<< *159 . ALAN AYCKBOURN : RELATIVELY SPEAKING . A COMEDY .
LONDON , EVANS , 1968 . 90 P. . FIRST PERF. : 290367 . CHAR.
: 01 GREG , 02 GINNY , 03 PHILIP , 04 SHEILA >> $
#1 $
< ACT 1 > $
< SCENE 1 > $
< LONDON , SUNDAY 7 A.M. $
A BED SITTING ROOM FURNISHED BY SOMEONE YOUNG , SLIGHTLY ZAN
Y AND VERY FEMININE . $
A FEW POSTERS ON THE WALLS , A DOLL OR SO , FEMALE BRIC A BR
AC . $
TWO DOORS LEAD OFF - ONE TO THE BATHROOM , THE OTHER IS THE
FRONT DOOR OF THE APARTMENT . $
A SERIES OF ELABORATE SCREENS IN ONE CORNER OF THE ROOM CONC
EALS THE KITCHEN AREA . $
OTHER FURNISHINGS INCLUDE AN EASY CHAIR , A COUPLE OF UPRIGH
T CHAIRS , A FOLDING TABLE , A CHEST OF DRAWERS AND A SINGLE
 DIVAN BED . $
THE CURTAINS ARE DRAWN BACK A FRACTION ALLOWING A SHAFT OF M
ORNING LIGHT INTO THE OTHERWISE DARKENED ROOM . $
AT THE START GREG IS IN BED , THOUGH ONLY DISCERNIBLE AS A M
OUNTAIN OF BEDCLOTHES . $
THE PHONE RINGS . $
AGAIN . $
AND AGAIN . $
RUNNING WATER SOUNDS FROM THE BATHROOM BUT NO ONE ANSWERS .
$
THEN AN ARM SNAKES OUT FROM UNDER THE BEDCLOTHES , GROPES FO
R THE PHONE AND EVENTUALLY DRAWS THE RECEIVER BACK WITH IT U
NDER THE BEDCLOTHES . > $
01 < ( MUFFLED ) > $
HALLO . $
3467 . $
HALLO . $
HALLO . $
< ( EMERGING FROM BEDCLOTHES . ) > $
HALLO . $
WHO IS THAT ? $
HALL- $
#2 $
< ( THE CALLER HAS EVIDENTLY RUNG OFF SHARPLY . $
GREG EYES THE TELEPHONE SUSPICIOUSLY . $
REPLACES THE RECEIVER . $
SITS UP PROPERLY . $
LOOKS AROUND HIM . $
BLINKS . $
HE STARTS TO GET OUT OF BED BUT REALISING HE IS NAKED HE WRA
PS THE LOOSE TOP SHEET AROUND HIMSELF . $
IT MAKES A RATHER ELABORATE LOIN CLOTH . $
GREG RISES AND CROSSING TO THE WINDOW , DRAWS THE CURTAINS .
 $
MORE SPLASHINGS FROM THE BATHROOM . $
GREG MOVES OVER THIS WAY . $
HE CATCHES SIGHT OF HIMSELF IN THE MIRROR . ) > $
< ( GRAVELY . ) > $
THE RETURN OF SABU . $
ANYBODY SEEN AN ELEPHANT ? $
< ( THE PHONE RINGS AGAIN . $
GREG FROWNS , TURNS AND MOVES TO THE PHONE . $
THINKS . $
LIFTS THE RECEIVER . ) > $
< ( IN DISGUISED INDIAN VOICE . ) $
HALLO , THIS IS 3467 , CAN I HELP YOU PLEASE . $
< ( PAUSE . $
NORMAL VOICE . ) > $
HALLO . $
3467 . $
WHO IS THAT ? $
HALL- $
< ( HE HANGS UP SLOWLY . $
AFTER A MOMENT'S THOUGHT HE MOVES DETERMINEDLY TOWARDS THE B
ATHROOM . ) > $
GINNY ! $
GINNY ! $
< ( TREADING ON SOMETHING SHARP . ) > $
GINNY - AAAAH ! $
< ( HE HOPS ABOUT . ) > $
02 < ( OFF ) > $
WHAT ? $
< ( GREG RETURNS TO THE BED , SITS , AND TWISTS HIS FOOT TO
EXAMINE THE INJURED SOLE OF HIS FOOT . ) > $
< ( OFF . ) > $
GREG ? $
< ( STICKING A TOUSLED HEAD ROUND THE DOOR . ) > $
GREG - $
OH . $
DID YOU CALL ? $
01 NO . $
02 WHAT ARE YOU DOING ? $
01 JUST READING MY FORTUNE . $
02 WAS THAT THE PHONE ? $
01 WHEN ? $
02 JUST NOW ? $
01 < ( SLIGHT PAUSE ) > $
NO . $
02 OH . $
YOU SURE ? $
01 < ( STILL STUDYING HIS FOOT ) > $
ACCORDING TO THIS I 'M GOING TO MEET MUCH TRIAL AND TRIBULAT
ION BUT WILL EVENTUALLY FIND TRUE LOVE AND MARRY A GIRL WITH
 A BIRTHMARK ON HER LEFT THIGH . $
NOBODY I KNOW . $
02 NOR ME . $
#3 $
01 I 'LL KEEP A LOOK OUT . $
02 IT 'S NOT A BIRTHMARK . $
IT 'S A BEAUTY SPOT . $
< ( DISAPPEARS INTO THE BATHROOM AGAIN . ) > $
KETTLE SHOULD BE BOILING . $
I PUT IT ON . $
01 GOOD . $
< ( HE IS STARING AT THE PHONE AGAIN . ) > $
02 MAKE THE TEA , DARLING , OR I 'LL NEVER BE READY . $
THE ALARM DIDN'T GO OFF . $
AS USUAL . $
< ( AS HE TALKS GREG IS ABSENTLY FISHING UNDER THE BED WITH
HIS FEET . ) > $
01 DON'T USUALLY NEED ONE IN THIS BED . $
IT 'S SO NARROW ONE OF US FALLS OUT AUTOMATICALLY AS A RULE
. $
WE OUGHT TO MARKET IT . $
< ( HIS FEET HAVE NOW FOUND A PAIR OF SMART BLACK MEN'S SLIP
PERS . $
HE RISES AND CROSSES U.R. TO THE KITCHEN AREA . $
THE SLIPPERS ARE EVIDENTLY FAR TOO LARGE FOR HIM . $
THEY MAKE LOUD SLAPPING NOISES ON THE FLOOR AS HE WALKS . $
HE DISAPPEARS BEHIND THE SCREENS . ) > $
WHAT TIME 'S YOUR TRAIN THEN ? $
02 < ( OFF ) > $
EIGHT TWENTY-FOUR . $
01 < ( OUT OF SIGHT - IN A LOADED TONE ) > $
OH WELL . $
HAVE A GOOD TIME , WON'T YOU ? $
02 < ( AFTER A SLIGHT PAUSE APPEARS IN THE DOORWAY ) > $
GREG . $
01 < ( HEAD ROUND THE SCREENS ) > $
YES ? $
02 STOP IT . $
< ( SHE GOES BACK INTO THE BATHROOM . ) > $
01 < ( GRIMACES AND DISAPPEARS TOO ) > $
OH HELL , NO . $
02 WHAT ? $
01 < ( OUT OF SIGHT ) > $
MORE OF THEM . $
02 < ( ANXIOUS HEAD AROUND DOOR ) > $
WHAT ? $
01 < ( APPEARING WITH A BUNCH OF FLOWERS ) > $
BLOODY FLOWERS . $
ALL OVER THE PLACE . $
IN THE SINK HERE AS WELL . $
02 < ( OFFHAND ) > $
OH , THOSE . $
01 WHERE ARE YOU WORKING THESE DAYS , FOR HEAVEN'S SAKE , KE
W GARDENS ? $
02 I LIKE THEM . $
01 SO DO I - IN THEIR PLACE . $
BUT THEY 'RE MOULTING ALL OVER EVERYTHING IN HERE . $
02 < ( EXTENDING A NAKED ARM ) > $
GIVE THEM TO ME . $
I 'LL PUT THEM IN THE BATH . $
#4 $
01 < ( TO HER ) > $
FINE . $
PLANT SOME WATER LILIES WHILE YOU 'RE THERE . $
02 HAVE YOU MADE THE TEA ? $
01 JUST ABOUT . $
< ( RETURNS BEHIND THE SCREEN FOR A SECOND . ) > $
< ( GINNY DISAPPEARS BACK INTO THE BATHROOM . ) > $
AAAGH ! $
PETALS IN THE KETTLE . $
< ( HE EMERGES FROM BEHIND THE SCREEN WITH TWO MUGS AND A TE
APOT . $
HE PLACES THESE ON THE TABLE D.C.) > $
02 < ( APPEARING AT THE BATHROOM DOOR - SHE IS CLAD IN HER U
NDERCLOTHES AND IS PULLING ON A DRESSING GOWN ) > $
HALLO , LOVELY . $
< ( SHE MOVES TO HIM BELOW COFFEE TABLE D.C. ) > $
01 WOTCHER GORGEOUS . $
< ( HE KISSES HER LIGHTLY . ) > $
02 WILL YOU MISS ME TODAY ? $
01 < ( SLIGHT PAUSE ) > $
MMMMM ? $
02 I SAID WILL YOU MISS ME TODAY ? $
01 MISS YOU ? $
ME ? $
NO , I 'LL BE HAVING A GREAT TIME . $
ACTION PACKED , SIMPLY THRILLING DAY . $
PARTIES , PARTIES ALL THE WAY , WHAT ? $
< ( A MERRY MILITARY LAUGH . ) > $
02 I 'LL MISS YOU TOO . $
01 < ( NODDING BUT SEEMINGLY UNCONVINCED ) > $
MMMMM . $
< ( HE TURNS AND PLODS BACK U.R. TOWARDS THE KITCHEN AREA .
) > $
< ( GINNY GLANCES AFTER HIM , GIVES A SHRUG AND DISAPPEARS O
NCE AGAIN INTO THE BATHROOM . $
GREG STOPS IN HIS TRACKS ABRUPTLY . $
STANDS FOR A SECOND AS IF LISTENING FOR SOMETHING , STARES A
T HIS FEET AND THEN PROCEEDS ON HIS WAY . ) > $
02 < ( OFF ) > $
MY GOD . $
LOOK AT THE TIME . $
I 'LL NEVER MAKE IT . $
< ( GREG RETURNS , THIS TIME WITH THE SUGAR BASIN AND A HALF
-FILLED BOTTLE OF MILK . $
HE STOPS AGAIN AND STARES HARD AND LONG AT HIS FEET . ) > $
< ( RE-ENTERS , BRUSHING HER HAIR . ) > $
I MUST HAVE SOME TEA , I 'M - $
< ( TAKING IN GREG . ) > $
WHAT 'S WRONG ? $
01 NOTHING . $
I GOT THE IDEA SOMEONE WAS FOLLOWING ME , THAT 'S ALL . $
#5 $
< ( HE CROSSES TO ABOVE COFFEE TABLE AND PUTS DOWN MILK AND
SUGAR . ) > $
02 MY GOD ! $
MY HUSBAND - ! $
01 COULD BE - $
02 < ( WITH A DRAMATIC LOOK AT THE FRONT DOOR , MOVING C. TO
 GREG AS SHE SPEAKS ) > $
OSWALD . $
HOW DID YOU FIND OUT ? $
01 < ( CLUTCHING GINNY TO HIM ) > $
NO , SIR - I INSIST . $
SHOOT US BOTH IF YOU 'RE GOING TO SHOOT - $
02 I LOVE HIM , OSWALD , I LOVE HIM ! $
01 < ( BACKING U.L. WITH HER ) > $
WE 'LL DIE TOGETHER , I TELL YOU . $
GO ON , SHOOT - SHOOT , DAMN YOU ! $
BANG ! $
< ( THEY BOTH COLLAPSE ON THE BED IN A MOCK DEATH SCENE AND
GIGGLE . $
GREG KISSES HER . $
THEY LIE IN EACH OTHER'S ARMS FOR A SECOND . ) > $
02 < ( SEMI-APOLOGETIC ) > $
I 'M GOING TO MISS MY TRAIN . $
01 WHO CARES ? $
02 < ( SITTING UP AND BREAKING FROM HIM SLIGHTLY ) > $
NO . $
I CAN'T . $
< ( SHE RISES , MOVES DOWN TO COFFEE TABLE AND SITS R. OF IT
 . $
SHE POURS THE TEA . ) > $
< ( GREG AFTER A SECOND REACHES FOR THE CIGARETTES . $
HE LIGHTS ONE AND THEN , HOLDING THE PACKET IN HIS HANDS , S
TUDIES IT INTENTLY . $
A PAUSE . ) > $
01 < ( TURNING HIS ATTENTION TO HER ) > $
LET ME GUESS WHAT YOU 'RE THINKING ABOUT . $
02 < ( PASSING HIM TEA ) > $
YOU 'LL HAVE A JOB . $
HERE . $
01 < ( MOVING DOWN TO L. OF TABLE ) > $
TA . $
I 'LL BET YOU WERE ADMIRING MY SLIPPERS . $
02 YOUR SLIPPERS ? $
01 < ( SITTING L. OF TABLE , DISPLAYING HIS FEET ) > $
LOOK . $
02 WHAT A DAFT IDEA . $
01 OH . $
YOU WEREN'T ? $
02 SORRY . $
NO . $
01 OH . $
02 I DIDN'T EVEN KNOW YOU 'D GOT ANY . $
#6 $
01 AH . $
THAT 'S JUST THE POINT . $
02 WHAT ? $
01 THAT IS JUST THE POINT . $
02 < ( LOOKING AT HIM , AMUSED ) > $
HONESTLY . $
01 < ( TOASTING HER IN TEA ) > $
CHEERS . $
02 I 'LL MISS YOU . $
01 WILL YOU ? $
02 DID YOU THINK I WOULDN'T , GREG ? $
01 DEPENDS ON HOW MUCH YOU LIVE IT UP , I SUPPOSE . $
02 WITH MY PARENTS ? $
DON'T MAKE ME LAUGH . $
01 THEN WHY GO ? $
02 IT 'S ONLY ONE DAY . $
I 'LL BE BACK TONIGHT . $
01 ONE DAY ? $
IT 'S HALF A WEEKEND . $
02 I HAVEN'T SEEN THEM FOR AGES . $
01 AH . $
DUTY . $
02 PARTLY . $
I 'M FOND OF THEM TOO . $
01 WOULD I LIKE THEM ? $
02 YES - I THINK SO . $
01 GOOD . $
CAN I COME ? $
02 YES , YOU MUST . $
01 NOW . $
WITH YOU . $
02 FOR THE HUNDREDTH TIME . $
I 'VE TOLD YOU THEY 'RE NOT EXPECTING YOU . $
I CAN'T JUST BRING SOMEONE DOWN OUT OF THE BLUE . $
THEY 'D NEVER FORGIVE ME . $
< ( PAUSE . $
GREG RISES AND MOVES L. TO BATHROOM . $
TURNS . $
LOOKS AT HER . ) > $
01 I 'M VERY TAKEN WITH THESE SLIPPERS , I MUST SAY . $
WHAT DO YOU THINK OF THEM ? $
02 WHAT ? $
01 THESE . $
DID YOU LIKE THEM ? $
02 THEY 'RE ALL RIGHT . $
WHY ? $
01 I JUST WONDERED WHAT YOU THOUGHT OF THEM . $
THAT 'S ALL . $
#7 $
02 WELL - THEY 'RE JUST - SLIPPERS , AREN'T THEY ?
01 YES . $
THAT ABOUT SUMS THEM UP . $
< ( SITS ON BED . $
PAUSE . ) > $
02 < ( GETTING A LITTLE FED UP NOW ) > $
AM I SUPPOSED TO HAVE DONE SOMETHING ? $
< ( GREG SHRUGS . ) > $
GREG ? $
01 I DON'T KNOW . $
HAVE YOU ? $
02 I DON'T KNOW . $
YOU 'RE THE ONE THAT 'S CARRYING ON . $
01 ME ? $
I 'M JUST QUIETLY SITTING HERE , THAT 'S ALL . $
02 DOING YOUR BEST TO ANNOY ME . $
01 NONSENSE . $
02 OH YES , YOU ARE . $
01 < ( TAUNTING ) > $
NOW WHY SHOULD I WANT TO ANNOY YOU ? $
TELL ME , WHY SHOULD I WANT TO DO THAT ? $
02 OH GO TO HELL . $
< ( SHE RISES AND CROSSES TO RECESS D.R. TO FETCH HER DRESS
; THEN TURNING . ) > $
I THINK YOUR BEDROOM SLIPPERS ARE SIMPLY BLOODY MARVELLOUS .
01 THANKS . $
< ( GINNY GOES AND RETURNS WITH HER DRESS . $
GREG RISES AND MARCHES TOWARDS THE BATHROOM . $
HE HAS ABANDONED HIS SLIPPERS BY THE BED . $
GINNY LOOKS AT HIM AND LAUGHS . ) > $
< ( TURNING . ) > $
MMMM ? $
02 WHAT DO YOU LOOK LIKE ? $
01 WHAT 'S WRONG ? $
02 TALK ABOUT ME HAVING BIRTHMARKS . $
YOU 'VE GOT ONE . $
01 WHERE ? $
02 < ( POINTING TO HIS BOTTOM ) > $
THERE . $
01 THAT 'S NOT A BIRTHMARK . $
THAT 'S A SCAR . $
THIS BOTTOM HAS SEEN ACTIVE SERVICE , I 'LL HAVE YOU KNOW .
$
< ( HE GOES INTO THE BATHROOM . ) > $
< ( GINNY SMILES AND STARTS DRESSING , U.C. ) > $
< ( OFF ) > $
OH FOR CRYING OUT LOUD ! $
WHAT IS GOING ON ? $
#8 $
02 WHAT ? $
01 < ( OFF ) > $
THIS BATH IS FULL OF FLOWERS . $
02 < ( STOPS DRESSING ) > $
YES , I PUT THEM THERE . $
I SAID I WAS GOING TO . $
01 < ( OFF ) > $
YOU PUT ONE BUNCH IN THE BATH . $
THAT MAKES FIVE ALTOGETHER . $
02 < ( INNOCENTLY ) > $
DOES IT REALLY ? $
< ( GREG APPEARS IN THE DOORWAY FESTOONED WITH DRIPPING FLOW
ERS . ) > $
01 FIVE . $
< ( HE COUNTS THE OTHER THREE BUNCHES ALREADY DISPLAYED THER
E . ) > $
FIVE - SIX - SEVEN - EIGHT - $
WHERE DO THEY COME FROM ? $
02 THOSE ARE THE ONES YOU BROUGHT ME . $
01 MINE ARE THE TWO SHILLING BUNCH , I KNOW . $
WHOSE ARE THESE ? $
MMMM ? $
02 WELL , YOU KNOW THAT LITTLE MAN WHO SELLS FLOWERS ON THE
CORNER OF THE ROAD - THE ONE WHO HAS THE STALL ? $
01 NO . $
02 WELL , THERE 'S A LITTLE MAN AT THE CORNER OF THIS ROAD T
HAT SELLS FLOWERS ON A FLOWER STALL AND HE WAS SELLING THEM
OFF CHEAPLY - YESTERDAY EVENING - FRIDAY - END OF THE WEEK .
 $
I THOUGHT I 'D BUY A BUNCH FOR THE WEEKEND AND HE SAID I COU
LD HAVE FIVE BUNCHES FOR THE PRICE OF TWO . $
I COULDN'T REFUSE , COULD I ? $
01 NO . $
02 THEY WERE PROBABLY STOLEN . $
01 FROM THE QUEEN MOTHER'S GARDEN . $
02 < ( LAMELY ) > $
YES . $
01 AS LONG AS I KNOW . $
< ( TURNS AS IF TO GO BACK IN , THEN TO HER AGAIN . ) > $
OH , BY THE WAY . $
WHERE DID THE OTHER TWO COME FROM ? $
02 OH , HE GAVE ME THOSE AS A PRESENT . $
01 I SEE . $
< ( HE RETURNS TO THE BATHROOM . ) > $
< ( DURING THE NEXT SECTION GINNY FINISHES DRESSING AND STAR
TS TO MAKE UP IN THE MIRROR . $
GREG WANDERS IN AND OUT OF THE BATHROOM , DRESSING AS HE DOE
S SO . ) > $
#9 $
02 < ( CALLING ) > $
WANT SOME MORE TEA ? $
01 < ( OFF ) > $
PLEASE . $
TELL ME . $
WHAT MAKES YOUR PARENTS SO FRIGHTENED OF MEETING STRANGERS ?
 $
02 THEY 'RE NOT . $
IT 'S JUST THAT THEY 'RE OLD-FASHIONED , I SUPPOSE . $
THEY LIKE TO DO THINGS PROPERLY . $
01 < ( EMERGING ) > $
DON'T YOU THINK THEY 'LL APPROVE OF ME ? $
< ( GINNY POURS TWO CUPS OF TEA AND MILK AND SUGARS THEM . )
 > $
02 OF COURSE THEY WILL . $
MY FATHER 'S , WELL - HE 'S A BIT DIFFICULT , I SUPPOSE . $
YOU KNOW , HE WANTS THE BEST FOR ME , AT LEAST WHAT HE THINK
S IS THE BEST FOR ME . $
01 I AM THE BEST . $
02 I KNOW THAT . $
BUT I 'VE GOT TO CONVINCE THEM , HAVEN'T I ? $
AND ANYWAY , MY MOTHER GETS INTO AN AWFUL PANIC IF PEOPLE AR
RIVE WHEN SHE 'S UNPREPARED . $
< ( GINNY MOVES UP TO MIRROR BELOW BED AND STARTS TO MAKE UP
 . $
SHE TAKES HER TEA WITH HER , LEAVING GREG'S ON THE TABLE FOR
 HIM . $
GREG COMES OUT OF THE BATHROOM . $
HE NOW HAS ON HIS TROUSERS AND CARRIES HIS SOCKS AND SHIRT A
ND TIE . ) > $
THERE 'S YOUR TEA . $
01 THANKS . $
< ( MOVES TO TABLE , SITS AND PUTS ON HIS SOCKS . ) > $
02 WHAT 'S THE TIME ? $
01 TWENTY TO . $
02 < ( SCREAMING ) > $
I 'M GOING TO MISS IT . $
01 TAKE A TAXI . $
02 < ( MAKING UP FRENZIEDLY ) > $
I KNEW IT . $
01 I 'LL PHONE FOR ONE . $
02 DAMN - DAMN - DAMN . $
01 I SAID I 'LL PHONE FOR A TAXI . $
02 YOU 'LL HAVE TO . $
< ( GREG CONTINUES TO PUT ON HIS SOCKS . ) > $
WELL GO ON ! $
01 WHEN I 'VE GOT MY SOCKS ON . $
#10 $
02 OH . $
YOU 'RE NO USE AT ALL . $
01 < ( CASUALLY ) > $
WHO LIVES AT THE WILLOWS , LOWER PENDON , BUCKS . $
02 < ( SCATTERS HER MAKE-UP - RECOVERING ) > $
HOW DID YOU KNOW THAT ? $
01 WHO LIVES THERE ? $
02 < ( MOVING DOWN L. BESIDE HIM ) > $
WHERE DID YOU FIND THAT ADDRESS ? $
01 SOUNDS VERY GRAND . $
THE WILLOWS , LOWER PENDON - $
02 HAVE YOU BEEN GOING THROUGH MY THINGS ? $
01 NO . $
02 THEN TELL ME WHERE YOU GOT THAT ADDRESS FROM . $
I WANT TO KNOW . $
01 IT 'S WRITTEN ON HERE . $
< ( HOLDING UP CIGARETTE PACKET . ) > $
LOOK . $
THE WILLOWS , LOWER PENDON , BUCKS . $
ANYONE WE KNOW ? $
02 < ( MOVING AWAY TO MIRROR AGAIN ) > $
NO . $
01 < ( RISING ) > $
WHO ? $
02 < ( TURNING ) > $
MY PARENTS . $
01 < ( MOVING U.L. ) > $
AH . $
WELL , YOU MAY HAVE A LOUSY MEMORY FOR ALL I KNOW . $
I MEAN I COULD NEVER BE CALLED A DEVOTED SON , MY PARENTS WI
LL BACK ME UP ON THAT , BUT AT LEAST I CAN REMEMBER WHERE TH
EY LIVE . $
02 < ( FLARING UP DEFENSIVELY ) > $
I WROTE IT DOWN FOR SOMEONE AT THE OFFICE - A GIRL , BUT SHE
 FORGOT TO TAKE IT . $
SHE KNOWS THEM BECAUSE WE WENT TO SCHOOL TOGETHER . $
SHE WANTED TO WRITE TO THEM . $
ALL RIGHT ? $
01 I BELIEVE YOU . $
02 QUITE SURE ? $
01 YES . $
02 QUITE ? $
01 YES . $
SHUT UP . $
< ( GINNY TAKES A SWIG OF TEA . ) > $
02 YOU MAKE TEA LIKE LIQUORICE AS WELL . $
I DON'T KNOW WHY I PUT UP WITH YOU . $
< ( SHE MOVES PAST HIM TOWARDS THE KITCHEN AREA . ) > $
01 < ( PENITENTLY ) > $
TELL ME SOMETHING . $
#11 $
02 WHAT ? $
01 WHY DO YOU PUT UP WITH ME ? $
02 WELL . $
01 WELL ? $
02 MAYBE FOR THE SAME REASON YOU PUT UP WITH ME . $
< ( SMILING , GENTLY . ) > $
YOU 'RE A FANTASTIC LOVER , IF THAT 'S ANY CONSOLATION TO YO
U . $
< ( SHE GOES INTO THE KITCHEN AREA . ) > $
01 < ( TO HIMSELF ) > $
THAT 'S NICE . $
< ( HE PICKS UP THE SLIPPERS , REGARDS THEM . $
SITS R. OF TABLE . ) > $
< ( GINNY RETURNS , HAVING DILUTED HER TEA . $
SHE MOVES BELOW HIM TO SIT L. OF TABLE . $
JUST AS SHE IS ABOUT TO SIT GREG DROPS THE SLIPPERS ON TO HE
R CHAIR . ) > $
02 NOW , IF WE ORDER A TAXI IN ABOUT FIVE MINUTES , THAT SHO
ULD GET ME TO THE STATION WITH ABOUT TEN MINUTES TO SPARE .
$
DON'T FORGET I 'VE GOT TO BUY MY - AAAAH . $
< ( SHE SITS ON THE SLIPPERS . $
REACTS BY JUMPING STRAIGHT UP AGAIN , SPILLING HER TEA IN TH
E SAUCER AND SLOPPING SOME ON TO THE TABLE . ) > $
OH , GOD ! $
< ( SEEING SLIPPERS . ) > $
OH , BIG JOKE . $
< ( THROWING SLIPPERS ON THE FLOOR . ) > $
HELL , WHAT A DAMN STUPID THING TO DO . $
WHAT 'S GOT INTO YOU ? $
01 < ( PENITENT AGAIN ) > $
SORRY . $
< ( HE HAS RISEN TOO . ) > $
02 I SHOULD THINK SO . $
LOOK AT THIS . $
I 'LL HAVE TO GET A CLOTH . $
< ( SHE MOVES U.R. TO KITCHEN , THEN TURNS BACK . ) > $
LISTEN , IF YOU 'RE SICK OF ME SAY SO . $
< ( GREG SITS UNHAPPILY R. OF TABLE , HIS BACK TO HER . ) >
$
WELL , WE CAN'T GO ON LIKE THIS . $
IT 'S DAFT . $
ISN'T IT ? $
01 < ( MUTTERING ) > $
IF THAT 'S HOW YOU FEEL - $
02 HOW I FEEL ! $
THAT 'S MARVELLOUS . $
LOOK , I DON'T KNOW WHAT IT IS , BUT I HOPE YOU 'LL HAVE GOT
 OVER IT BY TONIGHT , THAT 'S ALL . $
I 'VE GOT QUITE ENOUGH TO WORRY ABOUT WITHOUT BEING MESSED A
ROUND BY YOU . $
01 < ( WHEELING SHARPLY ) > $
AND WHAT THE HELL DO YOU THINK YOU 'RE DOING TO ME ? $
02 < ( TAKEN ABACK ) > $
WHAT ? $
< ( THE PHONE RINGS . $
GINNY CONTINUES TO LOOK AT GREG FOR A MOMENT . $
THEN SHE ANSWERS THE PHONE , CROSSING ABOVE HIM . ) > $
#12 $
02 HELLO ... YES ... NO , NO ... I 'M AFRAID YOU HAVE THE WR
ONG NUMBER ... YES ... $
GOODBYE . $
< ( SHE RINGS OFF . ) > $
< ( GREG HAS RISEN AND MOVES D.R. TO THE ALCOVE . ) > $
WHAT DID YOU MEAN JUST NOW ? $
01 < ( COLLECTING AND RETURNING WITH A BATTERED ZIPPER BAG )
 > $
I 'D BETTER PACK UP . $
02 GREG - ? $
01 WORK IT OUT DURING YOUR JOLLY WEEKEND AT THE WILLOWS , LO
WER PENDON - $
< ( HE CROSSES BELOW TABLE C. AND INTO THE BATHROOM . ) > $
02 GREG ? $
01 < ( OFF , SULLEN ) > $
GET LOST . $
< ( HE RETURNS CRAMMING SOME OF HIS BELONGINGS INTO HIS ZIPP
ER BAG , HIS SHAVING KIT ETC. AND A DIRTY SHIRT HE HAS COLLE
CTED FROM THE BATHROOM . $
HE DUMPS HIS BAG ON THE CHAIR R. AND FINISHES PACKING IT . )
 > $
02 DON'T FORGET YOUR BELOVED SLIPPERS , WILL YOU ? $
01 OH , THOSE . $
02 < ( PICKING THEM UP AND HOLDING THEM OUT FOR HIM ) > $
HERE . $
01 I DON'T WANT THEM , THEY 'RE NO USE TO ME . $
02 OH FOR HEAVEN'S SAKE ! $
TAKE THEM . $
01 WHAT SIZE ARE THEY , AS A MATTER OF INTEREST ? $
02 HOW SHOULD I KNOW ? $
01 < ( SITS AND STARTS TO PUT ON HIS SHOES , WHICH HE HAS RE
TRIEVED FROM UNDER THE CHAIR R. ) > $
IT 'LL BE WRITTEN ON THEM SOMEWHERE , HAVE A LOOK . $
ON THE INSTEP . $
02 TENS IT SAYS . $
WHY ? $
02 NO GOOD TO ME . $
I TAKE EIGHTS . $
SEE IF THEY FIT YOU . $
02 THAT 'S RATHER STUPID , ISN'T IT ? $
01 WHAT IS ? $
02 GETTING TENS . $
I MEAN IF YOU TAKE EIGHTS - $
01 I DIDN'T GET THEM . $
02 WHO DID ? $
01 NO IDEA . $
MY SLIPPERS ARE EIGHTS . $
02 WELL , WHOSE ARE THESE ? $
01 I DON'T KNOW . $
I JUST FOUND THEM LYING ABOUT . $
< ( HE FINISHES TYING HIS SHOES . ) > $
#13 $
02 WHERE ? $
01 UNDER YOUR BED . $
< ( PAUSE . $
GREG WATCHES HER . ) > $
< ( GINNY SITS , SLOWLY , ON THE BED . ) > $
OUR BED . $
OR SOMEBODY'S BED , ANYWAY . $
THAT ONE , THERE . $
PERHAPS IT BELONGS TO THE BLOKE WHO OWNS THE SLIPPERS . $
02 SO THAT 'S IT . $
01 < ( RISING AND WANDERING RIGHT D.R. AND THEN SLOWLY UP TO
WARDS HER ) > $
IT WAS RATHER ODD REALLY . $
WHEN I GOT UP JUST NOW I WAS A BIT DOZY , YOU KNOW , AND I D
ID WHAT I DO AT HOME - I FISHED WITH MY FEET UNDER THE BED F
OR MY SLIPPERS . $
ONE OF MY HABITS , THAT IS , ONE OF MY IDIOSYNCRASIES - IT H
ELPS ME TO RECOGNISE MYSELF WHEN I 'M HALF ASLEEP . $
I ALWAYS THINK THAT 'S IMPORTANT , DON'T YOU ? $
THAT THE FIRST THING YOU DO WHEN YOU WAKE UP IN THE MORNING
IS TO MAKE SURE YOU KNOW WHO YOU ARE . $
I HAVE A TERROR OF THAT , LOSING MY IDENTITY IN THE NIGHT .
$
SOME PEOPLE ARE FRIGHTENED OF BURGLARS BREAKING IN . $
WITH ME , IT 'S STEALTHY MIDNIGHT BRAINWASHERS . $
< ( SITTING BESIDE HER ON THE BED . ) > $
ANYWAY , I DID THIS FISHING WITH MY FEET BUSINESS , AND I TH
OUGHT TO MYSELF , STEADY LAD , YOU 'RE IN FOR A SHOCK . $
THEY WON'T BE THERE . $
THIS IS HER FLAT YOU 'RE IN . $
DON'T PANIC NOW . $
YOU 'RE THE SAME PERSON YOU WERE WHEN YOU WENT TO SLEEP . $
ONLY THE BED HAS BEEN CHANGED . $
AND THEN , THE BLOW . $
A PAIR OF ALIEN SLIPPERS ATTACHED THEMSELVES TO MY TOES . $
I CAN TELL YOU THAT WAS AN EXPERIENCE I WOULDN'T CARE TO GO
THROUGH AGAIN . $
IT COULD HAVE SPLIT MY PERSONALITY RIGHT UP THE MIDDLE . $
DID YOU KNOW THAT ? $
VERY NASTY . $
02 YOU REALLY DO JUMP TO CONCLUSIONS , DON'T YOU ? $
01 IN THOSE SLIPPERS I DO . $
02 < ( RISING AND UP TO THE WINDOW ) > $
YOU REALLY DO JUMP TO CONCLUSIONS . $
01 NOW AND AGAIN . $
LIKE WONDERING WHY , WHEN YOU PICK UP THE PHONE , YOU SAY YE
S TO SOMEONE AND THEN NO . $
I CAN'T QUITE WORK THAT OUT . $
02 HOW DO YOU MEAN ? $
01 JUST NOW . $
< ( HE RISES AND MOVES DOWN L. ) > $
WHAT DID THE PERSON CALLING SAY WHEN YOU ANSWERED THE PHONE
? $
02 I CAN'T REMEMBER . $
#14 $
01 WHATEVER THEY SAID , YOU SAID YES . $
DID THEY SAY , IS THAT 3457 ? $
02 < ( BREAKING D.R. AWAY FROM HIM ) > $
THEY MIGHT HAVE DONE . $
SOMETHING LIKE THAT . $
WHAT 'S IT MATTER ? $
01 NO , THEY COULDN'T HAVE DONE . $
OR YOU 'D HAVE SAID , NO THIS IS 3467 . $
02 WHERE IS THIS GETTING US ? $
I 'M IN A HURRY . $
< ( STARTS TO MOVE AS IF TO HER MAKEUP . ) > $
01 < ( STOPPING HER ) > $
WAIT , THIS IS INTERESTING . $
ON THE OTHER HAND , DID THEY SAY , IS THAT 2467 AND YOU THOU
GHT THEY SAID 3467 . $
IS THAT IT ? $
02 < ( SITS ON CHAIR R. OF TABLE ) > $
MAYBE . $
I MISHEARD THEM PROBABLY . $
01 < ( MOVING IN TO L. OF CHAIR L. ) > $
SO THEY THOUGHT THEY 'D GOT THE RIGHT NUMBER ? $
02 YES - NO , THEY DIDN'T . $
01 THEY MUST HAVE DONE BECAUSE YOU SAID YES . $
I MEAN , IF I RING SOMEONE UP AND WHEN THEY ANSWER I SAY IS
THAT 2467 AND THEY SAY YES , I 'M RATHER INCLINED TO TAKE TH
EIR WORD FOR IT , AREN'T YOU ? $
02 HE SOON REALISED HIS MISTAKE ANYWAY . $
01 IT WAS A HIM , WAS IT ? $
WHAT DID HE SAY ? $
02 < ( TIREDLY ) > $
I DON'T KNOW . $
HE SAID , IS THAT JACK OR SOMETHING . $
< ( PAUSE . ) > $
01 I SEE . $
JACK . $
YOU SAID YES , AND HE SAID IS THAT JACK ? $
< ( MOVING AWAY D.L. ) > $
POOR OLD JACK . $
THERE 'S SOMETHING DEFINITELY WRONG WITH JACK . $
WHATEVER HAPPENED TO JACK , I WONDER ? $
02 MAYBE HE SAID BETTY , I DON'T KNOW . $
HE SAID IS THAT SOMEBODY-OR-OTHER AND I SAID NO . $
01 YES . $
LET 'S SETTLE FOR BETTY . $
02 ANYTHING SO LONG AS YOU 'RE HAPPY . $
01 < ( TO HER ) > $
I SHOULD THINK JACK WOULD BE A LOT HAPPIER TOO . $
I WONDER WHO IT COULD HAVE BEEN . $
PERHAPS IT WAS THAT FUNNY LITTLE BLOKE WHO HAS A FLOWER STAL
L ON THE CORNER . $
HE SOUNDS AS IF HE 'S A BIT CONFUSED , POOR OLD SOUL . $
02 ALL RIGHT ? $
SATISFIED ? $
HAPPY ? $
ALL SETTLED ? $
GOOD . $
#15 $
01 THANK YOU . $
I 'LL GET YOU A TAXI , SHALL I ? $
02 OH , THANK YOU . $
< ( GREG MOVES UP TO THE BEDSIDE TABLE AND PICKS UP THE PHON
E . $
GETS THE NUMBER FROM THE PAD AND DIALS . ) > $
YOU DON'T TRUST ME AT ALL , DO YOU ? $
01 < ( MOCK CHEERFULLY ) > $
I SHOULDN'T LET IT WORRY YOU . $
02 WELL , IT DOES . $
BECAUSE YOU GET UNBEARABLE . $
01 IT MUST JUST BE ME AND MY SIMPLE MIND . $
< ( HE RISES AND RESCUES SOME SHOES FROM UNDER THE BED . ) >
 $
OH , HALLO ... YES , COULD I HAVE A TAXI PLEASE ? $
STRAIGHT AWAY . $
41 REDBURY SQUARE . $
YES . $
MY NAME IS MISS WHITTAKER . $
THAT 'S RIGHT . $
I 'LL BE OUTSIDE WAITING . $
I 'M WEARING A BLUE DRESS AND A WHITE COAT . $
BYE . $
< ( HE HANGS UP . ) > $
02 < ( MOVING TO HIM BY THE TABLE AND PUTTING HER ARMS ROUND
 HIM ) > $
YOU 'RE MAD , DO YOU KNOW THAT YOU 'RE A COMPLETE LUNATIC ?
$
01 UM . $
02 WE MUST MAKE A RESOLUTION , NEVER , NEVER TO SAY GOODBYE
WHEN WE 'VE JUST HAD A ROW , NO MATTER . $
WE MUST MAKE IT UP FIRST . $
01 OKAY . $
02 YOU KNOW , I WAS THINKING - THE FIRST TIME I EVER SAW YOU
 , REMEMBER ? $
01 IT WAS ONLY A MONTH AGO . $
I 'M NOT THE ONE WITH THE LOUSY MEMORY . $
MALCOLM'S PARTY . $
02 THAT 'S RIGHT . $
I SAW YOU SITTING THERE AND I THOUGHT - HIM . $
I WANT TO GET TO KNOW HIM . $
HE LOOKS INTERESTING . $
HE LOOKS DIFFERENT FROM THE REST OF THIS LOT . $
AND I LOOKED AT YOU AND I SMILED AND YOU SCOWLED BACK AT ME
- EVER SO SWEETLY . $
AND I THOUGHT HE DOESN'T LIKE ME . $
I 'LL MAKE HIM LIKE ME . $
SO I CHATTED YOU UP . $
01 AND I THOUGHT WHO THE HELL 'S THIS GARRULOUS BIRD , TWITT
ERING AWAY HERE SIXTEEN TO THE DOZEN ? $
02 < ( RELEASING HIM ) > $
I WASN'T AS BAD AS THAT . $
01 WHAT ? $
< ( MOVING D.R. TO HIS BAG . ) > $
INSIDE TEN MINUTES YOU WERE TELLING ME ALL ABOUT YOUR UNHAPP
Y EXPERIENCES . $
I DIDN'T KNOW WHETHER TO KISS YOU OR GIVE YOU HALF A CROWN .
 $
02 OH , HAPPY TIMES . $
< ( TURNING BACK TO MIRROR AND SCOOPING UP HER BELONGINGS IN
TO HER HANDBAG . ) > $
#16 $
IS THE TAXI HERE YET ? $
01 YOU 'LL BE LUCKY . $
< ( HE MOVES TO THE WINDOW . ) > $
02 < ( MOVING TO THE BATHROOM ) > $
I 'LL HAVE TO DO MY NAILS ON THE TRAIN . $
01 NO TAXI . $
02 < ( OFF ) > $
DARLING , COULD YOU SEE IF I 'VE GOT ANY POLISH REMOVER IN T
HE TOP DRAWER ? $
IT 'S A SMALL WHITE BOTTLE . $
01 OKAY . $
< ( HE ATTEMPTS TO OPEN THE TOP DRAWER . $
IT SEEMS TO BE JAMMED . ) > $
IT 'S STUCK . $
02 < ( OFF ) > $
OH , IT OFTEN DOES THAT . $
PULL IT OUT FROM UNDERNEATH . $
01 FIENDISH CUT-PRICE ORIENTAL FURNITURE - $
< ( HE GOES TO OPEN THE SECOND DRAWER DOWN . $
HE PULLS TOO HARD . $
THE DRAWER AND ALL ITS CONTENTS ARE SCATTERED OVER THE FLOOR
 . ) > $
HELL ! $
< ( GINNY COMES IN ABRUPTLY WHEN SHE HEARS THE NOISE . $
SHE IS IN THE MIDDLE OF DOING HER HAIR . $
SHE CARRIES THE BRUSH . $
GREG STANDS SURVEYING THE CONTENTS OF THE DRAWER . $
ABOUT FIVE OR SIX EXPENSIVE BOXES OF CHOCOLATES . ) > $
02 CLUMSY ! I - $
< ( SHE PULLS UP SHORT . ) > $
01 DEVELOPED A SWEET TOOTH ? $
02 OH , THOSE - $
01 YES . $
< ( HE BENDS AND STARTS TO PICK THEM UP . ) > $
WHO SOLD YOU THESE , THEN ? $
02 NO ONE . $
THEY 'RE SAMPLES . $
FREE SAMPLES . $
I KNOW A GIRL YOU SEE , WHO WORKS IN A CHOCOLATE PLACE . $
AND SHE GETS THEM FREE . $
ONLY SHE 'S DIETING . $
SO SHE GIVES THEM TO ME . $
01 I THOUGHT YOU WERE DIETING ? $
02 YES , I AM . $
ONLY NOT AS MUCH AS HER THOUGH . $
01 < ( DECIDEDLY UNCONVINCED ) > $
I SEE . $
02 < ( SENSING THIS ) > $
WELL - WHERE ELSE DID YOU THINK THEY CAME FROM ? $
01 LOTS OF EXPLANATIONS SPRING TO MIND . $
THE MOST CHARITABLE ONE WOULD BE TO SAY THAT THEY WERE LEFT
OVER FROM MY PREDECESSOR . $
#17 $
02 WHO ? $
01 YOU KNOW . $
THE MAN YOU 'VE FORGOTTEN ALL ABOUT . $
REMEMBER ? $
02 OH , THAT WAS YEARS AGO . $
NO . $
< ( TURNS TO THE MIRROR TO FINISH HER HAIR . ) > $
01 I SEE . $
< ( CONTINUING TO TIDY UP . ) > $
YOU NEVER SAY MUCH ABOUT HIM , DO YOU ? $
02 I TOLD YOU . $
01 NOT MUCH . $
02 IT 'S ALL FORGOTTEN . $
I 'VE - FORGOTTEN WHAT HE LOOKS LIKE EVEN . $
01 WHERE 'S HE GONE THEN ? $
02 BACK TO HIS WIFE , I EXPECT . $
I DON'T KNOW . $
01 THE OLDER MAN . $

MUST BE NICE TO BE WITH SOMEONE YOUR OWN AGE , ISN'T IT ? $
YOU TWO COULDN'T HAVE HAD MUCH IN COMMON . $
DID HE GIVE YOU LECTURES ON THE BOER WAR ? $
< ( REFITS THE DRAWER AND CLOSES IT . ) > $
02 DON'T GET BITCHY . $
01 WELL - $
02 < ( TURNING TO HIM ) > $
GREG - WHAT WOULD YOU HAVE DONE , IF YOU 'D EVER MET HIM ? $
01 < ( MEANING IT ) > $
I 'D HAVE HIT HIM . $
YOU 'RE NOT . $
02 I BELIEVE YOU WOULD . $
01 WELL , I 'M DAMN GLAD FOR YOUR SAKE HE WALKED OUT ON YOU
, THAT 'S ALL . $
02 HE DIDN'T WALK OUT ON ME . $
I WALKED OUT ON HIM . $
01 < ( OVER-SYMPATHETICALLY ) > $
OF COURSE . $
02 < ( SLIGHTLY RILED ) > $
I DID . $
< ( SHE MOVES D.R. TO THE ALCOVE FOR HER COAT . ) > $
01 < ( SOOTHING ) > $
YES , I 'M SURE YOU DID . $
I WAS JUST THINKING THOUGH , HOW OFTEN HAVE YOU MET SOMEONE
WHO 'S BEEN WALKED OUT ON ? $
I MEAN , I MUST KNOW DOZENS OF PEOPLE ALL OF WHOM HAVE AT ON
E TIME OR ANOTHER WALKED OUT ON SOMEONE . $
BUT I 'VE VERY RARELY MET ANY OF THE PEOPLE THAT THEY 'VE WA
LKED OUT ON . $
< ( SITTING ON BED . ) > $
DON'T YOU THINK THAT 'S VERY ODD ? $
WHERE DO ALL THESE POOR JILTED PEOPLE GO TO , THAT 'S WHAT I
 WANT TO KNOW ? $
THEY CAN'T ALL BE FLOATING IN THE RIVERS , THEY 'D BE CLOGGE
D UP BY NOW . $
BIT LIKE ELEPHANTS WHEN THEY DIE OR FLIES IN WINTER TIME , D
ON'T YOU THINK ? $
#18 $
02 < ( WHO HAS REAPPEARED CARRYING HER COAT , WHICH SHE PLAC
ES ON CHAIR R. ) > $
I REALLY WOULDN'T KNOW . $
01 WHY DID YOU WALK OUT ON HIM ? $
02 < ( SITTING ON CHAIR R. ) > $
I HAD MY REASONS . $
01 OH ? $
02 LOOK , I 'M NOT GOING TO TELL YOU SO YOU MAY AS WELL SHUT
 UP . $
01 ALL RIGHT . $
< ( HE SHRUGS . ) > $
ALL RIGHT . $
02 I DON'T SEE WHY YOU SHOULD BE SO INTERESTED , ANYWAY . $
I DON'T GIVE A DAMN ABOUT YOUR PAST LIFE . $
01 < ( SMILING ANGELICALLY ) > $
AH - BUT MY LIFE DIDN'T BEGIN UNTIL I MET YOU . $
02 < ( SARCASTIC ) > $
OH , YES . $
< ( SPRINGING UP AND MOVING TO WINDOW . ) > $
WHERE THE HELL IS THAT TAXI ? $
01 HE 'LL RING THE BELL WHEN HE GETS HERE . $
02 NOT IF HE 'S LOOKING FOR A MAN IN A BLUE DRESS AND A WHIT
E COAT HE WON'T . $
< ( TO HIM AND RUFFLING HIS HAIR , THEN MOVING AS IF TO CROS
S HIM . ) > $
LUNATIC MAN . $
01 < ( GRASPING BOTH HER HANDS ) > $
MMM . $
YOU KNOW ? $
< ( RISING . ) > $
I 'VE BEEN THINKING - IT MIGHT BE A GOOD IDEA IF WE GOT MARR
IED - PRETTY SOON . $
02 WHEN - NOW ? $
01 NO . $
02 OH , GOOD . $
GOING TO SAY , I 'D HAVE TO GO AND CHANGE MY DRESS AGAIN . $
01 NO . $
SERIOUSLY . $
02 WHEN DID YOU SUDDENLY GET THIS IDEA ? $
01 I THOUGHT IT MIGHT BE A GOOD THING . $
02 < ( RELEASING HIS HANDS AND STEPPING BACK , LOOKING AT HI
M ) > $
I TAKE IT YOU 'RE PROPOSING TO ME ? $
01 < ( UP TO WINDOW , UNCERTAINLY ) > $
YES , I SUPPOSE I AM REALLY . $
IF YOU LOOK AT IT THAT WAY . $
02 EITHER YOU ARE OR YOU AREN'T . $
01 < ( TURNING ) > $
YES , I AM . $
02 I SEE . $
I 'M JUST GOING OUT - ACTUALLY . $
01 THE TAXI WON'T BE HERE FOR A SECOND . $
IT DOESN'T TAKE YOU THAT LONG TO MAKE UP YOUR MIND , DOES IT
 ? $
#19 $
02 I'M AFRAID IT DOES . $
< ( PAUSE . $
SHE SITS ON BED . ) > $
IF YOU 'RE SERIOUS , I DON'T KNOW WHAT TO SAY . $
I LOVE YOU VERY MUCH , MORE THAN I 'VE EVER LOVED ANYBODY ,
I THINK . $
AND I THINK I 'LL PROBABLY SAY YES , ONE DAY . $
BUT NOT AT THE MOMENT . $
01 I SEE . $
02 GREG , HAVE YOU REALLY THOUGHT ABOUT THIS ? $
I 'M SORRY TO ASK YOU - BUT YOU 'RE NOT ASKING ME AWAY FOR A
 DIRTY WEEKEND OR SOMETHING . $
OR EVEN A DIRTY MONTH . $
01 A DIRTY GREAT LIFE TIME . $
I KNOW . $
02 WHO HAVE YOU KNOWN APART FROM ME ? $
HOW MANY OTHER GIRLS ? $
01 WELL - $
02 I MEAN REALLY KNOWN - YOU KNOW WHAT I MEAN . $
01 WELL - I - WELL - $
02 I 'M THE FIRST , AREN'T I ? $
01 < ( INJURED ) > $
IF IT 'S THAT OBVIOUS - $
02 IT DOESN'T MAKE ANY DIFFERENCE TO ME . $
BUT WHAT ABOUT YOU ? $
FOR ALL YOU KNOW , COMPARED WITH SOMEONE ELSE I MIGHT BE THE
 BIGGEST BITCH ON EARTH . $
01 YOU 'RE NOT . $
< ( SLIGHTLY ANXIOUS . ) > $
ARE YOU ? $
02 BE BAD LUCK IF WE MARRIED AND THEN YOU FOUND OUT , WOULDN
'T IT ? $
01 < ( R. TO FRONT DOOR ) > $
WHAT DO YOU WANT ME TO DO ? $
CHASE ROUND ? $
KNOCK ON DOORS ? $
TAKE A CENSUS ? $
02 I JUST WANT YOU TO BE SURE , THAT 'S ALL . $
01 I AM SURE . $
02 ALL RIGHT . $
01 I KNOW WHAT I 'M DOING , DON'T WORRY . $
02 FINE . $
GOOD . $
< ( RISES AND PICKS UP HER HANDBAG FROM THE TABLE . ) > $
< ( SLIGHT PAUSE . ) > $
01 < ( DOWN TO CHAIR R. ) > $
THERE 'S NO CHANCE THAT YOU 'LL HAVE MADE UP YOUR MIND IN A
COUPLE OF MINUTES , IS THERE ? $
02 WHY ? $
#20 $
01 WELL , I THOUGHT IF I COULD COME DOWN WITH YOU NOW AND SE
E YOUR PARENTS , I COULD ASK - $
02 NO GREG ! $
01 IT 'S ONLY THAT - $
02 NO . $
01 BUT - $
02 NO , NO , NO . $
< ( GREG LOOKS DOWNCAST . $
GINNY MOVES TO HIM AT THE TABLE . ) > $
< ( SOOTHINGLY , KISSING HIM LIGHTLY . ) > $
DARLING - DARLING - I CAN'T - $
< ( DOOR BELL RINGS . ) > $
HELL , THERE 'S THE TAXI . $
I 'LL HAVE TO RUN . $
< ( BREAKING FROM HIM AND GATHERING UP HER THINGS . ) > $
DO YOU WANT TO COME AND SEE ME OFF ? $
< ( GREG DOESN'T REPLY BUT MOOCHES UP TO THE WINDOW . ) > $
I 'LL BE BACK ABOUT SEVEN . $
YOU CAN COME ROUND AND LET YOURSELF IN IF YOU LIKE . $
< ( DOOR BELL RINGS AGAIN . ) > $
< ( MUTTERING . ) > $
I 'M COMING . $
01 I DON'T WANT TO WORRY YOU , BUT THAT 'S NOT THE TAXI DRIV
ER . $
02 IT ISN'T ? $
01 NOT UNLESS HE 'S COME ROUND WITHOUT HIS VEHICLE . $
THERE 'S NO CAB OUT HERE . $
02 OH . $
< ( CROSSING QUICKLY TO THE DOOR . ) > $
I 'LL SEE WHO IT IS . $
01 < ( INTERCEPTING HER ) > $
I 'LL GO . $
02 NO , IT 'S ALL RIGHT - LET ME - $
01 I 'LL GO . $
< ( HE HAS HIS HAND ON THE DOOR HANDLE BARRING HER WAY . ) >
 $
02 NO . $
01 < ( PUSHING HER BACK GENTLY BUT FIRMLY WITH ONE HAND AND
OPENING THE DOOR ) > $
WON'T BE A SECOND . $
02 < ( PANICKY ) > $
BUT GREG ! $
< ( DOOR BELL RINGS . ) > $
01 WAIT THERE . $
#21 $
< ( HE GOES OUT , LEAVING THE DOOR AJAR . $
GINNY STANDS UNCERTAINLY , CROSSES TO THE WINDOW , LOOKS OUT
 NERVOUSLY , BACK TO THE DOOR AND PEERS OUT . $
THE PHONE RINGS . $
SHE JUMPS . $
GINNY PEERS OUT THROUGH THE DOOR AGAIN . $
SEEING GREG IS OCCUPIED SHE HURRIES TO THE PHONE , PICKS IT
UP AND SPEAKS IN A LOW VOICE . ) > $
02 YES ... IT IS ... NOW LISTEN , I 'VE HAD ABOUT AS MUCH AS
 I CAN STAND FROM YOU ... OH , YES YOU DO ... WE HAVE DISCUS
SED IT ... OVER AND OVER AGAIN ... NO ... $
< ( GREG ENTERS QUIETLY . $
HE STOPS AND LISTENS FOR A MOMENT . $
THEN WITHDRAWS . ) > $
AND IF YOU RING ME UP AGAIN ... BECAUSE IT 'S DAMNED ANNOYIN
G TO START WITH ... YES ... YES ... YES . $
< ( SHE RINGS OFF . ) > $
< ( JUST AS SHE IS DOING THIS , GREG ENTERS GAILY . ) > $
01 BACK AGAIN . $
02 AH . $
01 SURPRISE , SURPRISE . $
IT WAS A GINGER LADY . $
FROM NEXT DOOR . $
PARCEL FOR YOU . $
SHE TOOK IT IN . $
< ( HE HOLDS IT OUT . ) > $
LOOK . $
02 OH , YES . $
< ( PAUSE . ) > $
THAT 'S NICE . $
< ( TAKING IT . ) > $
THANK YOU . $
< ( SHE STANDS HOLDING IT USELESSLY . ) > $
01 AREN'T YOU GOING TO OPEN IT ? $
02 NO . $
NOT NOW . $
IT 'S ONLY SOME STUPID BOOK . $
THEY KEEP SENDING THEM . $
I DON'T KNOW WHY . $
I 'VE ASKED THEM NOT TO . $
01 WHO ? $
02 THESE BOOK PEOPLE . $
I DON'T WANT IT . $
< ( SHE CRAMS IT INTO THE WASTE PAPER BASKET . ) > $
NO USE TO ME . $
01 OH . $
< ( PAUSE . ) > $
WAS THAT THE PHONE ? $
02 WHEN ? $
01 JUST NOW ? $
02 NO . $
MUST HAVE BEEN UPSTAIRS . $
01 OH , YES . $
THAT MUST HAVE BEEN IT . $
< ( HE MOVES TO THE WINDOW AND STANDS WITH HIS BACK TO HER ,
 LOOKING OUT . ) > $
02 < ( PACING ABOUT ) > $
I 'M WONDERING WHETHER TO START WALKING IT , YOU KNOW . $
< ( PAUSE . ) > $
I MEAN IT 'LL ONLY TAKE ME ABOUT TEN MINUTES , WON'T IT ? $
< ( PAUSE . ) > $
ONLY IF I SIT ROUND WAITING FOR THIS TAXI ANY LONGER , I 'LL
 MISS THE TRAIN . $
#22 $
I COULD WALK IT IN TEN MINUTES - COULDN'T I ? $
< ( GREG IGNORES HER COMPLETELY . ) > $
< ( SUDDENLY . ) > $
OH . $
DO YOU KNOW ? $
I 'VE JUST REMEMBERED . $
WHERE THOSE SLIPPERS CAME FROM . $
01 < ( TURNING ) > $
WHERE ? $
02 DID YOU EVER MEET JANE ? $
01 JANE WHO ? $
02 THE GIRL I USED TO SHARE THIS FLAT WITH . $
NO , YOU DIDN'T . $
SHE LEFT JUST BEFORE I MET YOU . $
01 MOVING TO EXAMINE SLIPPERS WHICH ARE BELOW TABLE C. ) > $
DON'T TELL ME THEY 'RE HERS ? $
02 NO . $
BUT SHE HAD A PUPPY . $
01 A PUPPY ? $
02 WELL , A DOG REALLY . $
THEY WERE HIS . $
01 OH , I SEE . $
< ( PAUSE . ) > $
WHAT WAS HE , A GREAT DANE ? $
02 NO , HE WAS A - $
01 A ST. BERNARD . $
02 NO , ONE OF THOSE LITTLE DOGS . $
MMMMM - . $
01 WELL , I 'LL SAY THIS FOR HIM . $
HE MAY HAVE ONLY HAD TWO LEGS , POOR LITTLE THING , BUT HE H
AD A FINE BIG PAIR OF FEET FOR A DOG OF HIS AGE . $
02 A DACHSHUND . $
THAT 'S IT . $
01 < ( MOVING TO THE BED AND FALLING ON HIS KNEES BESIDE IT
) > $
HANG ON . $
02 WHAT ARE YOU DOING ? $
01 < ( REACHING ABOUT UNDER THE BED ) > $
SEEING IF I CAN FIND THE OTHER PAIR . $
I CAN'T BEAR THIS . $
THE THOUGHT OF THAT POOR LITTLE PUPPY WITH TWO HUGE FEET - S
TAGGERING ROUND THIS FLAT - HANG ON , WAIT A MINUTE . $
< ( RISING AND BACK DOWN L. ) > $
PERHAPS HE ONLY WORE THOSE ON HIS FRONT LEGS . $
PERHAPS HE WORE WELLINGTON BOOTS ON HIS BACK LEGS FOR WHEN H
E WENT OUT . $
YES , THAT 'S IT . $
HE JUST CHANGED FEET , DEPENDING ON WHETHER HE WAS COMING IN
 OR GOING OUT . $
CLEVER DOG . $
02 HAVE YOU FINISHED ? $
01 JUST ABOUT . $
#23 $
02 GREG . $
01 MMMM ? $
02 TRUST ME - PLEASE . $
01 YES ? $
< ( DOOR BELL RINGS . ) > $
02 I PROMISE YOU . $
THERE 'S NO ONE ELSE NOW , I PROMISE . $
01 YOUR TAXI . $
02 THERE 'S NO ONE ELSE . $
ONLY YOU . $
01 NOBODY ? $
02 NO , NO , NO . $
< ( DISTANT DOOR KNOCKING . ) > $
01 YOU 'D BETTER GO . $
02 YES . $
< ( SHE GATHERS HER THINGS AND MOVES TO THE DOOR . ) > $
I LOVE YOU . $
01 < ( SMILES AND NODS SLOWLY ) > $
ME YOU . $
BYE . $
02 SEE YOU . $
< ( KISSES HIM . ) > $
< ( SHE GOES . $
AFTER A MOMENT THE FRONT DOOR OPENS AND SLAMS DISTANTLY . $
GREG MAKES AS IF TO DEPART TOO . $
AS HE PASSES THE WASTE PAPER BASKET HE STOPS . $
OVERCOME WITH CURIOSITY HE LIFTS OUT THE PARCEL SHE HAS LEFT
 THERE . $
STARES AT IT , FEELS IT AND THEN SHAKES IT . $
IT RATTLES . $
HE TEARS A TINY HOLE IN THE WRAPPING AND PEERS IN . $
FROWNS . $
TEARS A LARGER HOLE . $
STANDS STILL . $
FINALLY HE RIPS THE COVERING OFF ALTOGETHER . $
FROM THE MIDST OF THE BROWN PAPER AND CORRUGATED CARDBOARD H
E PULLS OUT A HIGHLY DECORATED , VERY EXPENSIVE HEART-SHAPED
 BOX OF CHOCOLATES . $
A PAUSE . $
GREG COMES TO A DECISION . $
HE LOOKS AT HIS WATCH , GRABS UP HIS THINGS , RUNS FOR THE D
OOR . $
STOPS , RUNS BACK FOR THE CIGARETTE PACKET , PICKS IT UP , G
LANCES AT IT BRIEFLY AND THEN RUSHES FROM THE ROOM SLAMMING
THE DOOR BEHIND HIM . ) > $
< CURTAIN > $
< SCENE 2 > $
< ( SUNSHINE . $
A GARDEN PATIO LEADING OFF FROM A LARGE FAIRLY MODERN HOUSE
, IN THE HOME COUNTIES . $
THIS IN TURN LEADS OFF TO THE GARDEN . $
PHILIP AND SHEILA SIT AT BREAKFAST , READING THE SUNDAY PAPE
RS . $
THE BIRDS SING . $
#24 $
03 I CAN'T SAY I 'M VERY TAKEN WITH THIS MARMALADE . $
04 NO , NOR AM I . $
03 THEN WHY DID YOU BUY IT ? $
04 I COULDN'T TELL BY LOOKING AT IT , COULD I ? $
03 HM . $
< ( HE RETURNS TO HIS PAPER . ) > $
04 THEY DIDN'T HAVE OUR SORT . $
03 I 'D SOONER HAVE NONE THAN THIS . $
04 YOU SAY THAT NOW . $
YOU SAY THAT - $
03 IF YOU ASK ME WE 'D HAVE BEEN A LOT BETTER OFF WITH JAM .
$
04 YOU MAY WELL SAY THAT - $
03 I DO . $
I MEAN IT . $
< ( A SILENCE . ) > $
04 MORE TEA ? $
03 YES - IF THERE 'S A - IF THERE 'S A ... YES . $
04 < ( POURS HIM A CUP OF TEA ) > $
THERE YOU ARE . $
< ( PHILIP GRUNTS . ) > $
ARE YOU PLAYING GOLF THIS MORNING ? $
03 I DON'T THINK SO . $
04 IT 'S A BEAUTIFUL DAY . $
03 YES . $
04 BE LOVELY FOR YOU UP THERE . $
UP THERE ON A DAY LIKE THIS . $
03 UP WHERE ? $
04 < ( GESTICULATING VAGUELY ) > $
UP THERE . $
ON THE RINKS . $
03 THE RINKS ? $
04 OH , DARLING ... $
THE GOLF RINKS . $
03 LINKS . $
04 MMM ? $
03 LINKS . $
GOLF LINKS OR CUFF LINKS . $
ICE RINKS . $
04 WORK YOU UP AN APPETITE . $
I 'D GO IF I WERE YOU . $
03 I THINK YOU CAN SAFELY ALLOW ME TO ARRANGE MY OWN MORNING
 . $
04 ALL RIGHT . $
I THOUGHT IT WOULD INVIGORATE YOU , THAT 'S ALL . $
03 DON'T BE LATE FOR CHURCH , WILL YOU ? $
#25 $
04 I 'M NOT GOING THIS MORNING . $
03 NO ? $
04 IT 'S THE THIRD SUNDAY AFTER EPIPHANY . $
I NEVER DO . $
03 AH . $
< ( HE LOOKS BAFFLED . ) > $
04 THAT MAN FROM DODWORTH COMES OVER TO PREACH . $
AND WE ALL KNOW ABOUT HIM . $
03 OH , I SEE . $
< ( PHILIP READS HIS PAPER . $
HE LAUGHS SUDDENLY . ) > $
VERY AMUSING PIECE HERE . $
IT SAYS ... ER ... $
" EIGHTY-FOUR PER CENT OF THE PEOPLE QUESTIONED SAID THAT ..
. " $
OH ... $
OH , I SEE . $
04 SAID WHAT ? $
03 NOTHING . $
NOTHING . $
04 SAID WHAT ? $
03 NOTHING . $
I THOUGHT IT WAS AMUSING BUT IT ISN'T . $
04 OH . $
< ( SILENCE . ) > $
03 NO LETTER THIS MORNING ? $
04 I 'M AFRAID NOT . $
03 NO ? $
NONE AT ALL ? $
04 NOT REALLY . $
03 OH DEAR . $
SOMEONE 'S SLIPPING . $
04 WHAT DO YOU MEAN BY THAT ? $
03 I DON'T REALLY EXPECT LETTERS TODAY SO I 'M NOT DISAPPOIN
TED . $
BUT YOU MUST BE . $
04 I DON'T KNOW WHAT YOU MEAN . $
03 I MEAN , OF THE TWO PEOPLE LIVING IN THIS HOUSE YOU 'RE T
HE ONLY ONE WHO NEVER GETS A LETTER ON A SUNDAY . $
I MEAN , ON A SUNDAY - WHOEVER HEARD OF LETTERS ON A SUNDAY
? $
I 'VE NEVER HAD ANY - NEVER . $
I 'M QUITE JEALOUS . $
04 IT ONLY HAPPENED ONCE . $
03 ONCE IS ENOUGH , SURELY . $
04 I 'VE TOLD YOU . $
IT WAS A MISTAKE - $
03 SO YOU SAID . $
04 BY THE POST OFFICE . $
03 AH ! $
#26 $
< ( A PAUSE . ) > $
04 IT 'S NICE TO HAVE YOU HOME . $
03 MMMM . $
04 I SEE SO LITTLE OF YOU THESE DAYS . $
03 OH , I DON'T KNOW . $
04 YOU 'RE ALWAYS OFF SOMEWHERE . $
03 CAN'T BE HOME ALL THE TIME . $
DON'T WANT TO OVERDO A GOOD THING , DO WE ? $
04 HEAVENS NO . $
HEAVENS NO . $
03 WELL THEN . $
AND YOU WANT TIME TO YOURSELF TOO . $
04 WHAT FOR ? $
03 OTHER THINGS . $
04 OH , YES . $
03 LOOK AT THE COOPERS . $
MARRIED NEARLY THIRTY YEARS . $
COULDN'T HAVE A HAPPIER COUPLE . $
I 'M SURE IT 'S BECAUSE HE SPENDS NINE MONTHS OF THE YEAR IN
RIO DE JANEIRO . $
04 I HOPE YOU DON'T INTEND TO FOLLOW SUIT ? $
03 OH , NO . $
I DON'T FANCY SOUTH AMERICA AT ALL . $
04 WHAT ABOUT THIS EUROPEAN BUSINESS ? $
THE TRIP YOU WERE PLANNING . $
03 OH , THAT . $
IT 'S NOT REALLY SETTLED . $
04 I HOPE IT DOESN'T FALL THROUGH . $
I WAS RATHER LOOKING FORWARD TO THAT . $
03 YOU 'RE STILL KEEN ON THE IDEA THEN ? $
04 OF COURSE . $
AREN'T YOU ? $
03 I 'VE BEEN MAKING A FEW ENQUIRIES ABOUT IT . $
WHAT EXACTLY IT ENTAILS . $
REALLY RATHER DULL . $
04 DULL ? $
03 NOT GOING TO BE MUCH OF A HOLIDAY . $
MORE OF A RACE . $
FRANCE , GERMANY , ITALY , SPAIN , SWITZERLAND , HOLLAND , D
ENMARK AND SWEDEN . $
ALL OVER IN TEN DAYS . $
TRAVELLING OVERNIGHT . $
CHASING FROM RAILWAY STATION TO RAILWAY STATION . $
VERY TIRING AND NOT MUCH FUN . $
04 DIDN'T SOUND LIKE THAT WHEN YOU MENTIONED IT THE OTHER DA
Y . $
#27 $
03 THAT 'S WHAT IT IS . $
04 SO YOU 'D RATHER I DIDN'T COME ? $
03 IT 'S ENTIRELY UP TO YOU . $
I CAN'T SEE YOU ENJOYING IT FOR A MOMENT . $
04 NO ? $
03 SUIT YOURSELF , THOUGH . $
04 ALL RIGHT . $
I 'LL STAY BEHIND . $
03 PROBABLY HAVE A BETTER TIME IF YOU DO . $
GET ME OUT OF THE WAY FOR A COUPLE OF WEEKS . $
04 TEN DAYS . $
03 MORE OR LESS . $
< ( PAUSE . ) > $
04 WON'T YOU BE LONELY ON YOUR OWN ? $
03 I MUST SAY IT 'S ODD YOUR GETTING LETTERS AT WEEKENDS . $
04 WHY ? $
03 WELL , I MEAN . $
HERE I AM AWAY MOST OF THE WEEK AND HERE YOU ARE GETTING LET
TERS ON SATURDAYS AND SUNDAYS . $
NOT THE WAY I 'D CARRY ON . $
04 WE SEEM TO HAVE HAD THIS CONVERSATION BEFORE . $
03 SURELY HALF THE FUN OF HAVING AN AFFAIR IS KEEPING IT A S
ECRET . $
04 MAYBE FOR YOU . $
03 I 'M SPEAKING THEORETICALLY . $
BUT NOW THE GAME 'S UP - I 'VE FOUND OUT . $
< ( PAUSE . ) > $
WHAT JOINT HAVE YOU GOT TODAY ? $
04 PORK . $
03 VERY NICE . $
WITH LOTS OF CRACKLING , I HOPE ? $
04 OH , YES - SWIMMING IN IT . $
03 HARDLY THE PHRASE I 'D USE . $
THINK I 'LL HAVE A GO AT THE GARDEN TODAY . $
WELL , MAKE A START ANYWAY . $
GET STUCK INTO THOSE VEGETABLES . $
HAVE YOU SEEN IT LATELY - THE KITCHEN GARDEN ! $
04 NO . $
03 ABSOLUTELY FANTASTIC . $
COUPLE OF WEEKS , THAT 'S ALL , AND YOU OUGHT TO SEE IT - AB
SOLUTELY KNEE DEEP IN THEM . $
WEEDS , NETTLES , THISTLES . $
THE LOT . $
AND THOSE CREEPING THINGS - WHAJERMACALLITS ? $
#28 $
LOOK LIKE FRENCH BEANS LYING DOWN . $
OF COURSE , KNOWING THAT GARDEN , THEY MIGHT WELL BE . $
DON'T THINK SO THOUGH , THEY LOOK FAR TOO HEALTHY . $
HAVE TO BE CAREFUL , THOUGH , HACKED MY WAY STRAIGHT THROUGH
 THE RHUBARB LAST TIME . $
DO YOU REMEMBER THAT ? $
ALL THAT RUDDY RHUBARB ? $
EVEN HAD IT FOR TEA . $
THIS BOOK 'S NO HELP EITHER , NEVER SEEMS TO MENTION ANYTHIN
G I GROW. $
I CAN'T RECOGNISE THEM FROM THE ILLUSTRATIONS ANYWAY . $
STILL , I SUPPOSE ALL NATURE LOOKS DIFFERENT IN BLACK AND WH
ITE . $
I THINK WE OUGHT YO GET A MAN IN , YOU KNOW . $
BE BETTER OFF IN THE LONG RUN , SOMEONE FROM THE VILLAGE - S
OMEONE WHO REALLY KNOWS . $
YOUR CHAP DOESN'T KNOW ANYTHING ABOUT GARDENS , DOES HE ? $
04 NO . $
03 PITY . $
MIGHT HAVE WORKED OUT QUITE WELL IF HE HAD . $
04 WELL , HE DOESN'T . $
< ( SHEILA HESITATES AS SHE IS ABOUT TO DEPART . ) > $
I MIGHT GO DOWN TO KENT FOR A WEEKEND , BEFORE LONG . $
03 SORRY ? $
04 I MIGHT GO DOWN TO KENT FOR THE WEEKEND , SOON . $
03 WHY ? $
04 I 'D LIKE THE CHANGE . $
NATALIE 'S WRITTEN AND ASKED ME . $
03 NATALIE ? $
04 SHE 'S MY COUSIN . $
03 YOUR COUSIN ? $
04 THAT 'S RIGHT . $
SHE 'S GOT A COTTAGE THERE AND SHE 'S INVITED ME FOR A LONG
WEEKEND . $
03 I DIDN'T KNOW YOU HAD A COUSIN CALLED NATALIE . $
04 NO , I DON'T MENTION HER MUCH . $
SHE 'S GETTING ON . $
03 OH WELL . $
GO AHEAD . $
04 YOU DON'T MIND ? $
03 NOT IN THE LEAST . $
04 < ( FLATLY ) > $
GOOD . $
THAT 'S SETTLED THEN . $
< ( SHE TURNS TO GO . ) > $
... 03 SHEILA $
04 YES ? $
03 < ( COAXING ) > $
... COME ON $
#29 $
04 WHAT ? $
03 OH , LET 'S STOP ALL THIS , SHALL WE ? $
YOU KNOW , I KNOW , WE BOTH KNOW . $
WHAT 'S THE POINT ? $
04 POINT ? $
03 WHY KEEP ON WITH IT ? $
WHAT ARE YOU TRYING TO PROVE ? $
04 I 'M AFRAID I DON'T QUITE FOLLOW YOU . $
03 < ( GETTING ANGRY ) > $
OH , FOR THE LOVE OF MIKE , WOMAN , WHAT DO YOU THINK YOU 'R
E ACHIEVING BY ALL THIS NONSENSE ? $
EH ? $
YOU 'RE NOT FOOLING ANYONE BY IT , YOU KNOW . $
YOU 'RE CERTAINLY NOT FOOLING ME AND WHAT 'S MORE YOU KNOW Y
OU 'RE NOT . $
SO WHY BOTHER TO KEEP ON WITH IT ? $
04 WHAT ? $
03 YOU KNOW WHAT , WELL ENOUGH . $
THIS FATUOUS RIGMAROLE . $
EVERY DAMN WEEKEND . $
I FEEL I'M HUMOURING A LUNATIC HALF THE TIME . $
IS HE COMING TODAY ? $
HAS HE WRITTEN ? $
HAS HE PHONED ? $
WELL , I 'VE PLAYED ALONG LONG ENOUGH . $
I 'M SICK AND TIRED OF IT , DO YOU HEAR ? $
THAT 'S IT . $
I SERIOUSLY THINK YOU OUGHT TO GO AND SEE A DOCTOR . $
YOU 'RE ... $
< ( GESTURE OF INSANITY . ) > $
04 < ( AFTER A PAUSE ) > $
HAVE YOU QUITE FINISHED ? $
03 YES . $
04 I 'VE NEVER SEEN OR HEARD SUCH EXTRAORDINARY BEHAVIOUR IN
 MY LIFE . $
REALLY . $
WHATEVER 'S COME OVER YOU ? $
I REALLY THINK YOU OUGHT TO GO AND DO SOME DIGGING . $
AND WORK A LITTLE OF IT OFF . $
WHATEVER IT IS . $
03 NO . $
I 'LL DO SOME HOEING . $
I DON'T FEEL IN THE LEAST LIKE DIGGING THIS MORNING . $
04 FROM THE WAY YOU DO IT , I CAN'T SEE THERE 'S MUCH DIFFER
ENCE - I 'LL GO AND GET DRESSED . $
< ( PHILIP GOES OFF UP THE GARDEN . $
GREG ENTERS THE GARDEN CAUTIOUSLY FROM THE DIRECTION OF THE
HOUSE . $
HE HESITATES WHEN HE SEES SHEILA . $
HE CARRIES HIS BAG AND HAS A RAINCOAT OVER HIS ARM . ) > $
01 < ( AFTER A TENTATIVE PAUSE ) > $
HALLO . $
04 < ( STARTLED ) > $
OH . $
OH - HALLO THERE . $
01 HALLO . $
04 ARE YOU - ER ... ? $
01 I BEG YOUR PARDON ? $
#30 $
04 WERE YOU WANTING TO SEE SOMEONE ? $
01 YES . $
04 MY HUSBAND ? $
01 NOT ... ALTOGETHER ... $
04 ME ? $
01 PARTLY . $
04 OH , WELL THEN . $
01 I DID RING . $
04 IT DOESN'T WORK . $
< ( SHE SMILES . ) > $
WON'T YOU COME IN . $
01 THANKS . $
< ( HE COMES D.S. ) > $
< ( SHEILA REMAINS STANDING . ) > $
04 DO SIT DOWN . $
01 THANKS . $
WHAT A BEAUTIFUL GARDEN . $
< ( SITS IN ARMCHAIR . ) > $
04 YES , WE 'RE ... FOND OF IT ... $
01 I HAD NO IDEA IT WAS GOING TO BE SO NICE . $
BEAUTIFUL . $
04 YES , IT IS NICE , ISN'T IT ? $
01 LOOK AT THOSE DIRTY GREAT DELPHINIUMS . $
THEY 'RE HUGE . $
HOW DO YOU GET YOUR DELPHINIUMS THAT SIZE ? $
04 OH , WELL ... CONSTANT PRACTICE , REALLY . $
MY HUSBAND 'S GREEN FINGERS . $
01 THEY 'RE LIKE HOLLYHOCKS . $
< ( LOOKING OUT OVER AUDIENCE . ) > $
04 ARE YOU SURE YOU MEAN DELPHINIUMS ? $
01 WELL , THOSE THINGS . $
WHATEVER THEY ARE . $
04 OH , THEY 'RE LUPINS . $
01 PRETTY GOOD GOING , ALL THE SAME . $
04 THANK YOU . $
< ( PAUSE . $
SHE SMILES A LITTLE UNCERTAINLY . ) > $
01 THIS IS THE WILLOWS , ISN'T IT ? $
04 YES . $
01 LOWER PENDON ? $
04 OH , YES . $
01 BUCKS ? $
04 YES , THIS IS THE WILLOWS . $
#31 $
01 OH , GOOD . $
I SUDDENLY HAD THE SNEAKING FEELING I 'D GOT THE WRONG HOUSE
 . $
04 THE WILLOWS . $
01 THAT 'S THE ONE . $
< ( PAUSE . ) > $
04 YOU LIKE OUR TREES THEN ? $
01 YES , I 'VE JUST BEEN ADMIRING THEM . $
04 THERE 'S SOMETHING SO MAJESTIC ABOUT TREES , ISN'T THERE
? $
01 REGAL . $
04 SUCH A SENSE OF - PERMANENCY . $
01 YES . $
YOU WOULDN'T SHIFT THAT LOT IN A HURRY . $
04 QUITE . $
< ( PAUSE . ) > $
WE HAVEN'T MET BEFORE HAVE WE ? $
01 NOT TO MY KNOWLEDGE . $
04 NO . $
01 SEEMS ALMOST AS THOUGH WE HAVE , DOESN'T IT ? $
04 < ( LAUGHING ) > $
YES , YES , IT DOES INDEED . $
< ( PAUSE . ) > $
01 LOOK , I KNOW WHO YOU ARE . $
I 'M GREGORY . $
04 OH YES ? $
01 GREG . $
04 OH , SHEILA . $
HOW DO YOU DO ? $
01 HOW DO YOU DO ? $
04 HAVE YOU COME FAR ? $
01 FROM LONDON . $
04 BY CAR ? $
01 NO , TRAIN . $
I CAUGHT THE EARLY ONE . $
SPECIALLY ... $
04 SPECIALLY . $
< ( SUDDEN THOUGHT . ) > $
YOU DIDN'T STOP BY FOR A GLASS OF WATER , DID YOU ? $
01 NO . $
WHY ? $
04 IT JUST CROSSED MY MIND . $
PEOPLE DO QUITE OFTEN . $
01 REALLY . $
IT 'S NOT A SPA , IS IT ? $
04 WHERE ? $
01 HERE . $
#32 $
04 OH , NO . $
I DON'T THINK SO . $
IT MAY HAVE BEEN , BUT IT 'S CERTAINLY NOT NOW . $
MIND YOU , I 'M QUITE HOPELESS AT HISTORY . $
01 OH . $
04 YOU HAVEN'T COME ALL THIS WAY FOR NOTHING , HAVE YOU ? $
01 WHY ? $
04 TO TAKE THE WATERS . $
YOU WEREN'T UNDER THE IMPRESSION YOU COULD TAKE THE WATERS H
ERE , WERE YOU ? $
01 NO . $
04 OH . $
< ( PAUSE . $
GREG IS RATHER UNEASY , AND SO IS SHE . ) > $
01 I SEEM TO HAVE GOT HERE FIRST . $
04 FIRST ? $
01 YES . $
04 ARE THERE MORE OF YOU ? $
01 NO , JUST HER . $
BUT YOU SEE , SHE DOESN'T KNOW I 'M COMING . $
04 NO ? $
01 NO . $
SHE 'LL PROBABLY KILL ME WHEN SHE SEES ME HERE . $
04 OH . $
01 HOPE YOU DON'T MIND MY ARRIVING OUT OF THE BLUE LIKE THIS
 ? $
04 NOT AT ALL . $
01 THE POINT IS , I CAUGHT THE SAME TRAIN AS HER YOU SEE . $
AT LEAST , I THOUGHT I HAD . $
ONLY SHE DIDN'T KNOW I WAS ON IT . $
SHE THOUGHT I WAS STILL AT - HOME - ONLY I WASN'T . $
I WAS ON THE TRAIN . $
HER TRAIN . $
ONLY WHEN I GOT OFF IT TO SURPRISE HER SHE WASN'T ON IT . $
SHE 'D MISSED IT . $
SO I CAME ON UP . $
04 OH , I SEE . $
01 AND NO GINNY . $
04 MMMMMM ? $
01 NO GINNY - $
04 NO , I 'M AFRAID NOT . $
THERE 'S SOME SHERRY , IF YOU 'D LIKE . $
01 NOT JUST AT THE MOMENT , THANKS . $
04 SURE ? $
#33 $
01 THANKS ALL THE SAME . $
< ( PAUSE . ) > $
04 THIS IS THE FIRST REALLY HOT SPELL WE 'VE HAD , ISN'T IT
? $
01 I SUPPOSE IT IS . $
< ( HE STARES AT HER . ) > $
INCREDIBLE . $
04 I BEG YOUR PARDON ? $
01 QUITE INCREDIBLE . $
< ( HE SMILES AT HER AND SHAKES HIS HEAD . ) > $
04 I 'M AFRAID I 'M ... NOT FOLLOWING YOU . $
01 I HOPE YOU DON'T MIND ME SAYING THAT ? $
IT WAS MEANT AS A COMPLIMENT . $
04 NOT AT ALL . $
01 IT 'S JUST THAT - YOU 'RE GOING TO SLAUGHTER ME , YOU 'RE
 REALLY GOING TO SLAUGHTER ME WHEN I SAY THIS - I THOUGHT OF
 YOU AS OLDER . $
04 OLDER ? $
01 YES , MUCH OLDER . $
I KNOW THIS IS SILLY , BUT I THOUGHT OF YOU AS A SORT OF GRE
Y HAIRED , LITTLE OLD LADY . $
04 < ( LAUGHING IN A STRAINED SORT OF WAY ) > $
I WONDER WHERE YOU GOT THAT IDEA FROM ? $
01 WELL - YOU ALWAYS TEND TO IMAGINE THAT EVERYONE ELSE HAS
ONE LIKE YOUR OWN , DON'T YOU ? $
04 ONE WHAT ? $
01 MOTHER . $
04 OH - YES , YES . $
SORRY , I 'M BEING TERRIBLY DIM ALL OF A SUDDEN . $
01 THAT 'S ALL RIGHT . $
IT 'S PROBABLY ME . $
I GET NERVOUS AT MEETING NEW PEOPLE . $
NOT JUST YOU . $
EVERYBODY . $
EVEN BUS CONDUCTORS . $
YOU KNOW , THERE 'S SOME MORNINGS , I GET ON A BUS AND , I D
ON'T KNOW IF YOU FEEL THE SAME , BUT I 'M SITTING THERE AND
THERE HE IS , THE CONDUCTOR , WORKING HIS WAY DOWN THE BUS T
OWARDS ME , AND I THINK TO MYSELF , THIS MORNING I 'M NOT GO
ING TO BE ABLE TO SPEAK TO THIS BLOKE . $
NOT A WORD . $
HE 'S GOING TO SAY : WHERE TO , MATE ? $
AND I 'M GOING TO OPEN MY MOUTH AND GO HUUUHHH ... OPEN MY M
OUTH AND NOTHING COMES OUT . $
SO WHEN I FEEL LIKE THIS , I HAVE TO PRACTISE , YOU SEE . $
I SIT THERE , SAYING IT OVER TO MYSELF ... FOURPENNY ONE ...
 $
ONE MORNING I WAS DOING THIS , I WAS REHEARSING EVERYTHING ,
 EVEN REHEARSING THE GOOD MORNING I WAS GOING TO SAY TO MY L
ANDLADY ... AND I GOT ON THE BUS AND ASKED FOR TEN CIGARETTE
S . $
I COULDN'T SPEAK FOR THE REST OF THE DAY AFTER THAT . $
#34 $
04 < ( ONLY SLIGHTLY AMUSED ) > $
YES , OF COURSE , I USUALLY TAKE THE CAR . $
01 AH WELL . $
04 YES . $
THE PROBLEM DOESN'T REALLY ARISE . $
THOUGH I DO REMEMBER HAVING TO RECITE IN FRONT OF THE WHOLE
SCHOOL ONCE AND FEELING DESPERATELY NERVOUS . $
I WAS VERY YOUNG OF COURSE . $
IT WAS A COMPETITION , I THINK . $
FOR MEMORY AND ELOCUTION . $
MY MIND WENT A COMPLETE BLANK , I 'M AFRAID . $
I HAD TO READ IT . $
01 OH , WHAT BAD LUCK . $
04 YES . $
BUT AS IT HAPPENS I WON THE PRIZE ANYWAY , SO IT ALL ENDED H
APPILY . $
THAT WAS THE ONLY ONE I EVER DID WIN , YOU KNOW , THE MEMORY
 AND ELOCUTION . $
01 WHAT WAS THE PRIZE ? $
04 I 'VE FORGOTTEN . $
< ( PAUSE . ) > $
01 I DON'T KNOW WHERE SHE 'S GOT TO . $
SHE OUGHT TO BE HERE BY NOW . $
04 OH DEAR . $
01 LOOK , I MAY AS WELL TELL YOU NOW - YOU SEE , THE POINT I
S - I ASKED GINNY LAST NIGHT YOU SEE . $
04 YOU DID ? $
01 WE WANT TO GET MARRIED . $
04 REALLY ? $
01 YES . $
04 CONGRATULATIONS . $
01 YOU 'RE NOT UPSET ? $
04 ME ? $
01 YES . $
04 WHY SHOULD I BE ? $
01 YOU NEVER KNOW , DO YOU ? $
04 I SUPPOSE NOT . $
01 AND YOU THINK THAT - KNOWING WHAT YOU DO ABOUT ME , WHICH
 ISN'T MUCH ADMITTEDLY - THAT IT 'LL WORK OUT ? $
#35 $
04 WHAT ? $
01 OUR GETTING MARRIED ? $
04 YES , I SHOULD THINK SO . $
YOU LOOK HEALTHY ENOUGH . $
IF YOU - LOVE EACH OTHER . $
01 OH , YES . $
04 THEN I DON'T SEE WHY NOT . $
OF COURSE , I DON'T REALLY KNOW . $
01 ENOUGH . $
NO , QUITE . $
< ( HE SMILES REASSURINGLY . $
PAUSE . ) > $
I KNEW WE 'D GET ON . $
I TOLD HER . $
SHE SAID YOU 'D SCREAM WHEN YOU SAW ME . $
04 WHY 'S THAT ? $
01 OH , SHE PAINTED A FANTASTIC PICTURE OF YOU . $
YOU DON'T KNOW . $
SHE SAID THAT WHEN AN EXTRA PERSON TURNED UP FOR LUNCH , YOU
 JUST WENT INTO A PANIC . $
THAT SORT OF THING . $
SHE DID ? $
YES . $
04 THIS IS GINNY , IS IT ? $
01 YES . $
SHE OBVIOUSLY DOESN'T KNOW YOU , DOES SHE ? $
04 NO . $
NOT AT ALL . $
01 PERHAPS SHE WAS TRYING TO PUT ME OFF . $
THAT 'S A POSSIBILITY . $
HADN'T THOUGHT OF THAT . $
04 WHAT ? $
01 SUBLIMINAL JEALOUSY . $
YOU KNOW . $
04 OH ? $
01 COMES OF BEING WEANED TOO EARLY OR SOMETHING . $
04 OH . $
01 THEY SAY THAT BOTTLE FEEDING 'S NEVER THE SAME , DON'T TH
EY ? $
04 DO THEY ? $
01 THAT 'S WHAT I READ . $
NO REFLECTION ON YOU , OF COURSE . $
04 QUITE . $
YOU SAID SOMETHING ABOUT STAYING TO LUNCH ? $
01 THAT 'S KIND OF YOU . $
THANK YOU . $
04 YOU 'RE VERY WELCOME . $
I THINK I MUST - MAKE A START - IF YOU 'LL EXCUSE ME . $
I CAN'T THINK WHERE MY HUSBAND HAS GOT TO - $
01 CAN I GIVE YOU A HAND ? $
#36 $
04 OH , I DON'T KNOW THAT - $
01 I 'VE GOT PLENTY OF TIME TO TALK TO HIM , HAVEN'T I ? $
AND I 'M MARVELLOUS WITH POTATOES . $
04 OH WELL , THANK YOU THEN . $
SINCE YOU 'RE HERE , YOU 'RE HERE . $
COME INSIDE . $
I 'LL MAKE US SOME COFFEE . $
01 I CAN LEAVE MY BAG HERE , CAN'T I ? $
04 BAG ? $
YES , THAT 'LL BE ALL RIGHT . $
UNLESS IT RAINS . $
01 YOU NEEDN'T WORRY . $
I 'M NOT PLANNING TO STAY FOR THE WEEK OR ANYTHING . $
IT 'S JUST THAT I DON'T FEEL SECURE UNLESS I 'VE GOT IT . $
NEVER KNOW WHERE YOU MIGHT FINISH UP , DO YOU ? $
04 VERY TRUE . $
01 I CAN GRAB A WORD WITH YOUR HUSBAND WHEN HE 'S FINISHED ,
 CAN'T I ? $
04 YES I SHOULD . $
I 'M SURE HE 'LL BE OF MUCH MORE HELP TO YOU THAN I 'VE BEEN
 . $
NOW , I REALLY MUST MAKE A START ON LUNCH . $
01 TELL ME , IS HE EASY ? $
04 EASY ? $
01 I MEAN , HE PREFERS IT IF YOU 'RE ABSOLUTELY PLAIN WITH H
IM DOES HE ? $
04 YES , HE CAN'T BEAR ANYTHING FANCY . $
01 FINE . $
04 GOOD PLAIN ENGLISH FOOD - THAT 'S PHILIP . $
01 EH ? $
04 THE ONLY THING HE CAN'T BEAR AT ANY PRICE IS ONIONS . $
01 ONIONS ? $
04 YES , IT 'S ODD ISN'T IT ? $
I ADORE THEM . $
< ( PHILIP ENTERS . $
HE HAS BEEN GARDENING . $
HIS SLEEVES ROLLED UP AND A PAIR OF GARDENING BOOTS . $
HE IS HOT AND DISGRUNTLED . $
HE STOPS AS HE SEES GREG AND SHEILA CLOSE IN CONVERSATION .
$
HE STARES . ) > $
01 NO I DIDN'T ACTUALLY MEAN THAT . $
04 YOU DIDN'T ? $
01 NO - I WAS TALKING ABOUT ME AND HER . $
04 YOU AND HER ? $
01 YES . $
#37 $
< ( PHILIP CLEARS HIS THROAT . ) > $
04 OH - DID YOU WANT SOMETHING , DEAR ? $
03 I CAN'T FIND THE HOE . $
04 HOW ANNOYING . $
03 < ( STARING AT GREG ) > $
YES . $
04 OH , PHILIP , THIS IS GREGORY . $
THIS IS MY HUSBAND , PHILIP . $
01 HOW DO YOU DO ? $
< ( HE RISES AND THEY SHAKE HANDS . ) > $
03 HOW DO YOU DO ? $
01 JUST BEEN ADMIRING YOUR GARDEN . $
03 OH , YES ? $
01 YOU SEEM TO HAVE PUT A LOT OF WORK INTO IT . $
03 YES . $
01 STILL , IT 'S PAID OFF . $
VERY IMPRESSIVE . $
03 GLAD YOU THINK SO . $
01 NO ONIONS , I NOTICE , EH ? $
< ( HE LAUGHS . ) > $
03 YOU 'VE MET MY WIFE , HAVE YOU ? $
04 OF COURSE . $
01 YES , THANK YOU . $
WE 'VE BEEN HAVING A LONG CHAT . $
03 GOOD . $
04 PERHAPS YOU TWO WOULD LIKE TO HAVE A WORD NOW ? $
01 WELL -  $
03 WHAT ABOUT ? $
04 I BELIEVE GREGORY WANTS TO ASK YOU SOMETHING . $
03 DOES HE ? $
04 I BELIEVE SO . $
03 WHAT ? $
04 I THINK YOU OUGHT TO ASK HIM THAT . $
I 'D BETTER GO . $
03 WHY ? $
04 WELL , IT 'S A PERSONAL MATTER REALLY , I THINK . $
03 IS IT ? $
01 SORT OF . $
#38 $
03 OH . $
WE HAVEN'T MET BEFORE , HAVE WE ? $
01 NO . $
03 HMM . $
WOULD YOU TAKE A SEAT MR. - ? $
01 POYNTER . $
< ( HE SITS . ) > $
04 I 'LL BRING OUT THE COFFEE IN A MOMENT . $
03 JUST A MINUTE . $
JUST A MINUTE . $
< ( DRAWS HER ASIDE . ) > $
WHO IS HE ? $
04 I SHOULD ASK HIM . $
HE CAME TO SEE YOU . $
03 I 'VE NEVER SEEN HIM BEFORE . $
WHAT DOES HE WANT ? $
04 SOMETHING PERSONAL . $
YOU HEARD WHAT HE SAID . $
03 WHAT ? $
04 ASK HIM . $
< ( TO THEM BOTH . ) > $
I 'LL JUST SLIP AWAY THEN . $
< ( SHEILA GOES IN . $
A SILENCE . $
PHILIP MOVES ABOUT UNCERTAINLY GIVING GREG AN OCCASIONAL SID
E-LONG GLANCE . $
GREG RISES AS IF TO SPEAK . ) > $
03 DO SIT DOWN , MR. - $
01 < ( SITTING ) > $
THANKS . $
03 MY WIFE TELLS ME YOU WANT A WORD WITH ME . $
01 THAT 'S RIGHT . $
03 AH . $
01 BEEN HARD AT IT HAVE YOU ? $
03 EH ? $
01 THE GARDEN . $
03 AH . $
YES . $
CONSTANT BATTLE . $
01 MAN AGAINST NATURE . $
03 QUITE . $
01 I 'D OFFER TO GIVE YOU A HAND , ONLY I 'D PROBABLY UPROOT
 ALL YOUR FLOWERS . $
03 THAT 'D NEVER DO . $
CAN'T HAVE TWO OF US DOING THAT . $
< ( THEY LAUGH . $
PAUSE . ) > $
WAS IT - ER - ANYTHING IMPORTANT ? $
01 YES , AS A MATTER OF FACT . $
03 AH . $
< ( PAUSE . ) > $
COME FAR ? $
#39 $
01 FROM LONDON . $
03 REALLY ? $
< ( PAUSE . ) > $
01 IT 'S A BIT AWKWARD IN A WAY - $
03 OH ? $
01 I SEEM TO HAVE PLUNGED IN THE DEEP END . $
I MEAN , IT WAS ONLY THIS MORNING THAT I WOKE UP AND SUDDENL
Y DECIDED THAT I 'D COME AND SEE YOU - AND NOW - HERE I AM .
 $
03 I SEE . $
01 YES . $
03 YES . $
IT 'S NOT A BAD TRAIN SERVICE . $
01 I DON'T REALLY KNOW HOW MUCH YOU KNOW , THAT 'S THE POINT
 . $
03 NOTHING . $
01 OH . $
03 I 'M AFRAID I 'VE EVEN FORGOTTEN YOUR NAME . $
01 GREGORY . $
03 AH . $
01 SHE SAID NOTHING THEN ? $
03 ABOUT WHAT ? $
01 TO YOU - ABOUT US ? $
03 YOU AND ME ? $
01 NO , ME AND HER . $
03 YOU AND HER ? $
01 YES . $
< ( PAUSE . $
PHILIP IS PUZZLED . ) > $
03 YOU AND HER ? $
< ( DAWNING . ) > $
YOU MEAN - HER AND YOU ? $
01 US . $
< ( PAUSE . $
PHILIP LOOKS AT HIM . ) > $
03 < ( SLOWLY ) > $
I SEE . $
01 SHE HAS ? $
03 OH , YES INDEED SHE HAS . $
OH YES , YES . $
SHE 'S TOLD ME ABOUT YOU . $
SHE 'S TOLD ME . $
YOU NEEDN'T WORRY ABOUT THAT . $
01 OH . $
GOOD . $
IT MAKES IT THAT BIT EASIER . $
#40 $
03 MAKES WHAT EASIER ? $
01 WHAT I CAME TO ASK YOU . $
03 OH YES , SHE 'S TOLD ME . $
AND THE LETTERS . $
01 LETTERS ? $
03 OH YES . $
AND YOU THOUGHT YOU 'D DROP IN AND SEE ME TODAY , DID YOU ?
$
01 YES . $
03 HOW KIND . $
I HOPE YOU WEREN'T EXPECTING SOMETHING VIOLENT TO HAPPEN ON
MY PART ? $
I DON'T INTEND TO ENGAGE IN A FREE FIGHT . $
NOR SHALL I GO UPSTAIRS AND SHOOT MYSELF . $
TWO POPULARLY RECOMMENDED COURSES , I BELIEVE . $
01 YOU DO KNOW WHY I 'M HERE , DON'T YOU ? $
03 I THINK YOU CAN SAFELY LEAVE ME TO WORK THAT OUT FOR MYSE
LF . $
01 YOU DON'T HAVE TO . $
03 I 'D RATHER . $
01 OH . $
< ( PAUSE . ) > $
YOU KNOW , I WAS IN TWO MINDS WHETHER OR NOT TO COME THIS MO
RNING . $
I THOUGHT , HAVE I GOT THE COURAGE TO ASK HIM ? $
03 YOU 'RE MANAGING VERY WELL . $
01 THANKS . $
03 I CAN ALMOST IMAGINE YOU MIGHT HAVE DONE IT BEFORE ? $
01 OH , NO . $
NOT ON YOUR LIFE . $
THE POINT IS , YOU SEE , SHE DOESN'T KNOW I 'M ASKING YOU TH
IS . $
03 SHE DOESN'T . $
01 NO . $
BUT THEN I THOUGHT , WHAT HAVE I GOT TO LOSE ? $
03 VERY LITTLE , I IMAGINE . $
01 EXACTLY . $
I THOUGHT , GOOD GRIEF , HE WON'T EAT ME . $
SO HERE I AM . $
IF YOU WANT TO ASK ME ANY QUESTIONS , GO AHEAD . $
03 YES . $
WHAT ARE YOUR IMMEDIATE PLANS THEN ? $
01 AH , WELL . $
03 YOU DON'T MIND MY ASKING ? $
01 NO . $
WELL - WE 'RE EASY , YOU KNOW . $
DON'T WANT TO RUSH THINGS . $
MIND YOU , I 'M NOT ONE FOR LONG ENGAGEMENTS . $
SO IF IT FITS IN WITH YOUR PLANS I THOUGHT WE 'D GET MARRIED
 SOMETIME AFTER CHRISTMAS . $
#41 $
03 MARRIED ? $
01 YES . $
03 < ( AFTER A PAUSE ) > $
YOU 'RE NOT WITHOUT A SENSE OF HUMOUR , MR. - ? $
01 NO . $
LUCKILY . $
I BELIEVE THAT IT CAN COME IN VERY HANDY IN A MARRIAGE . $
03 INDEED IT CAN . $
INDEED IT CAN . $
01 I AM AT PRESENT EARNING SIXTEEN POUNDS A WEEK LESS INSURA
NCE , IN AN INSURANCE COMPANY AND I 'M TOLD I HAVE EXCELLENT
 PROSPECTS OF PROMOTION AFTER FIFTEEN YEARS . $
BEFORE THAT I WAS , AMONGST OTHER THINGS , A SHOE SALESMAN ,
 AN UNDER-GARDENER FOR THE G.L.C. - I GOT SACKED FROM THAT .
 $
A PART-TIME POSTMAN AND A TEMPORARY PORTER AT EUSTON STATION
 . $
03 SIXTEEN POUNDS , HMM ? $
01 THAT 'S RIGHT . $
03 OH WELL , YOU SHOULD BE ABLE TO BUY HER A GOOD BREAKFAST
ANYHOW . $
THAT 'S THE IMPORTANT THING . $
01 < ( SMILING ) > $
I 'LL DO MY BEST TO THROW IN THE OCCASIONAL LUNCH AS WELL .
$
HOW ABOUT THAT ? $
03 I DOUBT IT . $
NOT ON SIXTEEN POUNDS A WEEK LESS INSURANCE . $
01 I DON'T KNOW . $
03 I DO . $
I 'VE KEPT HER . $
01 OTHER PEOPLE MANAGE . $
03 AH , BUT THEY 'RE NOT HER , ARE THEY ? $
SHE 'S UNIQUE . $
01 < ( LOVINGLY ) > $
YES , SHE 'S CERTAINLY THAT . $
03 I WORKED IT OUT ONCE . $
SHE COSTS ME THIRTY QUID A WEEK TO RUN AND THAT DOESN'T INCL
UDE OVER-HEADS . $
YOU 'D BETTER SPEED UP THAT PROMOTION OF YOURS , LADDIE . $
TACKLE YOUR BOSS FIRST THING TOMORROW MORNING . $
TELL HIM THAT OWING TO UNFORESEEN CIRCUMSTANCES YOUR COST OF
 LIVING HAS TREBLED OVERNIGHT . $
01 I SEE . $
< ( HE BROODS . ) > $
I TAKE IT YOU 'RE NOT ALTOGETHER SATISFIED WITH MY FINANCIAL
 POSITION ? $
YOU DON'T THINK I CAN KEEP HER IN THE MANNER TO WHICH SHE IS
 ACCUSTOMED - AND ALL THAT ? $
03 WELL , NOBODY COULD DO THAT . $
SHE TENDS TO BECOME ACCUSTOMED TO A LITTLE MORE EACH YEAR .
$
#42 $
01 I CAN'T SAY I 'VE NOTICED HER OVERSPENDING . $
I DON'T KNOW HOW LONG IT WILL BE BEFORE I GET A RISE . $
03 HOW LONG HAVE YOU BEEN WITH THE FIRM ? $
01 THREE WEEKS . $
03 YES . $
MIGHT BE A LITTLE PREMATURE TO STICK IN A PAY CLAIM . $
IT CERTAINLY POSES A PROBLEM , DOESN'T IT ? $
PITY YOU 'RE NO GARDENER . $
01 SO I TAKE IT YOU 'RE TURNING ME DOWN ON PURELY FINANCIAL
GROUNDS , IS THAT IT ? $
03 I 'M NOT . $
BUT I THINK SHE MIGHT . $
01 SHE KNOWS HOW MUCH I EARN . $
SHE 'S PREPARED TO RISK IT . $
03 IS SHE ? $
01 YES . $
< A PAUSE . ) > $
03 < ( SUDDENLY ) > $
ALL RIGHT . $
CARRY ON . $
01 YOU MEAN YOU GIVE YOUR CONSENT ? $
03 I 'VE VERY LITTLE OPTION . $
01 WE CAN GET MARRIED ? $
03 NO , I 'M AFRAID THAT 'S QUITE OUT OF THE QUESTION . $
01 UH ? $
03 I THINK I OUGHT TO GET YOU STRAIGHT ON ONE OR TWO THINGS
, YOUNG FELLER-ME-LAD . $
AS FAR AS I 'M CONCERNED YOU CAN LEAVE WHENEVER YOU LIKE AND
 GO WHEREVER YOU LIKE . $
YOU HAVE MY BLESSINGS . $
MY ONLY CONDITIONS ARE THESE . $
I AM NOT PREPARED TO FINANCE YOU AND MARRIAGE IS COMPLETELY
OUT OF THE QUESTION . $
01 BUT - ? $
03 YOU MUST UNDERSTAND THAT A MAN IN MY POSITION CAN'T POSSI
BLY AFFORD THAT SORT OF PUBLICITY . $
01 IN OTHER WORDS YOU 'D SOONER WE LIVED TOGETHER THAN GOT M
ARRIED ? $
03 FAR SOONER . $
01 < ( STUDYING HIM ) > $
YOU 'RE A BIT ROUND THE TWIST , AREN'T YOU ? $
03 AM I ? $
#43 $
01 FROM WHERE I 'M SITTING YOU ARE . $
WHAT 'S ALL THIS ABOUT PUBLICITY ? $
03 COME NOW - $
01 WHAT 'S WRONG WITH GETTING MARRIED ? $
I 'VE READ SOME PRETTY FUNNY THINGS LATELY , BUT - $
03 IT 'S RATHER WHO YOU 'RE MARRYING , DON'T YOU THINK ? $
01 MEANING I 'M A DEAD LET DOWN . $
IS THAT IT ? $
03 NOT AT ALL . $
01 OH , YES . $
I KNOW WHAT 'S AT THE BACK OF THAT MIND OF YOURS . $
03 I THINK , UNDER THE CIRCUMSTANCES , I 'M BEING EXTREMELY
REASONABLE . $
01 YOU THINK THAT , DO YOU ? $
WELL , I WANT YOU TO LISTEN TO ME FOR A MINUTE . $
I 'M DOING YOU A FAVOUR , DID YOU KNOW THAT ? $
NO , I BET YOU DIDN'T . $
WELL , I 'LL TELL YOU . $
FIRST OF ALL , I 'M NOT THE FIRST ONE . $
STILL , THAT 'S NOTHING OUT OF THE ORDINARY . $
03 ISN'T IT ? $
01 NOT THESE DAYS MATE , YOU 'RE OUT OF TOUCH . $
BUT DO YOU KNOW WHO SHE WAS KNOCKING ABOUT WITH BEFORE ME ?
$
03 BEFORE ? $
01 SOME BLOKE WHO 'S OLD ENOUGH TO BE HER FATHER - THAT 'S W
HO . $
03 WHAT ? $
01 YES . $
I THOUGHT THAT WOULD SHAKE YOU . $
SOME RANDY OLD MAN ABOUT THIRTY YEARS OLDER THAN SHE IS , WH
O 'S GOT BORED WITH HIS MARRIAGE AND DECIDED TO MUCK UP HER
LIFE . $
IT JUST SO HAPPENS I LOVE HER ENOUGH NOT TO WANT TO SEE THAT
 HAPPEN . $
03 THIRTY YEARS ? $
01 AT LEAST . $
03 REMARKABLE OLD GENTLEMAN . $
01 YOU DON'T BELIEVE ME ? $
03 IT DOES SOUND RATHER - $
01 I 'VE GOT PROOF . $
03 WHERE ? $
01 IN MY BAG . $
#44 $
03 WHAT ? $
01 I 'LL SHOW YOU . $
03 WAIT . $
DO YOU MEAN TO TELL ME THAT THERE HAVE BEEN OTHERS ? $
01 SO I GATHERED - SHE DOESN'T SAY MUCH . $
03 HOW MANY ? $
01 WELL - THE AVERAGE NUMBER . $
03 AND WHAT IS THE AVERAGE NUMBER ? $
01 WELL , I DON'T KNOW - ABOUT FOUR OR FIVE . $
03 MY GOD ! $
< ( PAUSE . ) > $
FOUR OR FIVE ? $
01 AT LEAST . $
03 MEN ? $
01 PRESUMABLY . $
03 I - $
01 I SHOULD THINK IT OVER . $
< ( PHILIP DOES . ) > $
03 WELL , WELL , WELL , MR. - $
01 POYNTER . $
03 ONE LIVES AND LEARNS . $
YES , ONE CERTAINLY DOES . $
< ( SHEILA ENTERS WITH TRAY OF SHERRY GLASSES . ) > $
04 HOPE I 'VE CHOSEN A GOOD MOMENT . $
01 OH , HALLO . $
04 I THOUGHT WE 'D ALL HAVE A SHERRY INSTEAD . $
01 THANK YOU . $
04 IT REALLY IS GLORIOUS OUT HERE , ISN'T IT ? $
< ( PASSING GLASS TO PHILIP . ) > $
SHERRY DEAR ? $
GREG ? $
01 THANK YOU . $
THIS IS VERY KIND . $
< ( TAKES GLASS . ) > $
04 A PLEASURE . $
WELL , CHEERS . $
< ( PUTS TRAY ON TABLE . ) > $
01 CHEERS . $
< ( THEY SIT AND DRINK . $
SILENCE . ) > $
04 HAVE YOU BOYS BEEN CHATTING THEN ? $
01 YES , WE - AIRED ONE OR TWO TOPICS . *
#45 $
04 ALL SATISFACTORY , I HOPE . $
I DIDN'T KNOW WHETHER YOU 'D FINISHED OR NOT . $
I PEEPED OUT AND IT LOOKED AS THOUGH YOU HAD . $
01 I HOPE WE DIDN'T KEEP YOU COOPED UP INDOORS ? $
04 NO , I PEELED SOME VEGETABLES . $
THAT SORT OF THING . $
I THOUGHT WE 'D HAVE A COSY LITTLE LUNCH OUT HERE , JUST THE
 THREE OF US . $
< ( PHILIP SNORTS . ) > $
ARE YOU ALL RIGHT DEAR ? $
IT 'S NOT TOO SWEET FOR YOU ? $
< ( PHILIP BANGS DOWN HIS GLASS . ) > $
PHILIP ! $
03 < ( ANGRILY , GLARING AT HER ) > $
I 'VE MISLAID THE HOE . $
DO YOU KNOW THAT ? $
04 YES , DEAR . $
SO YOU SAID . $
03 I HAD A FEELING IT WAS YOU WHO USED IT LAST . $
04 OH , NO DEAR . $
< ( PHILIP BEGINS TO PACE AROUND THE GARDEN IN INCREASINGLY
AGITATED CIRCLES . $
THEY WATCH HIM . ) > $
03 I HOPE YOU REALISE THAT MY ENTIRE MORNING HAS BEEN WASTED
 I MIGHT JUST AS WELL HAVE SAT HERE READING MY PAPER , OR HA
D A ROUND OF GOLF LIKE I WANTED TO IN THE FIRST PLACE . $
I 'D HAVE BEEN FAR BETTER OFF . $
AS IT IS , I 'VE SPENT MY WHOLE MORNING SEARCHING FOR SOMETH
ING THAT SHOULD HAVE BEEN PUT BACK IN ITS PROPER PLACE TO BE
GIN WITH . $
04 I 'M SO SORRY . $
03 SO YOU SHOULD BE . $
04 WHY ME ? $
03 YOU HAD IT LAST . $
04 I DID NOT DEAR . $
YOU ARE QUITE MISTAKEN . $
03 < ( BELLOWING ) > $
YOU HAD IT LAST . $
I DISTINCTLY REMEMBER . $
04 < ( SHRILLY ) > $
NO . $
01 < ( LAMELY ) > $
PERHAPS IT 'S IN THE SHED . $
< ( A SILENCE . $
PHILIP STANDS IMPOTENTLY , BESIDE HIMSELF WITH RAGE , LOOKIN
G FROM ONE TO THE OTHER . $
HE MOVES TO THE TABLE . $
WITH A VIOLENT MOVEMENT HE SWEEPS THE NEWSPAPER ON TO THE GR
OUND . ) > $
#46 $
03 < ( FIERCELY ) > $
HAVEN'T I MADE THAT CLEAR TO YOU ? $
I CAN'T FIND IT . $
IT 'S GONE , VANISHED - COMPLETELY DISAPPEARED . $
< ( PICKS UP GREG'S BAG FROM STOOL . ) > $
04 WHAT ARE YOU DOING ? $
03 < ( PAUSES FOR BREATH ; SHOUTING ) > $
LOOKING FOR THE HOE ! $
04 < ( ICILY ) > $
IT WON'T BE IN THERE , WILL IT ? $
03 HARDLY LIKELY , I SHOULD THINK . $
< ( HE STRIDES OFF UP THE GARDEN . ) > $
< ( SHEILA AND GREG STAND FOR A MOMENT . ) > $
04 WHAT ON EARTH WAS THE MATTER WITH HIM ? $
01 NO IDEA . $
04 YOU DIDN'T HAVE AN ARGUMENT ? $
01 NOT REALLY . $
A SORT OF - ANIMATED DISCUSSION I SUPPOSE YOU 'D CALL IT . $
04 OH , YES . $
HE 'S FOND OF THOSE . $
ESPECIALLY AT BREAKFAST OR IN CINEMAS . $
I DON'T THINK WE 'VE BEEN TO A FILM FOR YEARS WITHOUT HAVING
 AN ANIMATED DISCUSSION IN THE MIDDLE OF IT . $
01 HE 'S GOT - SOME FAIRLY ORIGINAL IDEAS , HASN'T HE ? $
04 HAS HE ? $
01 HAVEN'T YOU NOTICED ? $
04 I 'VE PROBABLY GOT USED TO THEM , I 'VE HEARD THEM SO OFT
EN . $
01 HIS VIEWS ON MARRIAGE . $
04 REALLY ? $
01 HE DOESN'T BELIEVE IN IT , APPARENTLY . $
04 NO . $
I HAVE NOTICED FROM TIME TO TIME . $
I THINK IT 'S ME HE OBJECTS TO REALLY . $
01 NO , THIS IS GENERAL . $
HE DOESN'T BELIEVE IN IT FOR ANYONE . $
04 THAT 'S A RELIEF . $
I ALWAYS TOOK IT RATHER PERSONALLY . $
01 ON THE OTHER HAND , I SUPPOSE HE COULD JUST HAVE DISAPPRO
VED OF ME . $
04 OH , I 'M SURE HE DIDN'T . $
ANYWAY , YOU DON'T WANT TO TAKE TOO MUCH NOTICE OF WHAT HE S
AYS - $
01 I WAS PRETTY BLUNT WITH HIM I SUPPOSE . $
04 WOULD YOU LIKE ME TO TRY AND SMOOTH THINGS OVER FOR YOU ?
 $
#47 $
01 THAT MIGHT HELP . $
WOULD YOU ? $
04 HE 'LL PROBABLY GET EVEN ANGRIER , BUT I 'LL TRY . $
ANYTHING IN PARTICULAR YOU 'D LIKE ME TO SAY ? $
01 WELL , IT 'S JUST THAT I KNOW SO LITTLE ABOUT THIS SORT O
F BUSINESS . $
04 BUSINESS ? $
OH , I SEE , WELL - ARE THERE ANY PARTICULAR QUALIFICATIONS
THAT YOU 'D LIKE BROUGHT OUT . $
I MEAN , OBVIOUSLY YOU DON'T WANT ME TO RECOMMEND YOU FOR SH
ORTHAND AND TYPING ? $
01 NO . $
HARDLY . $
04 I THINK IF I SAY THAT YOU DISPLAY QUALITIES OF LEADERSHIP
 , HAVE A STRONG CHARACTER AND A MODEST , LIKEABLE DISPOSITI
ON , WITH A GOOD HEAD FOR FIGURES , THAT WILL COVER A MULTIT
UDE OF SINS , WON'T IT ? $
01 DO YOU THINK SO ? $
04 YOU 'D BETTER POP INTO THE HOUSE THEN . $
I 'LL COME IN AND TELL YOU HOW I 'VE GOT ON . $
01 RIGHT . $
ARE YOU SURE YOU KNOW WHAT YOU 'RE DOING ? $
04 I 'LL BE AS QUICK AS I CAN . $
PROVIDING I CAN FIND HIM . $
STRAIGHT THROUGH AND ON THE LEFT . $
OH , AND WOULD YOU TURN THE OVEN DOWN A POINT WHEN YOU GET T
HERE ? $
< ( GREG GOES IN . ) > $
< ( CALLING ) > $
PHILIP ! $
PHILIP ! $
< ( SHE MOVES OFF UP THE GARDEN SLIGHTLY . ) > $
< ( GINNY ENTERS . $
SHE LOOKS AROUND , SEES NO ONE AND WITH SUDDEN PURPOSE MOVES
 STEALTHILY TOWARDS THE HOUSE . $
SHEILA REAPPEARS AND SEES HER . ) > $
04 OH - $
02 OH - $
< ( SHE STANDS , CONFUSED . ) > $
04 WERE YOU - ? $
02 THIS IS THE WILLOWS , ISN'T IT ? $
04 YES . $
LOWER PENDON . $
< ( PAUSE . ) > $
BUCKS . $
< CURTAIN > $
#48 $
< ACT 2 > $
< SCENE 1 > $
< THE SAME SCENE . $
A MOMENT LATER . > $
< A PAUSE . > $
04 YOU 'LL LIKE OUR TREE THEN ? $
02 BEAUTIFUL , YES . $
04 THERE 'S SOMETHING SO MAJESTIC ABOUT TREES , ISN'T THERE
? $
02 YES . $
04 SUCH A SENSE OF PERMANENCY . $
I MEAN - YOU WOULDN'T SHIFT THAT LOT IN A HURRY , WOULD YOU
? $
02 NO , I SUPPOSE NOT . $
< ( PAUSE . ) > $
04 I WAS ACTUALLY LOOKING FOR MY HUSBAND . $
YOU DIDN'T SEE ANYBODY JUST NOW , DID YOU ? $
02 NO . $
04 PERHAPS HE 'S HIDING IN THE SHED . $
HE DOES THAT SOMETIMES , WHEN HE 'S UPSET . $
02 WHY 'S HE UPSET ? $
04 I DON'T KNOW . $
THAT 'S WHY I 'M LOOKING FOR HIM . $
02 OH . $
04 DID YOU WANT SOMEONE ? $
#49 $
02 I 'M SORRY - I 'M GINNY WHITTAKER . $
< ( PUTTING DOWN HER HANDBAG . ) > $
04 SHEILA CARTER . $
HOW DO YOU DO . $
< ( THEY SHAKE HANDS . ) > $
02 HOW DO YOU DO . $
04 GINNY ! $
YOU 'RE GINNY ? $
02 YOU 'VE HEARD ABOUT ME ? $
04 OH , YES . $
02 HE 'S TOLD YOU ? $
04 JUST NOW . $
ALL ABOUT YOU . $
02 I SEE . $
WELL - $
04 < ( TAKING GINNY'S HAND AND LEADING HER ON TO TERRACE ) >
 $
I 'M SO GLAD YOU 'VE COME . $
HE WAS GETTING RATHER WORRIED . $
02 WAS HE ? $
04 YES , VERY . $
02 YOU DON'T SEEM VERY BOTHERED ? $
< ( THEY SIT AT TABLE . ) > $
04 YOU 'RE JUST LIKE I IMAGINED YOU WOULD BE . $
02 AM I ? $
04 FROM WHAT HE TOLD ME . $
I HOPE YOU 'LL FORGIVE MY SAYING SO BUT I THINK YOU 'LL MAKE
 A LOVELY COUPLE . $
SHERRY ? $
02 NO , THANK YOU . $
04 I DO HOPE EVERYTHING WORKS OUT FOR YOU . $
02 WORKS OUT ? $
04 WHEN YOU 'RE MARRIED . $
02 MARRIED ? $
04 WE WERE JUST THIS MINUTE SAYING , NO MATTER HOW MUCH YOU
THINK YOU KNOW SOMEONE IT 'S ALWAYS A GAMBLE IN THE END . $
DON'T YOU AGREE ? $
OH , PERHAPS I SHOULDN'T HAVE SAID ANYTHING . $
I THINK HE WAS GOING TO EXPLAIN EVERYTHING TO YOU HIMSELF .
$
YOU ARE STAYING TO LUNCH , AREN'T YOU ? $
02 WELL - $
04 GOOD . $
< ( RISES AND MOVES TO U.S. DOOR . ) > $
02 DO YOU THINK I COULD POSSIBLY HAVE A WORD WITH YOUR HUSBA
ND ? $
04 MY HUSBAND ? $
#50 $
02 YES , IT 'S A BUSINESS MATTER - $
04 < ( BLANKLY ) > $
BUSINESS ? $
02 YES . $
04 WHITTAKER . $
YOU 'RE MISS WHITTAKER ? $
YOU WORK FOR MY HUSBAND ? $
02 I USED TO - SURELY YOU KNEW THAT ? $
04 ISN'T THAT EXTRAORDINARY ! $
OF COURSE I KNEW . $
HOW STUPID OF ME . $
I 'M SO SORRY . $
IT WAS JUST THAT I GOT THE IMPRESSION FROM MY HUSBAND THAT Y
OU WERE MUCH OLDER . $
02 REALLY ? $
04 YES . $
I COULD HAVE SWORN HE SAID YOU WERE DUE FOR RETIREMENT . $
THAT 'S WHY I DIDN'T KNOW YOUR NAME WAS GINNY . $
OR ANYWAY , THAT YOU WERE THE SAME GINNY . $
HE USED TO REFER TO YOU AS " OLD MISS WHITTAKER . " $
< ( WITH A LAUGH . ) > $
PERHAPS HE THOUGHT I 'D BE JEALOUS . $
02 PERHAPS HE DID . $
04 HE 'S VERY CONSIDERATE . $
I 'LL SEE IF I CAN ROUSE HIM . $
MAYBE WHEN HE HEARS YOU 'RE HERE - ? $
02 YES . $
THAT SHOULD ROUSE HIM . $
04 < ( CALLING ) > $
PHILIP ! $
PHILIP ! $
03 < ( DISTANT ) > $
WHAT ? $
04 < ( CALLING ) > $
MISS WHITTAKER 'S HERE TO SEE YOU . $
03 < ( DISTANT ) > $
WHO ? $
04 < ( CALLING ) > $
MISS WHITTAKER . $
< ( A FAR AWAY CRASH OF FALLING GARDEN TOOLS . ) > $
HE 'S COMING . $
< ( PHILIP ENTERS U.S. OF GARDEN WALL . ) > $
LOOK WHO 'S HERE . $
03 AH . $
MISS WHITTAKER ! $
< ( LEANS ON GATEPOST . ) > $
04 WE 'VE MET AT LAST . $
I TAKE IT YOU TWO WANT TO CHAT . $
I 'LL GO THEN . $
I CAN TELL WHEN I 'M IN THE WAY . $
< ( SHE SMILES . ) > $
02 THANK YOU . $
04 < ( CONFIDENTIALLY TO GINNY ) > $
HOPE EVERYTHING WORKS OUT ALL RIGHT . $
< ( SHEILA GOES OFF THROUGH U.S. DOOR ON TERRACE . $
PHILIP WATCHES HER GO , THEN LOOKS AT GINNY . $
HE IS SILENT FOR A MOMENT . $
GINNY MOVES TO BELOW CANE ARMCHAIR AND PICKS UP HER HANDBAG
. ) > $
#51 $
03 < ( MOVING TOWARDS HER - SOTTO VOCE ) > $
WHAT ARE YOU DOING HERE ? $
02 I THOUGHT YOUR WIFE WENT TO CHURCH ? $
< ( TAKES CIGARETTES AND LIGHTER OUT OF HER BAG . ) > $
03 NOT ON THE THIRD SUNDAY AFTER EPIPHANY . $
02 MMM ? $
03 MR. DODSWORTH - $
02 WHAT ? $
03 NOTHING . $
SHE DIDN'T . $
02 YOU 'VE TOLD HER ? $
03 TOLD HER WHAT ? $
02 ABOUT US ? $
03 I HAVEN'T TOLD HER ANYTHING . $
02 < ( PUTTING HER BAG ON STOOL ) > $
WELL , SHE KNOWS . $
< ( MOVING R. ) > $
HASN'T SHE SAID ANYTHING TO YOU ? $
03 NOT A WORD . $
< ( MOVING D.L. ) > $
NOT ABOUT THAT . $
NOT ABOUT US . $
02 SHE JUST TOLD ME THAT WE MAKE A LOVELY COUPLE . $
AND SHE DOESN'T SEEM TO CARE . $
03 NO . $
WELL , SHE HAS HER MIND ON OTHER THINGS JUST AT THE MOMENT .
 $
WHAT ARE YOU DOING HERE ? $
02 < ( SITTING IN CANE ARMCHAIR ) > $
THIS ALTERS THINGS A LOT . $
03 WHAT DOES ? $
02 HER KNOWING . $
03 DON'T YOU MEAN - HER GOING ? $
02 GOING ? $
03 YES . $
SOMEWHERE IN KENT . $
< ( MOVING TO R. OF GINNY . ) > $
02 SHE 'S LEAVING YOU ? $
HOW DO YOU KNOW ? $
03 SHE TOLD ME . $
OR RATHER , HE TOLD ME . $
02 WHO ? $
03 THE MAN IN THE KITCHEN . $
02 WHO ? $
03 I DON'T KNOW . $
< ( MOVES ON TO LOWER STEP OF TERRACE AT L.C. ) > $
SOME SALLOW YOUTH . $
JUST NOW . $
HE CAME OUT HERE , STOOD THERE IN FRONT OF ME , CALM AS YOU
LIKE , AND THEN ASKED ME IF THEY COULD GET MARRIED . $
MARRIED - TO MY WIFE ! $
#52 $
02 HE DIDN'T ? $
03 YOU 'RE NOT LOSING A WIFE , YOU 'RE GAINING A BROTHER-IN-
LAW . $
ALL THAT SORT OF THING . $
02 WHAT DID YOU DO ? $
03 I WAS AS CO-OPERATIVE AS I COULD BE . $
REFUSED THE DIVORCE OF COURSE . $
< ( MOVING TO L. OF GINNY . ) > $
02 I BET YOU DID . $
03 BUT TOLD THEM THEY COULD GO WHERE THEY LIKED AS FAR AS I
WAS CONCERNED . $
AFTER ALL , IT 'S A HEAVEN SENT OPPORTUNITY AS FAR AS WE 'RE
 CONCERNED , ISN'T IT ? $
02 WE ? $
03 WHO ELSE ? $
02 NO , PHILIP . $
03 NO ? $
< ( BENDING OVER AT L. OF GINNY . ) > $
02 < ( PAUSE ) > $
THERE 'S SOMEONE ELSE . $
03 I KNOW . $
02 HOW ? $
03 < ( MOVING L.C. ) > $
I SPOKE TO HIM ON THE PHONE LAST NIGHT . $
02 YOU WHAT ? $
03 IT 'S ALL RIGHT . $
NO CAUSE FOR ALARM . $
02 DAMN YOU , PHILIP . $
< ( RISES , BACKS TO R. OF ARMCHAIR . ) > $
DAMN YOU ! $
03 NOW DON'T GET WORKED UP . $
I RANG OFF AS SOON AS HE ANSWERED . $
02 NO . $
DAMN YOU . $
THIS IS SERIOUS . $
THIS TIME I 'M GETTING MARRIED . $
03 ARE YOU ? $
02 HE 'S ASKED ME . $
03 < ( LAUGHING ) > $
INFECTIOUS , THIS MARRIAGE EPIDEMIC . $
SEEM TO BE THE ONLY ONE WHO 'S DEVELOPED IMMUNITY . $
< ( MOVES R. ) > $
02 PHILIP , IF YOU MESS THINGS UP FOR ME , I 'LL NEVER FORGI
VE YOU . $
#53 $
03 < ( SITTING IN CANVAS CHAIR ) > $
DOES HE KNOW ABOUT ME ? $
02 A LITTLE . $
03 IS HE JEALOUS ? $
02 HE 'S HUMAN . $
03 DOES HE KNOW WHERE YOU ARE TODAY ? $
02 WHY ? $
03 HE DOESN'T , DOES HE ? $
02 NO . $
HE THINKS I 'M VISITING MY PARENTS , IF YOU MUST KNOW . $
03 YOUR WHO ? $
02 WELL , I COULD BE , COULDN'T I ? $
03 THEY 'RE IN AUSTRALIA ! $
< ( LAUGHS . ) > $
YOU REALLY ASK FOR TROUBLE , DON'T YOU ? $
ONE OF THESE DAYS - $
< ( RISES , MOVES ON TO LOWER STEP OF TERRACE , U.S. OF GINN
Y . ) > $
I 'D HATE TO LEAD A LIFE AS COMPLICATED AS YOURS . $
02 HE 'LL NEVER KNOW . $
03 UNLESS SOMEONE TELLS HIM ? $
02 THEY WON'T . *
< ( PHILIP MOVES TO BEHIND GINNY AND PUTS HIS ARMS ROUND HER
 . ) > $
03 YOU HAVE BEEN AVOIDING ME , HAVEN'T YOU ? $
02 < ( MOVING AWAY ) > $
DON'T . $
03 WHY NOT ? $
02 YOUR WIFE . $
THEY COULD EASILY SEE US THROUGH THE WINDOW . $
03 DON'T WORRY . $
THEY 'LL BE FAR TOO CONCERNED WONDERING WHETHER WE 'RE LOOKI
NG IN AT THEM . $
02 < ( NOW FROSTY AND DETERMINED ) > $
PHILIP - YOU MUST UNDERSTAND , THIS HAS GOT TO STOP . $
IT 'S OVER . $
LEAVE ME ALONE . $
03 < ( INJURED ) > $
I HAVE . $
02 YOU HAVE NOT . $
ALL THOSE FLOWERS , THE CHOCOLATES , THE PHONE CALLS - IT 'S
 NOT FAIR ON ME , PHILIP . $
CAN'T YOU SEE THAT ? $
< ( TURNS TO FACE HIM . ) > $
PLEASE LEAVE ME ALONE . $
03 IS THAT WHY YOU CAME ALL THE WAY DOWN HERE - TO TELL ME T
HAT ? $
#54 $
02 YES . $
THAT IS IT . $
03 RIGHT . $
< ( PAUSE . ) > $
02 AND I WANT THOSE LETTERS BACK . $
03 AH . $
THAT 'S MORE LIKE IT . $
02 < ( FIRM ) > $
PLEASE - PHILIP - $
03 THINK THEY MIGHT BE SAFER WHERE THEY ARE . *
02 WHERE ARE THEY ? $
03 SAFE . $
02 ARE YOU GOING TO LET ME HAVE THEM OR NOT ? $
03 I DON'T KNOW . $
THEY MEAN RATHER A LOT TO ME , YOU SEE . $
SENTIMENTAL VALUE AND ALL THAT . $
02 < ( MOVING TO HIM - APPEALING ) > $
PHILIP , PLEASE . $
03 YOU KNOW , THEY 'VE BEEN VERY CLEVER . $
MUCH CLEVERER THAN WE HAVE . $
I REALLY THINK I 'VE UNDER-ESTIMATED THAT WOMAN . $
HERE WE WERE , SKULKING IN THE SHADOWS , MEETING IN OBSCURE
PUBS , INVENTING ELABORATE ALIBIS , TELEPHONING SECRETLY AT
TWO A.M. IN THE MORNING . $
WHILE THEY , ON THE OTHER HAND - WELL , HE 'S BEEN WRITING T
O HER QUITE OPENLY . $
SHE EVEN READ HIS LETTERS OVER THE BREAKFAST TABLE . $
02 AND YOU SAID NOTHING ? $
03 I DIDN'T BELIEVE IT . $
I DIDN'T THINK ANY ILLICIT ROMANCE COULD BE CONDUCTED LIKE T
HAT . $
IN FACT , I MORE THAN ONCE ACCUSED HER OF MAKING THE WHOLE T
HING UP . $
02 WHY SHOULD SHE ? $
03 TO ANNOY ME , I SUPPOSE . $
02 TO MAKE YOU JEALOUS ? $
< ( SITTING AT R. OF TABLE . ) > $
03 I THOUGHT SHE 'D - SOMEHOW GOT AN IDEA I WAS CARRYING ON
WITH SOMEONE AND HAD - INVENTED THIS MAN - $
< ( HE LAUGHS . ) > $
I ACTUALLY THOUGHT SHE WAS WRITING LETTERS TO HERSELF . $
IT WAS ALL RATHER PATHETIC . $
RATHER AMUSING . $
UNTIL THE MAN TURNS UP HERE IN PERSON . $
02 I SEE . $
03 HE 'S NOT THE FIRST EITHER . $
THERE 'S BEEN FIVE OTHERS - $
02 FIVE ? $
03 INCLUDING A MAN OF SEVENTY , APPARENTLY . $
THAT REALLY WAS A BLOW TO MY PRIDE . $
OH , WELL , HER LIFE 'S HER OWN FROM NOW ON . $
< ( SITS IN CANE ARMCHAIR . ) > $
#55 $
02 YOU 'LL LET HER GO ? $
03 SHE 'S GOING . $
02 < ( RISING AND TURNING U.S. ) > $
DON'T YOU THINK IF YOU WENT IN THERE NOW , THIS MINUTE , AND
 TOLD HER ABOUT US , EVERYTHING , SHE 'D CHANGE HER MIND ? $
03 I DON'T SEE WHY . $
02 ISN'T THAT REALLY ALL SHE 'S WAITING FOR ? $
FOR YOU TO TELL HER THE TRUTH ? $
03 YOU MAY BE RIGHT . $
BUT THIS IS SUPPOSING THAT I DO WANT HER BACK , ISN'T IT ? $
02 PHILIP - BE HONEST . $
COULD YOU REALLY DO WITHOUT HER ? $
< ( KNEELS BY PHILIP'S CHAIR . ) > $
ASK YOURSELF , AS YOU 'RE SITTING THERE NOW , FULL OF THE BR
EAKFAST THAT SHE 'S COOKED FOR YOU , SITTING IN THE SUNSHINE
 . WAITING FOR THE LUNCH THAT 'S BOUND TO BE COMING - AND TH
E TEA AND THE SUPPER . $
AND YOU KNOW SHE 'LL HAVE MADE THE BED FOR YOU , NOT LIKE ME
 . $
YOU 'LL EVEN GET YOUR GLASS OF HOT MILK , I EXPECT . $
AND YOUR CLEAN SHIRT IN THE MORNING , AND YOUR CHANGE OF SOC
KS . $
THEY 'LL BE WAITING WHEN YOU GET UP . $
AND THAT 'S ALL SHEILA . $
I BET SHE EVEN CLEANS THE BATH OUT AFTER YOU , DOESN'T SHE ?
 $
03 < ( MUTTERING ) > $
NOW AND AGAIN . $
02 THEN MAKE IT UP WITH HER . $
< ( RISING . ) > $
BEFORE IT 'S TOO LATE . $
03 < ( RISING AND MOVING TO HER ) > $
I MIGHT . $
02 YOU MUST . $
DON'T YOU SEE , PHILIP , YOU BELONG TOGETHER - MUCH MORE THA
N WE EVER DID . $
< ( PHILIP NODS AND STARTS TO MOVE OFF - STANDS BY GATEPOST
. ) > $
03 TELL YOU WHAT , I 'LL THINK THE MATTER OVER . $
02 WHERE ARE YOU GOING ? $
03 LOOK FOR THE HOE . $
WANT TO COME ? $
02 PHILIP , I WARN YOU . $
I 'LL - I 'LL GO IN THERE AND TELL HER MYSELF - EVERYTHING .
 $
03 IF YOU CAN CATCH HER ATTENTION , YOU 'RE WELCOME . $
< ( GINNY MOVES AS IF TO GO INTO HOUSE , BUT STOPS SHORT OF
U.S. DOOR . ) > $
GO AHEAD , BY ALL MEANS , GO AHEAD . $
HOE ! $
< ( HE GOES OFF UP THE GARDEN SINGING " HI HO " ETC . ) > $
#56 $
02 < ( SHOUTING AFTER HIM ) > $
PHILIP ! $
ALL RIGHT , THEN , ALL RIGHT . $
< ( GREG ENTERS BEHIND HER , CLAD IN AN APRON AND BEARING A
TRAY , WITH TABLECLOTH , KNIVES , FORKS , SPOONS , FOUR SMAL
L PLATES , SALT AND PEPPER . $
GINNY TURNS , RESOLUTELY , AS IF TO MARCH STRAIGHT INTO THE
HOUSE AND COMES FACE TO FACE WITH HIM . ) > $
01 AH ! $
AT LAST . $
< ( HE KISSES HER CHEEK . ) > $
< ( GINNY STANDS FROZEN . $
GREG PUTS TRAY ON CHAIR BY TABLE . ) > $
I THOUGHT YOU 'D GOT LOST OR SOMETHING . $
I GOT HERE FIRST . $
02 < ( WEAKLY ) > $
GREG - $
< ( MOVES TO R. OF TABLE . ) > $
01 LIKE MY APRON ? $
THINK IT RATHER SUITS ME . $
IT 'S YOUR MOTHER'S . $
< ( HE PUTS USED SHERRY GLASSES ON TO TRAY ON TABLE . ) > $
02 MOTHER'S ? $
01 WE 'RE HAVING A BUSY MORNING . $
< ( HE PICKS UP SHERRY TRAY AND PUTS IT ON TROLLEY , BRUSHIN
G PAST GINNY , WHO BACKS INTO U.S. DOOR . ) > $
SO SORRY . $
02 WHO ? $
01 ME AND YOUR PARENTS . $
02 WHAT HAVE YOU BEEN SAYING ? $
< ( GETS BETWEEN HIM AND TABLE . ) > $
01 < ( BRUSHES PAST GINNY AGAIN - PICKS UP TABLECLOTH ) > $
SO SORRY - ALL RIGHT , ALL RIGHT , DON'T LOOK SO WORRIED . $
NOTHING TERRIBLE . $
I HAVEN'T SWORN ALL MORNING - $
02 WHAT ARE YOU DOING HERE ? $
01 < ( SPREADING CLOTH ) > $
IF YOU HADN'T MISSED THE TRAIN IT WOULD HAVE BEEN ALL RIGHT
. $
I PRESUME YOU MISSED THE TRAIN ? $
02 GREG , YOU IDIOT , I TOLD YOU NOT TO COME . $
< ( GREG GOES ROUND TABLE , SMOOTHING CLOTH . $
GINNY FOLLOWS HIM . ) > $
01 WHY NOT ? $
WE 'RE GETTING ON LIKE A HOUSE ON FIRE . $
AT LEAST , YOUR MOTHER AND I ARE . $
< ( LAYS SIDE PLATES . ) > $
IN FACT , SHE 'S EVEN PUTTING IN A GOOD WORD FOR ME WITH THE
 OLD MAN . $
SEE IF SHE CAN PERSUADE HIM . $
02 TO DO WHAT ? $
01 LET US GET MARRIED , OF COURSE . $
#57 $
< ( GREG PUTS CUTLERY IN BUNCH ON TABLE . $
GINNY SITS ON CHAIR D.L. OF BENCH . $
GREG MOVES TOWARDS HER . ) > $
YOU WERE RIGHT ABOUT HIM , BY THE WAY - $
02 I WAS ? $
01 I 'LL SAY YOU WERE . $
02 WHAT DID HE - SAY ? $
01 WELL , HE 'S ECCENTRIC , ISN'T HE ? $
COULDN'T REALLY GET THROUGH TO HIM . $
IT MIGHT HAVE BEEN ME , I DON'T KNOW . $
HE DIDN'T TAKE TO THE IDEA MUCH , ANYWAY . $
< ( MOVES ROUND TABLE , PUSHING IN CHAIRS . ) > $
PERHAPS YOU COULD HAVE A WORD WITH HIM , TOO . $
TRY AND SORT HIM OUT . $
02 YES , YES , I WILL . $
01 GOOD . $
02 PROVIDING YOU 'RE OUT OF THE WAY WHILE I TALK TO HIM . $
01 OH YES , SURE . $
< ( PICKS UP TRAY FROM CHAIR . ) > $
02 < ( RISING AND MOVING TO HIM ) > $
WHY DON'T YOU LEAVE QUIETLY NOW ? $
GET THE NEXT TRAIN BACK AND I 'LL TRY AND SEE WHAT I CAN DO
. $
01 I CAN'T DO THAT . $
02 WHY NOT ? $
01 I 'VE BEEN INVITED TO LUNCH . $
YOUR MOTHER INSISTED . $
SHE 'D BE VERY HURT . $
02 BUT SURELY , IF I - $
01 NO , I COULDN'T DO THAT . $
I 'LL HAVE TO STAY . $
I 'LL JUST KEEP OUT OF THE WAY FOR A BIT IF YOU LIKE . $
02 YOU MUST GO . $
01 I CAN'T . $
BE REASONABLE ABOUT IT . $
ANYWAY , I 'D BETTER GET BACK TO MY KITCHEN . $
I 'M INVOLVED IN A LARGE SCALE COOKING OPERATION , ROLLING O
UT PASTRY FOR YOUR MOTHER . $
VERY SATISFYING . $
NO WONDER COOKS ARE FULFILLED PEOPLE . $
ARE YOU COMING ? $
< ( STARTS TO GO OFF THROUGH D.S. DOOR . ) > $
02 GREG . $
01 < ( COMING BACK ) > $
WHAT ? $
02 THERE 'S SOMETHING I HAVE TO TELL YOU . $
01 GO ON . $
02 WHEN I DO , YOU 'LL PROBABLY WALK OUT OF HERE AND NEVER W
ANT TO SEE ME AGAIN . $
YOU 'RE RIGHT , YOU SEE , GREG , NOT TO TRUST ME - $
01 WHAT ARE YOU TALKING ABOUT ? $
02 I 'M TRYING TO BE HONEST WITH YOU . $
I DON'T KNOW WHERE TO BEGIN . $
01 WELL ? $
WHAT HAVEN'T YOU TOLD ME ? $
YOU MEAN ABOUT THE BLOKE ON THE PHONE ? $
IS THAT IT ? $
02 THAT 'S PART OF IT . $
OH , WHERE DO I START ? $
TO BEGIN WITH , SHEILA , THAT WOMAN IN THE KITCHEN , ISN'T M
Y MOTHER . $
01 ISN'T - ? $
02 NO . $
I 'M NOT HER DAUGHTER . $
I 'M NO RELATION OF HERS AT ALL . $
ON TOP OF THAT , I - OH GOD - $
01 < ( MOVING TOWARDS HER ) > $
HEY , HEY , HEY - IT 'S ALL RIGHT . $
02 < ( TEARFUL ) > $
I HAVEN'T FINISHED - $
01 YOU DON'T NEED TO , YOU DON'T NEED TO , LOVE , I UNDERSTA
ND . $
02 BUT GREG - $
01 THAT 'S ENOUGH . $
NOW COME ON , SIT DOWN . $
< ( SEATS HER IN CANVAS CHAIR . ) > $
TAKE IT CALMLY . $
DON'T GET YOURSELF WORKED UP . $
YOU 'RE SO HIGHLY STRUNG . $
< ( HE GIVES HER HIS HANDKERCHIEF . ) > $
HERE . $
MOP UP . $
02 THANK YOU . $
< ( SHE BLOWS HER NOSE . ) > $
01 THERE WE ARE ! $
BETTER ? $
02 YES . $
01 YOU 'VE LET THIS GET ON TOP OF YOU , HAVEN'T YOU ? $
02 < ( WEAKLY ) > $
HAVE I ? $
01 IS THAT WHY YOU DIDN'T WANT ME TO MEET THEM ? $
IS THAT IT ? $
YOU 'VE BEEN GOING ROUND NURSING THIS SO-CALLED GUILTY SECRE
T , $
< ( PULLS CANE ARMCHAIR TOWARDS GINNY AND SITS . ) > $
BECAUSE YOU 'VE BEEN FRIGHTENED TO TELL ME ? $
02 YES . $
01 ALL RIGHT . $
SO SHE 'S NOT YOUR REAL MOTHER . $
SO WHAT ? $
NOBODY KNOWS , DO THEY ? $
EVEN IF THEY DO , NOBODY 'S GOING TO CONDEMN YOU FOR IT . $
CERTAINLY NOT ME . $
02 BUT GREG - $
01 WHY SHOULD I ? $
I LOVE YOU FOR YOU , NOT WHO YOUR PARENTS ARE , OR WERE . $
#59 $
02 WHAT ARE - ? $
01 NOW COME ON , SNAP OUT OF IT . $
THIS ISN'T THE VICTORIAN AGE , YOU KNOW . $
I 'M NOT GOING TO RUN OFF BECAUSE OF THAT . $
YOU SHOULD HAVE TOLD ME , STRAIGHT OUT , INSTEAD OF BOTTLING
 IT UP . $
ALL YOU HAD TO SAY WAS " GREG , I 'M ILLEGITIMATE , " AND I
'D HAVE SAID , " O.K. , FINE . " $
THAT 'S ALL . $
02 WHAT ? $
01 COME ON , SAY IT . $
YOU 'VE GOT TO LICK THIS THING . $
02 SAY WHAT ? $
01 SAY " I 'M ILLEGITIMATE " - COME ON - $
02 NOW , GREG - $
01 I 'M ILLEGITIMATE . $
SAY IT . $
02 GREG , I - $
01 COME ON . $
I 'M ILLEGITIMATE - $
02 I 'M - $
01 - ILLEGITIMATE . $
02 ILLEGITIMATE . $
01 AGAIN . $
02 I 'M ILLEGITIMATE . $
01 GOOD , AGAIN . $
< ( SHEILA ENTERS FROM D.S. DOOR WITH BOWL OF FRUIT AND FOUR
 NAPKINS . $
SHE PAUSES IN DOORWAY . ) > $
02 I 'M ILLEGITIMATE . $
01 THERE YOU ARE . $
ONCE MORE . $
YELL IT OUT . $
02 I 'M ILLEGITIMATE ! $
01 WELL DONE . $
04 HALLO . $
01 < ( RISING ) > $
OH , HALLO . $
04 HAVING A TIFF ? $
01 NO , NO . $
A BIT OF THERAPY . $
04 OH , THAT 'S NICE . $
< ( PUTS BOWL OF FRUIT ON TROLLEY . ) > $
LOVELY WEATHER FOR IT . $
01 YES . $
04 < ( PUTTING NAPKINS ON TABLE ) > $
ARE YOU GOING TO FINISH THE PASTRY ? $
#60 $
01 OF COURSE . $
< ( MOVING ON TO TERRACE . ) > $
GET KNEADING AGAIN . $
COMING IN , GINNY ? $
WE CAN FIND HER SOMETHING TO DO , CAN'T WE ? $
04 YES , I 'M SURE WE CAN . $
01 COME ON , LOVE . $
< ( GINNY RISES - STARTS TO EDGE TOWARDS GATE . ) > $
02 < ( WEAKLY ) > $
YES . $
04 YOU TWO CARRY ON . $
I 'LL JUST LAY THE TABLE . $
< ( STARTS SETTING CUTLERY . ) > $
01 RIGHT . $
< ( TAKES GINNY'S ARM - LEADS HER TO U.S. DOOR . ) > $
COME ON , THIS WAY . $
YOU OUGHT TO KNOW YOUR WAY AROUND BY NOW . $
< ( GREG AND GINNY GO IN . $
PHILIP ENTERS FROM D.R. $
HE STOPS WHEN HE SEES SHEILA . $
HE CLEARS HIS THROAT AND STARTS ROLLING DOWN SHIRT SLEEVES .
 ) > $
04 < ( WITHOUT TURNING ROUND ) > $
HALLO , DEAR . $
BEEN BUSY ? $
03 YES . $
04 I EXPECT YOU 'RE HUNGRY . $
LUNCH WON'T BE LONG . $
03 AH . $
< ( PAUSE . ) > $
SHEILA - I THINK WE OUGHT TO STRAIGHTEN OUT ONE OR TWO THING
S . $
04 OUGHT WE ? $
03 I THINK SO . $
04 WHAT SORT OF THINGS ? $
03 WELL , I 'D LIKE TO KNOW YOUR PLANS . $
04 PLANS ? $
03 YES . $
YOUR IMMEDIATE PLANS . $
04 OH . $
WELL , THEY 'RE NOTHING VERY SPECTACULAR . $
I 'LL FINISH LAYING THE TABLE . $
THEN I 'M GOING BACK INTO THE KITCHEN TO SEE HOW THEY 'RE GE
TTING ON WITH THE PASTRY . $
03 I MEANT SLIGHTLY FURTHER AHEAD THAN THAT . $
I DON'T THINK THERE 'S ANY NEED TO BE FACETIOUS . $
04 WELL - LUNCH - THAT 'S ABOUT ALL I 'VE GOT TO - $
03 < ( MOVING ON TO TERRACE ) > $
SHEILA , FOR HEAVEN'S SAKE . $
THIS IS NO TIME FOR AVOIDING ISSUES . $
WE 'VE GOT TO FACE THINGS SOONER OR LATER - $
04 DON'T SHOUT , DEAR , DON'T SHOUT . $
THEY CAN HEAR YOU IN THE ROAD . $
WE 'VE GOT TO FACE WHAT ? $
#61 $
03 YOUR FUTURE . $
HOW DO YOU INTEND TO SPEND THE REST OF YOUR LIFE ? $
04 WHY DO YOU ASK ME THAT ? $
IS IT INSURANCE OR SOMETHING ? $
03 < ( SHOUTING ) > $
SHEILA ! $
PLEASE , PLEASE - TALK TO ME . $
FOR ONCE , WOMAN , WHEN I ASK A QUESTION , TRY , TRY TO GIVE
 ME THE ANSWER TO THE SAME QUESTION AND NOT ONE YOU HAPPEN T
O HAVE MADE UP . $
I AM NOT TALKING ABOUT LUNCH , I AM NOT TALKING ABOUT INSURA
NCE . $
I AM TALKING ABOUT YOU AND THAT LOUT IN THE KITCHEN . $
04 LOUT ? $
03 THE YOUNG MAN , THEN , WHO CALMLY ACCOSTED ME IN MY BEAUT
IFUL GARDEN AND ASKED ME IF HE COULD MARRY MY WIFE . $
04 YOUR WIFE ? $
YOU MEAN ME ? $
03 YES . $
04 YOU MEAN GREGORY ? $
03 YES . $
04 GREGORY ASKED YOU IF HE COULD MARRY ME ? $
03 DON'T START PRETENDING YOU DIDN'T KNOW . $
< ( PAUSE . ) > $
04 HAVE YOU BEEN TO THE PUB THIS MORNING ? $
03 NO . $
WHY ? $
04 SOUNDS AS IF YOU 'VE BEEN IN THERE SINCE LAST NIGHT . $
WHAT ON EARTH HAS COME OVER YOU ? $
TALK ABOUT ME BEING HARE-BRAINED - $
03 YOU DENY IT ? $
04 HE CERTAINLY NEVER MENTIONED IT TO ME . $
REALLY , DEAR , YOU 'VE GOT HOLD OF ENTIRELY THE WRONG END O
F THE STICK . $
I DON'T KNOW HOW YOU MANAGED IT . $
LET ME PUT YOUR MIND AT EASE AND SAY THAT GREGORY HAS CERTAI
NLY NO INTENTION OF WANTING TO MARRY ME . $
03 HE HASN'T ? $
04 OF COURSE NOT . $
ANYWAY , IT 'S OUT OF THE QUESTION . $
HE 'S ALREADY ENGAGED . $
POOR BOY , NO WONDER HE WAS CONFUSED . $
WHAT HAVE YOU BEEN SAYING TO HIM ? $
03 YOU ALSO DENY THE FOUR OR FIVE OTHERS ? $
04 WHAT ? $
03 AND THE MAN OF SEVENTY ? $
#62 $
04 WHO 'S HE ? $
03 YOUR LOVER . $
04 OF SEVENTY ? $
THANK YOU VERY MUCH . $
I 'M FLATTERED . $
03 I SEE . $
I SEE . $
< ( PULLS OUT CHAIR AT R. OF TABLE AND SITS . $
PAUSE . ) > $
04 YOU KNOW , I REALLY THINK YOU OUGHT TO WEAR YOUR HAT WHEN
 YOU 'RE GARDENING IN THE SUN , DON'T YOU ? $
03 SO IT 'S ALL - UNTRUE ? $
04 YES , DEAR . $
03 THERE 'S NO ONE ELSE ? $
04 AH - HA ! $
WOULDN'T YOU LIKE TO KNOW ? $
03 BUT IT 'S NOT - GREGORY ? $
04 NO , DEAR . $
NOW WHY DON'T YOU SIT DOWN AND HAVE A NICE REST ? $
YOU LOOK VERY HOT AND FLUSTERED AND YOU 'VE OBVIOUSLY BEEN O
VERDOING IT AGAIN . $
IS IT THAT HOE THAT 'S UPSET YOU ? $
03 WHAT HOE ? $
04 NEVER MIND . $
I 'LL TELL YOU WHAT , WE 'LL ALL HAVE A JOLLY GOOD LOOK FOR
IT AFTER LUNCH , HOW 'S THAT ? $
NOW JUST SIT QUIETLY . $
DON'T MOVE . $
< ( GREG ENTERS FROM D.S. DOOR WITH BOTTLE OF WINE . ) > $
OH , THANK YOU , GREGORY . THAT 'S SO KIND OF YOU . $
< ( TAKES BOTTLE AND PUTS IT ON TROLLEY . ) > $
01 I 'VE FINISHED THE PASTRY . $
IT 'S AS FLAT AS IT WILL GO . $
04 < ( PICKING UP SHERRY TRAY AND MOVING TO U.S. DOOR ) > $
OH , I 'LL SEE TO IT NOW . $
< ( TO GREG . ) > $
DON'T UPSET MY HUSBAND AGAIN IF YOU CAN HELP IT . $
< ( GOES THROUGH U.S. DOOR - REAPPEARS AT D.S. DOOR AND HISS
ES AT GREG . ) > $
I THINK HE 'S A LITTLE OVER-TIRED . $
01 OH , RIGHT . $
< ( SHEILA GOES INDOORS AGAIN . ) > $
< ( RATHER NERVOUSLY . ) > $
HALLO . $
03 HALLO . $
< ( PAUSE . ) > $
I WAS JUST CHEWING OVER OUR CHAT TOGETHER EARLIER - $
01 OH , WERE YOU ? $
03 YES . $
I THINK WE MIGHT HAVE BEEN - I THINK THERE MIGHT HAVE BEEN A
 CERTAIN AMOUNT OF MISUNDERSTANDING . $
01 REALLY ? $
I HOPE SO . $
#63 $
03 SO DO I . $
< ( RISES . ) > $
YOU SEE , FOR REASONS I CAN'T REALLY BEGIN TO JUSTIFY , REAL
LY A RATHER COMPLICATED SET OF CIRCUMSTANCES - $
< ( MOVING SLOWLY OFF TERRACE . ) > $
- FOLLOWING ON A RATHER PECULIAR CONVERSATION THAT I 'D JUST
 BEEN HOLDING , LED ME TO UNDERSTAND , QUITE ERRONEOUSLY , T
HAT YOU WANTED TO MARRY MY WIFE . $
THAT 'S THE IMPRESSION I GOT AT THE TIME , ANYWAY - $
< ( PAUSE . ) > $
01 YOU THOUGHT I WANTED TO MARRY YOUR WIFE ? $
03 YES . $
SILLY MISUNDERSTANDING . $
< ( PAUSE . ) > $
01 SHE 'S MARRIED , ISN'T SHE ? $
03 YES , YES QUITE . $
< ( MOVING ABOUT RESTLESSLY . ) > $
GOT THAT IDEA FROM SOMEWHERE . $
01 VERY ODD . $
03 YES . $
< ( POINTING AT GREG . ) > $
YOU DON'T , DO YOU ? $
01 WHAT ? $
03 WANT TO MARRY HER ? $
01 NO . $
03 AH , WELL . $
THAT LITTLE OBSTACLE 'S OUT OF THE WAY . $
ALWAYS BEST TO KNOW WHERE ONE STANDS IN THESE MATTERS . $
01 YES . $
< ( PAUSE . ) > $
IF YOU DON'T MIND ME SAYING , IT SEEMS A RATHER PECULIAR THI
NG TO THINK , DOESN'T IT ? $
03 I SUPPOSE IT DOES . $
01 MIND YOU , YOU MUST HAVE THOUGHT I WAS RATHER PECULIAR TO
O , COME TO THAT . $
03 I 'M AFRAID I DID , RATHER . $
01 < ( MOVING TO PHILIP ) > $
YOU KNOW , I GOT THE IMPRESSION THAT YOU DID . $
IT 'S A HORRIBLE FEELING THAT , ISN'T IT ? $
KNOWING THAT SOMEONE IS LOOKING AT YOU AND THINKING THIS IS
A PECULIAR PERSON , AND NOT KNOWING WHY THEY 'RE THINKING IT
 . $
LIKE ARRIVING AT A PARTY IN A NEW SUIT WITH THE LABEL STILL
STITCHED ON THE SEAT OF YOUR TROUSERS . $
03 REALLY ? $
THAT 'S - NOT HAPPENED TO ME . $
01 YOU 'RE LUCKY THEN . $
I MAKE A HABIT OF THINGS LIKE THAT . $
NOT THAT PARTICULARLY . $
I 'VE ONLY HAD ONE SUIT AND THAT WAS FATHER'S . $
BUT YOU KNOW WHAT I MEAN ? $
#64 $
03 OH , YES , YES . $
01 I 'M SORRY YOU THOUGHT THAT . $
03 FORGET IT . $
< ( MOVING ON TO TERRACE . ) > $
01 THANKS . $
03 THERE IS - THERE IS JUST ONE SMALL POINT , THOUGH . $
01 WHAT ? $
03 IF YOU DIDN'T REALLY WANT TO MARRY MY WIFE , WHO WAS IT Y
OU DID WANT TO MARRY ? $
01 WELL - YOUR DAUGHTER . $
03 AH . $
< ( PAUSE . ) > $
MY DAUGHTER . $
< ( GROPES FOR BACK OF CHAIR AT U.S. OF TABLE . ) > $
01 THAT 'S RIGHT . $
03 YOU WANT TO MARRY MY DAUGHTER , DO YOU ? $
01 IF YOU DON'T MIND ? $
03 AH , WELL . $
NOW YOU HAVE POSED A BIT OF A PROBLEM . $
01 HAVE I ? $
03 IT 'S NOT YOUR DAY , IS IT ? $
01 OH ? $
03 SORRY . $
I HAVE AN AUNT WHO 'S ELIGIBLE . $
HAS BEEN ELIGIBLE FOR YEARS , SO SHE MIGHT NOT BE QUITE WHAT
 YOU 'RE LOOKING FOR . $
THOUGH IF YOU 'RE DESPERATE , SHE MIGHT DO YOU . $
OR THERE 'S MY WIFE'S COUSIN NATALIE WHO SEEMS TO WANT CHEER
ING UP - $
01 NO . $
IT 'S ONLY YOUR DAUGHTER I 'M REALLY INTERESTED IN . $
03 THEN I 'M AFRAID YOU 'RE RIGHT OUT OF LUCK - $
01 WHY ? $
< ( GINNY ENTERS FROM D.S. DOOR WITH FOUR GLASSES - MOVES TO
 L.C. ) > $
02 HALLO . $
03 OH , HALLO , GINNY . $
01 HALLO . $
02 < ( NERVOUSLY ) > $
WELL . $
YOU 'RE BOTH LOOKING SOLEMN . $
03 NO , NO - $
< ( TURNS U.S. , THEN RIGHT ROUND TO LOOK AT GREG . ) > $
01 YES . $
< ( PAUSE . ) > $
#65 $
02 ANYTHING WRONG ? $
01 NO . $
NO . $
< ( GINNY SETS TWO GLASSES ON THE TABLE . ) > $
YOUR FATHER WAS JUST TELLING ME SOMETHING . $
< ( GINNY STOPS AT U.S. OF TABLE . $
PHILIP TURNS TO LOOK AT GREG IN AMAZEMENT . $
PAUSE . ) > $
02 WAS HE ? $
01 HE SEEMS TO WANT ME TO MARRY HIS AUNT NOW - $
03 WHO ? $
01 YOUR AUNT - $
03 WHO DID YOU SAY TOLD YOU THAT ? $
01 YOU DID . $
02 YOUR AUNT ! $
< ( LAUGHS GAILY . ) > $
< ( PHILIP SHUSHES GINNY , THEN TURNS TO GREG . ) > $
03 WHAT DID YOU CALL ME ? $
02 < ( PUTS TWO REMAINING GLASSES ON TABLE ) > $
OH DEAR , HOW STUPID OF ME . $
I BET YOU TWO HAVEN'T EVEN BEEN INTRODUCED PROPERLY , HAVE Y
OU ? $
01 03 OF COURSE , WE HAVE ! $
03 DON'T BE SILLY . $
02 DADDY , THIS IS GREGORY , THE ONE I 'VE TOLD YOU SO MUCH
ABOUT . $
GREGORY , MEET MY FATHER . $
< ( SLIGHT PAUSE . $
THEN PHILIP MOVES TO GREG AND SHAKES HIM BY THE HAND . ) > $
03 < ( GENIALLY ) > $
HOW DO YOU DO , OLD BOY , HOW DO YOU DO . $
< ( TURNS TO GINNY . ) > $
YES ! $
< CURTAIN > $
< SCENE 2 > $
< THE SAME . $
AN HOUR OR SO LATER . $
THE FOUR ARE SEATED ROUND THE TABLE . $
THEY HAVE JUST FINISHED LUNCH . $
GINNY IS SMOKING A CIGARETTE ; GREG IS SMOKING A CIGAR . > $
04 HAS EVERYBODY HAD ENOUGH ? $
02 THANK YOU . $
#66 $
01 MARVELLOUS $
03 MORE THAN ENOUGH ! $
< ( STARTS TO LIGHT HIS CIGAR . ) > $
04 GOOD . $
< ( SHE RISES . ) > $
JUST A MOMENT . $
I 'LL FETCH US SOME COFFEE . $
01 CAN I HELP ? $
04 NO , NO , THANK YOU . $
IT 'S ALL QUITE READY . $
I 'VE ONLY TO BRING IT OUT - $
< ( SHE GOES THROUGH D.S. DOOR . ) > $
01 YOUR MOTHER CAN CERTAINLY COOK A MEAL , I 'LL SAY THAT .
$
02 YES . $
CAN'T SHE ? $
03 SHE 'S A FINE WIFE AND MOTHER . $
01 HAVE YOU ALWAYS LIVED IN THE COUNTRY ? $
03 OH , YES . $
EVER SINCE GINNY WAS - SO HIGH . $
02 YES . $
03 YOU COULD SAY THIS GARDEN HAS WATCHED HER GROW UP , COULD
N'T YOU , GINNY ? $
02 YES . $
03 SOMETIMES , YOU KNOW , IN THE LONG SUMMER EVENINGS , HER
MOTHER AND I SIT HERE , SHE WITH HER CIGAR - I MEAN ME WITH
MY CIGAR AND SHE WITH HER KNITTING - AND BETWEEN US WE CAN S
TILL PICTURE HER AS SHE WAS THEN , JUST AS IF IT WERE TODAY
- SCAMPERING OVER THAT ROCKERY . $
01 REALLY ? $
03 FUNNY LITTLE THING SHE WAS THEN . $
VERY PLUMP LITTLE GIRL , SHE WAS . $
01 WAS SHE ? $
03 OH YES . $
IN FACT ONE COULD ALMOST SAY FAT . $
CERTAINLY OVERWEIGHT . $
02 DADDY - $
03 HER MOTHER AND I WERE QUITE WORRIED ABOUT IT . $
ALMOST CIRCULAR , SHE WAS - $
01 I 'D NEVER HAVE GUESSED THAT - $
02 DADDY 'S EXAGGERATING , AS USUAL . $
03 < ( WARMING TO THE SUBJECT ) > $
REMEMBER THE NICKNAME WE USED TO HAVE FOR YOU , GINNY ? $
DO YOU REMEMBER ? $
02 NO , DADDY , IT 'S ALL FORGOTTEN . $
01 WHAT WAS THAT ? $
#67 $
02 NOTHING , NOTHING . $
01 WHAT WAS IT ? $
03 < ( CONVULSED WITH LAUGHTER ) > $
JUMBO ! $
01 JUMBO ? $
03 JUMBO GINNY - VERY FUNNY I THOUGHT . $
01 JUMBO GINNY , IT 'S RATHER GOOD . $
< ( THEY LAUGH . $
GINNY GLOWERS . ) > $
02 HOW VERY CHILDISH . $
03 YES , BUT YOU WERE ONLY A CHILD THEN , WEREN'T YOU ? $
02 BUT I 'M NOT NOW . $
03 FLAT FEET SHE HAD , TOO . $
I CAN REMEMBER THEM VERY CLEARLY . $
BIG FLAT FEET - USED TO THUNDER ROUND THE PLACE LIKE A TRAM
- $
02 I DID NOT . $
03 YOU WERE TOO YOUNG TO REMEMBER . $
01 SHE 'S CHANGED A LOT ANYWAY . $
03 OH YES , YES . $
SHE HAS . $
I ALWAYS THINK IT 'S VERY LUCKY THAT YOU NEVER KNOW THE PERS
ON YOU 'RE IN LOVE WITH WHEN THEY 'RE CHILDREN . $
I MEAN , I WONDER IF YOU 'D HAVE FELT THE SAME ABOUT GINNY ,
 GREG , IF YOU 'D KNOWN HER WITH STRAWBERRY JAM ROUND HER FA
CE , OR WHEN SHE HAD THAT SKIN TROUBLE , OR BEFORE HER TEETH
 WERE STRAIGHTENED - $
02 DADDY , PLEASE SHUT UP . $
GREG ISN'T IN THE LEAST INTERESTED . $
03 I 'VE GOT SOME PHOTOS SOMEWHERE , GREG . $
I 'LL SHOW THEM TO YOU BEFORE YOU GO . $
THINK YOU 'LL FIND THEM AMUSING . $
< ( SHEILA ENTERS THROUGH D.S. DOOR CARRYING A TRAY OF COFFE
E THINGS . ) > $
04 HERE WE ARE . $
< ( SETS TRAY DOWN ON STOOL D.R. ) > $
NOW . $
BLACK OR WHITE FOR EVERYONE ? $
GINNY ? $
02 BLACK , PLEASE . $
< ( RISES AND MOVES TO SHEILA . ) > $
04 < ( POURING COFFEE ) > $
I 'M SO GLAD WE DECIDED TO COME OUTSIDE . $
IT 'S SO STUFFY INDOORS . $
< ( HANDS COFFEE TO GINNY , WHO WANDERS U.S. ) > $
THERE YOU ARE . $
GREG ? $
WHITE , THANK YOU . $
YES , I WAS JUST SAYING , THIS IS A GREAT PLACE TO GROW UP .
 $
04 YES , I SUPPOSE IT IS . $
01 I MEAN THE AIR , TO START WITH - $
#68 $
04 OH , YES . $
AND THE SOIL . $
< ( HANDS COFFEE TO GREG . ) > $
01 SOIL ? $
04 IT 'S VERY RICH JUST AROUND HERE . $
01 I WAS THINKING , MORE , THAT THERE WAS SOMEWHERE TO PLAY
. $
04 PLAY ? $
ARE WE TALKING ABOUT FLOWERS OR CHILDREN ? $
03 BLACK . $
02 FLOWERS . $
04 BLACK FLOWERS ? $
OH YES , FLOWERS , I THOUGHT WE WERE . $
01 WERE WE ? $
04 I BEG YOUR PARDON ? $
01 I THOUGHT WE WERE TALKING ABOUT CHILDREN . $
04 REALLY ? $
HOW DID WE GET ON TO THAT SUBJECT ? $
03 THE SOIL ROUND HERE IS RENOWNED FOR BULB GROWING . $
04 YES , THAT 'S VERY TRUE . $
FAMOUS FOR IT . $
01 IS IT ? $
03 DEFINITELY . $
< ( GINNY SITS IN CANVAS CHAIR . $
GREG PUTS MILK IN HIS COFFEE . ) > $
04 < ( PUTTING CUP ON TABLE ) > $
THERE YOU ARE . $
03 THANK YOU , DARLING . $
04 < ( MOVING BACK TO POUR LAST CUP OF COFFEE ) > $
YOU KNOW , I JUST CAN'T GET OVER THIS WEATHER . $
02 YES . $
IT 'S A PITY REALLY , THAT GREG AND I WILL HAVE TO BE LEAVIN
G SOON . $
04 OH , WILL YOU ? $
01 WILL WE ? $
03 WHAT A SHAME . $
< ( RISES EAGERLY AND MOVES BELOW TABLE . ) > $
04 DON'T GO ON OUR ACCOUNT , WILL YOU ? $
WE 'VE NOTHING PLANNED FOR THE REST OF TO-DAY , HAVE WE , PH
ILIP ? $
< ( PHILIP RETURNS DEJECTEDLY TO SIT AT TABLE . $
PAUSE . ) > $
03 HANG ON , HANG ON - AREN'T WE SUPPOSED TO BE GOING OUT ?
$
04 NO . $
WHERE ? $
#69 $
03 I FORGOT TO TELL YOU . $
THE COOPERS TELEPHONED . $
THEY WANT US TO GO ROUND THERE FOR TEA . $
04 WHEN ? $
03 AS SOON AFTER LUNCH AS WE CAN MAKE IT . $
I FORGOT TO TELL YOU . $
< ( GREG SITS IN CANE ARMCHAIR . ) > $
04 I THOUGHT THE COOPERS WERE IN ITALY . $
03 BACK YESTERDAY . $
04 THEY ONLY WENT ON WEDNESDAY . $
03 CURRENCY RESTRICTIONS . $
< ( SHEILA MOVES U.S. OF TABLE . ) > $
THEY 'D RUN OUT OF LIRE BY THURSDAY NIGHT . $
04 OH , WHAT BAD LUCK . $
03 WASN'T IT ? $
I THOUGHT WE 'D BETTER GO OVER AND CONSOLE THEM . $
< ( TO GREG AND GINNY . ) > $
OUR FRIENDS THE COOPERS . $
04 < ( SITTING AT TABLE ) > $
THEY HAD BEEN LOOKING FORWARD TO IT , TOO . $
< ( TO GREG AND GINNY . ) > $
IT DOES LOOK AS IF WE 'LL HAVE TO POP OVER AND SEE THEM . $
I AM SORRY ABOUT THIS . $
01 THAT 'S ALL RIGHT . $
04 I HATE TO THINK THAT WE 'RE DRIVING YOU AWAY . $
02 NO , WE DO HAVE TO GO . $
01 < ( TO HER ) > $
WHY ? $
02 < ( TO HIM ) > $
WE HAVE TO . $
04 WHAT ? $
01 WE HAVE TO . $
04 IF YOU 'RE QUITE SURE - $
01 < ( TO GINNY ) > $
WHY ? $
02 SSSSH ! $
04 < ( TO GINNY ) > $
DO YOU LIVE IN LONDON ? $
03 GREG ? $
01 YES , I 'VE GOT A COUPLE OF - ROOMS . $
04 THAT 'S NICE . $
01 WELL , ONE ROOM WITH A WASHSTAND DOWN THE MIDDLE , REALLY
 . $
#70 $
04 HOW INTERESTING . $
AND HOW ABOUT - ? $
< ( TURNING TO GINNY . ) > $
02 < ( INTERRUPTING SWIFTLY ) > $
I 'VE GOT THE SAME FLAT , OF COURSE . $
04 HAVE YOU ? $
02 YES . $
04 YES , OF COURSE . $
IS IT NICE ? $
02 OH , OF COURSE , YOU 'VE NEVER BEEN TO SEE ME , HAVE YOU
? $
04 NO , OF COURSE WE HAVEN'T - $
03 NEITHER OF US HAS . $
02 NO . $
WELL , YOU MUST BOTH COME SOME TIME . $
THEY 'D LIKE IT , WOULDN'T THEY , GREG ? $
01 YES . $
04 THANK YOU . $
01 BESIDES , YOU OUGHT TO SEE WHAT SORT OF CONDITIONS SHE 'S
 LIVING IN . $
04 I WOULDN'T WANT TO INTRUDE . $
02 YOU 'RE VERY WELCOME . $
04 I 'M NOT OFTEN IN LONDON , REALLY . $
OF COURSE , PHILIP GOES , BUT I FIND THE TRAFFIC AND CLATTER
 GETS ME DOWN SO MUCH . $
I 'M A REAL COUNTRY BUMPKIN , I 'M AFRAID . $
02 I THINK YOU GET USED TO IT . $
04 DEPENDS WHERE YOU WERE BROUGHT UP , I SUPPOSE . $
02 YES . $
04 WERE YOU BORN IN LONDON OR IN THE COUNTRY ? $
< ( GINNY CHOKES ON HER COFFEE . $
SHE RISES , COUGHING , PUTS HER CUP DOWN AND MOVES TOWARDS U
.S. DOOR . $
GREG RISES AND FOLLOWS HER . ) > $
03 STEADY , STEADY - $
04 ARE YOU ALL RIGHT ? $
< ( SHE RISES . ) > $
< ( PHILIP RISES AND MOVES TOWARDS D.S. DOOR . ) > $
01 GINNY - $
02 < ( GASPING ) > $
JUST - THE COFFEE - COULD I POSSIBLY GET - A GLASS OF WATER
? $
04 YES , OF COURSE . $
I 'LL FETCH ONE - $
02 NO , NO - IT 'S ALL RIGHT . $
I 'LL MANAGE . $
#71 $
< ( GINNY GOES INTO THE HOUSE THROUGH U.S. DOOR . $
PHILIP STANDS AT THE D.S. DOOR SHOUTING AND GESTICULATING .
) > $
04 < ( LOOKING AFTER HER ) > $
I OUGHT TO GO WITH HER . $
03 SHE 'LL BE ALL RIGHT . $
04 POOR THING . $
I KNOW WHAT IT 'S LIKE . $
01 IT 'S ALL RIGHT , I KNOW WHAT 'S WORRYING HER - HER TROUB
LE . $
04 YES , YOU POUR IT DOWN YOUR WINDPIPE - $
01 AND YOU KNOW THE CAUSE - $
04 IT 'S A VALVE THAT DOESN'T OPEN PROPERLY . $
< ( PHILIP SITS AT TABLE . ) > $
IT STICKS - LIKE THAT . $
< ( SHE INDICATES . ) > $
01 REALLY ? $
I DIDN'T KNOW THAT . $
04 < ( MOVING TO TABLE , PICKING UP HER COFFEE CUP ) > $
NEITHER DID I , BEFORE . $
< ( MOVES TOWARDS STOOL . ) > $
MORE COFFEE , ANYONE ? $
01 NO , THANKS . $
04 POOR GIRL , I HOPE SHE 'S ALL RIGHT . $
03 01 SHE 'LL BE ALL RIGHT . $
04 I MUST SAY SHE 'S VERY SWEET . $
I 'VE QUITE TAKEN TO HER , PHILIP . $
< ( GREG STARTS LAUGHING . $
PHILIP STARES AT HIM , THEN JOINS IN . ) > $
WHAT DOES THAT MEAN ? $
01 I HOPE YOU HAVE . $
03 RATHER ! $
< ( HE AND GREG ARE AGAIN CONVULSED WITH LAUGHTER . ) > $
04 < ( LAUGHING UNCERTAINLY ) > $
YES . $
< ( SITS IN CANVAS CHAIR . ) > $
01 DO YOU MISS HER ? $
04 MMMM ? $
01 I MEAN - WOULD YOU RATHER SHE LIVED NEARER , RATHER THAN
IN TOWN ? $
04 THAT 'S UP TO HER , SURELY ? $
#72 $
01 YOU DON'T LOOK THE WORRYING SORT , ANYWAY . $
03 OH , NO . $
WE DON'T LET IT WORRY US . $
04 WHAT ? $
03 THE THOUGHT OF PEOPLE LIVING IN TOWN . $
WE DON'T LET IT WORRY US , DO WE ? $
04 I CAN'T SAY WE DO . $
01 THAT 'S A VERY HEALTHY ATTITUDE . $
< ( MOVES TO SIT IN CANE ARMCHAIR . ) > $
IT DOESN'T DO ANY GOOD AT ALL , DOES IT ? $
NINE TIMES OUT OF TEN IF PARENTS FUSS TOO MUCH THEY SIMPLY A
LIENATE THEIR CHILDREN . $
04 YOU THINK SO ? $
01 IT 'S A FACT . $
03 VERY TRUE . $
04 YES . $
< ( PAUSE . ) > $
DO YOU PLAY BRIDGE ? $
01 NOT AT ALL . $
04 WHAT A PITY . $
SEEING AS THERE ARE FOUR OF US - $
< ( PAUSE . ) > $
03 TALKING OF TRAINS . $
< ( HE RISES . ) > $
I THINK THERE 'S A GOOD ONE BACK TO TOWN $
< ( LOOKS AT WATCH . ) > $
IN ABOUT AN HOUR . $
< ( SITS DOWN AGAIN . ) > $
01 OH ? $
03 YES . $
IF YOU BOTH STROLL QUIETLY DOWN TO THE STATION , TAKE YOUR T
IME ABOUT IT , ENJOY THE WALK , TAKE ADVANTAGE OF THE SUNSHI
NE , GET A GOOD BREATH OF AIR , LOOK ROUND THE VILLAGE , STR
ETCH YOUR LEGS - YOU REALLY OUGHT TO START GETTING READY . $
01 OH , RIGHT . $
04 IT 'S ONLY A FIVE MINUTE WALK . $
03 NO , BUT THEY HAVE TO ALLOW A BIT LONGER , ESPECIALLY IF
THEY WANT TO TAKE THEIR TIME . $
01 YES , IN THAT CASE - $
< ( SWALLOWS COFFEE , PUTS CUP DOWN AND RISES . $
MOVES R.C. ) > $
04 < ( STOPPING HIM ) > $
THERE 'S REALLY NO HURRY . $
01 I THINK WE 'D BETTER . $
< ( MAKES FOR HIS BAG ON TERRACE . ) > $
04 AS YOU WISH . $
ANYWAY , YOU 'VE GOT A LOVELY DAY FOR IT . $
01 I HOPE I 'LL SEE YOU AGAIN BEFORE LONG ? $
#73 $
03 SURELY . $
SURELY . $
04 I DO HOPE SO . $
01 IN CASE I DON'T AND YOU SHOULD WORRY ABOUT HER AT ALL , I
 'LL BE KEEPING AN EYE ON HER . $
KEEP HER OUT OF TROUBLE . $
04 TROUBLE ? $
HAS THERE BEEN ANY TROUBLE ? $
01 YES , IN A WAY . $
04 WHAT WAS THAT ? $
01 SHE HASN'T TOLD YOU ? $
04 NOT A WORD . $
01 OH . $
THEN I DON'T KNOW THAT I SHOULD SAY ANYTHING - $
03 NO , I DON'T KNOW THAT I SHOULD . $
04 < ( RISING AND MOVING ON TO TERRACE ) > $
OH , DON'T BE SO MEAN . $
I WANT TO KNOW . $
WHAT WAS IT ? $
< ( CONFIDENTIALLY . ) > $
SOMETHING - UNPLEASANT ? $
< ( SITS AT R. OF TABLE . ) > $
< ( PHILIP IS STILL SITTING AT L. OF TABLE AND GREG IS STAND
ING BETWEEN THEM U.S. OF TABLE . ) > $
01 WELL , YES . $
04 < ( AGOG ) > $
WHAT ? $
01 WELL - PECULIAR COMPANY - THAT SORT OF THING . $
04 PECULIAR COMPANY ? $
01 YES . $
04 WELL ? $
GO ON , GO ON . $
YOU CAN'T STOP THERE . $
01 I DON'T KNOW THAT SHE 'D WANT ME TO TELL YOU . $
04 I 'M VERY BROAD-MINDED . $
YOU DON'T HAVE TO WORRY . $
01 SHE HASN'T CONFIDED IN ME TO ANY GREAT EXTENT . $
IT APPEARS THOUGH , THAT SHE GOT HERSELF MIXED UP WITH AN OL
DER MAN . $
04 DID SHE ? $
01 NOT THAT THERE 'S ANYTHING WRONG IN THAT , I SUPPOSE . $
BUT HE SEEMS TO HAVE PLAYED HER AROUND A BIT . $
04 PLAYED HER AROUND ? $
01 HE WAS MARRIED AND SO ON . $
ANYWAY , SHE HAD THE SENSE TO GET OUT . $
04 QUITE RIGHT TOO . $
03 I - ER - $
#74 $
04 YES , DEAR ? $
03 NOTHING . $
04 POOR GIRL . $
DID YOU HEAR THAT , PHILIP ? $
POOR GIRL . $
03 YES . $
I WAS JUST GOING TO SAY THAT THERE WERE PROBABLY TWO SIDES .
 $
04 NOTHING BUT SELFISHNESS ON HIS , I SHOULD THINK . $
03 I DON'T KNOW . $
04 I DO . $
03 HOW DO YOU KNOW ? $
04 IT 'S OBVIOUS . $
I MEAN , WHAT COULD HE OFFER HER ? $
03 IT DEPENDS ON THE SORT OF MAN HE WAS . $
04 I CAN'T SEE THAT THAT MAKES AN AWFUL LOT OF DIFFERENCE .
 $
03 IF HE WAS , SAY , FOR INSTANCE , A RATHER REMARKABLE MAN
. $
04 IF HE WAS ALL THAT REMARKABLE HE WOULDN'T BE CARRYING ON
BEHIND HIS WIFE'S BACK , WOULD HE ? $
03 UNLESS HE HAD A SINGULARLY UNREMARKABLE WIFE . $
04 PROBABLY HIS FAULT IF SHE WAS . $
PRESUMABLY HE WAS QUITE HAPPY WITH HER WHEN HE MARRIED HER .
 $
03 PERHAPS SHE PROVED A BIT OF A DISAPPOINTMENT , THOUGH . $
PRETENDED TO BE SOMETHING SHE WASN'T AND THEN TURNED OUT TO
BE QUITE DIFFERENT . $
04 HE PROBABLY DID THE SAME TO HER . $
03 THAT 'S POSSIBLE . $
04 SHE DIDN'T SNEAK OFF AND CARRY ON BEHIND HIS BACK , THOUG
H , DID SHE ? $
03 HOW DO I KNOW SHE DIDN'T ? $
YOU TELL ME . $
I DON'T KNOW . $
04 I DON'T KNOW . $
I 'M JUST SUPPOSING , LIKE YOU ARE . $
03 WHO SAYS I 'M SUPPOSING ? $
04 AREN'T YOU ? $
03 YES . $
YES . $
I AM - BUT - WELL , THERE 'S TWO SIDES TO EVERYTHING , THAT
'S ALL I 'M SAYING . $
I THINK I 'VE PROVED MY POINT . $
04 RUBBISH . $
YOU HAVEN'T PROVED ANYTHING . $
IT 'S PAINFULLY CLEAR WHAT SORT OF MAN HE WAS . $
#75 $
03 NOT AT ALL . $
04 SOME TIRED BUSINESSMAN PLAYING AROUND WITH A YOUNG GIRL B
ECAUSE HE WAS BORED . $
03 I BET HE WAS BORED . $
04 AND THROWING HER AWAY LIKE AN OLD BOOT WHEN HE 'D FINISHE
D WITH HER . $
03 HAS IT EVER STRUCK YOU THAT SHE MIGHT HAVE SEDUCED HIM ?
$
04 OH , COME . $
01 DOESN'T SOUND LIKELY . $
04 OF COURSE IT DOESN'T . $
03 YOU DON'T KNOW WHAT HAPPENED . $
04 DO YOU ? $
03 NO . $
YES . $
NO . $
< ( RISES - MOVES D.R. ) > $
BUT IF I DID - KNOW WHAT HAPPENED , I KNOW WHAT WOULD HAVE H
APPENED . $
MINCING ROUND THE OFFICE IN A SKIRT THAT WAS FAR TOO TIGHT A
ND A DAMN SIGHT SHORTER THAN ANYONE ELSE WAS WEARING - SORT
OF COY AND FORWARD AT THE SAME TIME - WELL , YOU CAN TELL .
$
YOU CAN TELL WHEN A GIRL 'S LOOKING FOR SOMETHING LIKE SHE W
AS . $
WELL - SHE GOT IT . $
I EXPECT . $
< ( CROSSES ON TO TERRACE TO GO OFF THROUGH U.S. DOOR , SPLU
TTERING . ) > $
EXCUSE ME . $
I MUST GET A GLASS OF WATER - EXCUSE ME . $
04 < ( RISING AND LOOKING AFTER HIM ) > $
WELL , REALLY ! $
I 'VE NEVER HEARD ANYTHING QUITE SO RUDE IN MY LIFE . $
I 'M SO SORRY . $
I DON'T KNOW WHAT YOU MUST BE THINKING . $
01 I THINK IT 'S MORE WORRYING THAN ANYTHING . $
04 I HAVEN'T SEEN HIM LIKE THAT FOR AGES . $
GOOD HEAVENS , HE WAS ALMOST INVOLVED . $
01 I HOPE YOU DON'T MIND MY SAYING THIS - AFTER ALL , HE IS
YOUR HUSBAND - BUT HE DOES APPEAR TO ME TO BE QUITE DEFINITE
LY A BIT UNHINGED . $
04 HAVE YOU NOTICED THAT ? $
01 IT 'S DIFFICULT NOT TO . $
04 YOU 'RE QUITE RIGHT . $
I WAS AFRAID IT WAS JUST ME . $
EVERYONE ELSE I KNOW SEEMS TO REGARD HIM AS PERFECTLY NORMAL
 . $
01 HARDLY . $
04 DO YOU THINK HE 'S A PSYCHOPATH ? $
#76 $
01 POSSIBLY . $
04 I DID WHISPER SOMETHING TO THAT EFFECT TO THE DOCTOR WHEN
 HE WAS LAST HERE . $
01 WHAT DID HE SAY ? $
04 I DON'T THINK HE QUITE HEARD . $
HE 'S RATHER DEAF . $
01 AH . $
THERE 'S THIS BUSINESS OVER GINNY JUST NOW . $
LET 'S FACE IT , FROM THE WAY HE WAS TALKING , HE DIDN'T SEE
M TO GIVE A DAMN ABOUT HER , DID HE ? $
I MEAN , THE WAY I LOOK AT IT , JUST BECAUSE OF SOME MISCOND
UCT IN THE PAST , HE 'S TRYING HIS BEST TO DISCLAIM HER . $
BUT WHEN YOU BOIL IT DOWN , SHE 'S JUST AS MUCH HIS DAUGHTER
 AS YOURS - IF NOT MORE SO . $
< ( SITS ON BENCH ON TERRACE . ) > $
04 MINE ? $
01 THAT 'S THE WAY I LOOK AT IT . $
04 SHE 'S NOT MY DAUGHTER . $
01 I MEAN - TO SHRUG OFF WHAT HAPPENED TO HER , EVEN TO DEFE
ND THE MAN . $
04 SHE 'S NOT MY DAUGHTER . $
01 THAT 'S BORDERING ON IRRESPONSIBILITY OF THE WORST SORT .
 $
04 SHE 'S NOT MY DAUGHTER . $
01 MMM ? $
04 I DON'T KNOW WHERE YOU GOT THAT IDEA FROM . $
< ( GREG SIGHS . $
HE LOOKS AT HER RESIGNEDLY . ) > $
YOU 'RE JOKING , AREN'T YOU ? $
< ( GREG SHAKES HIS HEAD . ) > $
YOU MUST BE . $
MY DAUGHTER . $
YOU HAVEN'T THOUGHT THAT , HAVE YOU ? $
NO , YOU CAN'T HAVE DONE . $
< ( GREG SINKS HIS HEAD IN HIS HANDS . ) > $
< ( LAUGHING NERVOUSLY . ) > $
YOU 'RE PULLING MY LEG . $
01 < ( LOOKS UP ) > $
SHE 'S NOT YOUR DAUGHTER ? $
04 CERTAINLY NOT . $
01 < ( PUTTING CIGAR OUT IN ASHTRAY ON BENCH ) > $
YOU STILL SEE IT THAT WAY , DO YOU ? $
04 NO RELATION OF MINE AT ALL . $
01 < ( RISING AND MOVING TO HER ) > $
YOU DON'T KNOW HOW SORRY I AM TO HEAR YOU TALK LIKE THIS . $
#77 $
04 SO AM I . $
HULKING GREAT GIRL . $
01 IT 'S ABOUT TIME YOU TRIED TO COME TO TERMS WITH THIS , I
SN'T IT ? $
04 I 'M AFRAID I DON'T FOLLOW YOU . $
01 WHY , WHY , WHY TURN YOUR BACK ON IT ? $
IGNORE SOMETHING THAT HAPPENED OVER TWENTY YEARS AGO ? $
WHAT 'S THE POINT ? $
04 I 'M AFRAID I 'M VERY LOST NOW . $
01 WE TALK ABOUT YOUR HUSBAND'S ATTITUDE BUT YOURS IS TWICE
AS DANGEROUS . $
04 WHAT ? $
01 < ( GETTING EXCITED ) > $
WHAT DO YOU THINK IT 'S LIKE FOR A GIRL TO GROW UP IN THIS S
ORT OF ATMOSPHERE ? $
NO WONDER SHE CAME NEAR TO RUINING HER LIFE . $
WITH A FATHER WHO 'S A MORAL SCHIZOPHRENIC AND A MOTHER WHO
REFUSES TO ADMIT HER EXISTENCE AT ALL . $
04 OH , POOR GIRL . $
01 YES , POOR GIRL . $
04 I DIDN'T KNOW . $
HOW TERRIBLE . $
01 YOU DO SEE THAT , THEN ? $
04 OH YES . $
I DO . $
NO WONDER . $
01 YES . $
04 IT IS IRRESPONSIBLE , ISN'T IT ? $
PEOPLE OF THAT SORT REALLY SHOULDN'T HAVE CHILDREN AT ALL ,
SHOULD THEY ? $
01 THEY HAVEN'T FACED UP TO IT , THAT 'S WHAT IT IS . $
04 INDEED THEY HAVEN'T - $
01 YOU GET WHAT I 'M DRIVING AT ? $
04 OH YES , I DO . $
I DO . $
I DO . $
01 FINE . $
04 I 'M NOT HER MOTHER THOUGH . $
< ( MOVING OFF TERRACE . ) > $
PLEASE LET 'S GET THAT STRAIGHT . $
< ( PAUSE ) > $
01 < ( DEEP BREATH ) > $
THIS IS THE FIRST AND LAST TIME I TRY AND DO THINGS THE PROP
ER WAY . $
LET ME TELL YOU THAT . $
IT JUST SO HAPPENED THAT I WAS FOND ENOUGH OF GINNY TO SPEND
 NINETEEN AND SIX CHEAP DAY RETURN , VALID FOR ONE DAY ONLY
, TO COME AND SEE HER PARENTS . $
BIG GESTURE BY ME THAT WAS . $
NINETEEN AND SIX - YE GODS - AND WHAT DO I GET ? $
A COUPLE OF PEOPLE WHO ARE SO WRAPPED UP IN THEMSELVES THEY
COULDN'T CARE LESS WHETHER I CAME OR NOT . $
#78 $
< ( MOVING AWAY FROM HER . ) > $
NO WONDER SHE TRIED TO STOP ME COMING DOWN . $
IF I HAD PARENTS LIKE YOU TWO I THINK I 'D VOLUNTEER FOR AN
ORPHANAGE . $
04 YOU KNOW , YOU REALLY ARE COMPLETELY MAD . $
01 I THINK I MUST BE . $
NINETEEN AND SIX - THAT 'S NEARLY A QUID , DO YOU REALISE TH
AT ? $
04 NOBODY ASKED YOU TO COME . $
01 TRUE . $
04 EITHER OF YOU , AS FAR AS I KNOW . $
YOU BOTH CRASHED IN HERE UNINVITED - $
01 CRASHED IN ? $
I 'M OFF - $
< ( CROSSES QUICKLY TOWARDS HIS BAG U.R. ) > $
04 AND YOU GOT A FREE MEAL . $
I DON'T KNOW WHAT YOU 'RE COMPLAINING ABOUT . $
01 A FREE MEAL ? $
< ( COMES BACK . ) > $
OH , I AM SORRY . $
HAVEN'T I PAID YOU FOR THAT ? $
I DID MEAN TO . $
JUST A MOMENT , I 'LL SETTLE UP WITH YOU . $
04 OH DON'T BE SO SILLY . $
01 I INSIST . $
< ( GETS HIS BAG AND PUTS IT ON STOOL R.C. ) > $
I 'LL SETTLE FOR BOTH OF US WHILST I 'M ABOUT IT . $
04 WHAT ON EARTH ARE YOU DOING ? $
01 < ( RUMMAGING ) > $
LOOKING FOR MY WALLET . $
04 OH , REALLY . $
01 < ( CONTINUING SEARCH ) > $
HOW MUCH DO I OWE YOU ? $
WOULD TEN BOB COVER US BOTH ? $
SORRY I CAN'T AFFORD ANY MORE . $
04 I DON'T KNOW WHAT 'S GOT INTO YOU . $
01 < ( PRODUCING SPONGE BAG AND SLIPPERS ) > $
HERE , HOLD THESE , WILL YOU ? $
04 < ( TAKING THEM AUTOMATICALLY ) > $
ALL I SAID WAS , IF YOU REALLY BEGRUDGE THE FARE THAT MUCH ,
 WHY DID YOU COME ? $
01 IT 'S HERE SOMEWHERE . $
04 OH SEND A CHEQUE IF YOU REALLY WANT TO . $
01 NO . $
HERE WE ARE . $
< ( PRODUCES WALLET . ) > $
NOW , TEN BOB , WAS IT ? $
UM - $
< ( LOOKS INSIDE AND SEES IT IS EMPTY . $
DIVES INTO TROUSER POCKET . ) > $
I 'LL HAVE TO MAKE IT SEVEN AND SIX . $
#79 $
04 I REFUSE TO TAKE IT . $
01 < ( SLAMMING IT ON TABLE ) > $
THERE . $
SEVEN AND SIX . $
I 'LL POST YOU THE EXTRA HALF-CROWN . $
DON'T BOTHER TO SEND A RECEIPT . $
< ( PUTS SPONGE BAG , JACKET AND RAINCOAT IN GRIP . ) > $
04 THANK YOU . $
01 < ( BRISKLY ) > $
THAT 'S THE LOT , ISN'T IT ? $
I THINK SO . $
RIGHT . $
I 'LL JUST FIND GINNY AND THEN WE 'LL BE OFF . $
< ( HE MOVES TO HOUSE . ) > $
04 I - $
WHAT ABOUT YOUR SLIPPERS ? $
01 THEY 'RE NOT MINE . $
KEEP THEM . $
04 WHOSE ARE THEY ? $
01 BETTER ASK HER THAT . $
04 THEY 'RE NOT HERS ? $
01 THEY WERE IN HER FLAT . $
04 WHAT AM I SUPPOSED TO DO WITH THEM ? $
01 I DON'T KNOW . $
GIVE THEM TO YOUR HUSBAND OR SOMETHING . $
04 THANK YOU , BUT HE 'S ALREADY GOT A PAIR JUST - $
01 I 'M OFF THEN . $
< ( GOES INTO HOUSE THROUGH U.S. DOOR . ) > $
04 GOT A - JUST LIKE - $
< ( SHRIEKS . ) > $
WAIT ! $
01 < ( STOPS , LEAVES HIS BAG INSIDE AND COMES BACK . ) > $
WHAT ? $
04 < ( RECOVERING ) > $
I WAS JUST LOOKING AT THESE SLIPPERS - $
01 WHAT ABOUT THEM ? $
04 NOTHING . $
IT 'S JUST THAT THEY 'RE ABOUT MY HUSBAND'S SIZE . $
I THINK HE MIGHT BE VERY GLAD OF THEM . $
01 GOOD . $
YES . $
YES , I 'M SURE HE WOULD - YOU KEEP THEM . $
< ( PHILIP AND GINNY ENTER . $
GINNY CARRIES GREG'S BAG AND THEIR COATS . ) > $
03 SHE 'S RECOVERED AT LAST . $
02 SORRY I COULDN'T STOP COUGHING . $
04 BETTER NOW ? $
02 THANK YOU . $
04 IT MUST HAVE BEEN VERY AWKWARD FOR YOU . $
< ( SHE HIDES SLIPPERS IN URN . ) > $
I SHOULD SIT DOWN AND ENJOY THE SUNSHINE WHILE YOU CAN , BEF
ORE YOU GO . $
#80 $
< ( PICKING UP TRAY . ) > $
I 'LL JUST GO INTO THE KITCHEN . $
IF I CAN JUST GET A LITTLE CLEARER THEN WE CAN ALL HAVE A CH
AT . $
03 GRAND . $
< ( SHEILA GOES OUT THROUGH U.S. DOOR . $
GINNY AND PHILIP EXCHANGE A QUICK GLANCE . $
GINNY MOVES TO GREG . ) > $
02 COME ON , GREG - TIME WE WERE GOING . $
01 THERE 'S NO RUSH . $
03 HOLD ON , GINNY , OLD GIRL - $
02 WE 'RE GOING . $
03 GREG AND I HAVEN'T HAD A CHANCE FOR A FINAL CHAT . $
02 AND YOU 'RE NOT GOING TO . $
03 THAT 'S NO WAY TO SPEAK TO YOUR FATHER , GINNY . $
02 OH - YOU GREAT - GOODBYE . $
COME ON , GREG . $
< ( SHE MAKES TO LEAVE . ) > $
03 NOW , NOW , NOW . $
WITH YOU PERMISSION , GINNY . $
AS FAR AS I UNDERSTAND IT , YOU TWO WANT TO GET MARRIED , IS
 THAT IT ? $
01 AH , THE PENNY 'S DROPPED . $
02 THANK YOU . $
NICE OF YOU TO REALISE THAT . $
03 GREG - THERE IS A SPECIAL FAVOUR I 'D LIKE TO ASK OF YOU
BEFORE YOU GO . $
02 NO . $
03 NOW DON'T JUMP DOWN MY THROAT , GINNY , BEFORE I 'VE FINI
SHED . $
01 JUST A SECOND , DARLING . $
03 < ( HUMBLY ) > $
THANK YOU , GREG . $
SIT DOWN A MOMENT . $
01 THANKS . $
< ( HE DOES SO . ) > $
03 THIS - WELL , IT 'S IN THE NATURE OF A PERSONAL FAVOUR ,
GREG . $
YOU 'RE ENTITLED TO SAY NO , OF COURSE , IF YOU FEEL IT 'S T
OO MUCH OF AN IMPOSITION . $
IT 'S ENTIRELY UP TO YOU , AS I SAY . $
THE FACT IS , I HAD PLANNED IN A FEW WEEKS A LITTLE SURPRISE
 FOR GINNY . $
YOU SEE , I ALWAYS PROMISED HER MOTHER THAT , BEFORE GINNY W
AS - TAKEN FROM US , AS IT WERE , I 'D GIVE HER ONE REALLY B
IG PRESENT THAT SHE 'D REMEMBER US BY ALL HER LIFE . $
#81 $
02 PRESENT ? $
01 WHAT 'S THAT ? $
03 IN JUST OVER A MONTH I 'M GOING ON A LONG BUSINESS TRIP T
O THE CONTINENT . $
IT 'S A SORT OF GRAND TOUR OF INSPECTION OF ALL OUR FOREIGN
BRANCHES . $
TAKE ABOUT SIX WEEKS - FRANCE , GERMANY , ITALY , SPAIN , SW
ITZERLAND , HOLLAND , DENMARK AND SWEDEN . $
02 GOOD . $
HAVE A NICE TIME , WON'T YOU ? $
03 < ( PUTTING AN ARM ROUND HER ) > $
I 'D LIKE TO TAKE YOU WITH ME . $
02 YOU WHAT ? $
03 I 'D LIKE YOU TO COME WITH ME . $
02 WHAT ? $
03 WHAT DO YOU SAY , GREG ? $
01 UM - $
02 NO . $
NO ! $
01 SIX WEEKS ? $
03 NOT FOR LONG , IS IT ? $
01 A LOT CAN HAPPEN IN SIX WEEKS . $
02 YOU 'RE TELLING ME . $
< ( BACKING AWAY FROM PHILIP . ) > $
03 YES , I KNOW IT 'S A BIG THING TO ASK OF YOU , GREG . $
YOU 'VE EVERY RIGHT TO SAY NO . $
BUT IF YOU DO BOTH AGREE NOT ONLY WILL YOU HAVE DONE SOMETHI
NG FOR GINNY , BUT YOU 'LL HAVE THE SATISFACTION OF KNOWING
YOU 'VE MADE A FATHER VERY HAPPY . $
01 WELL . $
03 IS IT TOO MUCH TO ASK ? $
< ( SMILING . ) > $
HMMM ? $
01 YES . $
SEE WHAT YOU MEAN . $
< ( HE PONDERS FOR A MOMENT . ) > $
O.K. $
02 GREG ! $
03 < ( DEEPLY MOVED - CLASPING GREG'S SHOULDER ) > $
THANK YOU . $
ARE YOU SURE ? $
I COULD ALWAYS CANCEL ALL THE ARRANGEMENTS IF YOU - $
01 NO - NO - OF COURSE NOT . $
02 GREG , YOU CAN'T AGREE TO THIS . $
YOU 'RE MAD . $
SAY YOU DON'T . $
PLEASE ! $
01 I DON'T KNOW - I MEAN - IT 'S ONLY YOUR FATHER - $
#82 $
02 < ( TO PHILIP ) > $
IF YOU THINK I 'M GOING TO LET YOU GET AWAY WITH THIS - $
03 SHE WOULD WRITE . $
I 'M SURE SHE 'D WRITE , WOULDN'T YOU , GINNY ? $
02 PHILIP ! $
03 SHE 'S A GOOD LETTER WRITER . $
ALWAYS WRITES TO ME WHEN SHE 'S AWAY , DON'T YOU , GINNY ? $
02 < ( FREEZING ) > $
I - $
03 LOVELY LETTERS . $
I 'VE KEPT THEM ALL SOMEWHERE . $
I 'LL LET YOU READ THEM SOMETIME , GREG , WHEN WE 'RE ON OUR
 OWN . $
02 YOU - $
03 < ( BRISKLY ) > $
NOW THEN , HAVE YOU GOT ALL YOUR THINGS - YOUR COATS , BAG ?
 $
FINE . $
YOU 'D BETTER BE ON YOUR WAY NOW - DON'T WANT TO MISS ANY MO
RE TRAINS TO-DAY , EH ? $
01 NO - RIGHT . $
YES . $
02 PHILIP - $
03 HAVE A PLEASANT TRIP BACK . $
01 WE HAVEN'T SAID GOODBYE TO YOUR WIFE - $
03 OH , DON'T WORRY ABOUT THAT . $
I 'LL EXPLAIN YOU HAD TO DASH OFF . $
< ( HUSTLING THEM TOWARDS THE GARDEN EXIT . ) > $
SEE YOU AGAIN BEFORE LONG , I HOPE . $
01 YES , SURELY . $
CHEERIO THEN . $
03 GOODBYE . $
COME ON , CHEER UP , GINNY . $
IT 'LL BE A WONDERFUL HOLIDAY FOR YOU . $
I PROMISE YOU , YOU 'LL ENJOY EVERY MINUTE OF IT . $
BYE ! $
< ( HE IS WITHIN AN ACE OF HAVING BROUGHT OFF HIS COUP AND G
OT RID OF THEM BOTH WHEN SHEILA APPEARS SUDDENLY FROM THE GA
RDEN AND BLOCKS THE WAY OUT . ) > $
04 ENJOY WHAT ? $
03 OH - $
< ( RECOVERING . ) > $
JUST IN TIME TO SEE THEM OFF . $
04 REALLY ? $
03 YES . $
GOODBYE THEN . $
01 < ( SOMEWHAT CONFUSED - VAGUELY ) > $
GOODBYE . $
04 WHAT 'S GINNY SUPPOSED TO ENJOY ? $
01 A TRIP TO THE CONTINENT . $
04 REALLY . $
HOW LOVELY . $
#83 $
01 SHE DOESN'T SEEM TO THINK SO . $
03 YOU 'RE GOING TO MISS THAT TRAIN , YOU KNOW - $
04 NO ? $
YOU DON'T KNOW WHAT YOU 'RE SAYING . $
I WISH I 'D HAD AN OPPORTUNITY LIKE THAT WHEN I WAS YOUR AGE
 . $
I 'D HAVE GONE LIKE A SHOT . $
03 WELL , IT 'S ALL SETTLED ANYWAY . $
NOW , YOU 'LL BOTH HAVE TO RUN FOR IT - $
BYE - $
04 HOW ARE YOU GOING ? $
ON YOUR OWN ? $
02 UM ... NO ... NO . $
IT 'S NOT REALLY FINALLY DECIDED . $
01 THEY 'RE BOTH GOING . $
03 IN A MANNER OF SPEAKING . $
04 BOTH ? $
01 YOUR HUSBAND THOUGHT HE 'D TAKE GINNY ALONG WITH HIM ON H
IS BUSINESS TRIP . $
03 I - $
< ( SITS IN CANVAS CHAIR . ) > $
04 SPLENDID . $
03 DON'T GET THE WRONG - ER - BUSINESS , NATURALLY - $
04 OF COURSE . $
03 THAT 'S ALL IT IS . $
04 YOUR IDEA , OF COURSE ? $
03 YES - NO - YES . $
IN A MANNER OF - CHEERIO THEN - I - ER - $
04 I SEE . $
03 YES . $
< ( SLIGHT PAUSE . ) > $

YOU 'RE REALLY GOING TO HAVE TO - SPRINT - FLAT OUT - FOR TH
AT - TRAIN OF YOURS - $
02 < ( NERVOUSLY ) > $
I DON'T THINK THE IDEA WILL COME TO ANYTHING , ANYWAY . $
04 WHY EVER NOT ? $
02 I 'M NOT AWFULLY KEEN , THAT 'S ALL . $
04 I CAN'T BELIEVE THAT . $
WHERE ARE YOU PLANNING ON GOING ? $
03 NOWHERE SPECIAL . $
01 FRANCE , GERMANY , ITALY , SPAIN , SWITZERLAND , HOLLAND
, DENMARK AND SWEDEN . $
#84 $
04 AND YOU 'RE NOT KEEN ? $
02 NO . $
04 WHAT ABOUT YOU , GREG ? $
01 WELL , IT 'S UP TO GINNY REALLY - IF SHE WANTS TO GO . $
04 SHE MUST . $
01 IT 'LL JUST MEAN OUR PUTTING OFF GETTING MARRIED , THAT '
S ALL . $
04 WHY ? $
01 WELL , IF SHE 'S AWAY - $
04 WHEN ARE YOU GOING ? $
03 A MONTH - IF AT ALL . $
04 THAT 'S PLENTY OF TIME TO GET MARRIED . $
A MONTH ? $
THAT 'S AMPLE TIME . $
01 I DON'T KNOW IF THAT WAS QUITE THE IDEA - $
04 IT SEEMS OBVIOUS . $
< ( SWEETLY . ) > $
DON'T YOU AGREE , PHILIP ? $
03 UH ? $
04 THEY GET MARRIED AS SOON AS POSSIBLE . $
03 OH - YES , YES . $
04 I SHOULD TAKE ADVANTAGE OF THE OFFER WHILE HE 'S IN THE M
OOD , GREG . $
YOU WON'T GET THE CHANCE OF A HONEYMOON LIKE THIS AGAIN IN A
 HURRY . $
01 OH . $
03 UH ? $
04 WILL THEY - DADDY ? $
03 NO . $
01 OH . $
THAT 'S A BIT DIFFERENT . $
I THOUGHT WE WERE SUPPOSED TO WAIT UNTIL AFTER SHE CAME BACK
 ? $
03 NO , NO , NO . $
THAT WAS - JUST AN IDEA I HAD . $
IT OCCURRED TO ME FOR SOME REASON - I DON'T KNOW WHY - THAT
YOU MIGHT WANT TO HOLD ON FOR A BIT . $
04 SURELY THEY DON'T ? $
02 NO , THAT WAS - DADDY'S IDEA , NOT OURS . $
04 OH - SILLY DADDY ! $
02 YES - SILLY DADDY ! $
#85 $
< ( THEY LAUGH . $
PHILIP OVER-GENIALLY . ) > $
03 SILLY OLD DADDY - $
01 SO WE CAN GO AHEAD THEN ? $
04 PHILIP ? $
03 WHAT ? $
OH - YES , YES . $
02 THANK YOU - DADDY . $
< ( SHE KISSES HIM ON THE CHEEK . ) > $
03 A PLEASURE . $
01 THANKS . $
< ( THEY SHAKE HANDS . ) > $
02 < ( HOLDING OUT HER HAND TO SHEILA ) > $
AND THANK YOU - MUMMY . $
04 IT WAS NOTHING DARLING - NOTHING . $
DO TAKE GOOD CARE OF YOURSELF IN THE FUTURE , WON'T YOU ? $
< ( SHE SMILES . ) > $
NOW YOU REALLY ARE GOING TO HAVE TO RUN FOR THAT TRAIN . $
02 RIGHT . $
04 MAKE SURE YOU 'VE GOT EVERYTHING . $
HEAVEN KNOWS WHEN WE 'LL BE SEEING YOU AGAIN . $
01 I 'LL - ER - FIX UP ABOUT THE WEDDING AND SO ON - HAVE TO
 COME DOWN AGAIN , I SUPPOSE . $
GET THINGS SORTED OUT . $
03 I DON'T THINK THAT WILL BE NECESSARY . $
01 I 'M NOT QUITE SURE WHO PAYS FOR EVERYTHING , THAT 'S ALL
 . $
03 YOU DO . $
01 OH . $
02 GOODBYE , DADDY . $
LOOK AFTER MUMMY , WON'T YOU ? $
03 < ( RISING ) > $
AS ALWAYS . $
DON'T FORGET FATHER'S DAY , WILL YOU ? $
01 GOODBYE . $
< ( SHAKING HANDS WITH SHEILA . ) > $
THANKS FOR EVERYTHING . $
04 IT WAS A PLEASURE , GREG . $
01 NICE TO HAVE MET YOU . $
02 'BYE . $
< ( GINNY AND GREG GO OUT U.L. $
SHEILA AND PHILIP LOOK AFTER THEM , WAVING . ) > $
04 'BYE . $
#86 $
03 GOODBYE . $
< ( PAUSE . ) > $
04 QUITE WRONG FOR EACH OTHER OF COURSE . $
IT 'LL BE A DISASTROUS MARRIAGE BUT GREAT FUN FOR THEM WHILE
 IT LASTS . $
03 I GATHER YOU 'VE GATHERED THE GENERAL GIST OF THINGS . $
04 JUST A LITTLE GIST - YES . $
I DON'T THINK THERE 'S ANY NEED TO GO TO THE COOPERS NOW , I
S THERE ? $
03 NO . $
< ( HE GOES THROUGH GATE . ) > $
04 NO . $
< ( SHE STARTS PUTTING PLATES AND GLASSES ON TRAY . ) > $
WE 'LL HAVE TEA HERE , THEN . $
I 'LL TELL YOU ONE THING , THOUGH . $
I 'M AWFULLY GLAD WE HAVEN'T GOT A DAUGHTER , SHE 'D BE A TE
RRIBLE HANDFUL , WOULDN'T SHE ? $
03 YES , YOU 'RE RIGHT THERE . $
SHE WOULD . $
< ( HE CATCHES SIGHT OF SLIPPERS IN URN . $
HE PICKS THEM OUT OF THE URN AND COMES BACK THROUGH GATE . )
 > $
SHEILA ! $
SHEILA ! $
WHAT ARE THESE DOING HERE ? $
04 I DON'T KNOW , DARLING . $
YOU REALLY OUGHT TO LOOK AFTER YOUR THINGS MORE CAREFULLY .
$
03 MY THINGS ? $
THEY AREN'T MINE . $
04 OF COURSE THEY 'RE YOURS . $
I BOUGHT THEM FOR YOU . $
03 NO , THEY 'RE NOT . $
THEY LOOK A BIT LIKE THEM - SAME TARTAN , SAME SORT OF SHAPE
 AND TEXTURE . $
04 WELL THEN - THEY 'RE YOURS . $
03 NO , THEY 'RE NOT - THE LINING 'S DIFFERENT . $
04 UH ? $
< ( SHE TAKES SLIPPER FROM HIM . ) > $
03 MINE WERE RED . $
< ( SHEILA EXAMINES LINING OF SLIPPER . ) > $
04 SO THEY WERE . $
OH DEAR . $
03 WHAT ? $
04 I WAS JUST WONDERING HOW THAT POOR BOY WAS GOING TO MAKE
OUT . $
03 NEVER MIND ABOUT THAT . $
< ( HE TAKES SLIPPER FROM HER . ) > $
WHOSE ARE THESE ? $
04 WOULDN'T YOU LIKE TO KNOW ? $
< ( SHE CLAPS HER HANDS DELIGHTEDLY AND MOVES ON TO TERRACE
, TO GO OUT THROUGH D.S. DOOR , LEAVING PHILIP GAZING AT THE
 SLIPPERS , DUMDFOUNDED . ) > $
< CURTAIN > $