Betroffenheit from Sadler's Wells

This programme contains some strong language.

These are exciting times for contemporary dance.

Pioneering choreographers are filling auditoriums

and enthralling audiences all over the globe,

and at the centre of it all,

the name on everybody's lips is Crystal Pite,

a dance maker of fearless compassion and almost maverick intelligence.

I'm not the victim, I'm here to help.

You're saved.

I'm not the one to save.

You're recovered.

I'm not the victim.

You're going to get out alive.

-It's not me, it's the others who need help.

-No.

-Yes.

-No.

-Yes.

The Canadian-born choreographer has had no fewer than

three works already performed on London's stages this season.

She's the first woman in almost two decades to have made a piece

for the Royal Ballet on the main stage at Covent Garden

and tonight she's back here at Sadler's Wells

with the award-winning Betroffenheit,

which she co-created with the actor, playwright

and performer Jonathan Young.

It's a work of searing emotional intensity

and dazzling movement that is quite unlike anything I have ever seen.

-VOICEOVER:

-Got him.

What do we do? What do we do? What do we do? Haul him back in here.

Hold him, hold him, hold him. Weigh him down. He tried it again.

He got out. He ran back. The whole thing was collapsing.

We couldn't help. We came in after and got him out. How many dead?

Massive, multiple. Oh, no, no, no, no. He saw it happening.

It's too much, it's too much for the system.

We can't take another breakdown. Get him out of there.

It's OK, it's OK, it's OK.

Betroffenheit is a boundary-stretching, genre-busting

hybrid of theatre and dance that explores psychological states

of grief, trauma and addiction.

It's based on Jonathan Young's own experience.

In 2009, he lost his teenage daughter,

his nephew and his niece in a fire whilst on holiday.

It's a very moving work, but it's also witty and beautiful

and ultimately redemptive.

# Have you to lose you to have you to lose you again... #

So, Betroffenheit.

A word and a work that defies easy definition.

You can expect dance and theatre and spoken word and tap and salsa

and vaudeville, even puppetry.

It's going to be an emotional journey, but truly extraordinary.

What do we say?

What do we say?

What do we tell him?

What do we say? What do we say? What do we tell him?

We don't say anything, we don't communicate.

Is he at fault?

-It's possible.

-We don't know.

-We need a response here.

-What's our response?

-What happened? What happened?

-There's no information yet.

-Hold on, hold on.

It's coming down, it's still coming down,

it's collapsing, it's collapsing.

Oh, my God, oh, my God, oh, my God!

-Whoa, whoa, whoa. Are you hearing that?

-Yeah, we're hearing that.

-What is that? It's an emergency.

-OK. How many dead?

-Multiple.

-Massive.

-Oh, no, no, no, no!

Is he at fault?

We need a response here. What's our response?

-Oh, my God, oh, my God, oh, my God.

-Come on, we need a response.

-There's no information.

-Oh, my God. What do we do with him?

-Just hold him down and keep him in here.

-What do we say?

-What do we tell him?

-Nothing, it's all OK, it's all OK, it's all OK.

-No, it's failing.

-It's failing, the system is failing.

What do we tell him?

We don't say anything, we don't communicate.

-Is he at fault?

-It's possible. We don't know.

-What you mean, "possible"?

-There's no new information yet.

Hold on, it's coming down, it's still coming down, it's collapsing.

Oh, my God, oh, my God, oh, my God.

-Whoa, whoa, whoa, are you hearing that?

-Yeah, yeah, I'm hearing that.

-What is it?

-It's an emergency.

-Yes, massive!

-Oh, no, no, no, no.

Is he at fault?

There's no information.

-What we do with him?

-Just hold him down...

-What do we tell him?

-Nothing!

-It's OK!

-No, it's failing, the system is failing.

MAN GROANS

VOICEOVER: Don't respond.

You're going to be called on but you're not to respond.

You're past that.

A system is in place to maintain your position. Use it.

It's the only approach that has worked.

It will keep working if you keep repeating it.

Don't respond.

BEEPING

You're going to be called on but you're not respond.

BEEPING

You're past that. A system is in place to maintain your position.

Use it.

It's the only approach that has worked.

It will keep working if you keep repeating it.

Don't respond.

Hello?

-MALE VOICE:

-Hello.

Did I catch you in time?

-Barely.

-I'm sorry, I'm behind.

I was about to start.

Well, let me talk you back, OK?

-OK.

-Let's practice the terms.

-OK.

-All talk, no action, OK?

-OK.

-You're doing this on your own, right?

-Right.

What approach are you using?

A self-directed, self-regulating ask/answer approach.

-You don't need any outside support?

-No.

-Because the approach is working, correct?

-Correct.

-Good.

What's your first move?

-Staying put.

-Good.

Not responding?

No, not responding.

-Not even when you're called on?

-No.

You're past that?

-Past that.

-Good. That sounds good.

And what system do you have in place to maintain your position?

The system of repetition.

And when do you use it?

Before taking any action.

-When?

-Before taking any action.

When?

You always use it before taking any action.

-Why?

-It'll talk you in the right direction.

Right, because wrong action leads in the wrong direction,

-you know that much at least, don't you?

-Yes.

"Wrong action leads in the wrong direction to the wrong outcome,"

-has been proven, hasn't it?

-Yes.

So how many more times do you need to prove it?

-None.

-Good.

That sounds good.

So, where do you begin this systematic approach

to staying put and not responding even when you are called on?

What's step one?

You identify the wrong action.

-And what is it?

-Using.

-And what's step two?

-You identify you.

-Who are you?

-The user.

-You're the user?

-Yeah.

-Repeat that.

-You're the user.

You're the user.

You're the user. You're the user.

You're the user.

-Are you quit?

-Yeah.

-What's your approach to quitting?

A self-directed, self-regulating approach.

-You don't need any outside support?

-No.

-So the approach is working?

-Yeah.

-What's your first move again?

-Staying put.

-How do you maintain that position again?

-Repetition, repetition.

-What's step one?

-You identify the wrong action.

-And what is it?

-Using.

-And what's step two?

-You identify you.

-Who are you?

-The user.

-You're the user?

-Yeah.

-Repeat that.

You're the user, you're the user, you're the user,

you're the user, you're the user.

-Are you quit?

-Yeah.

-How long?

-Er...

Five...

Five-and-a-half-ish or six.

-And how does it feel?

-Er...

Surviving it. You know.

Well, that's more than you could say.

-Yeah.

-Yeah.

Because at what point did you quit?

Um... At some point.

-At what point?

-You don't have to talk all that apart.

-You do.

At what point did you quit?

I-I don't remember exactly what point.

Well, let me remind you, it was at the point of collapse.

In fact, it was past the point of collapse, you had already crashed.

The situation became unstable and you broke

and then you pushed it further and you crumpled,

and then you got out but then you went back,

and you did more and you did more and you did more,

and you finally overdid it.

Remember?

When you came to, remember?

When you came to, you said,

"That's enough.

"That's the end.

"This is the wrong outcome,

"and there's nothing more down here to find."

But it turns out there was.

There was one thing down there worth finding.

-Uh-huh.

-Say it.

The user gets used.

-Again.

-The user gets used.

This is the wrong outcome.

And in the end, the user gets used.

And with that little epiphany, you began this whole new approach

in the right direction, and, look, here you are still with us.

-So that's good.

-Yeah, that's good, but don't get ahead.

-You're going to be called on again, you know that.

-Uh-huh.

-And instead of responding you're...

-Staying put.

No, but what are you going to do? What's your action plan?

Coming to terms.

-Coming to terms is the plan of action?

-Right.

-With what?

-The current situation.

You mean the past?

You came to terms with the past already.

You came to terms with what happened to them

-and how you responded to losing them.

-Uh-huh.

-You don't need to talk it all apart again.

-No?

-No.

Because in the terms, you learn that once you've come to terms,

you need to move on to a new approach to moving on.

So what is the term for the current situation?

-Chronic using.

-Right.

That's what you have to face.

-That's what you have to resist responding to.

-Yeah, but...

-No.

-The past is the past.

-But...

-The accident happened.

-Don't.

-Repeat that.

-The accident happened.

-The accident happened.

Has happened, has happened, has happened.

It's happened.

Has to you, has to her, has to him, has to her.

It started and it stopped.

It erupted, you acted.

It passed.

-Hi there, how are you?

-Oh, fine.

-How are you?

-Oh, you know, fine.

-You're doing this on your own?

-Right.

-You don't want any outside support?

-No.

What are you doing? I'm trying to help you get out of here.

No, wrong answer. What are you doing?

Learning the terms, practising the terms, knowing the terms. And...

sticking with the terms no matter what intrusive...

Because let's be very clear about this.

OK.

Let's be very sure to state this clearly. OK.

The whole show is set to go.

Right. And why is that important to state here? So that...

So that you don't trigger it.

Trigger what? The whole show. Why?

It's the problem. Why?

It only leads to more show which leads to more show

which leads to the point of collapse and past,

and there's nothing more down there to find,

it's the wrong outcome

and the user gets used down there, right? Right.

So you're not going to start doing it again, are you?

No.

You're not going to go down there? No. Not even a little bit? No. No?

No. No? No. Why?

Once it's on, you forget it's on

and once it has started, it doesn't stop.

Doing the show is the wrong approach. Right? Right.

What's the right approach to the right approach? Learning the terms.

Good. Do you need to go through that again?

No. No?

What does the user need?

The user needs to stay out of the show, the user quitted

and the user needs to stay quitted.

How? Not responding. Staying put. How?

Learning the terms. Why? Because it's working.

Repeat it, repeat it, it's working, it's working, it's working,

it's working, it's working, it's working, it's working,

it's working, it's working,

-it's working, it's working...

-Stay with it.

-I am.

-Don't let your guard down.

-..it's working, it's working...

-Don't let yourself be distracted.

-I'm not.

..it's working, it's working, it's working, it's working,

it's working, it's working, it's working, it's working,

it's working, it's working, it's working, it's working,

it's working, it's working, it's working, it's working,

it's working, it's working, it's working, it's working...

Not working, not working, not working, not working,

not working, not working, not working, not working.

The show poses as a...

But it's... There are no...

No... Real...

Doesn't... When you're on it and it keeps you from any...

Meaningful is what you've been trying to get back since...

But you won't...

And you won't... Using doesn't... Using...

What's the attraction to using? The attraction is... The...

Is a temporary...

HE MUTTERS

-RECORDED VOICE:

-The show poses as a...

-Happening event.

-But it's...

-Not.

-There are no...

-New voices.

-No...

-New moves.

-Real...

-Action...

-Doesn't...

-Happen...

-When you're on it and it keeps you from any...

-Meaningful connection...

-Meaningful...

-Connection...

-Is what you've been trying to get back since...

-Losing them.

-But you won't...

-Find them down there.

-And you won't...

-Feel them in there.

-Using doesn't...

-Replace them.

-Using...

-Replaces you.

What's the attraction to using? The attraction is... Distraction.

-The...

-Distraction...

-Is a temporary...

-Fix.

Again.

The show poses as a happening event but it's not.

There are no new voices, no new moves,

real action doesn't happen when you're on it

and it keeps you from any meaningful connection.

Meaningful connection is what you've been trying to get back

since losing them.

But you won't find them down there.

And you won't feel them in there.

Using doesn't replace them, using replaces you.

What's the attraction to using? The attraction is distraction.

The distraction is a fix.

HE CLICKS HIS FINGERS No. Again.

HE REPEATS IN A RAPID WHISPER

IT WHISTLES

EXPLOSION AND RUMBLING

Wake up. DISTANT SIRENS

Wake up. Sit up, get up, get out, you're running, you're running,

you're running, you're running,

you're running, running, you're running,

you're running and there... and there...on your right...

Oh, my God. It can't be happening.

CRASHING AND SHOUTS

It's gone too far. There's no way in.

Yet you must, you must, you must... They're in there. They're in there.

They're in there. They're in there. Must get in, must get in.

There's no way to get them out.

It's too late, it's too late, it's too late. It's happening.

It's coming down, it's collapsing. Oh, my God, oh, my God, oh, my God.

Oh, my God, oh, my God!

ECHOING: Oh, my God, oh, my God, oh, my God...

This room appears.

Appears safe.

I go in without thinking.

And, all at once, I'm disconnected from what's happening.

ECHO STOPS

The feeling stops.

I feel nothing.

What is it?

I don't know.

I don't think there's a term for it, it's like...a room.

I call it the room.

How did it get there?

The accident triggers it.

Talk me through it.

-I can't, that's the problem.

-Come at it again.

-I don't want to.

-Say it carefully.

HE SIGHS

The night of the accident...

..we're all asleep.

The alarm wakes me and I respond.

I run.

I'm the first on the scene...

..and they're in there.

I try to help them get out but it's too late.

It's hopeless, they're helpless

and then, just as it all starts coming down,

boom, this room appears and everything's OK,

I'm disconnected from what's happening.

Tell me again what happened.

You're running, you're running, you're running, you're running...

First on the scene, first on the scene, first on the scene.

They're in there, they're in there, they're in there... It's collapsing.

Running, it's too late. First on the scene. Too late.

It's happening. It's over.

It sounds like chronic re-entry

into a fixed stage of an avoidance coping strategy

in response to a significant traumatic event.

That's the closest you'll get to a diagnosis of what's wrong.

And unless you come to terms with that, it will always be a problem.

But I came to terms with the past already.

I came to terms with what happened to them

and how I responded to losing them.

But the room indicates that you haven't yet responded enough,

even as it prevents the response from ever succeeding.

It calls you back to the event and it pushes you away.

So you keep responding.

You can't help them and so you keep responding.

Your survival strategy is your disorder.

And it's inflammatory.

It enters you unobtrusively, looking as though it belongs there.

It infiltrates your system, which it consequently reshapes,

and now it IS the system.

In your case, a past-traumatic-event-based disorder

or PTEBD has developed through chronic use

of an ACS triggered by an STE.

Chronic re-entry, that's all that's wrong with you -

that's the problem you need to face.

Chronic using is, you know, third in line and is there to help you

come to terms with problems one and two.

Which are, one, what happened,

and, two, your resistance to what happened.

It's happening! It's happening! It's happening! It's happening.

-It's OK.

-HE SCREAMS

No! I'm not the victim.

I'm here to help!

No, it's not me!

-Come on, come on.

-It's the others who need help.

No, no, no.

HE SCREAMS

-RUMBLING

-The others are gone.

It's you now, it's you.

VOICEOVER: Got him. What do we do? What do we do? What do we do?

Haul him back in here.

Hold him, hold him, hold him. Weigh him down. He tried it again.

He got out. He ran back. The whole thing was collapsing.

We couldn't help. We came in after and got him out. How many dead?

Massive, multiple. Oh, no, no, no, no.

He saw it happening, it's too much, it's too much for the system.

We can't take another breakdown. Get him out of there.

It's OK, it's OK, it's OK. What the fuck was he thinking?

He can't just...just...just go off like that and...and...

and rely on us to pull him out.

He can't take this, he can't take this.

It's OK. It's OK. Pull him out, pull him out. Pull him out.

Go, go, go, go, go. Where? Where? Where?

No, no, no. What is it? What is it?

THEY TALK OVER ONE ANOTHER

Everybody calm the fuck down.

We got him. Now, what do we do? What do we do? What do we do?

What do we do with him. We... He's on overload.

Then sedate him, give him everything we've got.

No, he's quit, he's off it. This is an emergency, Goddamn it.

Force it on him. No, he's quit, he's off it. Get out of here.

If he wants out so bad, get him out. Kick him out on his ass.

Oh, my God. The whole thing is collapsing, it's coming down.

Get in, get him in, get him back in here. He's hurt, he's hurt.

What do we do? What do we do with him?

Lockdown. Hold him. Tie him back.

Give him what he wants, bury him. Smother him. It's OK, it's OK.

You can't live through that. You can't live through that.

PHONE RINGS

RINGING CONTINUES

-Hello?

-Hi, is that you?

-Yeah.

-Where you at?

-Nowhere.

-I mean, here, just responding to...

-What?

-No, just listening to a bunch of...

-What are you doing tonight?

-Nothing.

-I'm still coming to terms so...

-That's your plan?!

Yeah, I'm going to stay put and get a little further with it.

Let me get this straight,

your intention is to stay in and come to terms?

-It sounds like a blast, I know.

-Are you on your own?

-Yeah.

-That's no good.

-No.

-You need some support, Bro.

No, it's this self-centred, self-involved thing I'm doing now.

-LAUGHTER

-Is it working?

-No, but it will.

-Bring it over.

-No.

-Man, there's tonnes of action happening out here.

-Really?

-Yeah, the whole show is set to go.

-Really?

Yeah, bring your work here.

-Not a good idea.

-Come on, it'll loosen you up,

help you see it clearer or from a different angle

-or whatever you get off it.

-Uh-huh.

What do you get off it again?

-No, don't.

-What do you get? What do you get?

-Nothing.

-Say it.

-No.

An epiphany?

-Yeah.

-Say it.

-Give me an epiphany.

-Again.

-Give me an epiphany.

-Again!

-Give me an epiphany!

You got it. Come!

-But can you still use me?

-Yeah, that's why I'm calling.

Can you get me in it tonight?

That's why I'm calling!

UPBEAT MUSIC PLAYS

CHEERING

All right, all right, all right, I'm back.

LAUGHTER

And I figured it out.

Yeah, I see it all very clearly now.

I'm your host.

-CHANTING:

-You're the host, you're the host, you're the host...

Yeah, yeah, yeah, that's right.

I never should have left.

I don't know what I was thinking, you know what I mean?

We are on something here tonight.

LAUGHTER

We're onto something big.

And now, let's take it up a notch

with a very special guest appearance.

An old favourite, a real regular here,

I think you know the one I mean.

Here he is!

CHEERING AND APPLAUSE

BIG BAND MUSIC

Ha-ha-ha-ha! Hi, there. How are you?

I'm fine, how are you?

Oh, you know, fine. How are you?

Well, you know, fine. It's nice to see you.

Yeah, nice to see you, too.

I miss our old act.

Maybe we should start over. Begin again.

Go back to the way we were.

You mean, before we split?

Yeah, before we split.

No way, baby.

Come on! We were better as a solo act.

This double business is nothing but trouble.

No, no, no. I need you where I can see you.

Uh-huh? Right, so you can follow along?

"Follow along", huh?

I taught you everything you know.

-No wonder I'm having trouble.

-What do you mean?

Classic double-trouble, baby.

-BOTH:

-# I was so blue

# Then I realised that I needed you

# Doo-doo-bee-doo

# Feeling so much better now that I'm two... #

Ha-ha-ha-ha!

Oh, it's good to see you again, old friend.

I was worried there for a bit.

Oh, yeah? Why?

Well, I thought you'd maybe run off with some other you.

Some other who?

-What?

-I said, "Some other who?"

-"Smother you"?

-What?

Oh, never mind.

-BOTH:

-You're stealing my light!

Now you're stealing my line.

Sssshhhhh!

So much chatter.

Let's whistle.

BOTH WHISTLE TO THE MUSIC

Hey, just follow along, if you're having trouble remembering.

I'm not having trouble.

-No?

-No.

-Oh, you think you can do this on your own, huh?

-Of course.

But it's prettier with you as my back-up.

Your back-up?!

Yeah, that's right. My back-up.

My supporting act. My sidekick. My right-hand guy. My wingman.

You know?

Back up.

Yeah.

No. I mean, back...up.

Oh.

Oh, right.

-BOTH:

-# Aren't we a pair?

# Got two heads but it's just one mind we share

# Feelings to spare

# Doo-bee-doo-bee-doo

# We're walking on air... #

What do you say we get out of here?

Sure. Where are we, anyway?

-I don't remember coming in here. You don't remember?

-No.

-You don't remember?

-No. You don't remember?

-No.

-You don't remember?

-Ah! Just forget it.

Ha-ha-ha-ha! You're smarter than you look.

Oh, thank you.

After you.

No, no, no. After you.

No! Please. After you.

-You're too much!

-No, you're too much.

Get out of here.

-No, you.

-No, you.

No, you.

-No, you.

-No, you.

-No, you.

-No, you.

MUSIC STOPS

MIMING

UPBEAT SHOW MUSIC STARTS UP

CHEERING AND APPLAUSE

SLAPPING

DOING!

BOING!

CRASH!

DULL THUDDING

MUSIC SLOWS AND FADES

MUSIC TAKES ON SOMBRE TONE

MIMING

DOOR SLAMS

HE PANTS

HE HAMMERS ON DOOR

HE HAMMERS ON DOOR

HAMMERING IS ECHOED

HE HAMMERS ON DOOR

HAMMERING IS ECHOED

DRUM ROLL

DOOR SLAMS

HE WHISTLES BREATHLESSLY

HE PANTS

OTHERWORLDLY MUSIC PLAYS

Hey. Hey...

CLOCKWORK-LIKE WINDING

WINDING GETS FASTER

WINDING SLOWS

MUSIC SPEEDS UP SPORADICALLY

CHA-CHA MUSIC BURSTS INTO LIFE

MIMING

WHOOPING AND APPLAUSE

CHEERING AND APPLAUSE

All right, all right, all right!

I'm...back!

And I figured it out.

Yeah, I see it all very clearly now.

I'm...your host!

Yeah!

Yeah, yeah, yeah! That's right!

I never should have left.

I don't know what I was thinking, you know,

because we are ON something here tonight.

We are on to something big!

And now...

let's turn it up a notch,

with a very special guest appearance.

An old favourite,

a real regular here.

I think you know the one I mean.

Here...he...is!

CHEERING AND APPLAUSE

CHA-CHA MUSIC PLAYS

Hey, hey, it's good to see you again.

I was worried there.

Oh, yeah? Why?

-Well, I thought you'd finally overdid it.

-Me?

No, no. Not yet.

-So you've still got a little something left?

-That depends. Er...

HE CLEARS HIS THROAT

-(Can you still use me?)

-If you ask me nicely.

Say it right.

HE CLEARS HIS THROAT

Give me an epiphany!

So, what kind of breakthrough are you after, exactly?

Yeah. Breakthrough. That sounds perfect.

But what kind of insight are you looking for?

-Sure. I'll take some insight, too.

-You want some perspective with that?

I-I-I can't remember. Just give me an epiphany.

APPLAUSE

EASY-LISTENING LATIN MUSIC PLAYS

DISTANT POLICE SIRENS WAIL

DOG BARKS

PHONE RINGS

DULL THUD OF MUSIC CONTINUES

PHONE RINGING FADES IN AND OUT

PHONE RINGS LOUDLY

Hello?

Oh, hi!

I'm...um...

I'm doing a show.

Yeah.

Um...

With some colleagues of mine.

Yeah.

You know, they're...in the business.

Yeah, I'm on the air.

I mean, I'm on the floor.

I mean, I don't know what I'm on.

What do you mean, "Am I on anything?"

What's wrong?

Well, why are you crying?!

Jesus, Mum, don't cry! You're making me feel bad!

Yeah, of course I know what day it is.

It's...um...

(Hey, what day is it?)

What?

That's today?

What time?

Oh, no!

I don't know what happened! I just...

I forgot.

No, no, no, no! I'm OK! It's just...

I'm coming over, OK?

DOG BARKS

I'm coming over!

What the fuck is that?

-ECHOING:

-You came down here again?!

-Again?

-Down here again?!

-Again?

-Looking for?

-Looking for?

-What?!

-What?

-What?

-What?

-You're in it now.

-You're in it now.

-You've got to get off it.

-You've got to get off it.

-Get out! Get out!

-Get out.

-No, he's in it now.

-No, he's in it now.

-Stay!

-Stay!

-Stay!

-Stay!

Get him back up!

No, no, no!

-Yes, yes, yes!

-Yes, yes, yes, yes.

Yes, yes, yes, yes, yes, yes, yes.

Ladies and gentlemen,

we have a situation.

LAUGHTER

FUNKY DRUMBEAT

And what is it?

Come on, say it.

Ladies and gents, his system is failing.

We're failing, he's failing. His system is failing.

Now, everybody, calm the fuck down.

LAUGHTER

-ECHOING:

-Give him what he wants.

-ECHOING:

-Yeah. Sedate him.

He needs it.

Because you know, folks, he's the victim.

LAUGHTER

And you've got to imprint that

on all minds, including, and especially, his.

-CHANTING:

-He's a victim! He's a victim!

Can you give me some of that?

Come on, just give me a bed and put me in it, man.

Come on, just give me a bed! Come on! Come on!

Just give me a bed! Just give me a bed and put me in it!

Come on! Give me a bed! Just give me a bed! Come on!

All right, all right, all right.

I'm back.

HE PANTS

Hi.

HE SIGHS

What is it?

What's the matter?

The room.

I'm...

still in it or...

It's still happening to me.

It sounds like you've got a case of chronic re-entry.

Yeah, that's it. That's it, that's it, that's it.

You need to talk yourself out of it.

Yeah, that's it, that's it, that's it, that's it, that's it.

But...how do I...

talk myself out of it?

Back up.

Back up? Sshhh! Just listen.

Ah! Don't respond.

And let me...

talk you...

back...

..up.

You see?

You're a spectator now and not a plaything.

That's good.

That's really good.

You're so far away now.

Is that you there?

That's you.

Got your bearings?

Wall.

Fixture.

Corner.

Pillar.

Door. Door.

Fixture.

Wall.

Fixture.

We're done here.

Let's get out.

Come on.

Let's go.

How?

How?!

There.

There.

There.

Black-out.

MUSICAL CRESCENDO

MUSICAL CRESCENDO

MUSICAL CRESCENDO

MUSICAL CRESCENDO

MUSICAL CRESCENDO

VAUDEVILLE PIANO MUSIC

He's out. Jesus, how much did he do?

It was just going to be a little bit,

-but he kept doing it and doing it and doing it.

-He's the host!

-We can't do this without a host.

-We've got to get him back in.

-We've got to stay open or we close.

-Wake him up. Revive him.

No, no, no, leave him! Just leave him!

-We're calling it off! He's done.

-Shut up and revive him...now!

-Get him into your lap.

-What?!

-One, two, three...

-Oh, God!

-Hold him!

-Argh, I can't! He's too big!

-Look!

-Get his tongue back in his mouth.

-He's completely limp.

-Drape him over your shoulder. He can sing it from there.

-What?!

-Here we go.

-That's it now. Just a little song.

-No, no, no, no, no!

-No, this is crazy!

-Fuck!

-It's not working.

-Roll him over,

so it looks natural. He can sing it from there.

-Prop him up on his arm.

-Make it look natural.

-You need to wipe his face.

-Here.

-Yuck!

-OK, good, good, good, good, good, good, good!

You look good. Here. Sing it.

Sing it into here.

-Nothing.

-Watch his head.

-His head! He's tipping!

-Grab his feet!

-Pull! Pull, pull!

-Holy fuck! Dead weight!

-Stand him up. Hold him up.

-There.

-Open his mouth.

-Where's the mic?

Argh!

No, no, no, no, no!

-He's falling!

-Grab him, grab him! Got him!

No, no, no, there's no way!

Get him swinging. Swaying. Nice. Nice.

How's this looking? Can he sing like this?

-Hold the mic in front of him.

-He's not even here!

It doesn't matter. It's pre-recorded anyway.

-Open his mouth.

-Look at all this slack.

-Can we pump him up?

-Yeah.

-We'll have to pump him.

-Look out?!

-Argh!

He's a mess! He's a hopeless fucking mess!

I want my life back!

Everybody just calm the fuck down!

-YOU calm down!

-No, you calm down!

-No, you calm down!

-No, you calm down!

-Everyone calm down!

Yeah!

-We have to pump him.

-No!

-Get the cables.

-His system can't take it.

-We don't have time to argue.

Get them! Do it!

Attach.

Pump him, pump him, pump him, pump him...

It's OK, it's OK, it's OK, it's OK.

Pump him, pump him, pump him, pump him...

-What's happening?! What's going on?! What...

-Let's go over what happened,

from the beginning. Let's take you back.

Let's look at what happened. Let's take you back.

Let's look at what happened. Let's take you back.

Look at this, huh?

Remember?

OK, look at this... Huh? Remember?

OK, look at this. Huh? Remember?

OK, look at this. Huh, remember?

And now forget it. Just forget it. Just forget it. Just forget it!

-WHISPERS:

-It's OK, it's OK, it's OK.

HE GAGS

-WHISPERS:

-Pump him, pump him, pump him, pump him.

-Get him into costume.

-But it's too soon.

-Now! He's back.

-Grab him.

-Grab him.

-Grab him.

-Get him back in there.

-No, it's too soon.

-He can't possibly.

-He's not ready.

-Watch it, watch it!

-It's too soon. He's not ready.

-He's going, he's going.

He can't possibly do this.

PIANO MUSIC

Oh, no.

We don't have time. Move, move, move!

-Go, go, go, go!

-Wait, his hair.

-Leave it. Leave it!

PIANO MUSIC CONTINUES

KNOCKING

RATTLING

# I know I let you down again

# By getting so high

# But God, this time it's been

# Worth it

# I know it ends badly

# In sadness and shame

# But baby, that's the game

# A fair trade for an epiphany

# I'm moving on... #

-WHISPERS:

-We're going to get you through this.

We're going to guide you through and take you past.

# I know you'll say... #

We're going to get you through.

# I've been led astray

# But how else did you think that I'd get through this?

# I'm moving on

# But before I'm gone I'm getting back to losing you

# I need to lose you again

# Have you to lose you, to have you to lose you again

# I need to lose you again

# Have you to lose you, to have you to lose you again... #

You're going to get over it.

# And I know it's too late to get this straight

# You were taken and I've been left in a state

# I was shaken and now I'm just wasting away

# Wasting and wasting and wasting away for you... #

We're going to get you through this.

# For you... #

Sing it. Sing it into here.

# It doesn't matter what it took me and it doesn't matter how much

-# It doesn't matter what it took me and it doesn't matter how much

-For you

-# I'm feeling again, I'm feeling again, I'm feeling again

-For you

# For you

# It doesn't matter what it took me and it doesn't matter how much

# Feeling again, I'm feeling again, I'm feeling again

# For you

# It doesn't matter what it took me and it doesn't matter how much

# Feeling again, I'm feeling again, I'm feeling again

# Feeling again, I'm feeling again, I'm feeling again

# Feeling again, I'm feeling again, I'm feeling again

# Feeling again, I'm feeling again, I'm feeling again

# Feeling again, I'm feeling again, I'm feeling again... #

UPBEAT PERCUSSION

# ..I'm feeling again, I'm feeling again, I'm feeling again

# I'm feeling again... #

VOCALS FADE

CYMBALS CRASH

CYMBALS CRASH

CYMBALS CRASH

ALARM

ALARM

DISTORTED VOICES

DISTANT VOICES

-DISTORTED: Oh, my God! Oh, my God!

-Yeah, yeah.

-How many deaths?

-Multiple!

-Massive!

-Oh, my God! Oh, my God! Oh, my God!

-There's no information!

-What do we do?

Pull him down. Keep him in here.

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

ALARM

MUSIC STOPS ABRUPTLY

APPLAUSE

CHEERING

SOFT ELECTRONIC MUSIC

ALARM

ALARM

MUSIC STOPS ABRUPTLY

HEAVY BREATHING

RUMBLING

KNOCKING

DISTORTED VOICE

SHE GASPS

SHE BREATHES HEAVILY

BELL ECHOES

SOFT ELECTRONIC MUSIC

BELL CHIMES

BELL CHIMES

BELL CHIMES

DISTORTED VOICE

DISTORTED WHISPERS

Oh.

DISTORTED SCREAM

DISTORTED WHISPERS

BACKWARDS SPEAKING

WHISPERS: It's OK, OK, OK.

It's OK. It's OK.

DISTORTED VOICES

WHISPERS: It's OK, OK, OK...

LOUD DISTORTED VOICE

RAPID WHISPERS

RAPID WHISPERS

What do we do?

RAPID WHISPERS

SLOW WHISPER: It's OK.

DISTORTED HOWL

DISTORTED HOWL

BIRDSONG

'You're rescued.

'You're saved.

'You're recovered.

'You're rescued.

'You're saved.

'You're recovered.

'You're rescued.

'You're saved.

'You're recovered.

'You're rescued.'

'No, I'm not the victim.

'I'm here to help.

'You're saved.

-'I'm not the one to save.

-You're recovered.

-'I'm not the victim.

-You're going to get out alive.

-'It's not me, it's the others who need help.

-No.

-Yes.'

-'No.

-Yes.

-No, that happened years ago.'

'The others are gone. They were lost. It's you now.

'You're the disaster waiting to happen.

'But you're getting out.

'And staying out.

'Remember?

'You're still in it, or it's still happening to you?

'Remember?

'You're trapped in the room, but you're going to get out.

'You're rescued.'

'No.

'I'm not the victim.

'I'm here to help.'

-'You're saved.

-I'm not the one to save.

-'You're recovered.

-I'm not the victim.

'You're going to get out alive.

-'It's not me, it's the others who need help.

-No.

-Yes.

-'No.

-Yes.

'No, that happened years ago.

'The others are gone. They were lost. It's you now.

'You're the disaster waiting to happen.

'But you're getting out.

'And staying out.

'Remember?

'You're still in it, or it's still happening to you?

'Remember?

'You're trapped in the room, but you're going to get out.

'You're rescued.'

'No.

'I'm not the victim.

'I'm here to help.

'You're saved.

'I'm not the one to save.

'You're recovered.

-'I'm not the victim.

-You're going to get out alive.

-'It's not me, it's the others who need help.

-No.

-Yes.

-'No.

-Yes.

-No, that happened years ago.

'The others are gone, they were lost. It's you now.

'You're the disaster waiting to happen.

'But you're getting out.

'And staying out.

'Remember?

'You're still in it, or it's still happening to you?

'Remember?

'You're trapped in the room, but you're going to get out.'

Hi, there.

How are you?

Oh, fine.

How are you?

Oh, you know.

Fine.

You're not doing this on your own.

Right?

Where have you been?

Recovering.

No. You went back.

You saw it happening.

You couldn't help. You couldn't help. You couldn't help. No.

No.

No.

You couldn't reach them.

There's no reaching them.

You couldn't hold them.

There's no holding them.

You let them go.

There's no letting go.

You could have stopped it before it got started.

I was sleeping.

Are you at fault?

I don't know.

You're at fault.

There's no information.

So... What do you...? What do you...? What do you do?

What do you... What do you... What do you say?

You need a response here.

You need a response!

THUNDER ROLLS

THUNDER CONTINUES

THUNDER DIES DOWN

'Look at this.

'Huh?

'Remember?

'That's you there.

'That's you.

'Got your bearings?

'This is the wrong outcome.

'And...

'..there's nothing more down there to find.

'So, that's it, then?

'That's it.

'That's done, then?

'That's done.'

WHISTLED TUNE

'What do you say we get out of here?

'Sure.

'Where are we, anyway?

'I don't remember coming in here. You don't remember?

'No. You don't remember?

'No, you don't remember?

'No, you don't remember?

'Ah, just forget it.

-LAUGHTER

-'You're smarter than you look.

'Oh, thank you.

'After you.

'No, no, no, after you.

'No, please, after you.

'You're too much.

'No, YOU'RE too much!

'Get out of here.

'No, you.

'No, you.

'No, you!

'No, you!

'No, you!'

PHRASE "NO, YOU" ECHOES

ECHOING STOPS

'Let's go over what happened. From the beginning.

'Let's take you back. Let's look at what happened.'

PHRASE ECHOES

'Look at this. Remember? OK. Look at this. Remember?

'OK, look at this.'

PHRASE ECHOES

'Huh? Remember?

'Now forget it, just forget it, just forget it.

'Just forget it!'

PHRASES ECHO

'No. Wrong answer. What are you doing?

'Let's be very clear...

'Look, let's be very clear...'

PHRASE ECHOES

-'The whole show is set to go.

-Right.

-OK, thanks.

'At the point of collapse...

-'The accident...

-There's nothing more down there to find.

'It's the wrong outcome and the user gets used down there, right?

-'Right.

-So you're not going to start doing anything?

'No. You're not going down there?

-'No?

-No.'

VOICES ECHO

'The whole show is set to go.

VOICES ECHO

'At what point does accepting defeat become the only way forward?

'At what point... VOICE ECHOES

'..does accepting defeat... VOICE ECHOES

'..become the only way forward?' VOICE ECHOES

HE BREATHES HEAVILY

'OK.

'So, where do we begin?

'What are we going to do?

'What's our action plan?

'Coming to terms...

'..with what?

'The past?

'OK.

'OK.

'Say it.

'Carefully.

'Carefully.

'Carefully.

'Carefully.

'The accident happened.

'Has happened, has happened, has happened, has happened.

'It's happened.

'Has to you...

'has to her...

'has to him...

'has to her.'

'It started, it stopped.

'It erupted. You acted.

'It passed.

'And why is it important to say that?

'So that you don't trigger it.

'Trigger what?

'Your response.

'Why

'There's nothing more down there to find.'

But there is.

There is one thing down there worth finding.

'Say it.'

They're in there.

There's no running from it.

There's no room to forget, there's no...

..running from it.

There is only the return...

..and the attempt to reopen the still coming down, the collapsing,

the, "Oh, my God, oh, my God," the, "It's happening, it's over."

They're in there.

There's no coming at it, but you have to come at it.

If you don't keep it open, you close.

You have to talk yourself into it.

They're in there.

You wake.

They're in there.

You run.

They're in there.

You reach.

You reach.

They're in here.

They're in this attempt.

They're in this attempt to say...

They're in this attempt.

They're in this.

They're in this. They're in this. They're in this. They're in this.

Leave him.

Just...

leave him.

SOFT PIANO MUSIC PLAYS

APPLAUSE

CHEERING