'Crashing' follows three people as they come home from a night out. Muir and Ian are old friends, and have picked up (and are competing for) Jackie. Jackie is speeding, Muir is on E, and Ian is a bit stoned. The evening takes a disturbing turn when Muir's partner Helen joins the group. A violent side to Muir is revealed as Jackie becomes a catalyst for change. Researched with the help of Crew 2000 drugs project and Edinburgh Women's Aid.
Duration: 1 hour
Helen's flat in an Edinburgh tenement, May 1995 at 3.30 am. The set shows the living room and kitchen. There is a door to the tenements stair, and doors leading to the bathroom and bedroom. There needs to be a window that opens. The decor is minimal and tasteful, but this doesn't stop the flat feeling small and claustrophobic.
'Crashing' was written because of a strange night with a character called Ben on the Renfrew ferry in Glasgow.
'Crashing' was given performed readings at the Traverse in Edinburgh and the Tron in Glasgow, directed by Philip Howard. It was later staged by Radge Theatre Company at the Edinburgh Festival Fringe. It is designed to be shown in conjunction with a ten minute film 'Wasted' which tells Muir's side of the story. The film was made by Radge Productions in 1995, directed by Andrew Abbot. Contains stong language and gentle drug abuse.
[The flat is dark. Jackie and Muir can be heard off stage on the stairs].
JACKIE -(Off) ...so I'm on the back of this motorbike with this bloke I've never even met before, heading Christ alone knows where...
MUIR - (Off. Dropping keys) Shit...
JACKIE -(Off)...and I was, like, really wrecked by then. You ever been across the road-bridge at night on the back of a bike? Let me tell you..
MUIR -(Off) Bastard fucking door...
JACKIE -(Off) Brilliant, the lights on the water, the wind. Christ, we went so fucking fast...
[Muir gets the door open. He carries Jackie in.]
JACKIE -Put me down! Ian! help!
MUIR -Got to do this properly. Welcome. The bridge is down you'll have to spend the night...
JACKIE -You ought to watch it. Who you invite in. I could be a vampire. I could be anybody. Hey, I am anybody...
[He drops her and turns on a table lamp].
JACKIE -Shit. Wow, this is really nice.
MUIR -Welcome to the top of the world.
[She flings open the window and leans out.]
JACKIE -Hey, you can see the castle...
MUIR -Lets get some music on here...
JACKIE -This is excellent Muir. Really smart. Anyway, we get there and they've got the music, the lights the business in this barn in the middle of no-where. Really good crowd too. I had the best time. And see, like, I'd never of done that if I'd been straight...
[Muir has put on some hard, fast dance music. He goes to the door and yells down the stairs.]
MUIR -Ian, mate. Hurry up with those tins. Come on! Move it! You're a mess, man. To many fucking fags.
JACKIE -This is so nice. Like the window of Habitat.
MUIR -You like it?
JACKIE -White carpets. Who the fuck has white carpets?
[Ian comes in out of breath and sits down. Muir takes the bags from him and opens can. Ian sits down.
IAN -Jesus. Jesus. I'm fucking wasted.
[Jackie pulls a throw off the sofa and wraps it round herself.]
JACKIE - And this is beautiful. Hey, Muir. Muir look at this. Ian. Full of Eastern promise.
[She attempts to belly-dance at Ian.]
IAN -Get off us. I think I'm dying!
MUIR -Ian?
IAN -Bung us a tin.
MUIR -Jacks? Whiskey or export?
JACKIE -No... I've heard this before, this is good.
[Jackie dances. Muir goes to dance with her.]
MUIR -You'll not of. It's very exclusive.
JACKIE -Exclusive, eh?
MUIR -From Holland.
JACKIE -Oh yeah? Get a lot of things ordered from Holland? Ian. Hey Ian you boring bastard. Come and dance with us
[She tries to pull him up to dance. Helen comes in a dressing- gown. She watches as Ian grabs Jackie who beats him off with a cushion. Ian and Jackie end up falling on the floor, tangled up in the throw, taking the chair with them, laughing.]
IAN -Shit. Watch my back!
MUIR -'Len! Look at you! Look at this woman, she's fucking beautiful. I love this woman.
(Muir tries to kiss her. She evades him and turns the music right down.]
MUIR -What you do that for?
HELEN -It's half-past three Muir.
MUIR -So fucking what? It's Saturday. Who sleeps on Saturday night?
HELEN -Can I shut the window please?
MUIR -No.
IAN -Shit. Sorry 'Len. Made a bit of a mess with the old furniture...
[In getting up he kicks over a can.]
IAN -Shit...
JACKIE -Ummm.. Ian.
IAN -[To Helen] You got something to...
HELEN -By the sink. I'll get it..
MUIR -Leave it.
IAN -It's no hassle, I'll just...
MUIR -[With force.] Leave it! [Stiff pause.]
JACKIE -[To Helen]. Hi. I'm Jackie...
HELEN -Hi.
[Helen exits to kitchen.]
JACKIE -She all right?
MUIR -Yes.
JACKIE -Should we maybe...
MUIR -She's all right. I'm sorry for the embarrassment. No fucking manners. Isn't that right Ian?
IAN -Whatever.
[He puts the chair up-right and sits in it.]
A young writer to be reckoned with The Scotsman. 14/8/95. Mario Relich. (Four star review)
From local writer Anita Sullivan comes another triumph. 'Crashing' uses the rave culture for a study in manipulation. The opening video sets the scene for the central character Muir- a hyper-active ecstact dealer. Despite its gritty subject the play is neither humourless nor hysterical. Evening News. 12/8/95 Julia Harkness. (Four star review)
