk and he comes back and he finds his box gone and he finds out who has it....

We’ll have to put everything back. MALACHI He won’t come back. NELLIE Are you sure? MALACHI SAYS NOTHING

How can you be sure he won’t come back?

MALACHI He won’t. I can tell.


54

NELLIE Shouldn’t we wait a couple of weeks. Just to make sure he doesn’t turn up. He might have been taken ill... shouldn’t we wait a little while...

MALACHI No we don’t have to wait. It’s our

box now. I found it. NELLIE But the pedlar.... MALACHI The pedlar’s gone. He’s gone. Do you

understand? He’s gone! He got tired of being a pedlar and having to carry such a big heavy box around with him all the time. He felt a great pain in his head at the high prices he charged, tempting people with his fancy stuff, then fleecing them out of their money. So he thought he’d try his hand at something else. He decided to go to sea and be a sailor. And he dumped his box of stuff because he wouldn’t be needing it where he was going. He won’t be back. As soon as I saw that box sitting there I knew. It wasn’t dropped by mistake, or left temporarily. I could tell just by looking at it. It had a definite air of being left behind on purpose, sitting out in the middle of the white salt, no one for miles around....It might as well have had a sign stuck on it saying whoever wants this box can take it with them because I don’t want it... I’ve decided to go to sea and I won’t be needing it. The pedlar has gone, he’s gone away where no-one will ever find him and he’s left his box to whoever might pass by and pick it up and good luck to them.

THEY ARE ALL SILENT FOR A MOMENT. THEN NELLIE THROWS HERSELF INTO DISCOVERING ITS CONTENTS WITH NEW FERVOR. SHE IS A LITTLE BREATHLESS AND FEVERISH. NELLIE Socks... and lanterns, look...and

fans. It’s all so pretty...Candles, they’ll come in useful, and forks and knives...


55

SHE PULLS OUT A CARDBOARD BOX AND OPENS IT. INSIDE IS A STEREOSCOPE What’s this? SHE FINDS THE CARDS THAT GO WITH IT AND PUTS A CARD INTO THE SLOT AND LOOKS THROUGH THE EYE-PIECE. SHE IS ENTRANCED AND CALMS DOWN A LITTLE.

It’s Paris, or Morocco or somewhere. Right before your eyes, and the street runs away from you. Like a real street, like you were standing on the street corner. Look Malachi.

MALACHI LOOKS AND HANDS IT BACK. NELLIE IS LEAFING THROUGH THE CARDS, READING THE TITLES

The great pyramids at Giza...The gardens of Alhambra... The Ziggurat of Ur...

SHE PUTS A NEW CARD IN

Aaaaahhhh. Look Jane...look at all the places you’ll never get to see...

JANE No thankyou... NELLIE PUTS A NEW CARD IN THE SLOT. NELLIE Oh look at this one...It’s a

story...a man in a mask behind the door with an axe and a girl on the bed...half naked....half naked... dressed in her shimmy....and then....

SHE PUTS ANOTHER CARD IN THE SLOT

Augh that’s awful... that’s awful. Look Jane.

JANE No thankyou. NELLIE Go on. JANE I don’t want to. MALACHI Look at the picture. It’s just a bit

of fun. What’s wrong with you?


56

NELLIE Don’t be so mean Malachi. She’s scared... aren’t you Jane

MALACHI Are you? JANE No. NELLIE Of course she is. MALACHI No need to be scared. NELLIE It’s only a picture. Look at it. Go on. MALACHI Look at it.... JANE TAKES THE STEREOSCOPE NELLIE wait wait...this one first... SHE PUTS THE PREVIOUS CARD IN.. JANE LOOKS AT IT and then.... SHE PUTS THE SECOND CARD IN.

This one! It’s horrible isn’t it, the blood all gushing. It’s like you’re really in the room, in the room with all that blood. It’s awful isn’t it...

JANE Yes....it’s awful. END OF ACT I


57

ACT TWO, SCENE ONE NELLIE AND MALACHI AND JANE ARE SITTING ROUND THE TABLE PLAYING CARDS AND DRINKING WINE. JANE IS TIRED AND WANTS TO GO TO BED. IT IS LATE ON A VERY WINDY NIGHT. JANE Cheat NELLIE I didn’t MALACHI TURNS OVER THE CARDS MALACHI four queens NELLIE That’s what I said ...four queens MALACHI four jacks ...that’s what you

said...It had to be jacks...or nines...

NELLIE Jacks and Queens ..they’re exactly the same... MALACHI They’re your cards... NELLIE ...and Jane cheated…she didn’t have a ten NELLIE SULKILY SCRAPES UP THE HUGE PILE OF CARDS Look. A four...I told you... SHE STARTS TO SORT THEM You’re both cheats...look at this.. Not a straight card in there... MALACHI It’s your turn Nellie NELLIE Wait and let me sort them... SHE LABORIOUSLY STARTS SORTING THEM JANE I might go to bed MALACHI ....Come on Nellie SHE CONTINUES TO SORT IRRITATINGLY SLOWLY Jesus .. NELLIE I’m tired of this game anyway. Let’s


58

play poker. MALACHI We can’t play poker...it’s no good with three.. NELLIE We’ll get Mr Pankotis...He’ll play with us MALACHI He’s gone to bed NELLIE Go and ask Mr. Pankotis if he wants to play poker... JANE Isn’t it too late.. NELLIE Go on ... JANE Shouldn’t we let him sleep NELLIE There’s no harm in asking JANE It’s half past two... NELLIE He won’t mind JANE He wants to be woken up early... NELLIE Well there you are then... JANE RELUCTANTLY EXITS... A MUFFLED KNOCKING CAN BE HEARD. JANE Mr Pankotis... THERE IS NO RESPONSE. NELLIE She’s whispering. She’s bloody whispering THE KNOCKING COMES AGAIN. JANE Mr Pankotis JANE RETURNS There’s no answer NELLIE Knock louder JANE STARTS TO EXIT


59

Wake the fat old bugger up MALACHI Jane...go and get the jockey NELLIE He can’t play MALACHI We’ll teach him NELLIE I don’t want to play with him. I want

to play with Mr Pankotis. MALACHI Go on Jane, get the jockey JANE I think he’s gone back to the camp MALACHI No he’s not...he’s bunked in the shed JANE I’d quite like to go to bed... MALACHI Tell him to bring all his

money...Tell him to bring his millions...We’re going to play poker ...

JANE EXITS ....We’ll win ourselves some money eh Nellie. And we’ll take a trip to town. We’ll go for a ride on the Jockeys millions. NELLIE SNIGGERS. MALACHI GETS A CIGAR OUT OF A BOX. ...last one but one.. HE LIGHTS IT AND PUFFS AWAY AT IT. THE WIND BLOWS AND RATTLES THE WINDOWS. AFTER A PAUSE... NELLIE Jane’s got money... MALACHI Jane has? NELLIE pounds and pounds...she keeps it down

her pants. MALACHI Where’d she get money... NELLIE She saved it all up when she worked

for Mr Macbride.. scrimping and saving. She wants to make hats for ladies...


60

MALACHI How do you know NELLIE She told me... MALACHI Why didn’t you tell me NELLIE I don’t know THERE IS AN UNCOMFORTABLE PAUSE. I’m sorry MALACHI Don’t you trust me NELLIE Of course I trust you JANE ENTERS WITH JOCKEY WHO HAS JUST WOKEN UP We’re playing for money. JANE real money? MALACHI What other sort is there? JANE I’m not allowed to play for money. MALACHI Who says? JANE ...It’s a sin MALACHI ...can’t be one of the very bad sins

It’s not one of the ten commandments is it....not like adultery...or murder

JANE It’s called venery NELLIE Whatery? JANE Venery MALACHI Never heard of it JANE I’d really rather not play cards Mr

Martin. I’m very tired. I’d like to go to bed...

MALACHI You’re in aren’t you Jockey..sit

down...sit down next to me


61

NELLIE Get us your shells Jane...we can use them as markers...

JANE FETCHES A CARDBOARD BOX. NELLIE TIPS ITS CONTENTS ON THE TABLE. A HUGE PILE OF SEA SHELLS. SHE STARTS COUNTING OUT TWENTY FOR EACH PERSON... ....aren’t they pretty... MALACHI ADDRESSES JOCKEY MALACHI Each of these sea-shells represents

five shillings. I lend you twenty sea shells. If you win more than twenty sea shells, I give you money, but if you lose any sea-shells you give me money. Understand?

JOCKEY Uhuh NELLIE That’s stupid. He hasn’t got any money. MALACHI Alright then...for each shell you’ll

owe me one years labour NELLIE You watch him Jockey. That’s only

five shillings a year JANE MUTTERS JANE It’s more than what I’m getting NELLIE SHOOTS HER A DIRTY LOOK. MALACHI SHUFFLES THE DECK IN A FANCY MANNER NELLIE Do that fountain thing MALACHI DOES ANOTHER FANCY TRICK MALACHI It’s one shell to play JANE Could I make a suggestion that each

shell is worth sixpence... MALACHI STARTS DEALING THE CARDS MALACHI Jockey can learn as we go JANE If each shell was worth sixpence, then...


62

NELLIE sshh MALACHI Fetch us some more to drink JANE FETCHES A BIG JUG OF COLD WINE. THE WIND BLOWS THE DOOR OPEN WITH A BASH ....and close the door and latch it tight MALACHI POURS A GLASS AND DRINKS IT ALL IN ONE GO. HE POURS HIMSELF ANOTHER ONE. ...we’re going to make a night of it.. NELLIE POURS HERSELF A DRINK. JOCKEY POURS HIMSELF A DRINK. JANE, AFTER A PAUSE, POURS HERSELF A DRINK. NELLIE AND JANE PICK UP THEIR CARDS. JOCKEY FOLLOWS SUIT. NELLIE Who’s bank MALACHI I’m bank NELLIE I want two MALACHI ADDRESSES JOCKEY MALACHI If they’re the same colour, you keep

them, if they’re the same number you keep them, if they’re all in a row you keep them... Where’s everybody’s shells….

THEY ALL PUT THEIR SHELLS IN. JANE I’d like one please... MALACHI one... HE DEALS HER ONE AND HE DEALS NELLIE TWO CARDS.

Do you want any jockey...do you want to swap any of your cards?

JOCKEY SHAKES HIS HEAD. MALACHI LOOKS AT HIS OWN CARDS I’m having two... HE LOOKS AT HIS NEW CARDS alright...Jane..are you in or out...


63

JANE I’m in... SHE PUSHES A HALF SHELL INTO THE BETTING PILE MALACHI What’s that? JANE That’s half a shell. It’s worth two

shillings and sixpence NELLIE LAUGHS MALACHI That’s bull-shit. Do you hear me. That’s bull-shit. They’re all worth the same... They’re all worth five shillings...Nellie... NELLIE I’ll see your shell and I’ll raise you three shells... MALACHI ADDRESSES JOCKEY MALACHI If you think your hand is good enough

to beat anyone Jockey, you’ve got to put in three shells at least...three at least.

JOCKEY NODS. HE PUTS IN THREE SHELLS. And then you can bet more if you want JOCKEY PUTS IN TEN MORE. EVERYONE LOOKS AT HIM JANE Are you sure you want to put in that

many Jockey..That’s...fifty shillings MALACHI Let him do what he wants. I’ll see you HE PUTS IN TEN SHELLS And I’ll raise you five. JANE .....I pass... NELLIE I’ll see you... SHE PUTS IN FIVE SHELLS. MALACHI ADDRESSES JOCKEY MALACHI If you want to stay in, you put in five


64

JOCKEY PUTS IN FIVE And you can bet more if you want... If you have any JOCKEY PUTS IN HIS LAST REMAINING SHELL. MALACHI LAUGHS He’s cleaned himself out. ....I’ll see your one NELLIE I’ll see it too MALACHI What have we got. NELLIE I’ve got a pair of aces MALACHI I’ve got two pair, a pair of threes

and a pair of jacks. Turn over your cards Jockey.Turn over your cards.

JOCKEY TURNS OVER HIS CARDS Nothing...you’ve got nothing MALACHI AND NELLIE AND JANE AND JOCKEY LAUGH not a pair or anything. ...nothing at all... THEY ALL PISS THEMSELVES LAUGHING. MALACHI PULLS HIS WINNINGS OVER TOWARDS HIM. JOCKEY HELPS HIMSELF TO MORE SHELLS FROM THE BANK PILE

Heh. You’ve got to buy them. You can’t just take them. You’ve got to buy them from the bank. You want more..

JOCKEY Uhuh MALACHI I’m the bank. You want to borrow

shells. You ask me. You can have twenty more... Count him twenty more Nellie...

MALACHI IS SHUFFLING THE CARDS NELLIE Don’t we go round the table with the shuffling...doesn’t Jane get to shuffle now...


65

MALACHI You’re thinking of pontoon NELLIE No...poker...it’s poker...you take it in turns to deal. MALACHI Shut-up Nellie. HE DEALS OUT FIVE CARDS TO EVERYONE Put your shells in. It’s two shells for round two. EVERYONE PUTS THEIR SHELLS IN JANE I’d like two please MALACHI DEALS HER TWO NELLIE I want four MALACHI DEALS HER FOUR JOCKEY I want one MALACHI DEALS HIM ONE MALACHI I’m staying with what I’ve got Are you in… Come on. JANE Yes I’m in. I bet one NELLIE I’ll see your one and raise you one JOCKEY I’ll see your one and raise you ten NELLIE GIGGLES. MALACHI IS GETTING A LITTLE PISSED OFF. HE’S WORRIED HIS FISH WILL GET AWAY MALACHI I’ll see your ten and raise you ...one JANE HESITATES Jane... JANE LOOKS AT HER CARDS. SHE THINKS. Well... JANE I fold.


66

NELLIE So do I MALACHI It’s not going to be much of a game

if neither of you ever bet any fucking money...

HE HAS ANOTHER DRINK JOCKEY I’ll see your ... MALACHI one. You have to put in one. JOCKEY one...and I’ll raise you... JOCKEY COUNTS UP HOW MANY SHELLS HE HAS LEFT ...seven MALACHI ADDRESSES JOCKEY MALACHI Why have you bet all your money again. NELLIE I thought that’s what you wanted us to do MALACHI You don’t have to bet all your money,

exactly twenty, every round... JOCKEY I want to NELLIE He might win... MALACHI ...I’ll see your seven. HE PUTS HIS MONEY IN I’ve got a straight. HE DISPLAYS IT. JOCKEY TURNS OVER HIS CARDS Nothing...You’ve got nothing. Why did you bet. You’ve got nothing. NELLIE AND JANE AND JOCKEY ARE LAUGHING. MALACHI IS VERY PISSED OFF Jesus you’re stupid. That’s stupid JOCKEY STARTS GETTING ANOTHER TWENTY FROM THE BANK PILE


67

MALACHI You can’t borrow any more NELLIE Why not MALACHI It’s stupid NELLIE STARTS COUNTING OUT TWENTY FOR JOCKEY

Put them back. I’m the bank. Put them back.He cant borrow any more

NELLIE PUTS THEM BACK. MALACHI STARTS DEALING OUT THE CARDS. EVERYONE PUTS TWO SHELLS IN Its five..five shells to play this round. JANE I think that’s too much MALACHI Well don’t play... EVERYONE PUTS IN THREE MORE SHELLS. JOCKEY HAS FILCHED A NUMBER OF SHELLS FROM MALACHI’S PILE JANE I want one MALACHI GIVES HER ONE NELLIE I want two MALACHI GIVES HER TWO JOCKEY I want five MALACHI GIVES HIM FIVE JANE I bet two NELLIE I’ll see your two and raise you two JOCKEY I’ll see your two and raise you... ten MALACHI Where did you get those shells? Where’d you get those shells Did you give him shells. NELLIE No MALACHI Did you give him shells


68

NELLIE I didn’t MALACHI Where’d you get them from Where’d he get them from ....You little thief You’ve been stealing my shells HE GRABS HIM BY THE SCRUFF OF THE NECK

I’ll kill you and I’ll bury you in a wombat hole....

LONG PAUSE JANE I’d like to borrow ten shells from the bank. MALACHI RECALLS HIS AIM TO WIN ALL JANE’S MONEY OFF HER MALACHI Ten. You sure you only want ten. JANE yes. ten MALACHI You’ll have to pay interest JANE Why MALACHI That’s the rules. For every two you pay three back... JANE PAUSES JANE I’ll have twenty NELLIE COUNTS HER OUT TWENTY SHELLS. MALACHI TAKES A MOMENT TO RECOLLECT WHERE THEY WERE UP TO. MALACHI I’ll see your ten, and I’ll raise you ten JANE I’ll see your ten and I’ll raise you one NELLIE I want to borrow from the bank MALACHI bank’s closed NELLIE I want to borrow from the bank MALACHI take it ...


69

NELLIE TAKES A BIG HANDFUL NELLIE I’ll see your one and I’ll raise you five JOCKEY I’ll see your five and raise you ten MALACHI I’ll see your ten and raise you ten JANE HESITATES. SHE IS EXTREMELY NERVOUS BUT CONTAINED JANE .....I’ll see you. I’ll see your ten SHE PUTS HER TEN SHELLS IN MALACHI Three of a kind JANE flush NELLIE pair of sevens JOCKEY TURNS HIS OVER JOCKEY Nothing. JANE SLOWLY PULLS THE HUGE PILE OF SHELLS TO HER PLACE MALACHI Three of a kind beats flush JANE No it doesn’t MALACHI Doesn’t it Nellie. Three of a kind beats flush NELLIE HESITATES. JANE LOOKS AT HER NELLIE .....I’ve always heard it was so JANE Flush beats three of a kind MALACHI Other way round JANE Flush beats three of a kind MALACHI Give me the shells JANE PUTS HER ARMS PROTECTIVELY AROUND HER PILE You better give me the shells JANE DOES NOTHING.


70

…You better give me those shells JANE DOES NOTHING. MALACHI GRABS HER ARMS AWAY AND SWEEPS ALL HER SHELLS AWAY. JANE BLUNDERS OUT THE DOOR


71

SCENE TWO LATER THAT NIGHT. JANE IS SITTING SOBBING IN HER BED. THERE IS A TAPPING AT THE WINDOW. JANE FREEZES. JOCKEY Jane.. Jane… JANE Who is it? JOCKEY Let me in. JANE Who is it? JANE PEERS OUT THE WINDOW. What do you want? JOCKEY I’ve got something for you. JANE What is it? JOCKEY Let me in JANE HESITATES I’m not gonna hurt you JANE Can’t it wait till morning JOCKEY No JANE STANDS BACK RELUCTANTLY. JOCKEY ENTERS Put out your hands JANE PUTS OUT HER HANDS. JOCKEY TIPS A PILE OF NEWLY COLLECTED SHELLS INTO THEM. THEY SPILL ONTO THE FLOOR. JANE HALF LAUGHS AND HALF CRIES. JOCKEY sshhh JANE I hate him. JOCKEY I know. JANE I know things about him. JOCKEY Do you? JANE SEEMS TO CHANGE HER MIND ABOUT TALKING ABOUT MALACHI. JOCKEY LOOKS AT HER ROOM, THE LITTLE BED, THE BOOKS AT THE SIDE OF IT. HE PICKS ONE UP.


72

What are you reading? JANE My bible. HE OPENS THE BOOK. SHE HAS IT CAREFULLY MARKED. JOCKEY ‘She wondered if Mr Savage had been

taken captive, but before long, the lap-sang sou-chong had had the desired soporific effect and Miss Willoughby had fallen asleep’

PAUSE Corinthians 5.11? JANE Where did you learn to read? JOCKEY mission. MALACHI (OS) Nellie… JOCKEY He’s bad isn’t he? JANE Very bad… MALACHI(OS) Nellie! JOCKEY What do you know about him Jane? JANE He hurt the pedlar, the one that

disappeared. I know he did. Stuck a knife into him like he did John Robinson.

MALACHI (OS) Nellie! NELLIE(OS) I’m coming.. JANE She married the man that murdered her

husband.He says he didn’t, but I’d stake my life he did.

JOCKEY How do you know he hurt the pedlar? JANE I as good as saw him. JOCKEY You saw him? JANE I may as well have. JOCKEY Jane-


73

JANE And maybe she was in on it as well...

Maybe she lured him on to the salt and then while she was toying with him, Malachi appeared from behind a bush and held the poor old man round the neck while Nellie stabbed him with the pig knife....or perhaps she pretended distress on the road and the pedlar stopped to help her, offered to find the smelling salts in his box and while his head was deep in his box and his hands busy amongst all the stuff, Malachi grabbed him from behind and slit his throat with the pig-knife... I know it was the pig knife. I checked the drawer after the pedlars box appeared and the knife wasn’t there… so I looked in Malachi’s haversack, the one he always carries, and what do you think was in there all black and bloodied up….

JOCKEY What did you do with it? PAUSE JANE Yes I took it… SHE EXTRACTS A PACKAGE FROM UNDER THE MATTRESS, UNROLLS IT AND REVEALS A KNIFE. THEY BOTH STARE AT IT… THERE IS SOMETHING ELSE IN THE PACKAGE. JOCKEY What’s that? JANE I found that as well. It’s a little gold nugget. Malachi must have found it when he went fossicking. JOCKEY INSPECTS IT. HE SMILES AT HER I know I shouldn’t have taken it but

they owe me money. They owe me hundreds of pounds. They’re wicked. They’re wicked and they should get their just deserts...

JOCKEY Are you going to turn them in? JANE It’s not for me to tell.


74

SCENE THREE JANE AND NELLIE IN THE KITCHEN… JANE My sister is expecting her third baby

in March and I should like to be there at the confinement and to stay on in Murray Bridge after.

NELLIE DOESN’T RESPOND. ...I should like to be paid what I am owed. NELLIE We haven’t any money. JANE I think it would be in your best interests if I was paid what I am owed... NELLIE LOOKS UP. THEY STARE AT EACH OTHER.

If you pay me what you owe me I will be like the three wise monkeys.

NELLIE The what? JANE I will see no evil, I will hear no

evil, and I will speak no evil. NELLIE I don’t know what you’re talking about. JANE Some people might meet their maker on

a swinging trap-door with a rope around their neck.

NELLIE That’s unfortunate. JANE But they could save them-selves. They

could make reparation to the people they have wronged. They could pay back what they owe.

NELLIE SAYS NOTHING. Cutlery doesn’t always stay where

it’s put Nellie. NELLIE You’ve been out in the sun too much. JANE Knifes and forks but particularly

knifes can jump out of drawers and


75

into peoples bags and then like the tin soldier they can go on trips to far-off places where people may be very interested in the stories they could tell… I understand that it may take a while to gather the money together, but you must understand that it’s very necessary that you find it.

NELLIE SAYS NOTHING FOR A LONG MOMENT. THEN SHE GOES AND GETS THE MONEY BOX. NELLIE I’ll be sad to see you go. JANE I’m sorry... NELLIE I never had a sister..And Malachi...

well I hardly need to tell you.. but sometimes he frightens me.

JANE He does? NELLIE He’s getting such a temper. JANE Yes he has a temper. NELLIE OPENS UP THE CASH BOX. SHE GETS OUT A TEN POUND NOTE. NELLIE Jane, you can’t leave me alone with him. JANE But that’s what you want isn’t it? NELLIE STARTS TO CRY. NELLIE Sometimes I look at him and see such

an ugly contemptible creature...and I can barely stifle my disgust when he touches me. I feel like crying out, he so repulses me...

..I don’t know what I would have done if you hadn’t come..

JANE HUGS HER

And I know we owe you money, far too much money… Perhaps if we started paying it off at five pounds a fortnight…


76

JANE five pounds a fortnight.... JANE IS NOT SURE WHAT’S GOING ON. NELLIE Would that be agreeable to you? JANE ...Would that include my wages? NELLIE I’m not sure what you mean. JANE …Would that be five pounds a

fortnight on top of my wages, or would that be five pounds a fortnight including my wages…

NELLIE ....The first one... JANE ...But... NELLIE The first one’s better isn’t it? JANE Yes..but... NELLIE What.. JANE IS CONFUSED BUT CAN’T TAKE HER EYES OFF THE MONEY. JANE ...nothing... NELLIE GIVES JANE THE TEN POUND NOTE. NELLIE Tuck it away somewhere safe. This is just between you and me....

Do you remember the pedlar, the one who went off to sea and left all his things in a box on the beach...

JANE yes I remember... NELLIE It seems he’s turned up again, the

sea made him sea-sick, it didn’t agree with him at all. He wants to be a pedlar again. He’s been asking around for his box..

JANE Has he? NELLIE He asked at the Dunmores…and the

Devaneys....


77

JANE Did he really NELLIE They knew nothing of any box...He’ll

have to start up all over again, poor old man...

JANE LAUGHS WITH RELIEF. JANE Poor old man. Who told you? NELLIE Malachi. Malachi saw him in Meningie

and had a drink with him, all the while wearing his collar and his gold plate cuff-links.


78

SCENE FOUR NELLIE, JANE AND MALACHI ARE SITTING ROUND THE TABLE. IT IS EVENING. THEY SEEM SLOW AND HEAVY. MALACHI Why the long face Nellie? NELLIE Is my face long? PAUSE MALACHI We’ll play cards. Fetch the Jockey. JANE STARTS TO EXIT. Not you. You stay here. JANE STAYS. NELLIE EXITS. JANE GETS HER BOX OF SHELLS AND SITS DOWN AND STARTS SORTING THEM. What have you done to Nellie? JANE Nothing. MALACHI What have you been saying to her? JANE Nothing. MALACHI Bull-shit nothing. You’re a nasty piece of work. JANE I’m not nasty. MALACHI yes you are. JANE I’m not. MALACHI Don’t you go upsetting her. JANE It’s you who should worry about upsetting her. MALACHI Me, how would I upset her. JANE SAYS NOTHING What are you trying to say Jane? JANE Nothing. MALACHI We’re alike, you know that? JANE We’re not alike.


79

MALACHI Oh yeah we are. JANE We’re not at all alike. MALACHI Nellie, she’s one of life’s

innocents, she needs looking after, but you and me, we know, don’t we?

JANE Know what? MALACHI We know what really goes on, don’t we. JANE SHAKES HER HEAD MALACHI Come here Jane. JANE DOESN’T MOVE Come here. HE REACHES FOR HER HAND WHERE IT’S LYING ON THE TABLE. SHE PULLS IT AWAY JANE She’s frightened of you. MALACHI Bull-shit. JANE She’d leave you if she could. MALACHI Bull-shit. JANE You’ve got her trapped here, like an animal. MALACHI You’re the one that’s trapped Jane. NELLIE RETURNS. NELLIE The jockeys not there. MALACHI Oh well, he can’t play cards anyhow… PAUSE JANE Where’s he gone? MALACHI I dunno. Back to the camp I s’pose. JANE But he always says good-bye.


80

MALACHI Doesn’t say good-bye to me. JANE He always says good-bye. Doesn’t he Nellie? NELLIE Mostly. JANE No always. He always does. MALACHI Well he didn’t this time, did he.. Jesus. PAUSE. NELLIE SITS DOWN Sing something Nellie. NELLIE What‘ll I sing? MALACHI Sing a song. NELLIE …I can’t think of one. MALACHI Jane, you sing something. JANE I only know hymns. MALACHI Sing a fucking hymn then. JANE …I can’t think of one.


81

SCENE FIVE THE TROOPER IS LOOKING THROUGH A MICROSCOPE. ‘JOCKEY’ IS WATCHING HIM TROOPER Yes it’s a tooth…a gold tooth… THEY SMILE GHOULISHLY AT EACH OTHER AT EACH OTHER

...must’ve ripped it out of the pedlars mouth...god he’s a piece of work.

TRACKER She’s got the knife as well, covered

in blood... TROOPER We’ve got him. TRACKER Yeah...we’ve got him...we’ve got the

bastard. TROOPER We’ll pick him up tomorrow. And this time he’ll go all the way to the gallows... Will you get those ridiculous clothes off. And have a wash for god’s sake.You’re almost too convincing… TRACKER too convincing? TROOPER …as the native lout TRACKER Am I? TROOPER I saw you lumbering across the yard

and I really thought you were some young jacky-boy from the camps, come to complain about his wife and sneak some rum

A PAUSE TRACKER What are we? TROOPER What do you mean? TRACKER To each other TROOPER Friends of course TRACKER well of course...friends TROOPER What else but friends


82

TRACKER …nothing... TROOPER spit it out TRACKER It has occurred to me that there are

certain overtones of a man and his pet

TROOPER Who is the man and who is the pet? TRACKER I am the pet of course. TROOPER I don’t regard you as a pet….I am most offended... TRACKER ….It’s merely that I feel sometimes you value me for my exotic quality TROOPER That is simply not true. I value you

for your comradeship and acumen. TRACKER ...I don’t want to imply I didn’t

enjoy it.. well found it oddly fascinating…but last friday, when you took me to the American all-black minstrel revue…what was it called?

TROOPER I don’t remember TRACKER The singing sambos TROOPER I didn’t take you... TRACKER Yes you did TROOPER “take” implies some sort of

coercion...you weren’t on a lead... TRACKER You enjoyed having me there TROOPER yes, of course I did TRACKER because of my color TROOPER no... TRACKER and the funny coincidence of the show

we were attending.


83

TROOPER I would have got just as much pleasure taking you to see the Opera or to a Shakespeare play...to Othello TRACKER Oh Othello...isn’t that the play

about the black man who kills his pretty white girl-friend

TROOPER Oh don’t be stupid. You’re reading

things into things...I just said Othello because Othello happens to be playing at the moment

TRACKER I should quite like to see Othello TROOPER We might find time... UNCOMFORTABLE PAUSE If I had any consciousness of your color, Alex, it was one of black and white brotherhood TRACKER Well that’ll never happen TROOPER Surely you’re being too cynical TRACKER It’s the simple truth...it’ll never happen TROOPER If the world can abolish slavery... TRACKER The world abolished slavery because

it made good business sense TROOPER The abolition of slavery was a great liberal victory...You’re much too pessimistic. TRACKER You’re much too optimistic. TROOPER Oh come on, you can’t deny progress, and the thinking of great men. Century by century, the world gets better and better. TRACKER Oh does it? TRACKER I’m not denying that there’s pain and suffering, but-


84

TRACKER Bad things happen... PAUSE TROOPER That’s all you’ve got to say. Bad

things happen. What a massive break-through for man-kind. Bad things happen.

A PAUSE TRACKER Let’s go to bed… PAUSE That house is full of horrors.. TROOPER Well you’re out of there now…You’ll feel better in the morning TRACKER I s’pose so SCENE SIX MALACHI IS SITTING IN THE KITCHEN. JANE ENTERS. SHE IS WEARING THE DRESS THAT NELLIE MADE FOR HER, FOR THE FIRST TIME SINCE ACT ONE, SCENE FIFTEEN. JANE Where’s Nellie? MALACHI SAYS NOTHING Nellie! Nellie! MALACHI She’s not here JANE Where is she? MALACHI She’s gone away for a few days. JANE Nellie! MALACHI She’s visiting her sister. JANE She doesn’t have a sister. MALACHI Oh that’s right. She’s visiting your

sister. JANE My sister. Why is she visiting my

sister. MALACHI To tell her the bad news.


85

JANE What bad news? NELLIE ENTERS. Nellie! JANE RUNS AND EMBRACES HER. NELLIE What’s happened? What’s wrong? JANE Nothing. Nothing. NELLIE You silly girl. JANE Oh Nellie.. NELLIE Fetch my cases Malachi. MALACHI EXITS JANE Where are you going? NELLIE Jane, last night- JANE What... NELLIE He grabbed my wrist, and pushed me

hard against the wall, He found out I was giving you money.He was so angry..

JANE Oooh. NELLIE I think he wants to hurt me.. MALACHI ENTERS WITH TWO CASES AND PUTS THEM DOWN MALACHI Why’re you taking so much crap? HE EXITS AGAIN. NELLIE I’m going to Mrs Packhams. I’ve told him I’m going to my cousins, that I need a rest, but I’m really going to Mrs Packhams, now you stay here tonight, and in the morning take one of the horses- JANE No... MALACHI ENTERS WITH TWO MORE CASES.


86

MALACHI Are you ready? NELLIE I need my coat, the warm one. MALACHI EXITS. JANE Please. Please Nellie. Let me come with you. NELLIE You can’t... JANE But why. Why can’t I come? NELLIE He’ll suspect something. We can’t both leave at once. JANE I’m scared. NELLIE Jane, calm down. Calm down. JANE I’m sorry. I’m sorry Nellie, if I ever did anything to hurt you... NELLIE sshhh. JANE I only ever wanted to be your friend.. I’m sorry if I.. NELLIE shh..ssshh JANE Please...Nellie, please...let me come. MALACHI ENTERS. MALACHI Come on Nellie. NELLIE HESITATES MALACHI What is it now? PAUSE. NELLIE I’ve changed my mind. MALACHI What. NELLIE I don’t think I want to go.


87

MALACHI Bullshit. NELLIE Maybe I’ll- MALACHI Look at you. You’re like a ghost. You need a rest Nellie. NELLIE I’m fine really. I feel fine. MALACHI You’re sick. You told me you felt sick. NELLIE I feel better this morning. MALACHI You’re going to your cousins. PAUSE.HE TAKES HER SHOULDER AND STEERS HER AWAY. Bring the cases Jane. JANE PICKS UP THE CASES.


88

JANE AND MALACHI ARE SITTING IN THE KITCHEN. JANE STARTS TO WALK OUT THE DOOR. MALACHI Where are you going? JANE To feed the pig. MALACHI What pig? JANE Haven’t we got a pig? MALACHI We used to have a pig. We killed it and ate it. JANE I forgot. PAUSE. JANE STARTS TO LEAVE AGAIN. MALACHI Where are you going? JANE To check the mail. MALACHI The mail comes on Fridays. JANE I thought it was Thursdays. MALACHI Today’s Tuesday. JANE Is it? SHE SITS DOWN AGAIN. MALACHI It’s Nellies birthday in a couple of weeks. JANE yes I remember. MALACHI I’m making her a present. JANE That’s nice. MALACHI I wondered if you would be so kind as

to give me a hand with it. JANE Of course MALACHI FETCHES A WOODEN FRAME. IT LOOKS LIKE A COFFIN. What is it? MALACHI It’s a cupboard.


89

JANE oh yes. MALACHI Where do you think it should go? JANE LOOKS ROUND THE ROOM IN A HAZE. JANE I’m not sure. MALACHI I thought perhaps in the corner by the door. JANE STARTS TO LEAVE THE ROOM Where are you going? JANE I’m not sure... JANE HOVERS BY THE DOOR. MALACHI Nellie’s always complaining how she

doesn’t have enough space for things. Away from the sand getting into everything. It’s been a piece of work keeping it from her, she’s such a nosy thing. There’s nothing you can keep from Nellie. She’s got a mind like a ferret. She notices everything. I hid the wood in the shed under a couple of blankets but somehow she sniffed it out... what’s that wood in the shed for...I told her I was making a new bed for the guests before the spring comes and maybe that satisfied her but she still had a gleam in her eye..she can spot a lie from a mile off... Hold this steady for me.....

JANE HOLDS IT STEADY. SHE IS TERRIFIED. She can smell fear like it was rotting fish. MALACHI METHODICALLY HAMMERS THREE NAILS IN. That’s it...That’s it for the moment. JANE GOES INTO HER ROOM, AND TRYS TO THINK CALMLY ABOUT HOW TO ESCAPE, WHAT TO TAKE WITH HER.SHE PUTS HER COAT ON. MALACHI ENTERS.


90

MALACHI Where’s your money Jane? JANE I don’t have any money. MALACHI That’s not what I’ve heard. PAUSE I’d like to borrow some money. JANE Why would I have money? You never pay me any money. MALACHI You count it at night. one, two

three.. JANE I count sheep. MALACHI Oh it’s sheep is it? JANE To put myself to sleep. MALACHI But you always count up to the same number. You always count exactly two hundred and twelve sheep. JANE SAYS NOTHING. Where is it? JANE Malachi. MALACHI You’ve got it with you now haven’t you? You keep it with you all the time don’t you? Is it next to your heart? Is that where you hide your money? JANE SAYS NOTHING. HIS EYES RAKE OVER HER BODY. Or is it down further, down near your belly like a baby.Or down even further, round your hips,wrapped round your thigh like a lover. I can’t see it. I can’t see it anywhere. Where do you keep it Jane. What little hole have you found to stash it in.


91

JANE MAKES A RUN FOR IT. MALACHI LEAPS ON HER. JANE IS STRONG AND USED TO PHYSICAL LABOUR BUT SO IS HE. THEY GRAPPLE WITH EACH OTHER. IT IS A DESPERATE FIGHT. THE TEMPO OF THEIR STRUGGLE CHANGES AND TAKES ON A STRANGE TIMELESS QUALITY REMINISCENT OF THE GRAPPLING THAT OPENS THE PLAY. FINALLY JANE FINDS THE PIG-KNIFE SHE HAS SECRETED UNDER HER MATTRESS AND TRYS TO STAB HIM BUT MALACHI MANAGES TO GET IT OFF HER AND KILLS HER. JANE LIES DEAD ON THE FLOOR. HE STARTS LOOKING FOR HER MONEY. HE CAN’T FIND IT. HE RIPS HER CLOTHES IN FRUSTRATION.


92

SCENE EIGHT, A FEW HOURS LATER. THE TROOPER AND THE TRACKER APPROACH THE HOUSE. TROOPER Malachi! Malachi Martin! MALACHI EMERGES FROM HIS HOUSE. MALACHI What do you want? TROOPER I’m arresting you for the murder of Johanne Barbero, travelling haberdasher. Cuff him. THE TRACKER CUFFS HIM. MALACHI I don’t know anything about it. TROOPER I’ll need to talk to your wife, and your domestic servant, Jane Macmanamin MALACHI My wife’s staying with her cousins for a few days. TROOPER And Jane Macmanamin, where’s she? MALACHI She left. TROOPER What do you mean, she left. MALACHI She just left. Said she didn’t want

to work here anymore. Got a lift on a passing buggy, and pissed off. Good riddance to her, I reckon...


93

SCENE NINE THE TRACKER AND TROOPER ARE SITTING IN THEIR ROOM AT NIGHT. THE TROOPER IS READING A LETTER. HE FOLDS IT UP AND PUTS IT BACK IN ITS ENVELOPE. TROOPER The sister hasn’t seen her... TRACKER Of course she hasn’t seen her. She’s buried in a wombat hole. TROOPER Well why can’t we find her? PAUSE I had to let him go Alex. TRACKER His house is full of the pedlar’s stuff. TROOPER Doesn’t mean he murdered him. TRACKER He had the dead man’s gold tooth in his haversack. TROOPER Who says? I’m sorry.. but without the girl’s evidence we’ve got nothing. TRACKER Can’t you stand up in court and say that I brought you the tooth, and that... TROOPER It doesn’t work like that. TRACKER Why don’t you say you found the tooth? THE TROOPER LOOKS UNCOMFORTABLE ...or say Jane brought you the tooth, told you the whole story, and then went back to the house.. TROOPER I don’t think the police force is going to get very far in this country if we begin by fabricating evidence...

Besides we don’t know for sure she’s dead. She might turn up.

TRACKER She won’t turn up...


94

PAUSE It’s a farce...he’s free to kill whoever he likes... TROOPER I think perhaps Alex...I know it’s

partly my fault... but I think you’ve become a little too involved with this case...

TRACKER What do you mean? TROOPER Just that...I think, well, the

Commissioner has pointed out to me that your talents might be better employed elsewhere.

TRACKER What particular talents did you have in mind? THE TROOPER LAUGHS UNCOMFORTABLY TROOPER The stock losses are becoming quite phenomenal...I mean its almost laughable. Sixty or so head of cattle a week... TRACKER That many? TROOPER Don’t go all cold on me. THE TRACKER SAYS NOTHING

Oh come on, you know you have my complete sympathy and support, but some of the black-fellas, just a disreputable few, they’re running riot out there...

THE TRACKER SAYS NOTHING. None of us can catch them... Is it

such a bad idea...I mean couldn’t it be in your own best interests...if it were the police doing it, and black police at that, rather than the settlers taking matters into their own hands and sending out lynching parties...

...Alex


95

THE TRACKER GETS UP TO LEAVE Where are you going? TRACKER I going to find her. Jane Macmanamin. I’m going to find her body.


96

SCENE NINE THERE ARE NOW TWO CUPBOARDS IN THE ROOM, SIDE BY SIDE. NELLIE AND MALACHI ARE SITTING SILENTLY IN THE KITCHEN TROOPER Tell me again what happened the morning she left MALACHI She said I’m sick of this place, she said there’s a man with a dray willing

to take me as far as Tailem Bend, gimme my money. I’m going.

TROOPER And did you give her her money MALACHI yeah I did. TROOPER How much was it MALACHI Hundred and fifty pounds TROOPER Where’d you get it MALACHI I had it saved up TROOPER Why didn’t you pay her before MALACHI I didn’t want to TROOPER So why did you pay her this time MALACHI I dunno. I thought she deserved it. TROOPER A man with a dray MALACHI Yeah TROOPER I thought it was a buggy…a family in a buggy MALACHI Nup TROOPER Last time you said a buggy MALACHI Did I TROOPER And you told Mrs. Devaney it was a buggy MALACHI Did I


97

TROOPER So which was it Martin, was it a dray or a buggy MALACHI I don’t remember TROOPER Oh come on..a dray or a buggy MALACHI Get off my back TROOPER Mrs Martin... NELLIE I wasn’t here. I don’t know anything TROOPER What did he tell you NELLIE He said she left... I don’t remember

what he said she left in. He said that he paid her and she left...

THE TROOPER HOLDS UP A PAIR OF BOOTS TROOPER Do you recognise these? NELLIE SHAKES HER HEAD Are they Jane’s boots? NELLIE They might be. I don’t know. TROOPER Take a closer look NELLIE TAKES THE BOOTS AND LOOKS AT THEM. NELLIE They could be. MALACHI They’re big enough. TROOPER A native woman at the camps..Mabel.

She says you gave them to her two weeks ago

NELLIE I might’ve. I often give them stuff TROOPER She said you gave her a dress too, and a woollen shawl NELLIE I might’ve... I didn’t know they were Jane’s TROOPER Are they Jane’s?


98

NELLIE They could be. TROOPER Why wouldn’t she take them with her? NELLIE I don’t know. TROOPER Her sister is of the opinion that Jane had saved up quite a deal of money.Did you ever see any sign of that? NELLIE SHAKES HER HEAD More than a two hundred pounds, that’s what her sister said..Money’s been tight around here, hasn’t it? Could it be that Malachi murdered her so he didn’t have to pay her wages.

NELLIE No TROOPER And you left the district on purpose

to be away from the house when he did it

NELLIE No TROOPER Could it be you conspired with your

lover to murder your husband and since then have aided and abetted him in two more murders… an itinerant pedlar and Jane Macminimin

NELLIE I’d never wish Jane harm..never. MALACHI Leave her alone. She had nothing to do with it. TROOPER Where is she Malachi? MALACHI I told you. She pissed off. TROOPER Where did you put her? MALACHI Get off my back. TROOPER Where did you put her?


99

MALACHI I didn’t put her anywhere. She left. That’s why you haven’t been able to find her. You or your sable off-sider.


100

SCENE TEN THE TRACKER STANDS BEHIND A BODY IN A DIRTY FLOUR SACK ON THE TABLE. THE BLACK TRACKER CAREFULLY CUTS THE FLOUR SACK DOWN FROM THE FACE. THE TROOPER ENTERS WITH HIS NOTE-BOOK.. TRACKER Not much left of her face TROOPER No THE TRACKER SCOOPS SAND FROM HER MOUTH TRACKER tooth missing from lower jaw, fourth molar...it’s not recent...it’s been

missing for a while...some sort of ribbon around her neck...some bruising....but hard to tell..

HE LIFTS UP THE HEAD FROM BELOW THE NECK. IT FALLS BACK. no rigormortis...obviously...

cuts to upper arm...shoulder…deep wound to the torso…

Pale blue patterned dress...home-made

....Her dress has been torn from the neck to the waist.

TROOPER Perhaps he molested her... TRACKER ...her drawers seem intact... THEY LOOK AT THE BODY IN SILENCE FOR A MOMENT We need a doctor to verify death TROOPER There’s one coming THE TRACKER WASHES HIS HANDS AND DRIES THEM I’ve decided to go away…after all this TROOPER Oh TRACKER The police force has begun to pall on

me TROOPER It’s funny you say that. I’m thinking

I might leave sometime soon


101

TRACKER What would you do TROOPER I thought I might enter politics.

Thought I might be able to do some good…

THE TRACKER LAUGHS GENTLY Is that funny? TRACKER No..no that’s grand. TROOPER What will you do? TRACKER Gentleman farmer, bush-ranger.. might

sit under a tree, might write a book. ..haven’t really decided…

THE TRACKER EXITS. NELLIE ENTERS. TROOPER Mrs Martin. We need you to identify

this body as that of Jane Macmanamin, twenty nine years old, domestic servant, late of your employment…

NELLIE WALKS OVER TO THE BODY. NELLIE Yes that’s her NELLIE STARES DOWN AT THE BODY. TROOPER …take your time… THE TROOPER EXITS. NELLIE CONTINUES TO STARE DOWN AT JANE. AFTER A MOMENT, THE TRACKER AND TROOPER RETURN WITH

MALACHI CHAINED UP.THEY CHAIN HIM TO THE TABLE ON WHICH JANE

LIES. MALACHI What are you doing? What are you

fucking doing! TRACKER You can spend the night with your handiwork Malachi. MALACHI What the fuck is this.Get me out of here.


102

TRACKER And at two in the morning, when it’s pitch black, her ghost’ll put her hand on your shoulder and ask you why you did it and you’ll have all night to explain it to her.

JANES HEAD ROLLS SIDEWAYS AND STARES AT MALACHI. MALACHI Oh she’s foul…She’s foul. Get her

away from me.. TRACKER She’ll never leave you alone now

Malachi. She’s part of you now. And all those other ones, they’ll cling to you for the rest of your life. They’re inside of you, like maggots in a rotting carcass. They’ll make a nest in your heart, for cold as ice as it may be, it’s still the warmest place in your body. You’re a glacier, a river of ice and I don’t think you’re ever going to thaw, I don’t think you’re ever going to melt, there’s not even enough sun in this blistering hot country to melt a man such as you….

HE EXITS. MALACHI YELLS AFTER HIM MALACHI I didn’t kill her. She left on a

cart. I didn’t kill her. If she’s killed someone else must’ve killed her...I tell you I didn’t kill her.

TROOPER You can have five minutes with him. HE EXITS. MALACHI NOTICES NELLIE FOR THE FIRST TIME. MALACHI Nellie SHE SAYS NOTHING. …Nellie..Come here Nellie. NELLIE DOESN’T MOVE Nellie... NELLIE GOES OVER CLOSER TO THE BODY.SHE LOOKS AT MALACHI.THEN SHE LOOKS BACK DOWN AT JANE.SHE OPENS THE FLOUR SACK.


103

What are you doing.. Leave that thing alone.Come here. Come and hold me. I’m scared Nellie.. NELLIE LOOKS DOWN AT JANE INTENTLY, PERHAPS SHE IS BLAMING HERSELF FOR JANE’S DEATH, AND CAN’T TAKE HER EYES AWAY FROM HER CRIME..BUT THEN SHE CAREFULLY BUT NERVOUSLY STARTS TO LOOK FOR SOMETHING, BURYING HER HANDS IN JANE’S DRESS. Nellie...no Nellie... NELLIE FINDS WHAT SHE IS LOOKING FOR. BUT JANE HAS SEWED IT UP.THE BODY STINKS.NELLIE STEPS BACK AND TAKES A BREATH OF FRESH AIR. NELLIE Have you got a knife? MALACHI No, they took it off me. NELLIE PULLS A HAT PIN FROM HER HAT. SHE FEELS TERRIBLE PERHAPS, BUT CAN’T STOP HERSELF. SHE STARTS TO UNPICK AT SOMETHING NEAR JANE’S WAIST. What are you doing? Leave it now. Jesus, Nellie, leave it now. They’ll be back any minute. It’s not there. I looked everywhere. NELLIE No you didn’t.. MALACHI Jesus Christ Nellie, leave it now. She’s foul. Forget about the money. NELLIE You’ll be gone Malachi. One way or another you’ll be gone, and I’ll have to fend for myself. She’s got no use for it. SHE PULLS OUT A WAD OF NOTES. SHE LOOKS AT MALACHI.SHE IS FLUSHED AND EXCITED. MALACHI Oh Nellie... SHE POCKETS THE NOTES AND PUTS THE HAT-PIN BACK IN HER HAT. Oh Nellie.. SHE GOES OVER TO WHERE HE IS CHAINED TO THE TABLE AND HE PUSHES HIS HEAD AGAINST HER.NELLIE KNEELS DOWN NEXT TO


104

HIM.THEY EMBRACE. FOR A MOMENT THE THREE OF THEM ARE STILL, A TABLEAU. THEN THE TROOPER ENTERS. TROOPER That’s five minutes Mrs Martin. NELLIE STANDS UP.SHE SMILES BRAVELY AT THE TROOPER. THE END


Salt Creek Murders

Documents