The Woods

A Stage Play by Roo Jenkins

A one-act play based on the Hozier song 'In The Woods Somewhere'

The Woods
By Rhys Jenkins
Based on the song ‘In The Woods Somewhere’ by Hozier

Character List (in order of appearance)

Narrator �" Not gender specific, and age is not important to the character, thus can be played by any actor. The Narrator is a very teasing character, who likes to play mind games and tricks with Andrew, in an attempt to push him further into the woods, and into their own definition of insanity. The Narrator has ties with the Creature, and knows the woods better than anyone, hence their willingness to expose others to them. Has very psychotic tendencies and mannerisms, but of a calm madness; the character should be played with subtle idiosyncrasies to present their madness, as oppose to screaming and shouting.

Dr Byrne �" Male, older than Andrew, and relatively learned & wise of the world. The doctor for all of Andrew’s family, this character can only have Andrew’s well being in mind, as well as finding it easy to talk to Raine & Anne. He is a kind, soft man, but is very good at managing stressful or panicked situations, such as Andrew’s seizure.

Raine �" Andrew's wife, only slightly younger than him/about the same age. Raine is a kind woman, who has known Andrew her entire life. However, she has little ability to keep a level head when in a panic, as she is used to a quiet, calm life. This said, she is a loving wife, and an excellent mother to Anne.

Anne �" Andrew & Raine’s daughter, an innocent, nice girl. Can be played as any age, from no younger than about 8 years, and no older than 15/16. If played as a teenager, Anne's lines should be reconsidered slightly, such as the use of ‘Daddy’. A quiet girl, Anne has been well-raised by Andrew & Raine, to be polite, kind and intelligent.

Andrew �" A healthy, fit lumberjack, Andrew is about 30-40 years old, and stands as a respectable, honourable person, and could be seen to be in ideal shape and condition for a man of his age. He means nobody any harm, and cares greatly for his family. In his time in the woods, he is pushed to breaking points, such as taking the life of the Fox, and the pain he endures in the Creature’s grasp. Though he seems simple, he is a strong-willed, well minded and well principled person. Andrew’s age should correspond with Anne's, making a believable difference for father/daughter.

Fox �" An innocent, sweet creature, The Fox is simply a good thing found in a bad place at a bad time. As she mourns the death of her mother, she herself has felt the wrath of the Creature. This role can be played by the same actress who plays Anne. In a similar manner, the Fox can be played by a male actor, though some lines will require revising if so.

Mother �" The Fox’s mother, she only makes a quick appearance in the sequence where we see the Creature chase and kill the Mother. This role can be played by the same actress who plays Raine.

The Creature �" A hideous, grotesque being. The Creature is considered the most powerful and dominant thing in the woods. He uses fear and intimidation to undermine anything that stands in his way, and is ruthless and brutal in his killings. The Creature spends more time offstage than on, and thus the most important aspect of his performance is his voice; The Creature’s voice must instantly strike fear into people, and should be the focus of the performer’s characterisation of the role. Though The Creature can be played at any age, and can also be performed by the same actor who plays Dr Byrne, it is advised that he is played by a younger actor, who is prepared for physical theatre, assuming they can create an appropriate voice for the character.

Prologue

Lights up on Dr Byrne’s surgery. There is a table placed downstage right, with a few small piles of folded clothes on it. Narrator enters SL, and slowly walks to stand centre stage as he/she speaks.

NARRATOR: Ladies and gentlemen, what I am about to ask of you is not a matter of bravery. It is not a matter of courage, or fear. The question I pose to you is a simple matter of madness. Do you know the definition of insanity? Somebody once said that to be insane is to do the same thing over and over and over and over again, while expecting things to change. They were convinced that madness was being familiar with something, without believing it. Well they were wrong. Madness is unfamiliarity. A case of the unknown, of venturing into the darkness with a hope of finding light. Madness isn’t doing the same thing, it’s doing something new. It’s being fearless of jumping when you’ve no idea what’s beneath you. And you can say all you want to: “You should jump! You might fly!” We are human. We do not fly. We crash, we fall, we burn, we tumble and crumble and we die. We. Do not. Fly. And so ladies and gentlemen, what I ask of you is, are you ready to be insane, if only for a little while? Are you prepared to follow me into darkness? Are you ready to see what you might discover... in the woods?

In The Woods Somewhere starts to play, stopping before the first verse is sung (0:00-0:24), as Narrator runs off SR, laughing. Andrew is carried on from SL by Raine and Dr Byrne, who are followed quickly by Anne. Andrew is unconscious and fitting uncontrollably, shaking, and making violent, unpredictable movements, as if in the midst of a seizure. He has a bloodied bandage around one of his legs.

DR BYRNE: Anne, clear that table for us, we’re going to need to lay him on his back.

Anne runs ahead of them, and pushes the piles of the clothes onto the floor. Dr Byrne and Raine carry Andrew across the stage, and stop behind the table.

DR BYRNE: Raine, you ready? 3, 2, 1.

With some effort, the pair of them lift Andrew up and onto the table, laying him on his back.

RAINE: What’s happening to him, why’s he like this?

DR BYRNE: He’s having a seizure of some sort, I need to try and find something to calm him. Anne, get my bag from over there.

Anne runs to the other side of the stage, where Dr Byrne’s bag is hung up. She carries it back to the table as Raine speaks.

RAINE: (panicked) But he’s never had seizures before, what’s happening? I mean, has something caused it, or is something wrong with him, or-

DR BYRNE: (grabbing Raine) Raine! I don’t know, okay? I have as much of an idea about what’s going on right now as you do. So all I can do is give him a sedative, and hope it calms him. Please Raine, I need to be calm for me, okay? Please. (Raine nods, still upset) I’ve got something in here that might just do the trick, but that’s all I can do until I examine him properly. (Dr Byrne rummages through his bag, to pull out a small bottle.) Try and hold his shoulders down for me.

Anne and Raine hold Andrew down, while Dr Byrne pours the contents of the bottle into his mouth. Andrew splutters a few times, before continuing to fit for a while, eventually subduing and lies still, as if asleep.

DR BYRNE: There we are Andrew; take it easy for a moment. There we go. I’ll need to check all of his vitals before I try and figure out whatever could’ve been the cause of his fit. Would you be able to make a sort of record of what he’s eaten, drunk, consumed, anything at all that could help?

RAINE: I can look at what we’ve made him over the past few nights but what he’s taken of his own accord is beyond me.

DR BYRNE: Regardless, do whatever you can, anything’s a start. I’ll check him over. Try and put a list together in the meantime, whatever you can think of, it has every chance of helping me get to the bottom of it.

Dr Byrne begins to examine Andrew, checking his heart rate, his breathing etc., and taking notes on a small sheet of paper. Raine takes Anne to the other side of the room.

ANNE: What’s happening to father?

RAINE: I don’t know. And honestly, if I had the faintest idea, I’d tell you in an instant. But you are as clueless as I am right now. I know it’s hard, but all we can do for your father at the moment is to help the doctor, however he needs us to. Can you do that for me darling? Can you?

Anne nods weakly, evidently upset and worried about what is happening. Raine hugs her, and the two hold the embrace firmly, comforting one another.

ANNE: That strange bottle that Dr Byrne gave father, what was in it?

RAINE: It was a sedative; it was something to put your father to sleep for a little while, just so he’s not in any danger.

ANNE: So he’s asleep, is he?

RAINE: He is at the moment, yes.

ANNE: Well, when I used to have nightmares, he’d always tell me that dreams are like adventures, and that every time we fall asleep we’re wondering into the unknown. And that all we can do is be brave, and keep battling through, no matter what’s on the way.

RAINE: What’s your point darling?

ANNE: If he was the one to teach me that, he must know it better than anyone. So if he’s asleep, we can know that he’s being brave, no matter what he’s faced with. Maybe we should do the same while we’re awake.

RAINE: You sound just like him. You do more and more so every day. Well, if you’re ending up like him then I really am doomed. There’ll be two of you in the house. (the two laugh softly) Now, let’s get that list the doctor asked for.

Andrew bursts into screams and shouts out of nowhere, alarming everyone in the room. He screams for a while as if in a moment of great fear, before lashing out with his arms, hitting Dr Byrne in the face.

ANDREW: (screaming, still asleep) Anne! Annie! Annie, darling, I’m here! Anne!

The screams of fear continue for some time, while Anne and Raine run to Andrew’s bedside. Anne puts a hand on her father’s head, as if to comfort him, running her hand across his head. Andrew gradually becomes less distressed, as Anne whispers to him, calming him down.

ANNE: (as she comforts him) It’s only a dream, Father. Be brave, it’s only a dream.

Andrew starts to slowly calm back down, lying still again. Anne walks back to the other side of the room, to collect a pen and paper, before following Raine off SR. Dr Byrne continues to take notes, whilst articulating them.

DR BYRNE: Time is 8:17. Patient has developed a fever; temperature is high, heart rate remains slightly high, though gradually seeming to decrease. It appears that the earlier given sedative is still taking its effect fully, with the patient expressing subconscious thoughts verbally from what I can assume to be a dream-like state. The wound on the patient’s leg has an I moan origin, but has stopped bleeding; I shall apply an antiseptic. Having just experienced a mild distress, the patient has calmed again, though he still seems restless. Cause of the seizure is still unknown. All I can do for now is monitor the patient’s vitals, and use any information available to attempt to deduce what’s thrown poor Andrew into such distress. Until that time, I’ll have to just pray for him. (stops writing) How on earth did you get here Andrew?

Lights fade to a blackout.

Scene One

The stage is as dimly lit as possible, making Andrew only just visible, as he lies centre stage, on his back, still, asleep. (0:24-1:02) of the song is played. As it fades out, the lights raise slightly. After a few moments’ pause, Andrew gasps and screams himself awake, as if suddenly awakening from a nightmare. This continues for a few moments, before he calms down slightly and sits up, still breathless and afraid. He takes some time to catch his breath. As he begins to stand, Narrator enters SL, silently observing Andrew. Andrew stands, but only keeps balance for a few seconds before stumbling, and falling to the floor. Narrator walks over to him and helps to him feet, though the two exchange no words, as if Andrew is unaware of Narrator’s presence. After a while, Andrew is standing on his own, though he is still visibly struggling, and is in pain.

ANDREW: Where am I? What place is this? Please, is anyone there?! I require assistance, is there anybody there? Can anybody hear me?!

NARRATOR: He may scream, he may cry, he may bellow his throat dry. But no one is listening. Not a soul can hear him. You're considered crazy if you talk to yourself, dearest Andrew. But if you scream, and no one hears you, did you ever really scream?

ANDREW: I recognise this place. I've seen it before; it's on the other side of the woods. Why would I be here of all places? I've not been here since work led me here over a year ago. We needed the spruce for the mayor’s cabin they built in the north of the village, by the knoll, but the damp had spread to the bark, I remember; we couldn't use the wood for so much as tinder. What's happened to me, how'd I have ended up in somewhere so far from the village? I'll have to travel all the way through the woods before I'm home, it'll take an hour at the least! And at this time of night I've no hope of keeping my direction true to home. I'm not even sure which way would take me home.

NARRATOR: They called me crazy once. Said I was talking to myself. In truth, I have never been talking to myself. I have been talking to the world, and it hasn't been listening hard enough. Screaming my truths, my ideas, my knowledge at the world, and being ignored. Not talking to myself. But to everyone. Anyway, to business. (Narrator now becomes visible to Andrew, as if he has appeared out of nowhere.) Evening Andrew.

ANDREW: (alarmed, but confrontational) Who are you? Where did you come from, what do you want? And how do you know my name?

NARRATOR: It's nice to see you too dear.

ANDREW: Answer me, who are you?

NARRATOR: That, my friend, is a very dangerous question. One we should never answer, without lying, storytelling or having no idea whatsoever. We shouldn't tell people who it truly is that we are. We'd terrify them. So for now, you'll know me as a nobody. I was never here.

ANDREW: Okay, fine, I'm sorry, okay? How did you get out here? I need a way back to the village you see, and if you've got some means of transport I'm sure I could make it worth your while.

NARRATOR: Well, of course I've got means of transport! How silly of you, of course I've got transport.

ANDREW: Oh thank god for that! I thought I'd be stuck out here all-

NARRATOR: I call them my feet. I believe the mode of transport itself is called ‘walking’. It's quite easy if truth be told, you just put one foot after the-

ANDREW: You're not funny! Please, can you take this seriously?!

NARRATOR: Now now princess, no need to be so angry about it. If you want to get home, just follow the path that leads to the North. (Indicates SL) I give you an hour and a half before you make it to the outskirts of the village, if you're lucky. Plus you can’t get lost; the path doesn’t have any turnoffs, any twists, any contortions, you can just follow it straight. It’s one path, with one destination, going one way. How hard can it be to not get lost?

ANDREW: (checking in the direction of the path) You’re sure this is the way back to the village?

NARRATOR: I’m as sure as the day is long.

ANDREW: How do I know I can trust you?

NARRATOR: You don’t. That’s the point. At this exact moment in time, the only thing you can do is be completely mad and listen to a complete stranger. It’s either that, or you could wait it out, hope someone else turns up, maybe even trust your gut and see where that gets you. But wouldn’t it be so much safer just to trust me? Take an honest man’s word, just try it!

ANDREW: And what if I don’t trust you? What if I’m smart enough to not trust a crazy man/lady I’ve never met before?

NARRATOR: You’re right. What if? What if? You had to ask that, didn’t you? Honestly…

Offstage, SR, Anne screams, alarming Andrew, though Narrator is not affected by it.

NARRATOR: What’s the worst that could happen?

ANDREW: Good god, what was that?

NARRATOR: That… was the worst that could happen.

ANNE: (offstage) Mummy!

ANDREW: Annie?

NARRATOR: And so, ladies and gentleman, we have lost him entirely.

ANDREW: That sounded like my daughter, she’s in trouble!

NARRATOR: Now what on earth would your little girl be doing all the way out here?

ANDREW: I need to go!

ANNE: (offstage) Mum!!

ANDREW: Annie! Annie, darling, I’m here!

Andrew runs, panicked, off SR, leaving Narrator on his own.

NARRATOR: (almost to themselves) Oh my dear Andrew, there's something tragic about you. Something so magic about you. Don't you agree? Innocence will die screaming, honey. Ask me, after all, I should know. I slithered here all the way from Eden just to hide outside your door. Oh, what a sin. No tired sighs, no rolling eyes, no irony. No time for me. Idealism will sit in its prison; chivalry will fall on its sword. And as for Andrew, well, there’s something oh so lonesome about him. Shall we follow him? Shall we follow him to the woods?

Narrator stands center stage, straightens their tie, as if making themselves more presentable. Once they feel ready, they take a few steps back, turns to face offstage, SR, throws their arms back and runs off gleefully, as they shout.

NARRATOR: (excitable, shouting) Honey, I’m home!!!

Scene Two

Lights fade to a darker, or even blue wash, and (1:02-2:01) of the song is played. A physical theatre sequence should be used in parallel with the music, to show the Fox and the Mother running from The Creature, terrified. The Creature attacks the Fox, and leaves it near death USR, before the Mother grabs it, attacking it, and it chases her off SL, bloodthirsty and furious. The Creature should try to be kept hidden and mysterious to the audience as much as possible throughout the sequence, only to be seen briefly; keep The Creature’s visibility and stage time to a minimum. At the end of the section of music, lights return to normal. The stage is empty, apart from the Fox, who lays limp, USR, crying and in great pain. Andrew runs on stage, SR, breathless, as if still searching for Anne.

FOX: Is there someone there?

Andrew stops, alarmed.

ANDREW: Who said that? Show yourself!

FOX: Over here, I’m here!

Andrew looks around for a moment, before finding the Fox and moving towards it.

FOX: Please, I need you to help me.

ANDREW: How can you speak? I must be dreaming this, a fox, asking me for help!

FOX: Please, if the pain I am in is anything to go on, neither of us are in a dream. Please, I need your help, I’m begging you. I called for help, I cried for my mother but I think it must have got her.

ANDREW: What got her? What are you talking about?

FOX: We were running, my mother and I, and it was chasing us. Mother ran off in a different direction to me, and it followed me and it caught me! I thought it was going to kill me, but my mother caught its attention and it followed for her instead.

ANDREW: What attacked you? You’re making no sense!

FOX: (starting to cry) I don’t know what it was! I just ran from it, I was certain it was going to kill me, and it must have got my mother instead, and now it’s still out there!

The Fox begins to cry, as Andrew takes a moment to pity it, before going down to the floor to comfort it.

ANDREW: (holding the Fox) You say you called for your mother? After this…thing attacked you?

FOX: I called for her, yes. I hoped she would have been fast enough to distract the thing, but it must have caught her. (begins to weep again, as Andrew comforts it)

ANDREW: There there little one, it’s okay. You’re safe now, there’s no creature here to hurt you. Can you stand?

FOX: I’ve not tried.

ANDREW: Here, I’ll help you.

Andrew puts the Fox’s arm around his shoulder, and the two rise up. As the Fox places its feet on the floor, it screams in agony, crying, before falling limp again. Andrew picks it up, and lays it on the floor again, center stage. It has almost passed out from the pain, and is only mumbling, inaudibly. Andrew comforts it, and examines its legs, which are lame and bloody. This continues as Narrator enters SR and speaks to the audience. They carry a stone in one hand. Andrew is unaware of Narrator’s presence.

NARRATOR: Look at you, nursing on a poison that never stung. Our teeth and lungs are lined with the scum of it. There is somewhere for this, somewhere out there. It lies with the guns, and the pain, and the misery, and the blood. It lies with death. We are numb to the pain of it. The poor Fox here was free and young, and now it can feel none of that. Andrew, darlin', don't you stand there watching it. (Places the stone in Andrew’s hand, before starting to slowly walk back towards the way they came) Won't you come and save it from it? Add a shadow to the wall of the cave.

Narrator exits SR. Andrew realises he has the stone in his hand, and examines it. He knows what it means, and places it next to the Fox before nursing it, gently.

ANDREW: (softly) Hush now, just a little hush. Your veins are busy, but your heart’s in atrophy. (the Fox mumbles) Something isn’t right little one. I keep catching words, but the meaning’s thin. You’re nearly somewhere outside your life; it’s like you keep scratching but you just can’t get there. You don’t deserve this pain. You’re just a poor slave to any semblance of touch. (Andrew leans back and picks up the stone.) Goodnight little one.

Andrew raises the stone high above his head, before slamming it down, and killing the Fox in one strike. *If the Fox is laid with its feet closest to the audience, and its head upstage, the strike can be placed above the Fox’s head, with Andrew’s back to the audience* Andrew drops the stone, and sits, his head in his bloodied hands, next to the slain Fox. After a short while, Narrator enters SR, curiously examining the scene.

NARRATOR: (suddenly, shocking Andrew) There are questions I can't ask, now at last, the worst is over.

ANDREW: What do you want? Did you follow me?

NARRATOR: I see the way you hold yourself Andrew. I know that you hate this place you're stuck in. Not a piece of me would argue. You should run away. I pity her you know.

ANDREW: (aggravated, impatient) Who? Who do you pity, what are you on about now?!

Narrator indicates to the Fox.

NARRATOR: Our little baby Fox. I'm assuming it was a girl. Our little baby and her mother. Both of them, slain. So bloody.

ANDREW: She spoke of a creature, some beast in the woods. Do you know what she was talking about?

NARRATOR: It is not a Creature that attacked the Fox and her mother. It was the Creature.

ANDREW: The Creature? Oh for gods sake, this isn't a fairytale you imbecile! If there is something out there that put these two poor animals on their deathbeds then we need to catch it!

NARRATOR: Andrew, I'd like you to take a look at our poor Fox’s legs. The wounds. Look. (Andrew begins to examine the wounds in the Fox’s legs) Do you notice anything odd? Anything that strikes you funny?

ANDREW: There aren't multiple teeth wounds. It's not like the Fox was bitten by a mouth of teeth, it looks as if it was just one.

NARRATOR: Exactly.

ANDREW: What sort of thing could have caused such a wound?! Its teeth must be that of a-

NARRATOR: That of a creature. The Creature. Yes.

ANDREW: I am begging you, whatever you know of this creature, you must share, for both our sakes.

A pause, as the Narrator stand still, staring at Andrew.

NARRATOR: When my time comes around, they will lay me gently in the cold dark earth. No grave can hold me down. I will always find a way to crawl back to it. To the Creature.

ANDREW: (furious, he picks Narrator up off the ground by their shirt, screaming) Stop speaking in your riddles you b*****d!

Andrew throws the Narrator to the ground, enraged. Narrator chuckles, as Andrew looms over them.

NARRATOR: Your eyes… your eyes and words are so icy, yet you burn like rum on the fire. That flare, that flicker I can see in you, hot and fast and angry as she can be. You’re walking on a wire, Andrew. You’ve the eyes to look down on me, like I’m soulless, and yet look at the poor Fox, slain by some hideous beast with fire in its eyes.

ANDREW: (frustrated, impatient) What has The Creature got to do with this fire in me? You’re making no sens-

NARRATOR: (shouting to interrupt him) And at what point did I speak of the Creature? (pause) I spoke only of the beast that killed the Fox. I am speaking of you, Andrew. You are the beast. I ask you, what drove you to kill the Fox? Why do it?

ANDREW: It was in agony, bleeding, it could hardly stay conscious from the pain! I didn’t want it to spend what would be its last hour in such horror, so I relieved the poor thing of its burden.

NARRATOR: You put it out of its misery? Yes? So why raise a stone to kill it? Why bash its skull so fiercely to apparently ‘end’ its pain? Why not smother it? Break its neck perhaps?

ANDREW: (confused, scared) I… I don’t understand.

NARRATOR: Of course you don’t. (pause) I had a thought, dear, about this night. I will not ask where you came from. I will not ask, and neither should you. What I will ask, is: into what is this night making you? Are the woods stuck within you Andrew? Are your arms becoming branches of the trees within the woods? What else would make you need to seek blood?

ANDREW: I did not seek blood!

NARRATOR: (deliberately toying with Andrew) Oh but that’s the best part! You still don’t know! You have no idea! (laughs) you’re so lost, that you don’t see what’s fallen into you. You don’t see how the woods are in you now. How they’re a part of you. Maybe you’ll escape; maybe you’ll find your way to be free. But when the time comes, you will run to them. You will run until you feel your lungs bleeding. You’re being twisted by something, a shame without a sin. You’re being twisted, enough to make you crave the blood you’ve caused to be shed. Beneath this hideous sky is a punishing cold, and slowly, painfully, it will light up your ancient misery. Rare is this sort of insanity, Andrew. Keep it covered. (pause, as Narrator squares up to Andrew) Run. Run, run, run, run, and run! Run until you feel your lungs bleeding inside you! Run to me, run to him, run to the woods!

ANDREW: Shut up!

Andrew punches Narrator, who falls to the floor. As they hit the ground, an echoing roar is heard from the distance, that of The Creature. The noise terrifies Andrew, who covers his ears to not hear the volume of the noise. The sound sends him into a shock.

NARRATOR: (chuckles slightly) Now, now… He’s really not happy. You see, that, was The Creature. And you’ve certainly made him angry now. You want my advice, Andrew? Run. Run little rabbit, run!

Andrew, terrified and in awe, runs off SL.

NARRATOR: When I was a child, I'd sit for hours, staring into open flames. Something in it had a power. I could barely tear my eyes away. All my life, all I’ve ever had is my fire, and a place I need to reach. But I never tamed my demons. I always kept 'em on a leash.

Narrator scrambles off SR, as lights fade to blue wash, as The Creature’s roar is heard once again.

Scene Three

(2:01-3:39) of the song is played. In this section we see Andrew on the stage, running, in shock, with obviously no idea to where he is traveling; he is still terrified. The extract of the song is closed with a roar from The Creature, the shock of which causes Andrew to trip and fall to the floor. The Creature chuckles, his voice deep. Andrew is terrified throughout the conversation, with The Creature offstage.

CREATURE (OS): Oh…you do you look ever so small down there. Ever so small. Do tell me, what do you think gives you the right to be here? In my domain? Why are you here, little one? Did your mind lead you astray? Curiosity? You don't intend to threaten my home, do you little one?

ANDREW: I am miles from my home, I mean you no dispute I swear!

CREATURE: You sound scared, little one! Do the woods make you fearful? Do you feel trapped in them? Or are they home?

ANDREW: (starting to try and stand) This place is nothing like a home!

CREATURE: (bellowing, furious) Do you mean to insult my home?

ANDREW: (falling to floor and quivering, and hand to the air as if holding something looms over him) No home of mine! I meant it is no home of mine! I meant not to insult you. I simply wish to get home, I swear!

CREATURE: Is that a tear on your cheek? You are afraid, aren't you? But not of the woods, no. You fear me, don't you little one?

ANDREW: I fear not making it back to my home. That's all I want, please, have mercy on me! I am a simple man, I mean you no quarrel. Please. I've a child, I need to be home with her.

CREATURE: You have a child? Surprising, considering your willingness to slay one.

ANDREW: I did not slay the Fox! That was your doing, you attacked her! I spared her of the pain you caused her! Her blood is on your hands, not mine.

CREATURE: Your words are so strange little one. You speak of blood on my hands, yet I only taste it. You are the one with blood on your hands. I have drunk all of mine.

ANDREW: You are a monster!

CREATURE: (shouting) I am a creature! I am The Creature of the woods! You have entered my home, you have killed one of my prey, and you have dared to insult me! And to think, you would call me a monster!

ANDREW: I have told you I mean no harm!

CREATURE: (bellowing, the noise echoing) SILENCE! (pause, as Andrew is quivering with fear) I am tired of trying to see you from behind the red in my eyes. I know no better version of me that I can pretend to be tonight. I am tired of my patience. I feel drained of blood. Perhaps you have some spare? I could slay you in an instant, so I ask you, little one… Why shouldn't I?

ANDREW: My life means nothing to you, you gain nothing from killing me!

CREATURE: You assume too much of me. I would gain satisfaction. Glee, knowing that such a torment on my home had been eradicated. And to know that I would be the one to eradicate such a threat, would be most pleasing. So why should I not end you, little one?

ANDREW: Truly, what the man told me of you fell immeasurably short of your true tyranny, great beast of the woods.

CREATURE: Ah, you think flattery will save you? Nothing can save you. Not from me. You call me a tyrant. A great beast, as you so mildly put it. You are wrong.

ANDREW: Are you not a beast?

CREATURE: (bellowing) I am no beast! I am the beast! You can hunt, search and scour the world, but you shall find nothing as great as I! There is no being in this world to trump me, not something of my might! My cunning, my power! I am the king of these woods, and you have not made me happy, human! You are an intruder, a killer even! To slaughter my prey, to enter my home, to disrupt my people, you may never leave these woods alive! For they belong…

The Creature enters SR, and is revealed to the audience as the hideous being he is. Andrew scuttles across the floor, terrified, until he is USL. As he speaks, The Creature paces slowly towards Andrew, slowly and menacingly.

CREATURE: …To me. I am The Creature of the woods, and though it is hard for me to confess, you have found me. Truthfully, I commend your ability to have survived this long, but with the acts you have committed, I can not let you live.

ANDREW: (terrified, whimpering) Please just let me go! I am sorry for whatever I have done to anger you, but I swear on my life, I will never return here, if you just let me go home to my family!

CREATURE: Of course I will take you home.

The Creature leaps forward and pins Andrew to the ground fiercely. His tone changes.

CREATURE: (violent, powerful) And when I slam your bloodless corpse in front your wife, and in front of your child, I will let them see what I will have done to you, before I rip them apart and pick the cold flesh from their bones! You will go home to your family as a dead man, simply for them to join you!

ANDREW: (struggling to push The Creature off him) You will not touch them! You leave them out of this!

The Creature quickly overpowers Andrew, and slams him back on to the ground. He stabs a claw into Andrew’s leg, and turns it as he speaks, causing Andrew immense pain, who screams in his agony.

CREATURE: Does that hurt you Andrew? Do you think you know pain? You have no idea. I will make you know what pain is. (turns his claw) Do you feel her? With her sweetened breath, and her tongue so mean. She is the angel of small death, and the codeine scene. (turns his claw) The more you feel the pain, the more you feel human, and that is your weakness boy. When I have ripped out our heart, I will lay it at her feet, bloody and raw, and I will drink it's blood dry from your corpse, the sweet sweet taste. (closes in on Andrew, their faces nearly touching) And, with the sweet heat of your breath in my mouth…

The Creature raises himself to his knees, raising his hands above his head, to be looming over Andrew, who's lying beneath him, and howls.

CREATURE: (howling) I am alive!

In climax of The Creature’s howl, Andrew strikes the creature hard on his head, who falls back, pained and dizzy. Andrew clambers to his feet, as the Creature tries to pursue him. After a short fight/brawl, as The Creature tries to pin Andrew down again, who this time overcomes him before running off SL, having escaped The Creature, who howls again before chasing after him. The lights fade to a blackout.

Epilogue

Lights up on Dr Byrne’s surgery, as (3:39-4:18) of the song is played. Andrew is lying on the bed as he was left at the end of the prologue. Dr Byrne is writing, sat at a small table. Andrew suddenly awakens, gasping, sweating and alarmed. Dr Byrne immediately stands and goes to aid him.

DR BYRNE: Jesus Christ man, you don't half know how to terrify everyone, do you?

ANDREW: Where am I?

DR BYRNE: You're in the surgery, don't worry.

ANDREW: Where's Annie, where's Raine?

DR BYRNE: They're safe, I sent them home for the night after they brought me your eating record. You terrified them, you're lucky it was Anne’s teacher who found you, she knew to find Raine. You'd have been left there otherwise. They found you in the south of the village, by the outskirts of-

ANDREW: The woods.

DR BYRNE: Well, yes, as it happens. You knew?

ANDREW: I remember. I remember it all.

DR BYRNE: Care to tell me what happened to your leg?

ANDREW: I was attacked.

DR BYRNE: Jesus christ, by who? You should tell the authorities, they should know who's done this!

ANDREW: Doctor…

DR BYRNE: Well who was it?

ANDREW: Doctor! (pause) The authorities aren't going to be told anything. These events need to stay strictly between me and you.

DR BYRNE: Andrew, you aren't making any sense.

ANDREW: You can't tell anyone. It doesn't matter whether or not it makes sense. Just promise you

Andrew turns himself, so his feet hang over the edge of the bed. The Narrator enters, and slowly walks towards the bed as Andrew talks, to sit next to him.

ANDREW: If I tell you something, will you keep it between the two of us?

DR BYRNE: Well I suppose, it depends what it is. Why? What's happened?

A pause, before the Narrator and Andrew speak simultaneously.

ANDREW/NARRATOR: I found something. (pause, as Andrew & Narrator turn to face Dr Byrne) I found something…in the woods somewhere.

Lights slowly fade, as the song is played to the end from (4:48).

Blackout.