through the tension, and she hurriedly answers. This moment lays bare key aspects of her character: she flirts with the edge of workaholism, prioritizing her career over familial bonds, and often neglects the emotions of those around her. Even Katherine voices her disapproval, lamenting that she must constantly clarify to others that Marion is merely her "stepdaughter," distancing herself from Marion's entanglement with the avarice and machinations of the Conservative Party. The political allegiances woven intoThe Secret Rapture serve as a lens through which to view the characters’ differences. Marion and Tom stand as triumphant "Tories," aligned with Britain's Conservative Party, which held sway throughout the 1980s under the iron will of Prime Minister Margaret Thatcher. In stark contrast, other characters like Isobel and Katherine seem to harbor disdain for the Conservatives and their greed, possibly leaning more towards the ideals of Britain’s Labour Party.

After Marion retreats inside, the spotlight shifts to the others as they digest Katherine’s startling declaration of her intention to join Isobel at work. Katherine readies herself to move in with Isobel that very night, but Isobel hesitates, reluctant to make such a hasty commitment. This hesitation draws out Katherine’s coarse nature. Thirsting for alcohol and irate at not having her way, Katherine lashes out, branding Isobel a fraud for masquerading as virtuous when she believes her to be no different from the rest. In a fit, she storms into the house.

Moments later, Marion re-emerges, her call concluded. She informs Tom and Isobel that inside, Katherine has taken refuge with a hidden stash of liquor, grumbling about Isobel’s refusal to employ her. Tom heads inside, intent on confiscating the alcohol, leaving the sisters alone.

A fiery debate ensues as Marion holds Isobel accountable for Katherine’s tirade and relapse, insisting all Isobel needed to do was feign support for Katherine's schemes. Isobel counters, arguing that deceit solves nothing and questions why Marion hasn't offered a job herself. Marion deftly evades, "Don’t be ridiculous," she chides. "I’m in the Conservative Party. We can’t just take on anyone at all."

As the verbal sparring continues, Katherine returns, closely followed by Tom. The alcohol has calmed her, allowing her to recount the tale of meeting Robert Glass. She describes her life back then, caught in a cycle of drinking and attempting to seduce strangers in bars, until Robert appeared, offering refuge in his Gloucestershire home. They grew fond of one another, culminating in marriage, despite the disparity in their ages. "People say I took advantage of his decency," Katherine concedes, "But what are good people for? They’re here to help the trashy people like me."

Once again, Katherine’s words seem prophetic—Isobel is destined to continue her father's legacy. Relenting, she tells Katherine she can join her in London the very next day.

Scene iii

Fast forward a few weeks, to Isobel’s London studio. Alongside her partner Irwin, they delve into their latest venture: crafting the Encyclopedia of Murder. Irwin labors over an illustration of a gunshot wound. A letter slides under the door—Gordon’s resignation. Irwin divulges that Gordon is leaving for two reasons: a secret love for Isobel that makes proximity unbearable, and an inability to endure Katherine’s tyrannical behavior. In a matter of weeks, Katherine has already begun to upend Isobel’s world.

Irwin harbors feelings for Isobel too, yet he claims his affection is different, for unlike Gordon, "I have you." This possessiveness will soon bear grave significance. For now, it manifests as a steadfast devotion, compelling him to stay despite Katherine’s disruptive influence.

Suddenly, Katherine bursts in, her arms laden with flowers. Though she claims to have purchased them from a vendor outside, predictably, she has yet to pay and sends Irwin to settle the debt. Alone with Isobel, she shares her news—Robert’s house has been sold, and she plans to buy a London flat conveniently close to the studio. As if this weren’t enough, she triumphantly announces securing an 18-month exclusive contract to design book covers, having merely had to coax the elderly owner over dinner.

Isobel is taken aback. The abrupt sale of her father’s home stuns her, as do the questionable methods Katherine employs to gain the favor of reputable clients she has worked with for years. She finds herself overwhelmed by the grasping nature of those around her and yearns for a moment of peace to mourn her father properly.

Even Irwin, ever the voice of reason, urges her to release the past and embrace the future. He advises her to abandon her sense of obligation to her father, to leave the shadows of grief behind, and to dismiss Katherine before she causes further chaos among their clients. Yet, despite the turmoil Katherine has already unleashed, Isobel is not ready to sever ties. Her father cherished this wild, fervent woman, and for Isobel, that is enough justification to keep her close.

As warmth rekindles between Isobel and Irwin, Katherine unleashes another unexpected twist. Tom, it appears, wishes to invest capital in their venture, propelling the business into new heights of prosperity. Katherine, who scarcely grasps the intricacies of the enterprise, is already envisioning a grand expansion—hiring new artists, acquiring a plush space in the bustling city center. The very same woman who once lamented the world's avarice now chuckles, "We could be making money like hay. Everyone else is."

Isobel finally reaches her breaking point and confronts Katherine about her unacceptable conduct. Katherine, surprisingly, offers to bow out if Isobel simply requests it. Irwin even attempts to usher her out on Isobel’s behalf, but ultimately, Isobel decides once more that Katherine must remain.

Scene iv

The scene shifts a few days ahead, settling in the living room of Robert’s home. The group has assembled to pack up the house in preparation for its sale and to finalize the legal proceedings that will cede control of Isobel’s company to Tom and a cadre of directors in return for his investment to fuel their growth.

As the curtain rises, Marion and her assistant, Rhonda Milne, conclude a meeting with representatives from the Green Party. They have lured them to Robert’s country estate to create the illusion that Marion, a junior minister in the Environment Department, is rooted in rural heritage. The Green Party is keen on reining in nuclear power usage due to its potential risks to humanity and nature. Predictably, Marion and her Conservative peers maintain that power is essential and nuclear energy offers a cost-effective solution. "Come back and see me when you’re glowing in the dark," she quips to her opponents.

The others trickle in—first Isobel, then Irwin, grumbling about the country folk’s penchant for shooting at anything that moves, and finally Tom, who promptly presents Isobel with his business proposal, urging her to endorse it. She pauses, highlighting the gravity of this unexpected leap for her modest enterprise. Her concerns revolve around the rapid expansion and the relinquishing of control over her craft. Marion assures her of Tom's credibility as president of Christians in Business—a man purportedly trustworthy.

Echoing Katherine’s sentiments from before, Marion and Tom insist that everyone is raking in profits, and it would be practically sacrilegious not to capitalize on their talents. Then, there’s the matter of Katherine. Marion, with a twist of irony, exhorts Isobel’s overactive conscience to look after their father’s widow. "What sort of life is it if we only think about ourselves?" she asks, pressuring Isobel to consent to granting Katherine a permanent position on the new board of directors.

Isobel turns to Irwin for support, but in a pivotal moment, he wavers, acknowledging that he finds the investment appealing and harbors trust in Tom’s promises. Not wanting to lose her advantage, Marion declares that Irwin confessed to her about his imminent marriage to Isobel; in recognition of their union and his abilities, she and Tom propose doubling Irwin’s salary. Discovering that Irwin was in cahoots with Tom and Marion and aware of the salary arrangement before arriving to sign the papers is a crushing blow to Isobel, rendering her speechless.

Marion, Tom, and Rhonda depart, urging Isobel and Irwin to ponder the offer. Left in solitude, Irwin tries to reason with Isobel, reminding her that it was she who altered everything by bringing Katherine into their midst. He assures her of his love and insists he would never intentionally cause her harm, while the distant sound of hunters’ guns draws nearer.

Act II, Scene v

The atmosphere shifts to several months later, in Isobel’s opulent new offices nestled in London’s chic West End. The room brims with artists’ desks, lavishly adorned. Evening has fallen, and Irwin and Rhonda are alone, savoring champagne. Rhonda, akin to a younger version of Katherine, is liberated and daring, delighting in the chaos she incites. This time, the chaos revolves around Irwin. As she regales him with tales of her entanglements with politicians, the two inch closer, on the verge of an intimate encounter when Isobel unexpectedly returns early from a business trip.

Irwin stumbles through an explanation, revealing that Rhonda visited to tour the new office and avail herself of their shower, her own water having been cut off. The situation is undeniably awkward, yet Isobel appears disinterested in Irwin's tales of Rhonda. Instead, she immerses herself in her duties around the office. As Rhonda disappears to shower, Irwin attempts once more to draw Isobel into a conversation about Rhonda, his art, and the cold shoulder Isobel has given him these past weeks. She resists the dialogue until finally, she divulges that her unexpected return from a trip was prompted by a call—a call that informed her Katherine had drunkenly mishandled important clients. One client refused their latest proposal, only for Katherine to threaten him with a steak knife.

Clearly exhausted and at her breaking point, Isobel is forced to manage Katherine's blunders yet again. Still, Irwin persists, pressing for a discussion about their deteriorating relationship and her inexplicable loyalty to Katherine, who seems determined to derail her life. In a moment of stark honesty, Isobel confesses that she's becoming someone whose sole purpose is to endure suffering. Despite this revelation, she remains unable to change course. The one choice she has made is to cease pretending she loves Irwin.

Isobel laments that Irwin makes her feel guilty and drains her energy with his endless demands. Katherine, along with her sister Marion, inflict similar burdens with even harsher consequences, yet Isobel hasn't turned her back on them. Irwin notices this disparity. "Why sacrifice everything for Katherine?" he presses. To him, Katherine isn't just dependent on Isobel and their father; she is malicious, intent on wrecking the lives of those who lend her aid.

Irwin's argument seems to provoke a spark of doubt in Isobel, leading her to ponder her next move. As she pauses, Rhonda returns, fresh from the shower and ready for a night at the movies. In an unexpected twist, Isobel declares that she and Irwin will join Rhonda, and the scene concludes.

Scene vi

Fast forward three weeks, and tension simmers as Marion, Tom, Irwin, and Isobel are slated to gather in Tom’s office. Isobel’s business is floundering, hemorrhaging money, and Tom, alongside his investors, has opted to withdraw. They've received an enticing offer for the office space and are eager to sell for profit.

Irwin enters, ready to take any necessary steps, but notes that Isobel will not appear while he remains present. Weeks ago, she abruptly left mid-movie, drove to the airport, and boarded the first plane out of the country. Her return was swift; she reacquired her father’s house and has since resided in Katherine’s apartment, caring for her. She steadfastly refuses to communicate with Irwin. Despite the heartache, Irwin confesses his enduring love for Isobel, whom he sees as the singular "source of good" in his life.

At the office building, Isobel phones Tom, prompting Irwin's departure so she can join the meeting. Tom lays out his plan to sell the business, but Isobel remains composed. She notes that Tom will offset the venture's loss on his taxes, effectively turning a profit, yet she shows no anger. Although her employees face unemployment and her business is slipping through her fingers, she seems resigned to such behavior from Tom and others like him.

Tom proposes a small, rent-free office space under a parking garage for her to restart, but Isobel sees the folly in continuing, especially without Irwin. Recognizing Irwin's obsession, she has chosen to sever ties completely. Her focus now shifts to fulfilling her father’s wishes by taking care of Katherine.

With an ominous warning, Marion shrieks at Isobel to "Hide behind your father for the rest of your life. Die there!” To which Isobel somberly admits she likely will.

Scene vii

Some time later, perhaps weeks after, Isobel and Katherine find themselves in the apartment, sharing a late dinner. Isobel has clearly shouldered the cooking, cleaning, and shopping, while Katherine unleashes her discontent, complaining about the meals and their monotonous existence since she’s given up drinking and their social outings have ceased.

As night falls, they prepare for bed; Katherine predictably claims the bedroom, leaving the sofa to Isobel. Isobel warns her sister to lock the door and use the deadbolt, wary of Irwin’s access to a key and possible intrusion. Katherine feigns ignorance but slyly unbolts the door once the lights are out.

Obviously, Katherine and Irwin have orchestrated this encounter, and he swiftly slips in to confront Isobel. Her calls for Katherine go unanswered. Irwin pleads for the chance to sleep beside Isobel, but she denies him, insisting it would only amplify his despair. Agitated, he brandishes a handgun, declaring his intent to end his life with it.

Isobel faces Irwin with steely resolve, asserting that even if he were to force intimacy upon her, he would never claim the true essence of what he desires. Their past connection, once vibrant and alive, has irrevocably withered. In the midst of their heated exchange, Katherine finally steps out of the bedroom, drawn by the commotion. Isobel urgently instructs her to call the authorities or seek assistance from passersby, but Katherine stands her ground, refusing to act. Resolutely, Isobel rises and walks out the door, decisively closing it behind her. Suddenly, the air is ripped apart by the echo of five gunshots fired through the door, tragically ending Isobel's life on the opposite side.

Scene viii

As the curtain draws to a close on our tale, the final scene offers a measure of resolution, tying up lingering threads of the narrative and the lives entwined within it. Gathered at the residence of Robert Glass on the solemn day of Isobel's funeral, Marion, Tom, Katherine, and Rhonda gently unveil the shrouded furniture, striving to restore a sense of normalcy. Though Isobel's untimely demise imparts profound lessons, the extent to which it will alter their futures remains shrouded in uncertainty.

Upon realizing that the townsfolk wish to honor Isobel by walking in unison to her funeral, Marion is struck by the revelation that everyone, except their circle, treasured her presence. She receives a call from the Ministry, yet, for the first time, she chooses not to answer. Even Tom concedes to feeling "slightly lost touch with the Lord Jesus." Although Marion cannot bring herself to attend the funeral, before Tom departs, they share an embrace, a kiss, and tender caresses—a rare glimpse of physical passion within the play, ignited only in the wake of Isobel's passing.

Left in solitude after the others have departed for the funeral, Marion mourns her sister's absence, wrestling with a newfound uncertainty about her desires. She whispers to the silence, "We're just beginning. Isobel, why don’t you come home?"