[Pause, WILLIE turns page. Pause.]
WILLIE: Wanted bright boy.
[Pause, WILLIE gazes before her. WILLIE turns page. Pause. Newspaper disappears. Long pause.]
WINNIE: Pray your old prayer, Winnie.
[Long pause.]
CURTAIN
ACT TWO
Scene as before.
WINNIE embedded up to necky hat on head, eyes closed. Her head, which she can no longer turn, nor bow, nor raise, faces front motionless throughout act. Movements of eyes as indicated.
Bag and parasol as before. Revolver conspicuous to her right on mound.
Long pause.
Bell rings loudly. She opens eyes at once. Bell stops. She gazes front. Long pause.
WINNIE: Hail, holy light. [Long pause. She closes her eyes. Bell rings loudly. She opens eyes at once. Bell stops. She gazes front. Long smile. Smile off. Long pause.] Someone is looking at me still. [Pause.] Caring for me still. [Pause.] That is what I find so wonderful. [Pause.] Eyes on my eyes. [Pause.] What is that unforgettable line? [Pause. Eyes right.] Willie. [Pause. Louder.] Willie. [Pause. Eyes front.] May one still speak of time? [Pause.] Say it is a long time now, Willie, since I saw you. [Pause.] Since I heard you. [Pause.] May one? [Pause.] One does. [Smile.] The old style! [Smile off.] There is so little one can speak of. [Pause.] One speaks of it all. [Pause.] All one can. [Pause.] I used to think … [pause] … I say I used to think that I would learn to talk alone. [Pause.] By that I mean to myself, the wilderness. [Smile.] But no. [Smile broader.] No no. [Smile off.] Ergo you are there. [Pause.] Oh no doubt you are dead, like the others, no doubt you have died, or gone away and left me, like the others, it doesn’t matter, you are there. [Pause. Eyes left.] The bag too is there, the same as ever, I can see it. [Pause. Eyes right. Louder.] The bag is there, Willie, as good as ever, the one you gave me that day … to go to market. [Pause. Eyes front.] That day. [Pause.] What day? [Pause.] I used to pray. [Pause.] I say I used to pray. [Pause.] Yes, I must confess I did. [Smile.] Not now. [Smile broader.] No no. [Smile off. Pause.] Then … now … what difficulties here, for the mind. [Pause.] To have been always what I am – and so changed from what I was. [Pause.] I am the one, I say the one, then the other. [Pause.] Now the one, then the other. [Pause.] There is so little one can say, one says it all. [Pause.] All one can. [Pause.] And no truth in it anywhere. [Pause.] My arms. [Pause.] My breasts. [Pause.] What arms? [Pause.] What breasts? [Pause.] Willie. [Pause.] What Willie? [Sudden vehement affirmation.] My Willie! [Eyes right, calling.] Willie! [Pause. Louder.] Willie! [Pause. Eyes front.] Ah well, not to know, not to know for sure, great mercy, all I ask. [Pause.] Ah yes … then … now … beechen green … this … Charlie … kisses … this … all that … deep trouble for the mind. [Pause.] But it does not trouble mine. [Smile.] Not now. [Smile broader.] No no. [Smile off. Long pause. She closes eyes. Bell rings loudly. She opens eyes. Pause.] Eyes float up that seem to close in peace … to see … in peace. [Pause.] Not mine. [Smile.] Not now. [Smile broader.] No no. [Smile off. Long pause.] Willie. [Pause.] Do you think the earth has lost its atmosphere, Willie? [Pause.] Do you, Willie? [Pause.] You have no opinion? [Pause.] Well that is like you, you never had any opinion about anything. [Pause.] It’s understandable. [Pause.] Most. [Pause.] The earth ball. [Pause.] I sometimes wonder. [Pause.] Perhaps not quite all. [Pause.] There always remains something. [Pause.] Of everything. [Pause.] Some remains. [Pause.] If the mind were to go. [Pause.] It won’t of course. [Pause.] Not quite. [Pause.] Not mine. [Smile.] Not now. [Smile broader.] No no. [Smile off. Long pause.] It might be the eternal cold. [Pause.] Everlasting perishing cold. [Pause.] Just chance, I take it, happy chance. [Pause.] Oh yes, great mercies, great mercies. [Pause.] And now? [Long pause.] The face. [Pause.] The nose. [She squints down.] I can see it … [squinting down] … the tip … the nostrils … breath of life … that curve you so admired … [pouts] … a hint of lip … [pouts again] … if I pout them out … [sticks out tongue] … the tongue of course … you so admired … if I stick it out … [sticks it out again] … the tip … [eyes up] … suspicion of brow … eyebrow … imagination possibly … [eyes left] … cheek … no … [eyes right] … no … [distends cheeks] … even if I puff them out … [eyes left, distends cheeks again] … no … no damask. [Eyes front.] That is all. [Pause.] The bag of course … [eyes left] … a little blurred perhaps … but the bag. [Eyes front. Offhand.] The earth of course and sky. [Eyes right.] The sunshade you gave me … that day … [pause.] … that day … the lake … the reeds. [Eyes front. Pause.] What day? [Pause.] What reeds? [Long pause. Eyes close. Bell rings loudly. Eyes open. Pause. Eyes right.] Brownie of course. [Pause.] You remember Brownie, Willie, I can see him. [Pause.] Brownie is there, Willie, beside me. [Pause. Loud.] Brownie is there, Willie. [Pause. Eyes front.] That is all. [Pause.] What would I do without them? [Pause.] What would I do without them, when words fail? [Pause.] Gaze before me, with compressed lips. [Long pause while she does so.] I cannot. [Pause.] Ah yes, great mercies, great mercies. [Long pause. Low.] Sometimes I hear sounds. [Listening expression. Normal voice.] But not often. [Pause.] They are a boon, sounds are a boon, they help me … through the day. [Smile.] The old style! [Smile off.] Yes, those are happy days, when there are sounds. [Pause.] When I hear sounds. [Pause.] I used to think … [pause] … I say I used to think they were in my head. [Smile.] But no. [Smile broader.] No no. [Smile off.] That was just logic. [Pause.] Reason. [Pause.] I have not lost my reason. [Pause.] Not yet. [Pause.] Not all. [Pause.] Some remains. [Pause.] Sounds. [Pause.] Like little … sunderings, little falls … apart. [Pause. Low.] it’s things, Willie. [Pause. Normal voice.] In the bag, outside the bag. [Pause.] Ah yes, things have their life, that is what I always say, things have a life. [Pause.] Take my looking-glass, it doesn’t need me. [Pause.] The bell. [Pause.] It hurts like a knife. [Pause.] A gouge. [Pause.] One cannot ignore it. [Pause.] How often … (pause] … I say how often I have said, Ignore it, Winnie, ignore the bell, pay no heed, just sleep and wake, sleep and wake, as you please, open and close the eyes, as you please, or in the way you find most helpful. [Pause.] Open and close the eyes, Winnie, open and close, always that. [Pause.] But no. [Smile.] Not now. [Smile broader.] No no. [Smile off Pause.] What now? [Pause.] What now, Willie? [Long pause.] There is my story of course, when all else fails. [Pause.] A life. [Smile.] A long life. [Smile off.] Beginning in the womb, where life used to begin, Mildred has memories, she will have memories, of the womb, before she dies, the mother’s womb. [Pause.] She is now four or five already and has recently been given a big waxen dolly. [Pause.] Fully clothed, complete outfit. [Pause.] Shoes, socks, undies, complete set, frilly frock, gloves. [Pause.] White mesh. [Pause.] A little white straw hat with a chin elastic. [Pause.] Pearly necklace. [Pause.] A little picture-book with legends in real print to go under her arm when she takes her walk. [Pause.] China blue eyes that open and shut. [Pause. Narrative.] The sun was not well up when Milly rose, descended the steep … [pause] … slipped on her nightgown, descended all alone the steep wooden stairs, backwards on all fours, though she had been forbidden to do so, entered the … [pause] … tiptoed down the silent passage, entered the nursery and began to undress Dolly. [Pause.] Crept under the table and began to undress Dolly. [Pause.] Scolding her … the while. [Pause.] Suddenly a mouse – [Long pause.] Gently, Winnie. [Long pause. Calling.] Willie! [Pause. Louder.] Willie! [Pause. Mild reproach.] I sometimes find your attitude a little strange, Willie, all this time, it is not like you to be wantonly cruel. [Pause.] Strange? [Pause.] No. [Smile.] Not here. [Smile broader.] Not now. [Smile off.] And yet … [Suddenly anxious.] I do hope nothing is amiss. [Eyes right, loud.] Is all well, dear? (Pause. Eyes front. To herself.] God grant he did not go in head foremost! [Eyes right, loud.] You’re not stuck, Willie? [Pause. Do.] You’re not jammed, Willie? [Eyes front, distressed.] Perhaps he is crying out for help all this time and I do not hear him! [Pause.] I do of course hear cries. [Pause.] But they are in my head surely. [Pause.] Is it possible that … [Pause. Wi
th finality.] No no, my head was always full of cries. [Pause.] Faint confused cries. [Pause.] They come. [Pause.] Then go. [Pause.] As on a wind. [Pause.] That is what I find so wonderful. [Pause.] They cease. [Pause.] Ah yes, great mercies, great mercies. [Pause.] The day is now well advanced. [Smile. Smile off.] And yet it is perhaps a little soon for my song. [Pause.] To sing too soon is fatal, I always find. [Pause.] On the other hand it is possible to leave it too late. [Pause.] The bell goes for sleep and one has not sung. [Pause.] The whole day has flown – [smile, smile off] – flown by, quite by, and no song of any class, kind or description. [Pause.] There is a problem here. [Pause.] One cannot sing … just like that, no. [Pause.] It bubbles up, for some unknown reason, the time is ill chosen, one chokes it back. [Pause.] One says, Now is the time, it is now or never, and one cannot. [Pause.] Simply cannot sing. [Pause.] Not a note. [Pause.] Another thing, Willie, while we are on this subject. [Pause.] The sadness after song. [Pause.] Have you run across that, Willie? [Pause.] In the course of your experience. [Pause.] No? [Pause.] Sadness after intimate sexual intercourse one is familiar with of course. [Pause.] You would concur with Aristotle there, Willie, I fancy. [Pause.] Yes, that one knows and is prepared to face. [Pause.] But after song … [Pause.] It does not last of course. [Pause.] That is what I find so wonderful. [Pause.] It wears away. [Pause.] What are those exquisite lines? [Pause.] Go forget me why should something o’er that something shadow fling … go forget me … why should sorrow … brightly smile … go forget me … never hear me … sweetly smile … brightly sing … [Pause. With a sigh.] One loses one’s classics. [Pause.] Oh not all. [Pause.] A part. [Pause.] A part remains. [Pause.] That is what I find so wonderful, a part remains, of one’s classics, to help one through the day. [Pause.] Oh yes, many mercies, many mercies. [Pause.] And now? [Pause.] And now, Willie? [Long pause.] I call to the eye of the mind … Mr Shower – or Cooker. [She closes her eyes. Bell rings loudly. She opens her eyes. Pause.] Hand in hand, in the other hands bags. [Pause.] Getting on … in life. [Pause.] No longer young, not yet old. [Pause.] Standing there gaping at me. [Pause.] Can’t have been a bad bosom, he says, in its day. [Pause.] Seen worse shoulders, he says, in my time. [Pause.] Does she feel her legs? he says. [Pause.] Is there any life in her legs? he says. [Pause.] Has she anything on underneath? he says. [Pause.] Ask her, he says, I’m shy. [Pause.] Ask her what? she says. [Pause.] Is there any life in her legs. [Pause.] Has she anything on underneath. [Pause.] Ask her yourself, she says. [Pause. With sudden violence.] Let go of me for Christ sake and drop! [Pause. Do.] Drop dead! [Smile.] But no. [Smile broader.] No no. [Smile off.] I watch them recede. [Pause.] Hand in hand – and the bags. [Pause.] Dim. [Pause.] Then gone. [Pause.] Last human kind – to stray this way. [Pause.] Up to date. [Pause.] And now? [Pause. Low.] Help. [Pause. Do.] Help, Willie. [Pause. Do.] No? [Long pause. Narrative.] Suddenly a mouse … [Pause.] Suddenly a mouse ran up her little thigh and Mildred, dropping Dolly in her fright, began to scream–[WINNIE gives a sudden piercing scream]–and screamed and screamed–[WINNIE screams twice]–screamed and screamed and screamed and screamed till all came running, in their night attire, papa, mamma, Bibby and … old Annie, to see what was the matter … [pause) … what on earth could possibly be the matter. [Pause.] Too late. [Pause.] Too late. [Long pause. Just audible.] Willie. [Pause. Normal voice.] Ah well, not long now, Winnie, can’t be long now, until the bell for sleep. [Pause.] Then you may close your eyes, then you must close your eyes – and keep them closed. [Pause.] Why say that again? [Pause.] I used to think … [pause] … I say I used to think there was no difference between one fraction of a second and the next. [Pause.] I used to say … [pause] … I say I used to say, Winnie, you are changeless, there is never any difference between one fraction of a second and the next. [Pause.] Why bring that up again? [Pause.] There is so little one can bring up, one brings up all. [Pause.] All one can. [Pause.] My neck is hurting me. [Pause. With sudden violence.] My neck is hurting me! [Pause.] Ah that’s better. [With mild irritation.] Everything within reason. [Long pause.] I can do no more. [Pause.] Say no more. [Pause.] But I must say more. [Pause.] Problem here. [Pause.] No, something must move, in the world, I can’t any more. [Pause.] A zephyr. [Pause.] A breath. [Pause.] What are those immortal lines? [Pause.] It might be the eternal dark. [Pause.] Black night without end. [Pause.] Just chance, I take it, happy chance. [Pause.] Oh yes, abounding mercies. [Long pause.] And now? [Pause.] And now, Willie? [Long pause.] That day. [Pause.] The pink fizz. [Pause.] The flute glasses. [Pause.] The last guest gone. [Pause.] The last bumper with the bodies nearly touching. [Pause.] The look. [Long pause.] What day? [Long pause.] What look? [Long pause.] I hear cries. [Pause.] Sing. [Pause.] Sing your old song, Winnie.
[Long pause. Suddenly alert expression. Eyes switch right. WILLIE’s head appears to her right round corner of mound. He is on all fours, dressed to kill – top hat, morning coat, striped trousers, etc., white gloves in hand. Very long bushy white Battle of Britain moustache. He halts, gazes front, smooths moustache. He emerges completely from behind mound, turns to his left, halts, looks up at WINNIE. He advances on all fours towards centre, halts, turns head front, gazes front, strokes moustache, straightens tie, adjusts hat, advances a little further, halts, takes off hat and looks up at WINNIE. He is now not far from centre and within her field of vision. Unable to sustain effort of looking up he sinks head to ground.
WINNIE: [Mondaine]. Well this is an unexpected pleasure! [Pause.] Reminds me of the day you came whining for my hand. [Pause.] I worship you, Winnie, be mine. [He looks up.] Life a mockery without Win. [She goes off into a giggle.] What a get up, you do look a sight! [Giggles.] Where are the flowers? [Pause.] That smile today, [WILLIE sinks head.] What’s that on your neck, an anthrax? [Pause.] Want to watch that, Willie, before it gets a hold on you. [Pause.] Where were you all this time? [Pause.] What were you doing all this time? [Pause.] Changing? [Pause.] Did you not hear me screaming for you? [Pause.] Did you get stuck in your hole? [Pause. He looks up.] That’s right, Willie, look at me. [Pause.] Feast your old eyes, Willie. [Pause.] Does anything remain? [Pause.] Any remains? [Pause.] No? [Pause.] I haven’t been able to look after it, you know. [He sinks his head.] You are still recognizable, in a way. [Pause.] Are you thinking of coming to live this side now … for a bit maybe? [Pause.] No? [Pause.] Just a brief call? [Pause.] Have you gone deaf, Willie? [Pause.] Dumb? [Pause.] Oh I know you were never one to talk, I worship you Winnie be mine and then nothing from that day forth only titbits from Reynolds’ News. [Eyes front. Pause.] Ah well, what matter, that’s what I always say, it will have been a happy day, after all, another happy day. [Pause.] Not long now, Winnie. [Pause.] I hear cries. [Pause.] Do you ever hear cries, Willie? [Pause.] No? [Eyes back on WILLIE.] Willie. [Pause.] Look at me again, Willie. [Pause.] Once more, Willie. [He looks up. Happily.] Ah! [Pause. Shocked.] What ails you, Willie, I never saw such an expression! [Pause.] Put on your hat, dear, it’s the sun, don’t stand on ceremony, I won’t mind. [He drops hat and gloves and starts to crawl up mound towards her. Gleeful.] Oh I say, this is terrific! [He halts, clinging to mound with one hand, reaching up with the other.] Come on, dear, put a bit of jizz into it, I’ll cheer you on. [Pause.] Is it me you’re after, Willie … or is it something else? [Pause.] Do you want to touch my face … again? [Pause.] Is it a kiss you’re after, Willie … or is it something else? [Pause.] There was a time when I could have given you a hand. [Pause.] And then a time before that again when I did give you a hand. [Pause.] You were always in dire need of a hand, Willie. [He slithers back to foot of mound and lies with face to ground.] Brrum! [Pause. He rises to hands and knees, raises his face towards her.] Have another go, Willie, I’ll cheer you on. [Pause.] Don’t look at me like that! [Pause. Vehement.] Don’t look at me like that! [Pause. Low.] Have you gone off your head, Willie? [Pause. Do.] Out of your poor old wits, Willie? [Pause.]
WILLIE: [Just audible.] Win.
[Pause, WINNIE’s eyes front. Happy expression appears, grows.]
> WINNIE: Win! [Pause.] Oh this is a happy day, this will have been another happy day! [Pause.] After all. [Pause.] So far. [Pause. She hums tentatively beginning of song, then sings softly, musical-box tune.]
Though I say not
What I may not
Let you hear,
Yet the swaying
Dance is saying,
Love me dear!
Every touch of fingers
Tells me what I know,
Says for you,
It’s true, it’s true,
You love me so!
(Pause. Happy expression off. She closes her eyes. Bell rings loudly. She opens her eyes. She smiles, gazing front. She turns her eyes, smiling, to WILLIE, still on his hands and knees looking up at her. Smile off. They look at each other. Long pause.]
CURTAIN
All That Fall
A play for radio
Written in English in July-September 1956. First published by Grove Press, New York, in 1957. First published in Britain by Faber and Faber, London, also in 1957. First broadcast by the BBC Third Programme on 13 January 1957.
CAST
MRS ROONEY (Maddy) a lady in her seventies
CHRISTY a carter
MR TYLER a retired bill-broker
MR SLOCUM Clerk of the Racecourse
TOMMY a porter
MR BARRELL a station-master
MISS FITT a lady in her thirties
A FEMALE VOICE
DOLLY a small girl
MR ROONEY (Dan) husband of Mrs Rooney, blind
JERRY a small boy
Rural sounds. Sheep, bird, cow, cock, severally, then together. Silence.
The Complete Dramatic Works of Samuel Beckett Page 15
