She is uncertain but hops on the bike. It wasn’t what he had in mind… he was thinking for a dink. She rides around in a figureeight and he trots to keep up with her. She starts to hum a popular song and after a while he joins in with the words.
DOLLY: [shyly] Is it good selling encyclopedias?
ERROL: Sure. I’m out and about—free. I meet all sorts of people. What about you? What will you do when you leave school?
DOLLY: Pick.
ERROL: Pick?
DOLLY: You know, fruit… Or the Blue Moon.
ERROL is puzzled.
The cannery. [Beat.] Maybe the hospital…
ERROL: Hospital?
DOLLY: Well, who knows…?
ERROL: You should come to the city. There’s swags of work. And you’d like the city.
DOLLY: Would I? Nan wouldn’t like that. City’s are full of sin.
ERROL laughs.
Anyway, what would I do?
ERROL: [boldly] What do you want to do? A girl like you… you could do anything you want.
DOLLY: You sound like my mum.
ERROL: She must be smart.
DOLLY shrugs, both proud and embarrassed.
DOLLY: She’s…
ERROL: What?
DOLLY: Never mind. [Beat.] I’d like to be a model, like in the magazines, or an actress, like Gina Lollobrigida… She’s so… so… well, you know… [sexy…] But really, I… it’s silly, but I’d kind of like to be a nurse.
She’s dreamy.
ERROL: That’s not silly… Nurse Dolly.
DOLLY: But Mum reckons I’m good with figures—you know, algebra. Of course you know. But what could I do with that?
ERROL: Why, lots—
But he doesn’t get a chance to tell her, as GLADYS appears with a crappy old bookcase balanced on the old pram. ERROL leaps over to help her.
GLADYS: [loudly] We’ll be needing one of these, eh, Errol?
ERROL holds his finger up to his mouth.
ERROL: Baby’s asleep.
GLADYS: Baby?
DOLLY: [firmly] Cousin’s baby.
GLADYS nods, a little puzzled. She pats the bookcase.
GLADYS: Good old Daish’s. Actually, I thought I saw you on the other side, Dolly.
ERROL: Daish’s?
DOLLY: [warning her] Mum.
GLADYS: It’s the tip.
DOLLY shoots her a glare but GLADYS has a head of steam and keeps going.
It should have been where they built us housing, being the highest land around here… but, oh no, they decided to turn it into the town tip… [uncertain] actually.
They watch DOLLY go inside, humiliated.
I’m sorry. You don’t need to hear—
ERROL: It’s okay.
They are both embarrassed. ERROL turns his attention to the bookcase.
Just needs a lick of paint.
GLADYS: That’s what I thought.
Triumphantly she pulls an obviously used and bashed can from the pram. GLADYS laughs and ERROL joins in.
The lights go down.
SCENE FOUR: HOUSE OF BIBA
GLADYS serves out the stew while DOLLY sets the table.
NAN DEAR: You haven’t set a spot for Papa Dear.
DOLLY: What’s the point?
NAN DEAR: Just do it.
DOLLY: It’s been three months.
NAN DEAR: He’s busy doing good work. God’s work and hard work.
GLADYS: I heard he’s in Western Australia. Touring the communities there. Doll, did you see that photograph that he sent over? It was in the newspaper and all. [Beat.] He could walk through that door any day now.
The lights change for a dream sequence. PAPA DEAR, in oldfashioned hat and coat, dances in, throws his hat on the hatstand, kisses GLADYS on the top of the head, and dances out. No one takes any notice of him but GLADYS, who smiles at him warmly.
Papa Dear…
DOLLY: Okay, okay… an empty place for Papa Dear. [To herself] Just as well he likes potatoes.
She sets another place and they begin to eat.
[To NAN] Potato stew tonight, Nan? What a surprise!
NAN DEAR: [warning her] Cheeky…
DOLLY: Mum, there’s a summer job going at Trevaks that I could try for. They teach you the cash register. And I could maybe get offcuts for you to sew, Nan! I know I could do it.
GLADYS: Of course you could!
NAN DEAR: You’ll be at the Blue Moon. With us. As usual.
GLADYS: [hopefully] But it sounds like a good job… a good opportunity…
But NAN will brook no argument. She shakes her head and that’s that.
NAN DEAR: It’s a bit chilly tonight, go get me a cardie, Doll.
DOLLY leaves the room. As soon as she’s out of sight, NAN hisses at GLADYS.
They’re never going to give her that job.
GLADYS: She’s good with figures.
NAN DEAR: A girl from The Flats? I don’t even see the town Aboriginals working in stores.
GLADYS: Why should her address stop her in life?
NAN DEAR: Gladys, get a grip.
GLADYS: [to herself] I’m trying, Mum, I’m trying.
Hurt, she turns the radio on. DOLLY returns with the cardigan that she puts around NAN’s shoulders.
DOLLY DYER: [radio voice-over] …only Ajax with the miracle foaming action cleans so quick, works so easily and polishes so bright.
BOB DYER: [radio voice-over] You sound like one of the elves in the commercial. Very good. Cleans so easy…
NAN DEAR: Elves, cash registers… That’s exactly what I’m talking about.
She looks at GLADYS accusingly.
SCENE FIVE: THE DELIVERY
Interior of the humpy.
DOLLY and ERROL look slightly more mature than their earlier scene together. DOLLY is really embarrassed that GLADYS has allowed ERROL into the humpy.
DOLLY: [whispering] But why do you have to do it in here?
GLADYS: It’s ready to storm out there… Volume A would get wet.
GLADYS turns her attention to a brown-paper parcel. NAN is holding back. Throughout, she is openly hostile to ERROL.
Cuppa, Errol?
ERROL: Actually, I’d love a cup of coffee if you’ve got one, Mrs Banks. But, first, don’t you want to see it, in all its glory?
GLADYS: Coffee? Coffee, you say? [She gestures for DOLLY to come closer. Whispering] Dolly, nick next door to Uncle’s and see if he has a jar of coffee. Hurry up. [To ERROL] Coffee won’t be a moment, lad. Oh, and it nearly slipped my mind, the down payment. We’d better sort that out first. Dolly, get down the jam tins, will you please?
DOLLY passes GLADYS the jam tins, one at a time.
Now. Pear money, peach-picking money, tomatoes—hardly anything in that tin, not worth picking them at tuppence for ten pound. Only bonus is they give you the bruised ones.
DOLLY glares at GLADYS who is oblivious.
NAN DEAR: The bruised ones that otherwise go to the pigs.
GLADYS carefully empties each tin and counts up the coins. (She knows exactly how much is in each tin.) DOLLY hands GLADYS the last of the jars.
GLADYS: Not that jar, Dolly, that’s your glory-box stash.
DOLLY looks embarrassed. She exits.
Orange money—don’t like picking them, don’t like getting up them ladders one bit.
NAN DEAR: At least you’re clear of the snakes up there.
ERROL: Snakes?
GLADYS: Always snakes in paddocks. Once when Dolly was a babe in a wooden box, tea towel over her to keep off the sun—and come smoko I went to feed her and there was this massive carpet snake curled up with her! And my Dolly was fast asleep! Not a peep out of her! She was a good baby.
ERROL: And it didn’t bite her or anything?
They look at him askance.
NAN DEAR: [to herself] It was a mamel.
GLADYS: A carpet snake, love.
ERROL doesn’t comprehend. DOLLY returns and busies herself making the hot drinks.
ERROL: Oh? But you killed it anyway?
NAN DEAR: [to herself] Killed it! Encyclops boy and he knows nothing!
DOLLY sniggers.
GLADYS: They keep down the mice. Anyway… two pounds six shillings deposit. Six shillings every three months for twenty-four months, that’s the deal.
DOLLY: Oh, and here’s the contract all filled in.
She hands the contract to ERROL who scans it.
ERROL: And signed by you, Mrs Banks?
GLADYS: Done!
ERROL looks slightly puzzled, but then gets excited.
ERROL: Done! Not my first sale, but surely my longest negotiation. Six months! Now… drum roll please…
GLADYS: Oh, I’m so excited!
He hands over the parcel and GLADYS tears it open. She opens the book—celestial music is heard. She touches the pages lovingly, then holds the book out for DOLLY. DOLLY has to first hand GLADYS and ERROL their cuppas.
Isn’t it… extraordinary… daught? Volume A! Would you look at the pictures? In colour too! Coffee okay, son?
ERROL takes a quick sip and nearly gags.
ERROL: Just lovely, ma’am.
NAN just scowls. GLADYS puts Volume A pride of place in the middle of her new bookcase.
GLADYS: Call me Aunty, Errol. I imagine we’ll be seeing a bit of you.
She looks from ERROL to DOLLY and back again. DOLLY looks embarrassed. NAN scowls even more.
When he comes to pick up the payments.
NAN DEAR: You mean you’ve got to pay more for those things?
The lights go down then come straight up again.
DOLLY, outside the humpy, is leaning against the wall, while ERROL fumbles with his keys.
ERROL: Miss Banks…
DOLLY: Dolly. We’re not too fussed about fancy titles.
ERROL: Dolly…
DOLLY: Yes?
ERROL: Dolly… That’s a pretty name.
DOLLY: It’s Dolores, actually.
ERROL: Really? That’s pretty too…
DOLLY moves away slightly, and ERROL quickly speaks to hold her attention. But she was only getting a piece of wattle gum to chew.
Um… Do you like music? Oh, I’m sure you do. [Curious] What’s that?
DOLLY: Snooty goggles.
She gives him a piece to chew.
ERROL: Snooty…?
DOLLY: Goggles.
ERROL: Hmmm…
DOLLY: If you don’t like it…
ERROL: But it’s interesting.
GLADYS opens the door and sweeps some dirt outside, studiously ignoring the young ’ens.
[Nervously] Er… I was thinking… Dolores…
GLADYS makes encouraging motions at him.
DOLLY: Really?
ERROL: Yes.
ERROL looks sideways at GLADYS, who pointedly goes back inside.
Why do you live out here?
DOLLY: Where else would we live?
ERROL: In town?
DOLLY: Nan likes to be near all the other families. And Mum does too but—
ERROL: The other families…?
DOLLY: You ask a lot of questions. Can’t you find the answers in there?
She points to the encyclopedia.
ERROL: [grinning] Not the answers to the questions I want to ask. Like…
DOLLY: Yes?
ERROL: Like… [In a rush] There’s a dance on in Shepparton next Saturday…
DOLLY: True?
ERROL: There is. With a band playing… a good band…
DOLLY: How do you know that? You seen ’em? You heard ’em?
ERROL: No, actually. [Pause.] You do like music?
DOLLY: Already told you that.
ERROL: ’Cause I was thinking…
DOLLY: You were thinking…
ERROL: If I organised my schedule… Well, funnily enough, I already have, and I was thinking…
DOLLY: Yes, thinking…
ERROL: Which means I happen to be in Shepparton on Saturday. Which means…
DOLLY: It means…?
ERROL: That I’m available… and if you’re available…
DOLLY: Available…
ERROL: And interested…
DOLLY: Yes… yes… go on…
ERROL: Well, I’d be most pleased if you would—
GLADYS bursts out of the humpy.
GLADYS: Oh, for heaven’s sake, spit it out, will ya, son?! [To DOLLY] He wants to invite you to the dance.
DOLLY: Mum!
ERROL: Mrs Banks!
NAN DEAR: [from inside, loudly] Glaaadys!
GLADYS hurries inside. DOLLY moves up very close to ERROL’s face.
ERROL: So will you? Will you go with me?
DOLLY: Listen, fella. Do you have any idea what’ll happen if you walk into that dance with me ?
ERROL: Uh, no… [Worried] Is there some other bloke on the scene? Is that it? Will some fella want to punch me on the nose for sweettalking his girl?
DOLLY: You’re white. I’m Aboriginal. Or haven’t you noticed?
ERROL: Well, yes… but…
DOLLY: I’m from The Flats. Not even one of those townie types of cross-over Aboriginals.
ERROL: What matters is you. Not your address…
DOLLY: That’s sweet.
DOLLY visibly softens towards him.
NAN DEAR: [from inside, yelling] Dolly!
DOLLY: Go! You’ll get us in trouble.
ERROL: Who with?
DOLLY starts to move away but he grabs her hands and slowly they move into a jitterbug, dancing perfectly together. We hear the song ‘A Girl Like You’ by Cliff Richard and the Shadows.
You’re going to come with me, then?
DOLLY knows their relationship cannot work.
DOLLY: No… it’s… impossible.
But he pulls her back towards him.
ERROL: Nothing’s impossible. Can I pick you up from here?
She shakes her head.
Then I’ll meet you halfway.
DOLLY: With your sense of direction?
ERROL: There’s these gnarled trees down the track.
DOLLY: The cork trees.
ERROL: All twisty and rough.
DOLLY: I know them.
ERROL: That can be our special meeting spot!
DOLLY: I’m not sure.
ERROL: It’s here—or it’s there. What’ll it be?
DOLLY hesitates.
DOLLY: I’ll meet you at the hall.
ERROL: And I’ll bring you home? Swell.
DOLLY: Swell.
He swings her away… There is a sound of the door being opened, and DOLLY swings out of his reach.
NAN appears and the music stops suddenly, as if the record has been scratched, and the mood is broken.
DOLLY goes in without a word. NAN looks daggers at ERROL.
NAN DEAR: It’s getting dark. Very dark. Time for you to move on. Take the short cut, past the cork trees.
She moves inside and slams the door.
The lights fade.
SCENE SIX: THE INSPECTION
NAN and GLADYS are inside the humpy, straightening everything in sight with a nervous, anxious energy.
NAN DEAR: [whispering] I’m worried about Ester.
GLADYS: Send Doll over.
The two women stand up—as if at attention—as the INSPECTOR, a well-dressed white man, steps back into the front room.
INSPECTOR: I say, crocheted pillow shams. Such beautiful work!
GLADYS: That would be my mother’s handiwork.
INSPECTOR: And your name is…?
GLADYS: Mrs Banks.
INSPECTOR: And…?
GLADYS: My mother, Mrs Dear.
The INSPECTOR is writing notes.
INSPECTOR: [pleasant, but distracted] Is there a Mr Banks?
GLADYS: Deceased. He fought in the war.
INSPECTOR: Is there a Mr Dear?
GLADYS: Yes, Papa Dear.
INSPECTOR: And he is where, at present? At work?
GLADYS: Why, yes
. In the Western District, I believe.
INSPECTOR: Away shearing?
NAN DEAR: He’s a pastor. Our own pastor.
INSPECTOR: Pastor Dear? I do believe I have heard of him. He does good works among your community.
NAN DEAR: Yes.
GLADYS: He’s very well-known…
But he’s moved across the room and GLADYS is unsure whether to continue that line of conversation.
INSPECTOR: It must be quite unpleasant here in summer?
GLADYS: Excuse me?
INSPECTOR: The heat.
GLADYS: It’s bearable. Better than winter.
INSPECTOR: Oh?
GLADYS: Because of the floods.
INSPECTOR: How frequently does it flood?
GLADYS: [unsure] Oh, now and then. Now and then.
INSPECTOR: So, only the two back rooms… Are there children staying with you?
GLADYS: My children are all grown up, off working—
At that moment DOLLY bursts in, as if she has something urgent to say. NAN is gesticulating for DOLLY to shoo.
NAN DEAR: [whispering] Give Ester a hand.
But DOLLY has been spotted.
GLADYS: Except for my daughter.
The INSPECTOR appraises DOLLY.
INSPECTOR: And she is…?
GLADYS: Dolores. Dolores Alice Banks. She’s just back from the high school. She’s currently undertaking her [with a hint of triumph] Leaving Certificate.
For the first time he turns his full attention to the women.
INSPECTOR: Really? That’s the way! And what does the future hold for you, Dolores?
DOLLY: Well, I’d like to work at the hospital—
GLADYS: —as a bookkeeper—
NAN DEAR: —in the laundry.
The INSPECTOR is not sure if they’re having a go at him or not. He notices the floor.
INSPECTOR: Linoleum?
NAN DEAR: Yes.
GLADYS: From Daish’s.
INSPECTOR: I’m not familiar with the department stores around these parts.
DOLLY has to put her hand over her mouth to suppress a giggle. The INSPECTOR looks out the humpy window. He clasps his hands together, his ‘tour’ completed.
Well! I don’t know how you do it. Your whites are so white! With river water, no less!
GLADYS: Just boiled up in a kero tin, with Velvet soap and a blue bag, same as everyone.
INSPECTOR: Yes… As a result of my report, things will change, Mrs Banks. Things must change. The sanitation arrangements for one.
GLADYS and NAN exchange worried looks.
And you need interim housing to ease you into the townships. Are you aware of the concept of assimilation, Mrs Banks?
Rainbow's End Page 3
