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Welcome to SENTINEL LITERARY QUARTERLY

Vol.3. No. 2. January 2010

 


CONTRIBUTORS

DRAMA

SECTIONS

Andrew Campbell-Kearsey
Claire Godden-Rowland
Dike Okoro
Dominic James
Emmanuel Sigauke
Mandy Pannett
Noel Williams
N Quentin Woolf
Olu Oguibe
Paul Jeffcutt
Sharma Taylor
Susanna Roxman
W Jack Savage

 

Susanna Roxman "Dream in Two Scenes"

 

Scene 2 (contd)
 

Alicia paces the path alone for a while. Then Matthew, entering, comes walking. He’s tall, blond, green-eyed. If he wasn’t a bit overweight, he’d be quite handsome.
 

ALICIA (standing still, can’t believe her eyes): Matthew!
 

MATTHEW: Yes. Here I am. Didn’t you expect to meet me?
 

ALICIA: No, I can’t say I did.
 

MATTHEW: Why not?
 

ALICIA: I wouldn’t have thought you were important enough, to me.
 

MATTHEW: That you’ve met me here proves I’m important enough, doesn’t it?
 

ALICIA: I’m not so sure.
 

(Matthew tries to embrace her, but she steps aside.)
 

MATTHEW: I wanted to meet you for lunch, in London, three years ago. But you said no.
 

ALICIA: Because I was involved with somebody else.
 

MATTHEW: Yes, but for lunch! What could have been more innocent? What could happen during lunch, in a crowded place?
 

ALICIA: He wouldn’t have liked that.
 

MATTHEW: He needn’t have found out.
 

ALICIA: Of course I’d have told him.
 

MATTHEW: But why?
 

ALICIA: Oh, I tell him everything. Well, most things.
 

MATTHEW: If it had been dinner, I might have seen your point.
 

ALICIA: What point was that?
 

MATTHEW: That there might have been some danger.
 

ALICIA: Danger?
 

MATTHEW: Yes.
 

ALICIA: So dinner is dangerous, lunch innocent?
 

MATTHEW: Something like that. (He draws a little closer.) I always admired you tremendously. You were streets ahead of the rest of us students at King’s. And better read than our poor teachers.
 

ALICIA: You could have done better yourself if you hadn’t had that weird idea of doing your BA in one year.
 

MATTHEW: Well, I very nearly succeeded. One year and a few months, actually. But I only just passed.
 

ALICIA: You only just passed.
 

MATTHEW: But you, you were different, Alicia. A goddess. I admire you tremendously. (He moves even closer to her.)
 

ALICIA: Please leave me alone!

She stalks off, irritated. Looking over her shoulder, she finds that he has disappeared. A couple of minutes later, when she bends over some shrubs to see if there are any raspberries, Charlie suddenly appears, walking up to her. He is middle-aged, tall, quite athletic, with short dark blond hair and a beard. Charlie’s eyes are kind and blue, and he wears spectacles. He’s casually dressed and carries a small rucksack.


ALICIA (straightening up): Oh Charlie!
 

CHARLIE: Oh Alicia! (They embrace.)
 

ALICIA: I didn’t know you were here!
 

CHARLIE: I didn’t know, either.
 

ALICIA: What are you doing here?
 

CHARLIE: Same as you.
 

ALICIA: I don’t know what that is. I was looking for something.
 

CHARLIE: Raspberries.
 

ALICIA: No. Something important.
 

CHARLIE: I thought raspberries were important.
 

ALICIA: I believed I had lost it.
 

CHARLIE: And had you?
 

ALICIA: Perhaps not. Perhaps I was mistaken. This is a nice place, isn’t it?
 

CHARLIE: Yes. Have we been here before?
 

ALICIA: I thought so at first. But this is special. It’s new.
 

CHARLIE: But those pine trees look very old. Ancient.
 

ALICIA: They’re new. Everything here is new.
 

CHARLIE: How can you be so sure?
 

ALICIA: Everything is always new and startling.
 

CHARLIE (conceding the match): That’s true.
 

ALICIA: Where are you going?
 

CHARLIE: I was looking for you. Were you looking for me?
 

ALICIA: I’m not sure. I think I was looking for . . . me. This is an odd place.
 

CHARLIE: An odd place.
 

ALICIA: Will you stay?
 

CHARLIE (with genuine regret): No, I’m afraid I can’t. I have a train to catch.
 

ALICIA: I have a train to catch. Or so I think. At least, I had a train to catch.
 

CHARLIE: But that is your train. I have to catch my train.
 

ALICIA: Oh, of course. Didn’t think about that. Same destination, though, isn’t it?
 

CHARLIE: Always the same.
 

ALICIA: Why does one say that one catches a train? Isn’t it rather that one is caught by one? They’re ruthless, trains, tear you away from where you are to somewhere odd that you don’t recognize. Or perhaps recognize only vaguely. As if you’d seen it in another life.
 

CHARLIE: That’s the whole point. The state of shock.
 

ALICIA: Will you feed Melissa?
 

CHARLIE: I’ll feed Melissa. When will you be back?
 

ALICIA: Soon. I don’t know if I’ll meet anybody else here.
 

CHARLIE: Three encounters, that’s quite enough.
 

ALICIA: How do you know I’ve met two other men here? Have you been spying on me?
 

CHARLIE: No. But three is a lucky number. Even, I think you’ve said, a sacred number, once upon a time.
 

ALICIA: Yes, that’s right. (But she looks puzzled.)
 

CHARLIE: See you soon, then.
 

ALICIA: How soon?
 

CHARLIE: Soon. Soon. You know how soon “soon” is.
 

(They embrace, and Charlie walks off. Alicia stands there gazing after him.)
 

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JANUARY 2010 INDEX
COMPETITIONS
DRAMA
EDITOR'S NOTE
ESSAYS & REVIEWS
FICTION
INTERVIEWS
POETRY

 

JANUARY 2010 INDEX | COMPETITIONS | DRAMA | EDITOR'S NOTE | ESSAYS & REVIEWS | FICTION | INTERVIEWS | POETRY

 

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