<< *147 . BARRY BERMANGE : OLDENBERG . LONDON , METHUEN , 19
67 . P. 33 - 69 . FIRST PERF. : 260167 ( BBC 2 ) , 000867 (
STAGE ) . CHAR. : 01 THE MAN , 02 THE WOMAN , 03 THEIR TENAN
T OLDENBERG >> $
#35 $
< SCENE ONE > $
< DOWNSTAIRS . $
DARKNESS . $
THEN SOFT LIGHT ON THE MAN STANDING QUIETLY , SPEECH IN HAND
 . > $
01 WELCOME . $
< ( HE SMILES . ) > $
WELCOME TO THIRTY-FIVE . $
< ( PAUSE . $
HE GLANCES AT THE SPEECH . $
HE CONTINUES . ) > $
MY WIFE AND I ... WE HOPE YOUR STAY WILL BE A HAPPY ONE , LO
NG ... AND VERY HAPPY WE HOPE THIS , WE SINCERELY HOPE THIS
. $
AND WE HOPE TOO THAT WHILE YOU ARE WITH US ... $
< ( PAUSE > ) $
... THAT WHILE YOU ARE WITH US ... $
< ( PAUSE . ) > $
< ( BEGINNING AGAIN ) > $
WHILE YOU ARE WITH US , HERE , IN OUR HOUSE , WE , ON OUR PA
RT , WILL DO OUR UTMOST , YOU HAVE OUR WORD , TO MAKE YOU AS
 COMFORTABLE ... $
< ( PAUSE . ) > $
... WE ON OUR PART WILL DO OUR UTMOST YOU HAVE OUR WORD ...
$
< ( PAUSE . ) > $
... TO MAKE YOU AS CONFORTABLE ... AND AS CONTENTED ... AS W
E POSSIBLY CAN . $
< ( PAUSE . ) > $
SHOULD ... NO . $
LET ME SAY THAT ... WELL . $
< ( PAUSE . ) > $
< ( BEGINNING AGAIN ) > $
IF , AT ANY TIME NOW THIS IS IMPORTANT , I WANT YOU TO UNDER
STAND THIS NOW . $
#36 $
IF AT ANY TIME THERE IS ANYTHING YOU ... PERSONALLY ... YOUR
SELF ... REQUIRE ... DO YOU FOLLOW ME ? $
IN THE WAY OF ... WELL IN THE WAY OF ANYTHING REALLY ... $
MY WIFE AND I , WE WILL DO ALL WITHIN OUR POWER , ALL THAT O
UR MEANS WILL ALLOW , TO PLEASE YOU : OUR DESIRE IS ONLY TO
PLEASE YOU ... WE ... YOU SEE WE ... WELL ... WE ... WELL ..
. YOU SEE ... WE WOULD LIKE ... $
< ( PAUSE . ) > $
WE WOULD LIKE YOU TO THINK OF THIRTY-FIVE , TO THINK OF IT A
S YOUR HOME , THAT YOU ARE A PART OF IT , THAT YOU ARE NOT S
O MUCH OUR TENANT ... YOU SEE ? $
NOT SO MUCH OUR TENANT AS A MEMBER OF OUR FAMILY ... $
< ( PAUSE . ) > $
... OUR SON IF YOU LIKE . $
THAT YOU ARE OUR SON . $
< ( SILENCE . $
HE TURNS TO FACE SOMEONE IN THE DARKNESS . ) > $
HOW 'S THAT ? $
< ( SUDDEN LIGHT ON THE WOMAN , SITTING . ) > $
TOO FORMAL DO YOU THINK ? $
< ( HE WATCHES HER . $
THE ROOM IS DARK . ) > $
THE BIT ABOUT BEING OUR SON ... $
< ( PAUSE . ) > $
IT ISN'T OVERDOING IT . $
< ( THEN MOVING ) > $
I MEAN HE WON'T BE OUR REAL SON , HE WON'T BE LIKE JULIAN ,
NOT LIKE JULIAN , OUR REAL SON , WOULD HAVE BEEN , NOT LIKE
THAT . $
#37 $
SOMETHING ELSE . $
OR DO YOU THINK IT 'S OVERDOING IT ... $
I 'LL ALTER IT ... SHALL I ? $
END ON THE BIT ABOUT HIS BEING A MEMBER OF THE FAMILY . $
< ( HE LOOKS AT THE SPEECH , THEN MOVES AWAY , READING IT .
$
SOFT LIGHT ON A TABLE AND CHAIR . $
HE REACHES THEM , SITS , THEN RISES LOOKING BLINDLY ABOUT .
$
SOFT LIGHT ON A DRESSER . $
HE MOVES TO IT , OPENS A DRAWER , RUMMAGES ABOUT IN IT , FIN
DS A PENCIL , RETURNS TO THE CHAIR . $
HE SITS , MAKES TO CROSS OUT THE LINE , PAUSES , LOOKS AT TH
E WOMAN . ) > $
01 SHALL I ? $
02 IF YOU LIKE . $
01 I 'M ASKING YOU . $
02 YOU KNOW BEST . $
01 YES OR NO . $
< ( THE WOMAN RISES . ) > $
WELL YES OR NO ! $
02 ALL RIGHT . $
01 KEEP IT ? $
02 IF YOU SAY SO . $
01 AS I SAY ... $
< ( RISING ) > $
HE WON'T BE LIKE JULIAN , NOT LIKE OUR REAL SON , JULIAN . $
< ( PAUSE . ) > $
AND THE REST ? $
02 ? $
01 OF THE SPEECH . $
< ( SMILING . ) > $
YOU LIKED IT ? $
02 YES . $
IT SOUNDED ... $
#38 $
01 FRIENDLY ? $
02 < ( NODS . ) > $
01 YOU LIKED IT THEN . $
< ( LOOKING AT IT ) > $
IT ISN'T BAD , IS IT , AS SPEECHES GO . $
< ( HE MOVES TO HER . ) > $
HERE . $
< ( OFFERING IT . ) > $
READ IT . $
< ( PAUSE . ) > $
GO ON . $
READ IT THROUGH . $
< ( SHE TAKES IT . $
SHE READS IT . ) > $
IT WAS DIFFICULT ... $
I FOUND IT VERY HARD TO WRITE ... KNOWING HOW TO BEGIN IT .
$
I THOUGHT OF SIX DIFFERENT BEGINNINGS . $
THEN I THOUGHT OF THAT ONE . $
THE SIMPLEST BEGINNING , I THOUGHT , IS BOUND TO BE THE BEST
 , SIMPLE , STRAIGHT TO THE POINT , NO BEATING ABOUT THE BUS
H - BANG ! $
" WELCOME TO THIRTY-FIVE . " $
< ( HE SMILES . ) > $
HE 'LL LIKE THAT . $
THAT 'S NICE . $
THEY 'RE WELCOMING ME . $
THEY 'RE MAKING ME FEEL AT HOME . $
I WON'T BE AN ORDINARY TENANT . $
THEY WANT ME TO BE A MEMBER OF THEIR FAMILY . $
< ( PAUSE . ) > $
THE BIT ABOUT BEING OUR SON ... $
YOU 'RE SURE YOU 'RE HAPPY ABOUT IT . $
I MEAN I CAN EASILY CUT IT OUT OR LEAVE IT IN WHATEVER YOU S
AY . $
02 HE WON'T BE OUR REAL SON . $
01 NO , JULIAN IS OUR REAL SON . $
< ( PAUSE . ) > $
#39 $
... WAS OUR REAL SON . $
< ( PAUSE . ) > $
THIS ... PERSON ... COMING ... HE WILL BE SOMETHING ELSE ...
 YOU KNOW ... DIFFERENT , A DIFFERENT SORT OF RELATIONSHIP ,
 NOT A BLOOD RELATIONSHIP , IT 'S A NICE TOUCH . $
< ( HE TAKES BACK THE SPEECH . ) > $
THE SPEECH WOULD BE SPOILED , IT WOULD LACK SOMETHING WITHOU
T IT , DON'T YOU THINK SO , I THINK SO . $
< ( HE FOLDS UP AND POCKETS THE SPEECH . ) > $
GOOD . $
< ( HE RUBS HIS HANDS . ) > $
THAT 'S THAT THEN . $
WE 'RE ALL SET THEN . $
SET AND READY TO GO . $
< ( HE LOOKS AT HIS WATCH . $
HE COMPARES IT WITH A CLOCK THAT CANNOT BE SEEN . ) > $
TWENTY MINUTES AND IT WILL ALL BE OVER . $
HOW DO I LOOK ? $
< ( LAUGHING . ) > $
SUITABLY ATTIRED AM I , TO RECEIVE THE MAN WITH THE FUNNY NA
ME ? $
YOU LOOK NICE . $
02 IT 'S JUST AN OLD JUMPER , I DIDN'T HAVE TIME ... $
01 IT 'S NICE . $
YOU LOOK GOOD . $
WE SHOULD IMPRESS HIM . $
02 I 'M NOT SURE ... $
01 WE WILL . $
02 I MEAN ... $
01 < ( IN SUDDEN ANGER ) > $
NO ! $
02 BUT ... $
01 DON'T ! $
02 I ... $
01 PLEASE ... $
02 THE THOUGHT ... DON'T YOU SEE ? $
HIM . $
UP THERE ... $
#40 $
01 BELIEVE ME ... $
02 HOW CAN WE ? $
01 WE 'RE COMMITTED NOW . $
02 PUT HIM OFF ! $
01 I SAID BE COULD HAVE IT . $
02 SAY IT 'S TAKEN ! $
01 IT 'S SETTLED . $
WE 'VE AGREED TO IT . $
HE 'S ON HIS WAY HERE . $
< ( HE EMBRACES HER . ) > $
IT 'S GOING TO BE ALL RIGHT . $
02 UP THERE . $
A MAN . $
IN JULIAN'S ROOM . $
01 YOU AGREED TO IT . $
WE DISCUSSED IT . $
WE AGREED TO TRY IT . $
< ( THEN QUICKLY ) > $
A TENANT WE 'LL TAKE A TENANT WELL DIDN'T WE ? $
< ( SHE BREAKS AWAY . ) > $
WE DID WE DID ! $
JULIAN 'S GONE ! $
THERE 'S AN EMPTY ROOM UP THERE , WE NEED THE MONEY , THERE
'S A GOLDMINE UP THERE , SITTING THERE , EMPTY , WAITING . $
< ( THEN TENDERLY ) > $
BELIEVE ME ... LOOK IF I THOUGHT WE COULD GET BY SOME OTHER
WAY , IF THERE WAS ANY OTHER WAY ... THERE IS NO OTHER WAY .
.. ONLY THIS WAY ... RENTING THE ROOM , JULIAN'S ROOM , BECA
USE HE 'S GONE , AND IT 'S EMPTY ... AND WE 'VE FOUND OURSEL
VES A TENANT . $
IT 'S GOING TO WORK . $
< ( SHE SMILES SADLY . ) > $
OF COURSE IT IS . $
WE 'LL MAKE IT , YOU AND I , IT WILL CHANGE US , TAKE US OUT
 OF OURSELVES , YOU 'LL SEE . $
ANOTHER HUMAN BEING ! $
#41 $
< ( PAUSE . ) > $
WHAT 'S HIS NAME AGAIN ? $
A FUNNY NAME ... $
02 OLDENBERG . $
01 OLDENBERG . $
< ( THEY SMILE . ) > $
SOMETHING TO THINK ABOUT NOW THAT JULIAN , OUR SON , IS NO L
ONGER WITH US . $
HE WILL TAKE HIS PLACE ... $
OLDENBERG ... NOT AS A REAL SON ... BUT SOMETHING DIFFERENT
, SOMETHING ... SOMETHING QUITE DIFFERENT . $
< ( THEN TENDERLY ) > $
AND A NEW BEGINNING FOR US . $
< ( PAUSE , ) > $
LET 'S DRINK TO IT , YES ? $
< ( HE MOVES WITH A LAUGH TO THE DRESSER , OPENS A CUPBOARD
AND BRINGS OUT TWO GLASSES AND AN EXOTIC BOTTLE OF LIQUEUR .
 $
HE FILLS THE GLASSES , RETURNS WITH THEM , HANDS ONE TO THE
WOMAN AND RAISES HIS OWN . ) > $
OLDENBERG . $
< ( THE WOMAN RAISES HER GLASS . ) > $
02 OLDENBERG . $
< ( THEY DRINK . $
SUDDENLY THE MAN FREEZES AND LOOKS AT THE DOOR . $
THEN AT HIS WATCH . $
THEN AT THE WOMAN . $
THEY BOTH LOOK AT THE DOOR . $
SILENCE . $
THE MAN PUTS HIS DRINK ON THE TABLE , MOVES QUIETLY TO THE D
OOR , OPENS IT , AND GOES OUT INTO THE HALL . $
SOFT LIGHT ON A FLIGHT OF STAIRS . $
HE PASSES IT . $
SOFT LIGHT ON A STAINED-GLASS FRONT DOOR . $
HE OPENS IT . $
#42 $
HE PEERS INTO THE GARDEN . $
PAUSE . $
HE PUTS THE CATCH UP ON THE LOCK , MOVES OUT INTO THE GARDEN
 , STOPS AT A WHITE WICKET GATE , LOOKS UP AND DOWN THE STRE
ET . $
SILENCE . $
THE WOMAN PUTS DOWN HER DRINK . $
THE MAN COMES BACK TOWARDS THE HOUSE . $
THE WOMAN MOVES QUIETLY TO THE DOOR AND GOES OUT INTO THE HA
LL . $
SHE SEES THE OPEN FRONT DOOR . $
PAUSE . $
THE MAN RE-ENTERS . $
PAUSE . ) $
02 NO ? $
< ( THE MAN SHAKES HIS HEAD . $
SILENCE . ) > $
01 < ( BRIGHTLY ) > $
TELL YOU WHAT ! $
02 YES ? $
01 LET 'S GO UP AGAIN SHALL WE ? $
02 TO JULIAN'S ROOM ? $
01 < ( CRITICAL LOOK , RATHER PLAYFUL . ) > $
02 < ( SMILING ) > $
TO OLDENBERG'S ROOM ? $
< ( THE MAN SMILES . ) > $
01 COME ON . $
< ( HE PUSHES THE DOOR TO AND MOVES TO THE STAIRS . $
HE BEGINS TO CLIMB . $
THE WOMAN LOOKS AT THE DOOR . $
THE CATCH IS STILL UP : IT HAS SWUNG OPEN AGAIN . $
THE MAN STOPS CLIMBING . $
HE TURNS . $
HE CALLS DOWN . ) > $
COMING ? $
< ( PAUSE . $
THE WOMAN LOOKS UP AT THE MAN . $
PAUSE . $
SHE FOLLOWS . $
#43 $
THE LIGHTS FADE IN THE PARLOUR . $
THE MAN AND WOMAN CLIMB . $
THE LIGHTS FADE ON THE STAIRCASE . $
SILENCE . $
THE LIGHTS FADE ON THE STAINED-GLASS FRONT DOOR . ) > $
< SCENE TWO > $
< UPSTAIRS . $
DARKNESS . $
THEN A SLIVER OF LIGHT UNDER A DOOR . $
PEOPLE APPROACH OUTSIDE . $
THE DOOR OPENS . $
A SILHOUETTE OF THE MAN ENTERS THE ROOM AND DISAPPEARS . $
THE WOMAN'S SILHOUETTE APPEARS . $
PAUSE . $
SUDDEN DAZZLING LIGHT REVEALS A CLEAN , BRIGHT ROOM , RECENT
LY DECORATED , SPICK AND SPAN . $
THE LIGHT HAS NO SHADE . $
THE MAN IS AT THE SWITCH . $
HE SMILES AT THE WOMAN . $
SHE ENTERS . $
THE MAN MOVES TO THE DOOR AND CLOSES IT QUIETLY . > $
PAUSE . $
HE MOVES QUIETLY ROUND THE ROOM . $
01 < ( MOVING ) > $
I 'VE MOVED THINGS ROUND A BIT . $
I 'VE PUT THE BED OVER THERE AND MOVED THE TABLE TO THE WIND
OW . $
HE 'LL BE BETTER OFF WORKING BY THE WINDOW . $
HE 'LL BE ABLE TO LOOK OUT , THERE 'LL BE THE VIEW TO LOOK A
T . $
HE MAY BE A STUDENT , HE CAN PUT HIS BOOKS ON THE SHELVES ,
HE 'LL BE NEARER TO THEM THERE . $
< ( HE BEGINS TO TIDY UP . $
THE WOMAN LOOKS ROUND . $
PAUSE . ) > $
02 WHERE ARE THE TOYS ? $
< ( HE DOESN'T REPLY . ) > $
WHAT HAVE YOU DONE WITH THEM ? $
< ( PAUSE . ) > $
THE TOYS ! $
JULIAN'S TOYS ! $
01 OH THOSE ... $
#44 $
02 WHERE ARE THEY ? $
01 WELL ... $
02 WELL ? $
01 THEY SEEMED OUT OF PLACE . $
02 WHAT HAVE YOU DONE WITH THEM ? $
01 THEY 'LL BE ALL RIGHT . $
THEY WOULDN'T BE RIGHT IN HERE . $
WOULD THEY ? $
NOT NOW , NOT IN A BIG MAN'S ROOM . $
< ( HE CONTINUES TIDYING UP . $
THE WOMAN LOOKS ROUND . $
SHE SEES TWO FRAMED REPRODUCTIONS HANGING ON THE WALL : ONE
" THE GOLDEN STAIRS " BY SIR EDWARD BURNE JONES , THE OTHER
A PORTRAIT OF THE QUEEN , FACE ONLY . ) > $
WHAT DO YOU THINK ? $
< ( SHE LOOKS FROM ONE TO THE OTHER . $
HE STRAIGHTENS ONE , LINES IT UP NEATLY . ) > $
TO MAKE IT HOMELIER . $
IT WAS ALL RIGHT BEFORE , BUT THEY MAKE IT HOMELIER . $
DO YOU LIKE THEM ? $
HE MAY BE STUDYING HISTORY , I THOUGHT THEY MIGHT APPEAL , T
HEY 'RE NOT TO MY TASTE , I HUNG THEM FOR HIM , I THOUGHT TH
EY STRUCK THE RIGHT SORT OF ... NOTE . $
KNOW WHAT I MEAN ? $
DOES THAT ONE BOTHER YOU ? $
< ( SHE IS LOOKING AT " THE GOLDEN STAIRS " . ) > $
I GOT IT ROUND THE CORNER , I THOUGHT IT WOULD INTEREST HIM
, THE DETAIL IS QUITE REMARKABLE , SEE HERE , LOOK AT THESE
FEET , LOOK AT ALL THESE FEET ... $
< ( HE POINTS TO EACH OF THEM IN TURN . $
PAUSE . ) > $
BUT I COULD EASILY TAKE IT DOWN , IT WOULD BE NO TROUBLE , I
 MEAN IF IT BOTHERS YOU ... IT ISN'T SCREWED . $
#45 $
I COULD TAKE IT DOWN QUITE EASILY AND PUT THE QUEEN UP HERE
, SAY , THE QUEEN UP HERE , YES ... ON SECOND THOUGHTS THAT
'S NOT A BAD IDEA . $
< ( HE BEGINGS REMOVING " THE GOLDEN STAIRS " . $
PAUSE . ) > $
02 A STUDENT YOU SAY ? $
01 HE MAY BE . $
02 OF WHAT ? $
01 I DIDN'T ASK . $
< ( " THE GOLDEN STAIRS " IS DOWN . $
HE MOVES TO THE PORTRAIT OF THE QUEEN . ) > $
02 < ( BRIGHTLY ) > $
TELL YOU WHAT ! $
01 YES ? $
< ( HE BEGINS REMOVING THE PORTRAIT . ) > $
02 DO YOU THINK HE LIKES FLOWERS ? $
< ( THE MAN TURNS . $
HE IS HOLDING THE PORTRAIT . $
HE IS FROWNING . $
PAUSE . ) > $
01 WHO ? $
02 OUR MAN ! $
01 POSSIBLY . $
< ( PAUSE . ) > $
WHY ? $
02 I THOUGHT I MIGHT PUT SOME ... IN A VASE ... OVER THERE .
 $
< ( THE MAN LOOKS . ) > $
SHALL I ? $
01 TO BRIGHTEN THE PLACE UP A BIT ? $
02 YES . $
#46 $
01 YOU THINK IT NEEDS IT ? $
02 IT WOULD MAKE IT HOMELIER . $
< ( SILENCE . ) > $
01 YES ... YES DO THAT . $
02 I 'LL GO AND GET THEM NOW . $
< ( SHE GOES . $
THE MAN PAUSES THOUGHTFULLY FOR A MOMENT THEN HANGS UP THE P
ORTRAIT . $
HE STANDS BACK TO ADMIRE IT . $
THE WOMAN RE-ENTERS WITH FLOWERS . $
THE MAN TURNS . $
PAUSE . $
THE WOMAN SMILES . ) > $
02 JONQUILS ! $
< ( THE MAN NODS SLOWLY . ) > $
HERE ? $
< ( HE THINKS FOR A MOMENT . ) > $
01 THERE I THINK . $
< ( THE WOMAN OBEYS . ) > $
BACK A BIT . $
A LITTLE TO THE LEFT . $
< ( SHE DOES AS HE SAYS THEN TURNS WITH A SMILE . $
THE MAN NODS . $
PAUSE . ) > $
I 'D BETTER GET RID OF THIS . $
< ( HE LEAVES WITH " THE GOLDEN STAIRS " . $
THE WOMAN MOVES TO THE CURTAINS AND STRAIGHTENS THEM . $
SHE COMMENCES TO TIDY THE ROOM GENERALLY AND VERY CRITICALLY
 . $
THE MAN RE-ENTERS WITH A CUPBOARD . $
THE WOMAN TURNS . ) > $
I FOUND THIS . $
< ( HE STRUGGLES WITH IT TO THE BED . ) > $
HE CAN PUT HIS THINGS IN HERE . $
#47 $
< ( HE SETS IT DOWN AND SQUARES IT NEATLY . $
HE OPENS THE DOOR . $
THE WOMAN GOES OVER TO HAVE A LOOK AT IT . ) > $
01 PLENTY OF SHELVES . $
HE CAN ARRANGE HIS THINGS ON THOSE . $
02 HE COULD HAVE A LAMP ON THERE . $
01 YOU MEAN TO READ BY , TO READ IN BED BY . $
02 THERE 'S ONE IN THE BEDROOM . $
01 A LAMP ... $
02 HE OUGHT TO HAVE ONE . $
01 A LAMP ... $
< ( PAUSE . ) > $
02 I 'LL GO AND GET IT . $
< ( SHE GOES . $
THE MAN LOOKS SEARCHINGLY ROUND THE ROOM , SUDDENLY GETS EXC
ITED AND RUNS TO THE DOOR . ) > $
01 < ( CALLING ) > $
AND BRING AN ASHTRAY ! $
AND A CALENDAR ! $
AND A CLOCK ! $
< ( HE LOOKS UP AT THE NAKED LIGHT BULB AND BEGINS MOVING BA
CKWARDS TOWARDS THE DOOR . ) > $
01 A SHADE ... A SHADE ... $
< ( HE LEAVES THE ROOM . $
PAUSE . $
THE WOMAN RE-ENTERS CARRYING AN ASSORTMENT OF OBJECTS WHICH
SHE COMMENCES TO ARRANGE ABOUT THE ROOM . $
THERE IS A SUDDEN BURST OF MUSIC OUT ON THE LANDING AND THE
MAN ENTERS CARRYING - AMONG OTHER THINGS - A GRAMOPHONE ON W
HICH A RECORD IS TURNING . $
GENERAL LAUGHTER . $
THE WOMAN LEAVES THE ROOM . $
THE MAN SETS DOWN THE GRAMOPHONE , CLIMBS ONTO A CHAIR AND B
EGINS TO FIX THE SHADE . $
#48 $
THE WOMAN RE-ENTERS WITH MORE OBJECTS WHICH SHE ARRANGES ABO
UT THE ROOM . $
THE MAN CLIMBS DOWN FROM THE CHAIR AND DASHES FROM THE ROOM
. $
THE WOMAN FOLLOWS HIM . $
AND NOW THEY BEGIN IN EARNEST TO FILL THE ROOM , COMING IN W
ITH OBJECTS AND PIECES OF FURNITURE WHICH GET PROGRESSIVELY
MORE ABSURD . $
GRADUALLY THE ROOM IS FILLED . $
GENERAL LAUGHTER AND COMMENTS ( AD LIBITUM ) . $
MUSIC THROUGHOUT . $
THE ROOM IS NOW EXPLODING WITH OBJECTS - STUFFED , CRAMMED F
ULL WITH THEM . $
THE WOMAN IS POLISHING A MIRROR . $
THE MUSIC STOPS . $
SILENCE . $
THE MAN RE-ENTERS WITH A RUG . $
THE WOMAN TURNS . ) > $
01 I FOUND THIS . $
< ( HE STRUGGLES WITH IT TO THE BED WHERE HE UNROLLS IT , SQ
UARES IT NEATLY , THEN STANDS ON IT . $
PAUSE . ) > $
HE CAN STAND ON THIS . $
< ( HE STOOPS TO ADJUST ONE CORNER . ) > $
THERE . $
< ( HE LOOKS ROUND . ) > $
NOW IT LOOKS LIKE A ROOM . $
< ( HE SMILES , LOOKS AT HIS WATCH , FROWNS , MOVES TO THE W
INDOW , PARTS THE CURTAINS , LOOKS DOWN INTO THE STREET . $
THE WOMAN WORKS DREAMILY ON THE MIRROR . $
PAUSE . ) > $
02 COMING IS HE ? $
01 < ( SMILING ) > $
OF COURSE HE 'S COMING . $
02 WONDER WHAT 'S KEEPING HIM . $
#49 $
01 PROBABLY LOST HIS WAY . $
02 WONDER WHAT HE 'S LIKE . $
01 HE SOUNDED VERY NICE . $
< ( HE TIDIES THE CURTAINS . ) > $
02 YOUNG ? $
01 FAIRLY . $
02 HOW YOUNG ? $
01 HARD TO TELL . $
02 THIRTY-FIVE ? $
01 I 'D SAY YOUNGER . $
02 JULIAN'S AGE ? $
WHAT JULIAN WOULD HAVE BEEN ? $
01 OLDER THAN THAT ... IT WAS DIFFICULT TO TELL . $
A WELL-SPOKEN BOY ... GENTLE-SOUNDING . $
I DON'T THINK HE 'LL BE ANY TROUBLE . $
< ( HE MOVES ROUND THE ROOM ADJUSTING OBJECTS VERY FASTIDIOU
SLY . $
HE SEES THE JONQUILS . $
HE FROWNS AT THEM . ) > $
02 WHAT DID HE SAY ? $
01 < ( MOVING ) > $
JUST ASKED ABOUT THE ROOM ... $
< ( PAUSE . ) > $
02 YES ? $
01 YOU KNOW ... WHAT IT WAS LIKE ... $
AMENITIES AND SO ON , THE USUAL SORT OF THING , NOTHING OUT
OF THE ORDINARY . $
< ( PAUSE . ) > $
NICE VOICE HE HAD ... PLEASANT-SOUNDING . $
AS THOUGH HE HAD A SEMSE OF HUMOUR . $
< ( HE SMILES . $
PAUSE . ) > $
I DON'T THINK HE 'LL GIVE US ANY TROUBLE . $
02 WHERE DOES HE COME FROM ? $
#50 $
01 WHAT ? $
02 DID HE SAY ? $
01 SAY WHAT ? $
02 WHERE HE COMES FROM . $
01 I DIDN'T ASK . $
02 HE 'S NOT A NORTHERNER ! $
01 HE DIDN'T SAY SO . $
02 YOU DIDN'T ASK ? $
01 SHOULD I HAVE ? $
02 YOU COULD HAVE . $
01 THERE WASN'T TIME . $
02 NO ? $
01 NO ! $
< ( PAUSE . ) > $
IN ANY CASE I DIDN'T WANT TO GO INTO TOO MANY DETAILS , NOT
ON THE PHONE . $
I THOUGHT , WELL ... LET 'S GET HIM HERE , HAVE A LOOK AT HI
M , AND IF WE LIKE HIM TAKE HIM IF NOT GET RID OF HIM , IT I
SN'T DIFFICULT LETTING A ROOM , NOT A ROOM LIKE THIS , NOT T
HESE DAYS . $
PLENTY MORE WHERE HE COMES FROM ... $
< ( HE FROWNS . ) > $
... WHEREVER HE COMES FROM . $
02 YOU SHOULD HAVE ASKED . $
01 PERHAPS I SHOULD HAVE . $
02 I WOULD HAVE . $
IT 'S AS WELL TO KNOW THESE THINGS . $
SOMEBODY COMING IN OUT OF THE BLUE ... COMING HERE . $
HE COULD BE ANYBODY . $
01 I 'M SURE HE 'S ENGLISH . $
#51 $
02 WITH A NAME LIKE THAT ? $
< ( THEY LOOK AT ONE ANOTHER . $
PAUSE . $
THE MAN SMILES . ) > $
01 DON'T LET IT WORRY YOU . $
IT 'S BOUND TO BE STRANGE AT FIRST . $
WE 'LL SOON SETTLE DOWN . $
< ( HE ADJUSTS A CHAIR . $
THE WOMAN STOPS POLISHING THE MIRROR . $
SILENCE . ) > $
02 BEEN THINKING ABOUT HIM SINCE TUESDAY I HAVE ... $
01 < ( SMILING ) > $
REALLY ? $
02 ... LYING IN BED AT NIGHT ... WONDERING WHAT KIND OF PERS
ON HE IS ... AND IF WE 'LL GET ALONG . $
< ( THE MAN SMILES . $
PAUSE . ) > $
FUNNY NAME . $
ISN'T IT . $
01 YES ... $
< ( THE WOMAN LAUGHS . ) > $
02 OLDENBERG ! $
< ( THE MAN SMILES . ) > $
HEY ! $
YOU ! $
< ( THE MAN TURNS . ) > $
02 YES YOU . $
WHAT 'S THE NAME OF THAT TENANT OF YOURS ? $
01 < ( PLAYFULLY ) > $
OLDENBERG ... $
02 OLDENBERG ! $
< ( THEY LAUGH . $
THEY CALL THE NAME . ) > $
OLDENBERG ! $
01 OLDENBERG ! $
#52 $
02 OLDENBERG ! $
< ( THEY LAUGH , THEN THE WOMAN GIGGLES . $
THE MAN CONTINUES QUIETLY . ) > $
01 OLDENBERG YOU AND ME AND OLDENBERG . $
WE 'LL LIVE OUR LIVES HERE TOGETHER , THE THREE OF US A FAMI
LY OF THREE . $
HOW GRATEFUL HE WILL BE . $
02 HE 'D BETTER BE . $
01 HE WILL . $
HE WILL . $
A PLACE LIKE THIS ? $
JUST LOOK AT THIS ROOM . $
FIT FOR A KING IT IS ! $
LOOK AT THAT CEILING . $
THE HOURS I SPENT UP THERE ... THE LABOUR , THE LOVE . $
OH YES ... OLDENBERG WILL BE GRATEFUL FOR HIS CEILING ...
02 AND HIS MIRROR ... $
01 AND HIS BOOKSHELVES ... $
02 AND HIS EIDERDOWN ... $
01 AND HIS CUPBOARD ... $
02 AND CARPET . $
AND CLOCK . $
AND THIS ... AND THIS ... AND THIS ... AND THIS ... AND THIS
 ... $
01 < ( SMILING ) > $
GRATITUDE . $
IT 'LL COME OOZING OUT OF HIM . $
02 OOZING OUT OF HIM . $
01 OOZING ... $
02 OOZING ... $
01 OOZING ... $
< ( THEY LAUGH . $
THE WOMAN GIGGLES . $
THE MAN CONTINUES QUIETLY . ) > $
I THANK YOU BOTH , I THANK YOU KINDLY , YOU 'VE DONE ME PROU
D . $
#53 $
A ROOM LIKE THIS I 'VE NEVER HAD BEFORE , IN ALL MY LIFE , I
 'VE NEVER HAD A ROOM ... QUITE LIKE THIS . $
A ROOM ON WHICH SO MUCH LOVE HAS BEEN BESTOWED , A ROOM WITH
 SUCH A CEILING ... $
02 SUCH WALLS ... $
01 SUCH BEAUTIFULLY DOVETAILED SHELVES . $
< ( HE TOUCHES THEM . $
PAUSE . ) > $
I KNOW I SHALL BE HAPPY HERE , FOR I FEEL THAT I AM WELCOME
HERE AND WILL SPEND HERE IN THIS ROOM YOU HAVE SO LOVINGLY B
UILT FOR ME ... A HOST OF GOLDEN HOURS SUCH AS I 'VE NEVER S
PENT BEFORE . $
< ( HE MOVES TO THE DESK . ) > $
HE 'LL SIT HERE , AT HIS DESK , WITH HIS HISTORY BOOKS . $
02 HE MAY BE A DOCTOR . $
01 ALL RIGHT , WITH HIS DOCTOR'S BOOKS , OR HIS BARRISTER'S
BOOKS , OR HIS BOOKS OF SCIENCE AND TECHNOLOGY ... HERE HE W
ILL SIT , READING ... LEARNING ... DEEP INTO THE NIGHT ... B
ENEATH OUR ROOF ... MAKING HIS WAY ... LOOKING AT HIS PICTUR
E ... FALLING WEARILY INTO BED AND DREAMING OF US , YOU AND
ME , WHO MADE IT POSSIBLE . $
AND SO THE DAYS WILL PASS , THE YEARS WILL PASS AS SLOWLY IN
TO DEEPER DEBT HE MOVES WITH SMILING GRATITUDE . $
WE 'LL TAKE HIM OUT WITH US ! $
02 TO OUR FRIENDS ! $
#54 $
01 TO ALL OUR FRIENDS ! $
< ( PAUSE . ) > $
THIS IS OLDENBERG . $
HE 'S A SORT OF SON . $
< ( PAUSE . ) > $
01 HOW GRATEFUL HE WILL BE . $
FOR THE HOME WE 'VE GIVEN HIM . $
FOR THE FRIENDS WE SHARE WITH HIM . $
FOR THE FOOD WE PREPARE FOR HIM . $
FOR TAKING HIM IN ... TO OUR HOUSE ... AND OUR HEARTS . $
02 IT DOESN'T SEEM MUCH . $
< ( PAUSE . $
THE MAN LOOKS AT HER BLANKLY . ) > $
WHAT WE 'RE ASKING . $
01 NO ? $
02 WELL DOES IT ? $
01 SIX POUND ELEVEN AND THREE ? $
02 SEEMS SMALL FOR WHAT HE 'S GETTING . $
WE COULD HAVE ASKED FOR MORE . $
01 YOU THINK SO ? $
02 I KNOW SO . $
01 I DIDN'T THINK OF THAT ... $
02 ALL THIS ! $
< ( SHE LOOKS ROUND . ) > $
AND THAT ? $
AND THAT ? $
AND ALL THE WORK WE 'VE DONE , ALL THE HOURS WE 'VE SPENT UP
 HERE STRIPPING ... FILLING ... PAPERING ... PAINTING ... MA
KING DOING AND MENDING ... THE WOODWORK , THE NEEDLEWORK , A
LL THE LABOUR INVOLVED , THE TIME , THE MONEY , ALL THAT ! $
AND HE WON'T BE AN ORDINARY TENANT ... $
A MEMBER OF THE FAMILY , YOU SAID , A SON , YOU SAID . $
#55 $
< ( PAUSE . ) > $
SIX POUND ELEVEN AND THREE ? $
01 BUT I SETTLED IT . $
02 YOU DID ? $
01 ON THE PHONE ... $
02 WHAT DID HE SAY ? $
01 HE SAID IT SUITED HIM . $
AND IF IT WAS ALL RIGHT BY US HE 'D MOVE IN RIGHT AWAY . $
02 AFTER HE 'D SEEN IT . $
< ( SILENCE . $
SHE LOOKS AT HIM . ) > $
HE DID SAY HE WANTED TO SEE IT FIRST . $
01 HE DIDN'T SEEM TO WANT TO . $
02 YOU DIDN'T ASK HIM TO ? $
01 I FORGOT . $
< ( THEY LOOK AT ONE ANOTHER . ) > $
AN AWKWARD PAUSE . $
THE MAN RECOVERS . ) > $
01 THAT 'S FAIR ENOUGH , $
HE HEARD MY VOICE , HE COULD HEAR WHAT TYPE OF MAN I WAS , T
HAT THERE WAS NOTHING UNCOUTH , NOTHING UNSAVOURY ABOUT ME ,
 THAT I WAS CLEAN-SOUNDING ... AND MORAL-SOUNDING ... AND EN
GLISH . $
02 AND HIM ? $
< ( LONG PAUSE . ) > $
01 YOU MEAN ... $
02 YES . $
< ( LONG PAUSE . ) > $
WELL IS HE ? $
#56 $
01 HE SPOKE ENGLISH ... $
02 SO DO LOTS OF PEOPLE BUT IT DOESN'T MEAN THEY ARE . $
01 HE ... $
02 YES ? $
01 HE SOUNDED ENGLISH . $
< ( LONG PAUSE . ) > $
I 'M SURE HE IS ... $
02 YOU DIDN'T ASK ? $
01 I ASSUMED ! $
< ( LONG PAUSE . ) > $
HE MUST BE ... $
02 WITH A NAME LIKE OLDENBERG ? $
01 PERHAPS I SHOULD HAVE ASKED . $
< ( HE TURNS . ) > $
EXCUSE ME . $
JUST A FORMALITY . $
IT ISN'T IMPORTANT . $
WE DON'T EXACTLY CARE ... BUT YOU ARE ... ENGLISH ... AREN'T
 YOU . $
1 I DON'T THINK
THEN HE PANICS . ) > $
HE 'S GOT TO BE ENGLISH ! $
02 I 'M NOT HAVING ANY FOREIGNERS IN THE HOUSE , NOT IN MY H
OUSE , NOT BLOODY LIKELY , WHAT ! $
UP HERE ? $
IN OUR ROOM ? $
HAVING FRIENDS IN ? $
TURNING THE PLACE UPSIDE DOWN ? $
01 WHO NO ... OF COURSE NOT ... ME NEITHER ... I COULDN'T EN
TERTAIN THE IDEA - WITH DUE RESPECT , OF COURSE , TO OUR VIS
ITORS FROM ABROAD - I MEAN THINK OF ONE IN BED , OUR BED ...
 UNDER YOUR EIDERDOWN ! $
THEN GETTING UP AND MOVING OVER OUR FLOOR TO OUR TABLE ! $
#57 $
AND LOOKING AT OUR VIEW THROUGH OUR WINDOW ! $
02 I 'M NOT HAVING IT , I REFUSE TO PUT UP WITH IT . $
01 < ( THOUGHTFULLY ) > $
OLDENBERG ... OLDENBERG ... YES ... YES I SEE WHAT YOU MEAN
... $
02 SOUNDS GERMAN TO ME . $
< ( PAUSE . $
THE MAN LOOKS AT HER . ) > $
01 GERMAN ? $
02 WELL DOESN'T IT ? $
< ( THE MAN THINKS FOR A MOMENT . ) > $
01 I SUPPOSE IT DOES ... YES IT DOES HAVE A TEUTONIC TINGE T
O IT , DOESN'T IT ... $
02 MORE THAN A TINGE I 'D SAY . $
01 YES ... YES I SUPPOSE IT DOES ... $
02 MOST GERMAN NAMES END IN BERG . $
GERMAN NAMES AND JEWISH NAMES , YES A LOT OF JEWISH NAMES EN
D IN BERG . $
BERG AND BAUM . $
< ( SHE LOOKS AT HIM SHARPLY . ) > $
HE DIDN'T SAY BAUM DID HE ? $
HE DIDN'T SAY OLDENBAUM . $
01 I DON'T THINK SO ... $
02 I 'M NOT HAVING ANY JEWS IN THE HOUSE ... $
01 WHY NO ... $
02 ... POLLUTING THE AIR . $
< ( PAUSE . ) > $
01 I DON'T THINK HE DID SAY BAUM . $
HE MAY HAVE DONE . $
BUT I DON'T THINK HE DID . $
AS I SAY ... HE SOUNDED ENGLISH . $
#58 $
< ( THE WOMAN TURNS ON HIM . ) > $
02 YOU ARE A JEW ! $
< ( HE FROWNS . ) > $
PRETEND . $
YOU ARE A JEW , YOUR NAME IS OLDENBAUM , YOU ARE A GERMAN JE
W . $
< ( SHE PICKS UP A NEWSPAPER AND OPENS IT . ) > $
HERE IS AN ADVERT FOR A ROOM . $
AH YES ... SOUNDS NICE ... BED AND BOARD ... JUST WHAT I WAN
T . $
YOU TELEPHONE , RIGHT ? $
< ( SHE PUTS DOWN THE PAPER AND LIFTS AN IMAGINARY TELEPHONE
 TO HER EAR . ) > $
HELLO ? $
< ( LONG PAUSE . ) > $
YOU SEE ? $
< ( THE MAN LOOKS AT HER VACANTLY . ) > $
YOU SAY IT IN ENGLISH . $
WELL DON'T YOU ? $
01 I SEE WHAT YOU MEAN ... $
02 YOU PRETEND TO BE ENGLISH ! $
01 I PRETEND ! $
< ( HE SMILES . ) > $
YOU THINK HE WAS PRETENDING , THAT REALLY HE 'S A GERMAN JEW
 ! $
02 YOU SHOULD HAVE ASKED . $
< ( SHE TURNS . ) > $
EXCUSE ME . $
I 'M NOT PREJUDICED . $
BUT ARE YOU A GERMAN JEW ? $
YOU ARE ? $
WELL I 'M SORRY , THE ROOM IS TAKEN . $
< ( THEN TO THE MAN ) > $
THAT 'S WHAT ONE DOES . $
#59 $
THEY ALL DO THAT . $
IT 'S THE DONE THING THESE DAYS . $
THEY UNDERSTAND . $
< ( THE MAN IS VERY SHOCKED . ) > $
01 A GERMAN JEW ... $
02 UP HERE ... $
01 IN OUR ROOM ... $
02 WALKING UP OUR STAIRS ... $
01 EATING OUR FOOD ... $
02 BREATHING OUR AIR ... $
01 SITTING ON OUR LAVATORY . $
PULLING OUR CHAIN ... I 'M NOT SURE I COULD PUT UP WITH THAT
 ... $
02 ... I KNOW I COULDN'T ... $
01 ... LIBERAL-MINDED AS I AM . $
THAT WOULD BE MORE THAN I COULD STOMACH . $
< ( HE TURNS . ) > $
I 'M NOT PREJUDICED . $
< ( THE WOMAN TURNS . ) > $
02 ME NEITHER . $
01 WE 'RE NOT RACIALISTS . $
02 GOOD HEAVENS NO . $
01 BUT WE DON'T BELIEVE IN A MIXED SOCIETY , YOU SEE . $
02 YOU HAVE YOUR COUNTRY ... $
01 ... AND WE HAVE OURS ... $
02 ... AND THERE WE SHOULD STAY ... $
01 ... LIVING OUR LIVES AMONGST OUR OWN BECAUSE WE CAN ONLY
LIVE AT PEACE AMONGST OUR OWN ... $
02 ... WITH OUR OWN TRADITIONS ... $
01 ... OUR OWN WAYS OF LIFE . $
WE CAN NEVER HOPE TO MIX ... $
02 ... WE 'RE TOO DIVERSE ... $
#60 $
01 ... WE 'RE DIFFERENT PEOPLE ... $
02 ... WE DON'T THINK THE SAME ... $
01 ... OR ACT THE SAME ... $
02 ... OR FEEL THE SAME ... $
01 ... IT WOULD BE CHAOS IF WE LIVED TOGETHER ! $
IT 'S NEVER WORKED . $
AND NEVER WILL . $
< ( PAUSE . ) > $
SORRY . $
< ( THE WOMAN NODS . $
SILENCE . ) > $
SUPPOSE HE 'S WELSH ? $
02 I COULDN'T HAVE THAT . $
01 OR A SCOTSMAN ? $
02 NOT IN MY HOUSE . $
01 OR AN IRISHMAN ! $
AN IRISH LABOURER ! $
A SOFT-SPOKEN IRISH LABOURER ! $
02 UNTHINKABLE . $
I MEAN ... WHAT WOULD PEOPLE SAY ? $
I MEAN WE 'VE GOT OUR SELF-RESPECT TO THINK OF . $
01 OR POLISH ! $
OR GREEK ! $
OR ONE OF OUR LITTLE YELLOW FRIENDS ! $
< ( THE WOMAN SHAKES HER HEAD . ) > $
HE MIGHT BE FRENCH ! $
A BELGIAN ! $
OR A SWARTHY BALKAN FELLOW , SUPPOSE ... $
< ( HE LOOKS AT HER NERVOUSLY . ) > $
SUPPOSE HE 'S FROM THE ISLE OF WIGHT ! $
< ( SHE SHAKES HER HEAD . ) > $
OR A NEGRO ! $
A BIG BLACK BLOODY BUCK NIGGER ! $
UP HERE ! $
LYING THERE ! $
UNDER YOUR EIDERDOWN ! $
#61 $
< ( HE SNATCHES IT FROM THE BED . ) > $
LOOKING UP AT MY CEILING ! $
USING MY BOOKSHELVES ! $
READING BY THE LIGHT OF MY LAMP ! $
< ( HE SWEEPS IT TO THE FLOOR . $
PAUSE . ) > $
I SHOULD HAVE ASKED . $
02 YOU WERE TOO BUSY DISCUSSING TERMS ... $
01 ... I SHOULD HAVE ASKED HIM , PUT IT TO HIM , MAN TO MAN
... WHY DIDN'T I THINK OF IT ? $
< ( SUDDENLY HE REMEMBERS SOMETHING . ) > $
THAT VOICE ... $
< ( HE THINKS DEEPLY . ) > $
YES ... YES I THOUGHT THERE WAS SOMETHING FUNNY ABOUT IT , I
 HAD THIS FEELING , YES ... NOW I COME TO THINK OF IT I DID
SENSE SOMETHING FUNNY GOING ON : THE WAY HE PRONOUNCED HIS "
 I'S " ... DEFINITELY A TOUCH OF THE SOUTH - HOT CLIMATE " I
'S " THEY WERE , " I'S " THAT REEKED OF THE JUNGLE , THE SWA
MP ! $
< ( ON THE WORD " SWAMP " HE SWEEPS A CHINA ORNAMENT TO THE
FLOOR , WHERE IT SMASHES . ) > $
I REMEMBER ... YES ... IT 'S ALL COMING BACK TO ME NOW ... $
< ( HE LOOKS AROUND , AS THOUGH IN A TRANCE . ) > $
... IN THE BACKGROUND , BEHIND HIS VOICE , WHILE HE WAS BEAT
ING , SOMEONE BEATING DRUMS ... AND LITTLE CRIES , AND CHANT
ING , THE CHANTING OF A SAVAGE TRIBE , BEHIND HIS VOICE , WH
ILE HE WAS SPEAKING , ON THE PHONE ... $
#62 $
< ( LONG PAUSE . $
HE SCREAMS . ) > $
A NEGRO ! $
02 UP HERE ... $
01 IN JULIAN'S ROOM ! $
OUR SON'S ROOM ! $
< ( THEN QUIETLY , MENACINGLY ) > $
MOVING ... WHERE OUR OWN FLESH AND BLOOD HAS MOVED , BREATHI
NG THE AIR HE BREATHED . $
< ( HE TURNS . $
PAUSE . ) > $
YOU TRICKED ME . $
< ( THE WOMAN TURNS . $
THEY ARE BOTH FACING US . $
PAUSE . ) > $
TRICK ME WOULD YOU ... ? $
< ( THE WOMAN SCREAMS AT US . ) > $
02 BLACK BASTARD ! $
< ( THE MAN SNATCHES UP A CHAIR AND BEGINS TO APPROACH US ,
CHAIR FIRST , LIKE A LION-TAMER . ) > $
01 TRICK ME WOULD YOU ... ? $
WELL I 'LL SHOW YOU A TRICK OR TWO ... $
WHATEVER YOU ARE ... $
WHEREVER YOU COME FROM ... $
< ( HE HANDS THE CHAIR TO THE WOMAN . ) > $
GRAB HOLD OF THIS ... $
< ( SHE DOESN'T RESPOND . ) > $
TAKE IT ... $
< ( SHE LOOKS AT HIM . ) > $
TAKE IT ... $
< ( HE STARTS TO SCREAM . ) > $
TAKE IT ! $
TAKE IT ! $
TAKE IT ! $
TAKE IT ! $
#63 $
< ( HE THROWS THE CHAIR WILDLY ACROSS THE ROOM AND IT KNOCKS
 THINGS OVER AND IT HITS A WALL AND IT CRASHES TO THE FLOOR
. $
HE CONTINUES TO SCREAM . ) > $
OUT WITH IT ! $
GET IT OUT OF HERE ! $
AND THIS ! $
AND THIS ! $
AND THIS ! $
AND THIS ! $
AND THIS ! $
AND THIS ! $
< ( HE KNOCKS OBJECTS ONTO THE FLOOR , HE BREAKS THINGS , HE
 PUSHES FURNITURE OVER . ) > $
AND THIS ! $
AND THIS ! $
AND THIS ! $
... $
< ( THE WOMAN IS INFECTED BY HIS HYSTERIA . $
SHE SCREAMS WITH HIM . ) > $
02 AND THIS ! $
AND THIS ! $
AND THIS ! $
... $
< ( SHE HURLS THINGS ROUND THE ROOM . $
SHE PULLS THE CURTAINS DOWN . $
SHE TIPS THE BED OVER . ) > $
01 OUT WITH IT ! $
GET IT OUT OF HERE ! $
< ( HE LEERS ROUND AT US . ) > $
I 'LL SOON SHOW YOU A TRICK OR TWO . $
< ( THEY FINISH WRECKING THE ROOM WITH SHOUTS AND CRIES AD L
IBITUM . $
THEY ARE STRIPPING THE ROOM , STRIPPING IT CLEAN , TAKING OU
T OBJECTS , FURNITURE , FURNISHINGS , EVERYTHING IS BEING TA
KEN OUT , PULLED DOWN , EVERYTHING IS GOING . $
THE ROOM IS ALMOST BARE NOW . $
THE MAN AND WOMAN ARE BREATHLESS , WHEEZING . $
THEY STAGGER FROM THE ROOM WITH A FINAL LOAD . $
THE MAN RE-ENTERS WITH A LADDER . $
HE SETS IT UP AGAINST A WALL AND CLIMBS IT WITH A SMILE . $
HE PAUSES AT THE TOP . $
THE WOMAN RE-ENTERS . $
SILENCE . $
WITH ONE SWIFT WILFUL MOVEMENT THE MAN TEARS DOWN A SHEET OF
 WALLPAPER . $
THE WOMAN GOES TO ANOTHER WALL TEARS DOWN A SHEET OF HER OWN
 . $
THEY FRENZIEDLY TEAR SHEETS OF PAPER DOWN WITH SHOUTS AND CR
IES AD LIBITUM . $
#64 $
THE ROOM IS SWIRLING WITH PAPER AND DUST . $
THE MAN SCREAMS . ) > $
PAINT ! $
PAINT ! $
PAINT ! $
< ( THE WOMAN TAKES IT UP . ) > $
02 PAINT ! $
PAINT ! $
PAINT ! $
< ( SHE DASHES FROM THE ROOM . $
THE MAN KICKS THE PAPER INTO THE AUDIENCE . $
THE WOMAN RE-ENTERS WITH PAINT AND BRUSHES . $
THE ACTION SLOWS . $
PAUSE . $
THE MAN GOES TO THE PAINT AND WRESTS OFF THE LID . $
HE DIPS IN A BRUSH . $
HE LOOKS AT US . $
HE BRINGS IT OUT . $
IT IS RED . $
PAUSE . $
HE GOES TO THE LADDER AND CLIMBS TO THE TOP . $
HE PAUSES . $
HE LOOKS AT US . $
THEN HE TURNS . $
AND IN BIG RED LETTERS HE PAINTS " BLACK BASTARD " ON THE WA
LL AND IT DRIBBLES AND RUNS LIKE BLOOD . $
THE WOMAN REACHES FOR A BRUSH , LOADS IT WITH PAINT , AND DA
UBS ANOTHER WALL " BURN THE JEWS " . $
THEY SET TO WORK IN EARNEST , OUTDOING ONE ANOTHER , FEVERIS
HLY , LIKE A COUPLE OF SAVAGES BESMIRCHED WITH BLOOD : " BLA
CKS GO HOME " , " KEEP BRITAIN WHITE " , " YIDS FUCK OFF " E
TC. $
THEN SWASTIKAS START APPEARING , SPAWNING EVERYWHERE , ON TH
E CEILING , WALLS AND FLOOR . $
THEN THE PAINT GOES OVER . $
THEY KICK IT ABOUT THE ROOM . $
THE MAN PAUSES FOR A MOMENT , AND TURNS TO US , SMILING , BO
WING . ) > $
01 WELCOME ... $
#65 $
< ( HE BARES HIS TEETH . ) > $
WELCOME ... TO THIRTY-FIVE ... $
< ( THEN HE JOINS THE WOMAN ON THE SEA OF PAINT AND THEY SKA
TE UP AND DOWN ON IT , LAUGHING , WHOOPING , RED FROM TOP TO
 TOE . $
THEY CONTINUE FOR A MOMENT . $
SUDDENLY THE MAN FREEZES AND LOOKS AT THE DOOR , THEN AT HIS
 WATCH . $
THEY BOTH LOOK AT THE DOOR . $
SILENCE . $
THE MAN PICKS UP A CURTAIN AND WIPES HIS HANDS . $
HE MOVES QUIETLY TO THE DOOR , OPENS IT , AND GOES OUT ONTO
THE LANDING . $
PAUSE . $
THE WOMAN FOLLOWS HIM . $
PAUSE . $
THE LIGHTS FADE . ) > $
< SCENE THREE > $
DOWNSTAIRS . $
DARKNESS . $
THEN SOFT LIGHT ON THE STAIRCASE AND THE STAINED-GLASS WINDO
W . $
PAUSE . $
THE MAN AND THE WOMAN APPEAR ON THE STAIRCASE . $
THEY STOP . $
THEY LOOK AT THE DOOR , WIDE OPEN NOW . $
PAUSE . $
SOFT LIGHT ON A SUITCASE IN THE MIDDLE OF THE DARKENED ROOM
. $
THE MAN AND THE WOMAN DESCEND TO THE HALL . $
THE WOMAN CLOSES THE DOOR . $
THE MAN LOOKS INTO THE DARKENED ROOM . $
HE ENTERS THE ROOM . $
THE WOMAN APPEARS IN THE DOORWAY . $
PAUSE . $
SUDDEN LOW-KEY LIGHT , AS IN SCENE ONE . $
THE MAN COMES AWAY FROM A SWITCH AND STARES ROUND THE ROOM .
$
THE WOMAN ENTERS . $
THEY SEE THE SUITCASE . $
PAUSE . $
SOFT LIGHT ON OLDENBERG STANDING QUIETLY . $
THEY SEE HIM . $
PAUSE . $
01 OLDENBERG ? $
< ( OLDENBERG TURNS , SMILING . $
PAUSE . ) > $
#66 $
YOU ... YOU ARE OLDENBERG ? $
03 YES . $
YES I AM OLDENBERG . $
< ( PAUSE ) > $
01 YOU ARE ENGLISH . $
< ( PAUSE . ) > $
ARE YOU ? $
03 YES . $
YES I AM . $
AM I WELCOME ? $
< ( THEN VERY QUIETLY , AND SMILING ALL THE TIME . ) > $
PLEASE SAY I AM . $
AND SAY ... YOU HOPE MY STAY WILL BE A HAPPY ONE , LONG ...
AND VERY HAPPY , SAY YOU HOPE THIS AND SAY YOU HOPE THAT WHI
LE I AM WITH YOU , WHILE I AM WITH YOU HERE , IN YOUR HOUSE
, YOU WILL DO YOUR UTMOST TO MAKE KE AS COMFORTABLE ... AS C
ONTENTED ... AS YOU POSSIBLY CAN AND THAT IF AT ANY TIME THE
RE IS ANYTHING I ... PERSONALLY ... MYSELF ... REQUIRE ... I
N THE WAY OF ANYTHING REALLY ... YOU ... AND YOUR WIFE ... Y
OU WILL DO ALL WITHIN YOUR POWER , ALL THAT YOUR MEANS WILL
ALLOW , TO PLEASE ME : THAT YOUR DESIRE IS ONLY TO PLEASE ME
 , THAT YOU WOULD LIKE ... YOU WOULD LIKE ME TO THINK OF THI
RTY-FIVE , TO THINK OF IT AS MY HOME , THAT I AM A PART OF I
T , THAT I AM NOT SO MUCH YOUR TENANT ... NOT SO MUCH YOUR T
ENANT AS A MEMBER OF YOUR FAMILY ... YOUR SON IF YOU LIKE .
$
< ( PAUSE . ) > $
#67 $
THAT I AM YOUR SON . $
< ( SILENCE . ) > $
SAY THAT . $
< ( THE MAN MAKES A GESTURE . ) > $
01 IT ... IT GOES WITHOUT SAYING ... $
< ( HE TURNS TO THE WOMAN . ) > $
DOESN'T IT ... $
02 YES ... YES IT DOES ... $
< ( OLDENBERG SMILES PLEASANTLY . ) > $
03 I 'M VERY PLEASED TO HEAR IT . $
AND I LOOK FORWARD TO BEING YOUR SON , NOT YOUR REAL SON ...
 BUT SOMETHING DIFFERENT , SOMETHING ... SOMETHING QUITE DIF
FERENT . $
< ( PAUSE . $
THE MAN AND THE WOMAN WATCH HIM . $
HE MAKES A GESTURE . ) > $
AND NOW ... IF YOU WOULD TAKE ME TO MY ROOM ... $
< ( THE MAN AND THE WOMAN EXCHANGE NERVOUS GLANCES . ) > $
< ( SMILING ) > $
I TAKE IT IT 'S READY ... $
01 ACTUALLY ... NO ... IT 'S LIKE THIS ... HOW CAN I PUT IT
... SOMETHING CAME UP , WE WERE DELAYED YOU SEE ... SOMETHIN
G CAME UP WHICH PREVENTED OUR COMPLETING IT ... $
< ( HE SUDDENLY IMPROVISES . ) > $
WE 'LL PUT YOU IN OURS ! $
< ( HE TURNS TO THE WOMAN . ) > $
WON'T WE . $
< ( SHE NODS SLOWLY . $
HE TURNS TO OLDENBERG . E > $
#68 $
IF YOU ARE AGREEABLE ... AS A TEMPORARY MEASURE ... TILL YOU
RS IS DONE . $
03 WHATEVER YOU SAY . $
< ( SILENCE . ) > $
01 PLEASE COME THIS WAY . $
< ( HE MOVES TO THE DOOR . $
PAUSE . $
HE TURNS . ) > $
THIS WAY PLEASE . $
< ( OLDENBERG SMILES AND GAZES ROUND AND AS HE DOES SO ... S
TILL SMILING ... HE PRODUCES FROM HIS RAINCOAT POCKET A SHOR
T WHITE STICK WHICH ... STILL SMILING ... HE FLICKS OPEN . $
THEN HE STOOPS AND MOVES FORWARD , FUMBLING FOR HIS SUITCASE
 ... TOUCHES IT , GROPES FOR THE HANDLE , PICKS IT UP . $
THEN RAISING THE STICK , AND EXTENDING IT BEFORE HIM , HE MO
VES SLOWLY ROUND THE ROOM , BUMPING INTO FURNITURE , SAYING
" SORRY " , THEN GRADUALLY MAKES HIS WAY TO THE DOOR . $
HE LEAVES THE ROOM . $
HE STANDS IN THE HALL , WAITING . $
A LONELY FIGURE . $
SMILING . $
AND TOTALLY BLIND . $
PAUSE . $
THE MAN LOOKS AT THE WOMAN . $
PAUSE . $
HE GOES OUT INTO THE HALL . $
HE LEADS OLDENBERG TOWARDS THE STAIRCASE , THEN SLOWLY UP TH
E STAIRS . $
THE WOMAN STANDS QUIETLY . $
SILENCE . $
THE MAN COMES SLOWLY DOWN THE STAIRS . $
HE ENTERS THE ROOM . $
HE LOOKS AT THE WOMAN . $
HE CLOSES THE DOOR . $
#69 $
PAUSE . $
HE MOVES TO THE WOMAN . $
THEY STAND TOGETHER QUIETLY . $
LONG PAUSE . ) > $
01 I SHOULD HAVE ASKED ... $
< ( PAUSE . ) > $
WELL ... WHAT WITH ONE THING AND ANOTHER . $
I DIDN'T THINK TO , YOU KNOW HOW IT IS , IT SLIPPED MY MIND
 . $
BUT I SHOULD HAVE DONE . $
< ( HE TURNS . ) > $
EXCUSE ME , PARDON MY ASKING , IT 'S REALLY QUITE IRRELEVANT
 AND PLEASE DON'T TAKE OFFENCE BUT ARE YOU ... BY ANY CHANCE
 ... BLIND ? $
< ( PAUSE . $
HE SIGHS . ) > $
AT LEAST HE 'S AN ENGLISHMAN . $
< ( HE LOOKS AT THE WOMAN . ) > $
RIGHT ? $
< ( PAUSE . $
HE HANDS HER NOTES AND COINS . $
THE LIGHTS FADE . ) > $
< CURTAIN > $