Snuff

Davey Anderson

• Publisher: Nick Hern Books
• Year: 2015
• eBook ISBN: 9781780015729
• Topic: Literature
• Subtopic: British Drama
• Index: Literature

Back from Iraq, Billy is in no mood for games. But Kevin is not just playing...

Davey Anderson's short play Snuff was first performed at the Arches Theatre, Glasgow, in April 2005. The production then transferred to the Traverse Theatre, Edinburgh, for the 2005 Festival Fringe, and toured the UK in 2006 in a co-production with the National Theatre of Scotland.

SNUFF

Davey Anderson

Snuff was first performed at the Arches Theatre, Glasgow, on 5 April 2005, with the following cast:

KEVIN	Brian Ferguson
PAMELA	Siobhan Reilly
BILLY	Steven Ritchie
Director	Davey Anderson
Designer	Will Holt
Lighting and Sound Designer	Graham Sutherland
Photographer and Projections	Clementine Sandison

The production then transferred to the Traverse Theatre, Edinburgh for the Festival Fringe 2005, and toured the UK in 2006 in a co-production with the National Theatre of Scotland.

Characters

KEVIN

PAMELA

BILLY

A small room in a high-rise flat. There’s a door on one side leading out to the communal close. On the other side is a corridor leading in towards the kitchen. A window faces out onto an urban wasteland. Noises seep through the walls from the world beyond.

The room is cluttered with cardboard boxes, tabloid newspapers and magazines. A television set and video player sit on top of a small filing cabinet. On the floor nearby there’s a pile of videotapes, each one labelled with a different name.

KEVIN enters from the kitchen carrying an unmarked video and scans the room looking for something. He rummages through drawers and boxes until he finds it: his marker pen. He writes the name ‘PAMELA’ on the label, puts the tape in the machine and presses play.

The image flickers to life on the television screen. The video is halfway through. KEVIN watches himself on video interviewing his sister.

KEVIN (on screen). Fucking sit doon.

PAMELA (on screen). Don’t touch me.

KEVIN (on screen). Where did ye get they claes?

PAMELA (on screen). They’re mine.

KEVIN (on screen). Where d’ye get them?

PAMELA (on screen). I bought them.

KEVIN (on screen). Did ye?

PAMELA (on screen). Yeh.

KEVIN (on screen). Ye bought these?

PAMELA (on screen). Aye.

KEVIN (on screen). Where?

PAMELA (on screen). In the fucking shops, ya dafty.

KEVIN (on screen). Don’t talk tae me like that.

PAMELA (on screen). Leave me alone.

KEVIN (on screen). How did ye buy this? Ye don’t have any money.

PAMELA (on screen). I didnae steal it, right?

KEVIN (on screen). Where did ye get it then?

PAMELA (on screen). It wis a present.

KEVIN (on screen). Oh aye, who gave it tae ye?

PAMELA (on screen). Stop it, Kevin, that hurts!

KEVIN (on screen). It’s meant tae hurt.

PAMELA (on screen). This isnae funny. I don’t want tae play any more.

KEVIN (on screen). This isnae a game, Pamela.

PAMELA (on screen). Whit d’ye want?

KEVIN (on screen). You know whit I want.

PAMELA (on screen). I could get you done for this. Child abuse.

KEVIN (on screen). Where did ye get the claes?

PAMELA (on screen). Fuck off.

KEVIN (on screen). Just tell me.

PAMELA (on screen). You cannae dae this tae me.

KEVIN (on screen). Where did ye get them?

PAMELA (on screen). I could get you killed.

Pause.

KEVIN (on screen). Whit? Whit did you jist say?

PAMELA (on screen). You heard.

KEVIN (on screen). Is that a threat? Get Mohammed tae break ma legs?

PAMELA (on screen). I can get you done over. I’ll tell Billy whit you’ve done tae me.

KEVIN (on screen). Whit? You’ll tell who?

PAMELA (on screen). I can get you tae disappear.

KEVIN (on screen). You’ll get who? Whit ye talking aboot? Billy’s no even here.

PAMELA (on screen). I’ll get you hit so hard ye fucking break.

KEVIN (on screen). Billy’s away, ya stupid cunt.

PAMELA (on screen). Is he?

KEVIN (on screen). He’s been away two year. You’re fucking tripping.

PAMELA (on screen). Whit dae you know?

KEVIN (on screen). Fucking sit doon.

PAMELA (on screen). Don’t touch me.

Suddenly, there’s a knock at the door. KEVIN turns off the video. He listens. There’s another knock.

KEVIN. Hullo?

BILLY (off). Hullo?

KEVIN. Hullo?

BILLY (off). Hullo?

KEVIN. Whit d’ye want?

BILLY (off). Kev, is that you?

KEVIN. Who’s that?

BILLY (off). It’s me. Open the door.

KEVIN. Who is it?

BILLY (off). It’s me, Billy.

KEVIN. Billy who?

BILLY (off). King Billy of the fucking Boyne, who d’ye think? Open the door.

KEVIN. Wait a minute.

KEVIN hides the pile of videos on a high shelf.

BILLY (off). Whit ye daeing in there?

KEVIN. I’m coming.

BILLY (off). Can ye hear me?

KEVIN. I says I’m coming.

He goes to the door and unlocks it.

BILLY. Kev, hurry up and open the door.

KEVIN. Alright, for fuck’s sake. Calm the beans.

He slowly opens the door, concealing himself. BILLY peers into the room.

BILLY. Hullo? Knock, knock, anybody home? You there, Kev? Whit ye up tae?

KEVIN slams shut the door and jumps on BILLY.

KEVIN. Attack!

BILLY. Get aff me, ya poofter.

KEVIN. Surrender!

BILLY. Get aff.

KEVIN. D’ye surrender?

BILLY. Dae I fuck.

KEVIN. That’s right, mate, never surrender.

BILLY. Weakling like you, I could take you any day.

KEVIN. Ye think so?

BILLY. I know I could.

KEVIN. Take me where, up the arsehole?

BILLY. In yer dreams.

KEVIN. Come ahead.

BILLY. I’ll stick ma foot up yer arsehole.

KEVIN. Yes please.

BILLY. Put it away, Kev, I’m no in the mood.

KEVIN. Don’t have whit it takes?

BILLY. You wouldnae know w...

Table of contents

• Cover
• Title Page
• Contents
• Introduction
• Original Production
• About the Author
• Copyright and Performing Rights Information