Pause.
After all, I escorted her once or twice, didn't I? Drove her round once or twice in my cab. She was a charming woman.
Pause.
All the same, she was your wife. But still . . . they were some of the most delightful evenings I've ever had. Used to just drive her about. It was my pleasure.
MAX (softly, closing his eyes). Christ.
SAM. I used to pull up at a stall and buy her a cup of coffee. She was a very nice companion to be with.
Silence.
JOEY comes in the front door. He walks into the room, takes his jacket off, throws it on a chair and stands.
Silence.
JOEY. Feel a bit hungry.
SAM. Me, too.
MAX. Who do you think I am, your mother? Eh? Honest. They walk in here every time of the day and night like bloody animals. Go and find yourself a mother.
LENNY walks into the room, stands.
JOEY. I've been training down at the gym.
SAM. Yes, the boy's been working all day and training all night.
MAX. What do you want, you bitch? You spend all the day sitting on your arse at London Airport, buy yourself a jamroll. You expect me to sit here waiting to rush into the kitchen the moment you step in the door? You've been living sixty-three years, why don't you learn to cook?
SAM. I can cook.
MAX. Well, go and cook!
Pause.
LENNY. What the boys want, Dad, is your own special brand of cooking, Dad. That's what the boys look forward to. The special understanding of food, you know, that you've got.
MAX. Stop calling me Dad. Just stop all that calling me Dad, do you understand?
LENNY. But I'm your son. You used to tuck me up in bed every night. He tucked you up, too, didn't he, Joey?
Pause.
He used to like tucking up his sons.
LENNY turns and goes towards the front door.
MAX. Lenny.
LENNY (turning). What?
MAX. I'll give you a proper tuck up one of these nights, son. You mark my word.
They look at each other.
LENNY opens the front door and goes out.
Silence.
JOEY. I've been training with Bobby Dodd.
Pause.
And I had a good go at the bag as well.
Pause.
I wasn't in bad trim.
MAX. Boxing's a gentleman's game.
Pause.
I'll tell you what you've got to do. What you've got to do is you've got to learn how to defend yourself, and you've got to learn how to attack. That's your only trouble as a boxer. You don't know how to defend yourself, and you don't know how to attack.
Pause.
Once you've mastered those arts you can go straight to the top.
Pause.
JOEY. I've got a pretty good idea . . . of how to do that.
JOEY looks round for his jacket, picks it up, goes out of the room and up the stairs.
Pause.
MAX. Sam . . . why don't you go, too, eh? Why don't you just go upstairs? Leave me quiet. Leave me alone.
SAM. I want to make something clear about Jessie, Max. I want to. I do. When I took her out in the cab, round the town, I was taking care of her, for you. I was looking after her for you, when you were busy, wasn't I? I was showing her the West End.
Pause.
You wouldn't have trusted any of your other brothers. You wouldn't have trusted Mac, would you? But you trusted me. I want to remind you.
Pause.
Old Mac died a few years ago, didn't he? Isn't he dead?
Pause.
He was a lousy stinking rotten loudmouth. A bastard uncouth sodding runt. Mind you, he was a good friend of yours.
Pause.
MAX. Eh, Sam . . .
SAM. What?
MAX. Why do I keep you here? You're just an old grub.
SAM. Am I?
MAX. You're a maggot.
SAM. Oh yes?
MAX. As soon as you stop paying your way here, I mean when you're too old to pay your way, you know what I'm going to do? I'm going to give you the boot.
SAM. You are, eh?
MAX. Sure. I mean, bring in the money and I'll put up with you. But when the firm gets rid of you – you can flake off.
SAM. This is my house as well, you know. This was our mother's house.
MAX. One lot after the other. One mess after the other.
SAM. Our father's house.
MAX. Look what I'm lumbered with. One cast-iron bunch of crap after another. One flow of stinking pus after another.
Pause.
Our father! I remember him. Don't worry. You kid yourself. He used to come over to me and look down at me. My old man did. He'd bend right over me, then he'd pick me up. I was only that big. Then he'd dandle me. Give me the bottle. Wipe me clean. Give me a smile. Pat me on the bum. Pass me around, pass me from hand to hand. Toss me up in the air. Catch me coming down. I remember my father.
BLACKOUT.
LIGHTS UP.
Night.
TEDDY and RUTH stand at the threshold of the room.
They are both well dressed in light summer suits and light raincoats.
Two suitcases are by their side.
They look at the room. TEDDY tosses the key in his hand, smiles.
TEDDY. Well, the key worked.
Pause.
They haven't changed the lock.
Pause.
RUTH. No-one's here.
TEDDY (looking up). They're asleep.
Pause.
RUTH. Can I sit down?
TEDDY. Of course.
RUTH. I'm tired.
Pause.
TEDDY. Then sit down.
She does not move.
That's my father's chair.
RUTH. That one?
TEDDY (smiling). Yes, that's it. Shall I go up and see if my room's still there?
RUTH. It can't have moved.
TEDDY. No, I mean if my bed's still there.
RUTH. Someone might be in it.
TEDDY. No. They've got their own beds.
Pause.
RUTH. Shouldn't you wake someone up? Tell them you're here?
TEDDY. Not at this time of night. It's too late.
Pause.
Shall I go up?
He goes into the hall, looks up the stairs, comes back.
Why don't you sit down?
Pause.
I'll just go up . . . have a look.
He goes up the stairs, stealthily.
RUTH stands, then slowly walks across the room.
TEDDY returns.
It's still there. My room. Empty. The bed's there. What are you doing?
She looks at him.
Blankets, no sheets. I'll find some sheets. I could hear snores. Really. They're all still here, I think. They're all snoring up there. Are you cold?
RUTH. No.
TEDDY. I'll make something to drink, if you like. Something hot.
RUTH. No, I don't want anything.
TEDDY walks about.
TEDDY. What do you think of the room? Big, isn't it? It's a big house. I mean, it's a fine room, don't you think? Actually there was a wall, across there . . . with a door. We knocked it down . . . years ago . . . to make an open living area. The structure wasn't affected, you see. My mother was dead.
RUTH sits.
Tired?
RUTH. Just a little.
TEDDY. We can go to bed if you like. No point in waking anyone up now. Just go to bed. See them all in the morning . . . see my father in the morning. . . .
Pause.
RUTH. Do you want to stay?
TEDDY. Stay?
Pause.
We've come to stay. We're bound to stay . . . for a few days.
RUTH. I think . . . the children . . . might be missing us.
TEDDY. Don't be silly.
RUTH. They might.
TEDDY. Look, we'll be back in a few days, won't we?
He walk
s about the room.
Nothing's changed. Still the same.
Pause.
Still, he'll get a surprise in the morning, won't he? The old man. I think you'll like him very much. Honestly. He's a . . . well, he's old, of course. Getting on.
Pause.
I was born here, do you realize that?
RUTH. I know.
Pause.
TEDDY. Why don't you go to bed? I'll find some sheets. I feel . . . wide awake, isn't it odd? I think I'll stay up for a bit. Are you tired?
RUTH. No.
TEDDY. Go to bed. I'll show you the room.
RUTH. No, I don't want to.
TEDDY. You'll be perfectly all right up there without me. Really you will. I mean, I won't be long. Look, it's just up there. It's the first door on the landing. The bathroom's right next door. You . . . need some rest, you know.
Pause.
I just want to . . . walk about for a few minutes. Do you mind?
RUTH. Of course I don't.
TEDDY. Well . . . Shall I show you the room?
RUTH. No, I'm happy at the moment.
TEDDY. You don't have to go to bed. I'm not saying you have to. I mean, you can stay up with me. Perhaps I'll make a cup of tea or something. The only thing is we don't want to make too much noise, we don't want to wake anyone up.
RUTH. I'm not making any noise.
TEDDY. I know you're not.
He goes to her.
(Gently.) Look, it's all right, really. I'm here. I mean . . . I'm with you. There's no need to be nervous. Are you nervous?
RUTH. No.
TEDDY. There's no need to be.
Pause.
They're very warm people, really. Very warm. They're my family. They're not ogres.
Pause.
Well, perhaps we should go to bed. After all, we have to be up early, see Dad. Wouldn't be quite right if he found us in bed, I think. (He chuckles.) Have to be up before six, come down, say hullo.
Pause.
RUTH. I think I'll have a breath of air.
TEDDY. Air?
Pause.
What do you mean?
RUTH (standing). Just a stroll.
TEDDY. At this time of night? But we've . . . only just got here. We've got to go to bed.
RUTH. I just feel like some air.
TEDDY. But I'm going to bed.
RUTH. That's all right.
TEDDY. But what am I going to do?
Pause.
The last thing I want is a breath of air. Why do you want a breath of air?
RUTH. I just do.
TEDDY. But it's late.
RUTH. I won't go far. I'll come back.
Pause.
TEDDY. I'll wait up for you.
RUTH. Why?
TEDDY. I'm not going to bed without you.
RUTH. Can I have the key?
He gives it to her.
Why don't you go to bed?
He puts his arms on her shoulders and kisses her.
They look at each other, briefly. She smiles.
I won't be long.
She goes out of the front door.
TEDDY goes to the window, peers out after her, half turns from the window, stands, suddenly chews his knuckles.
LENNY walks into the room from U.L. He stands. He wears pyjamas and dressing-gown. He watches TEDDY.
TEDDY turns and sees him.
Silence.
TEDDY. Hullo, Lenny.
LENNY. Hullo, Teddy.
Pause.
TEDDY. I didn't hear you come down the stairs.
LENNY. I didn't.
Pause.
I sleep down here now. Next door. I've got a kind of study, workroom cum bedroom next door now, you see.
TEDDY. Oh. Did I . . . wake you up?
LENNY. No. I just had an early night tonight. You know how it is. Can't sleep. Keep waking up.
Pause.
TEDDY. How are you?
LENNY. Well, just sleeping a bit restlessly, that's all. Tonight, anyway.
TEDDY. Bad dreams?
LENNY. No, I wouldn't say I was dreaming. It's not exactly a dream. It's just that something keeps waking me up. Some kind of tick.
TEDDY. A tick?
LENNY. Yes.
TEDDY. Well, what is it?
LENNY. I don't know.
Pause.
TEDDY. Have you got a clock in your room?
LENNY. Yes.
TEDDY. Well, maybe it's the clock.
LENNY. Yes, could be, I suppose.
Pause.
Well, if it's the clock I'd better do something about it. Stifle it in some way, or something.
Pause.
TEDDY. I've . . . just come back for a few days
LENNY. Oh yes? Have you?
Pause.
TEDDY. How's the old man?
LENNY. He's in the pink.
Pause.
TEDDY. I've been keeping well.
LENNY. Oh, have you?
Pause.
Staying the night then, are you?
TEDDY. Yes.
LENNY. Well, you can sleep in your old room.
TEDDY. Yes, I've been up.
LENNY. Yes, you can sleep there.
LENNY yawns.
Oh well.
TEDDY. I'm going to bed.
LENNY. Are you?
TEDDY. Yes, I'll get some sleep.
LENNY. Yes I'm going to bed, too.
TEDDY picks up the cases.
I'll give you a hand.
TEDDY. No, they're not heavy.
TEDDY goes into the hall with the cases.
LENNY turns out the light in the room.
The light in the hall remains on.
LENNY follows into the hall.
LENNY. Nothing you want?
TEDDY. Mmmm?
LENNY. Nothing you might want, for the night? Glass of water, anything like that?
TEDDY. Any sheets anywhere?
LENNY. In the sideboard in your room.
TEDDY. Oh, good.
LENNY. Friends of mine occasionally stay there, you know, in your room, when they're passing through this part of the world.
LENNY turns out the hall light and turns on the first landing light.
TEDDY begins to walk up the stairs.
TEDDY. Well, I'll see you at breakfast, then.
LENNY. Yes, that's it. Ta-ta.
TEDDY goes upstairs.
LENNY goes off L.
Silence.
The landing light goes out.
Slight night light in the hall and room.
LENNY comes back into the room, goes to the window and looks out.
He leaves the window and turns on a lamp.
He is holding a small clock.
He sits, places the clock in front of him, lights a cigarette and sits.
RUTH comes in the front door.
She stands still. LENNY turns his head, smiles. She walks slowly into the room.
LENNY. Good evening.
RUTH. Morning, I think.
LENNY. You're right there.
Pause.
My name's Lenny. What's yours?
RUTH. Ruth.
She sits, puts her coat collar around her.
LENNY. Cold?
RUTH. No.
LENNY. It's been a wonderful summer, hasn't it? Remarkable.
Pause.
Would you like something? Refreshment of some kind? An aperitif, anything like that?
RUTH. No, thanks.
LENNY. I'm glad you said that. We haven't got a drink in the house. Mind you, I'd soon get some in, if we had a party or something like that. Some kind of celebration . . . you know.
Pause.
You must be connected with my brother in some way. The one who's been abroad.
RUTH. I'm his wife.
LENNY. Eh listen, I wonder if you can advise me. I've been having a bit of a rough time with this clock. The tick's been keeping me up. The trouble is I'm not all that convinced it was t
he clock. I mean there are lots of things which tick in the night, don't you find that? All sorts of objects, which, in the day, you wouldn't call anything else but commonplace. They give you no trouble. But in the night any given one of a number of them is liable to start letting out a bit of a tick. Whereas you look at these objects in the day and they're just commonplace. They're as quiet as mice during the daytime. So . . . all things being equal . . . this question of me saying it was the clock that woke me up, well, that could very easily prove something of a false hypothesis.
He goes to the sideboard, pours from a jug into a glass, takes the glass to RUTH.
Here you are. I bet you could do with this.
RUTH. What is it?
LENNY. Water.
She takes it, sips, places the glass on a small table by her chair.
LENNY watches her.
Isn't it funny? I've got my pyjamas on and you're fully dressed.
He goes to the sideboard and pours another glass of water.
Mind if I have one? Yes, it's funny seeing my old brother again after all these years. It's just the sort of tonic my Dad needs, you know. He'll be chuffed to his bollocks in the morning, when he sees his eldest son. I was surprised myself when I saw Teddy, you know. Old Ted. I thought he was in America.
RUTH. We're on a visit to Europe.
LENNY. What, both of you?
RUTH. Yes.
LENNY. What, you sort of live with him over there, do you?
RUTH. We're married.
LENNY. On a visit to Europe, eh? Seen much of it?
RUTH. We've just come from Italy.
LENNY. Oh, you went to Italy first, did you? And then he brought you over here to meet the family, did he? Well, the old man'll be pleased to see you, I can tell you.
RUTH. Good.
LENNY. What did you say?
RUTH. Good.
Pause.
LENNY. Where'd you go to in Italy?
RUTH. Venice.
LENNY. Not dear old Venice? Eh? That's funny. You know, I've always had a feeling that if I'd been a soldier in the last war – say in the Italian campaign – I'd probably have found myself in Venice. I've always had that feeling. The trouble was I was too young to serve, you see. I was only a child, I was too small, otherwise I've got a pretty shrewd idea I'd probably have gone through Venice. Yes, I'd almost certainly have gone through it with my battalion. Do you mind if I hold your hand?
RUTH. Why?
LENNY. Just a touch.
He stands and goes to her.
Just a tickle.
RUTH. Why?
He looks down at her.
LENNY. I'll tell you why.
Slight pause.
One night, not too long ago, one night down by the docks, I was standing alone under an arch, watching all the men jibbing the boom, out in the harbour, and playing about with a yardarm, when a certain lady came up to me and made me a certain proposal. This lady had been searching for me for days. She'd lost tracks of my whereabouts. However, the fact was she eventually caught up with me, and when she caught up with me she made me this certain proposal. Well, this proposal wasn't entirely out of order and normally I would have subscribed to it. I mean I would have subscribed to it in the normal course of events. The only trouble was she was falling apart with the pox. So I turned it down. Well, this lady was very insistent and started taking liberties with me down under this arch, liberties which by any criterion I couldn't be expected to tolerate, the facts being what they were, so I clumped her one. It was on my mind at the time to do away with her, you know, to kill her, and the fact is, that as killings go, it would have been a simple matter, nothing to it. Her chauffeur, who had located me for her, he'd popped round the corner to have a drink, which just left this lady and myself, you see, alone, standing underneath this arch, watching all the steamers steaming up, no-one about, all quiet on the Western Front, and there she was up against this wall – well, just sliding down the wall, following the blow I'd given her. Well, to sum up, everything was in my favour, for a killing. Don't worry about the chauffeur. The chauffeur would never have spoken. He was an old friend of the family. But . . . in the end I thought . . . Aaah, why go to all the bother . . . you know, getting rid of the corpse and all that, getting yourself into a state of tension. So I just gave her another belt in the nose and a couple of turns of the boot and sort of left it at that.
Complete Works, Volume III Page 3
