<< *170 JOHN BOWEN : AFTER THE RAIN , FABER AND FABER , LOND
ON , 1967 . 94 P. . FIRST PERF. : 010966 . CHAR. : 01 THE LE
CTURER , 02 HIS TWO ASSISTANTS , 03 CAPTAIN HUNTER , 04 HERD
ERSON , 05 GERTRUDE FORBES-COOPER , 06 TONY BATCH , 07 WESLE
Y OTTERDALE , 08 MURIEL OTTERDALE , 09 HAROLD BANNER , 10 AL
AN ARMITAGE , 11 SONYA BANKS . >> $
#13 $
< ACT ONE > $
< THE CURTAIN IS UP . $
ONLY A FEW SIMPLE AND NECESSARY OBJECTS ARE ON WHAT IS OTHER
 WISE A BARE STAGE . $
THERE ARE EIGHT STRAIGHT CHAIRS AGAINST THE BACK WALL . $
THERE IS A LECTERN TO ONE SIDE , DOWNSTAGE . $
ALSO TO ONE SIDE , WHERE THE WINGS WOULD BE , ARE CHAIRS FOR
 THE TWO ASSISTANTS , AND A WOODEN TABLE WHICH HAS A NUMBER
OF HAND PROPS ON IT - BOOKS , THE LOGBOOK , HUNTER'S HOME-MA
DE SPEAR . $
THERE ARE ALSO LARGE WHITE CARDS IN HOLDERS . $
ONE CARD IS LETTERED ' HOLD ' , ONE ' CABIN ' , ONE ' SALOON
 ' , TWO ' DECK ' , AND TWO ' SEA ' . $
NOTE ON THE OBJECTS AND ON COSTUMES : $
TWO HUNDRED YEARS AFTER THE RAIN OF 1967 , A SOCIETY HAS GRO
WN , FOUNDED BY THE SIX SURVIVORS OF OUR PLAY . $
( THERE MAY HAVE BEEN OTHER SOCIETIES FROM OTHER SURVIVORS ,
 BUT WE ARE NOT CONCERNED WITH THEM . ) $
THE CLOTHES AND FURNITURE OF THIS SOCIETY WILL BE BASED ON A
N IMPERFECT TRADITION OF WHAT LIFE WAS LIKE IN BRITAIN IN 19
67 , MODIFIED BY THE FACT THAT THIS SOCIETY HAS HAD TO REDIS
COVER A LARGE NUMBER OF SKILLS . $
CLOTHES AND FURNITURE SHOULD NOT BE OUTRAGEOUS OR SCIENCE-FI
CTIONISH , BUT THEY SHOULD BE DIFFERENT . $
PRISONERS SHOULD WEAR IDENTICAL UNIFORMS . $
HOUSE LIGHTS REMAIN UP , AS THE ASSISTANTS ENTER AND TAKE TH
EIR PLACES . $
THEN THE LECTURER ENTERS , AND ARRANGES HIS NOTES ON THE LEC
TERN . $
WHEN HE IS READY : > $
01 LOWER THE LIGHTS , PLEASE , MR. PORTER , AND TAKE THE NAM
ES OF ANY LATE-COMERS . $
I 'LL SEE THEM IN PUNISHMENT ROOM THIS EVENING AFTER DISCUSS
ION . $
< ( HOUSE LIGHTS LOWERED ) > $
IN MY FIRST LECTURE , I TRIED TO GIVE A GENERAL REVIEW OF LI
FE BEFORE THE RAIN OF 1968 . $
FOR OUR RECONSTRUCTION OF THAT TIME WE HAVE TO RELY ON SECON
DARY SOURCES - THAT IS , ON THE BOOKS ACTUALLY ON BOARD THE
RAFT ON WHICH OUR FOREFATHERS SURVIVED . $
I MYSELF AM NOT CONVINCED OF THE VALUE AS SOURCE BOOKS EITHE
R OF ROQUE HERRIES OR BETTER SIGHT WITHOUT GLASSES . $
#14 $
THERE ARE MANY AREAS OF LIFE IN 1968 ABOUT WHICH WE CAN ONLY
 SPECULATE . $
FOR LIFE ON BOARD THE RAFT WE HAVE TWO DIRECT SOURCES . $
THE FIRST IS THE BOOK OF ARTHUR , WHICH SEEMS IN PART TO BE
ALLEGORICAL . $
THE SECOND IS THE DIARY OF ALAN ARMITAGE . $
THE RAFT ITSELF WAS DESTROYED IN THE FIRE OF 1998 , AND WE H
AVE NO PICTURE OF IT . $
THERE SEEMS TO HAVE BEEN A CENTRAL STRUCTURE , CONSISTING OF
 A MAIN SALOON , WITH KITCHEN AND BATHROOM , AND A SMALLER C
ABIN . $
THE DECK RAN ALL ROUND THIS CENTRAL STRUCTURE , AND CONTAINE
D AN ENTRANCE TO THE HOLD BENEATH . $
THE RAFT WAS NOT PART OF ANY SURVIVAL SCHEME . $
IT HAD BEEN BUILT AND LAUNCHED BEFORE THE RAIN BEGAN BY THE
INTERNATIONAL UNITARIAN BREAKFAST FOOD COMPANY , THE MAKERS
OF GLUB , A KIND OF CEREAL FOOD . $
< ( CLICKS FINGERS ) > $
PLACARDS , PLEASE . $
< ( ASSISTANTS HOLD UP PLACARDS ILLUSTRATING A PACKET OF GLU
B FLAKES ) > $
THANK YOU . $
WHAT YOU SEE IS A BOX OF GLUB FLAKES . $
THERE WERE ALSO GLUB GRITS , GLUB CUSHIONS , AND POPPITY GLU
B FOR CHILDREN . $
IT WAS THE CONTENTION OF THE INTERNATIONAL UNITARIAN BREAKFA
ST FOOD COMPANY THAT MAN COULD LIVE BY GLUB ALONE . $
THEY THEREFORE STOCKED A RAFT WITH IT , AND EMPLOYED A MAN T
O SAIL IT ROUND THE WORLD . $
THANK YOU , GENTLEMEN . $
THAT MAN WAS CAPTAIN HUNTER . $
< ( HUNTER ENTERS AND TAKES UP A POSITION , STAGE CENTRE ) >
 $
YOU ARE HUNTER . $
03 YES , I 'M HUNTER . $
01 BY ? $
03 GEORGE . $
I 'M HUNTER , BY GEORGE . $
ACTUALLY $
01 THANK YOU . $
HOW DID YOU GET THIS EMPLOYMENT ? $
03 I WAS REGULAR ARMY , BUT THEY RETIRED ME . $
EVERYTHING GOT SO BLOODY TECHNICAL , YOU SEE . $
THEN I TRIED OUT FOR KEEPING A PUB , BUT THE BREWERS WOULDN'
T WEAR IT . $
SOMETHING TO DO WITH I.Q. - YOU HAD TO DRAW PATTERNS UPSIDE
DOWN AND SAY WHICH WORDS DIDN'T FIT . $
I GOT A BIT DEPRESSED ACTUALLY . $
THEN I WAS READING A COPY OF THE DIRECTOR AT MY DENTIST'S ,
AND THERE WAS THIS ADVERT TO SAIL A RAFT ROUND THE WORLD . $
#15 $
TURNED OUT ALL THE OTHER VOLUNTEERS WERE NUT CASES OR NORWEG
IANS , SO THEY GAVE IT TO ME . $
01 WHAT HAPPENED ? $
03 ABOUT LIVING ON GLUB ? $
WELL , I DID A LOT OF FISHING . $
01 AND ? $
03 I GOT LOST . $
WIRELESS CONKED OUT . $
NEVER KNEW WHETHER I WAS COMING OR GOING . $
01 AND ? $
03 IT STARTED RAINING . $
DIDN'T STOP . $
DEAD CALM , MIND , WHEREVER I WAS , BUT IT JUST WENT ON RAIN
ING . $
MONOTONOUS . $
THEN ONE NIGHT I HIT A FISHING BOAT . $
SWAMPED IT . $
NOBODY IN IT BUT ARTHUR AND GERTRUDE AND TONY AND A LOT OF D
EAD CHAPS . $
01 SO ? $
03 ARTHUR TOOK OVER . $
01 SIT DOWN NOW . $
< ( HUNTER SITS ON ONE OF THE CHAIRS AT THE BACK ) > $
THESE WERE ARTHUR HENDERSON , GERTRUDE FORBES-COOPER , AND A
NTHONY BATCH . $
< ( TO ASSISTANT ) > $
HENDERSON , NEXT . $
< ( ARTHUR ENTERS , AND TAKES UP POSITION , WHILE ) > $
01 YOU MAY BE PUZZLED BY THE NAME ' HENDERSON ' . $
OUR ANCESTORS USED THE SUFFIX ' SON ' IN NAMES JUST AS WE DO
 - CLARKSON , BAKERSON , MASTERSON , FARMERSON - BUT WHAT A
' HENDER ' WAS , WE 'VE NOT YET BEEN ABLE TO DISCOVER . $
< ( TO ARTHUR ) > $
YOU ARE ARTHUR HENDERSON ? $
04 < ( SLIGHT PAUSE ) > $
YES . $
01 YES WHAT ? $
04 I AM ARTHUR HENDERSON . $
01 PROFESSION ? $
04 ACCOUNTANT . $
01 VOCATION ? $
04 LEADER . $
01 EXPLAIN . $
04 WHEN THE ORDERS CAME TO MOVE TO CAMPS ON THE HIGH GROUND
, I KNEW WHAT WOULD HAPPEN . $
CHOLERA . $
RIOTING . $
#16 $
FOOD RUNNING OUT . $
I TOOK A FEW WHO WOULD FOLLOW ME , AND SET OUT FOR MYSELF .
$
01 YOU CHOSE BADLY . $
MOST DIED . $
04 I TOOK THOSE WHO WOULD COME . $
TWO LIVED . $
01 YES . $
< ( TO ASSISTANTS ) > $
FORBES-COOPER AND BATCH . $
< ( GERTRUDE AND TONY ENTER , AND JOIN ARTHUR , WHILE ) > $
04 I BEGAN WITH TWO OF THE MOST NECESSARY PARTS OF MAN'S NAT
URE . $
MISS FORBES-COOPER REPRESENTED THE ARTS . $
BATCH HAD BODILY STRENGTH . $
INTELLIGENCE I HAD MYSELF . $
01 YOU ARE GERTRUDE FORBES-COOPER . $
05 YES . $
01 YOU ARE ANTHONY BATCH . $
06 I AM TONY BATCH . $
01 YOUR LIFE BEFORE ? $
05 I TAUGHT SPEECH AND DRAMA IN THE EARLS COURT ROAD . $
THEN , AS IT RAINED AND RAINED , I BECAME QUITE ISOLATED . $
THE STREETS FILLED WITH WATER AND THE PEOPLE IN THE BASEMENT
 TRIED TO MOVE UPSTAIRS . $
NO PROPER ARRANGEMENTS HAD BEEN MADE , AND I COULDN'T HAVE T
HOSE PEOPLE IN THE FLAT . $
LUCKILY I MET ARTHUR SHORTLY AFTERWARDS . $
06 ' WHAT DO YOU DO ? ' HE SAYS . $
' I 'M A STRONG MAN ' , I SAYS . $
' RIGHT ' , HE SAYS , ' I 'LL HAVE YOU ' . $
01 THANK YOU . $
SIT DOWN . $
< ( GERTRUDE AND TONY SIT ON CHAIRS AT THE BACK , WHILE ) >
$
< ( TO ARTHUR ) > $
WHAT OTHER PEOPLE DID YOU PICK UP WHEN YOU HAD REACHED THE R
AFT ? $
04 I DECIDED TO ACCEPT ANYONE WHO CAME , IF HE WERE HEALTHY
AND HAD SOME SORT OF SKILL . $
UNFORTUNATELY MOST OF THOSE WE FOUND WERE , BY THAT TIME , N
O LONGER HEALTHY . $
CONSEQUENTLY , THEY WERE LEFT TO DIE . $
01 < ( TO ASSISTANTS ) > $
THE OTTERDALES NOW , AND BANNER . $
04 THE OTTERDALES WERE IN PASSABLE HEALTH , HOWEVER . $
AND BANNER WAS CLEARLY AN EDUCATED MAN . $
< ( WESLEY , MURIEL AND BANNER HAVE ENTERED , AND TAKEN UP P
OSITIONS BY ARTHUR ) > $
01 YOU ARE WESLEY OTTERDALE . $
#17 $
07 YES . $
01 MURIEL OTTERDALE , HIS WIFE . $
08 YES . $
01 HAROLD BANNER , A PRIEST OF THE CHURCH IN ENGLAND . $
09 OF . $
NOT ' IN ' . $
01 WHAT ? $
09 LOTS OF CHURCHES IN ENGLAND . $
JUST THE ONE OF . $
01 VERY GOOD . $
< ( TO MURIEL ) > $
YOU CAME FROM ? $
08 DUDLEY . $
WE CAME IN A ROWING BOAT WITH THE VICAR  . $
WE 'D TAKEN HIM IN , DO YOU SEE , WHEN THE RECTORY WENT UNDE
R WATER . $
01 A ROWING BOAT ? $
09 I ROWED NUMBER SIX IN THE OXFORD BOAT . $
08 MR. BANNER'S HANDS GOT ALL BLISTERED , AND HE ROWED AND R
OWED . $
HE WOULDN'T LET ME TAKE A TURN ; HE WAS THAT OBSTINATE . $
AND WESLEY WOULDN'T . $
HE SAID THE RAIN WAS A PUNISHMENT , YOU SEE , AND IT WAS GOD
'S WILL NOT TO ROW . $
01 THANK YOU . $
SIT DOWN . $
< ( THE THREE DO SO . $
ARTHUR LINGERS ) > $
04 THERE WERE TWO OTHERS . $
01 I KNOW IT . $
SIT DOWN . $
< ( AS ARTHUR DOES SO - TO ASSISTANTS ) > $
AND I 'LL HAVE THE LAST TWO . $
< ( ONE ASSISTANT GOES OFF . $
ALAN AND SONYA ENTER ) > $
YOU ARE SONYA BANKS . $
11 I AM SONYA BANKS . $
01 YOU ARE ALAN ARMITAGE . $
10 I AM ALAN ARMITAGE . $
01 SIT . $
< ( ASSISTANTS RETURN , PULLING A BOARD ON WHEELS OR ROLLERS
 , WHICH IS TO DO DUTY AS A RUBBER DINGHY . $
IT MUST BE POSSIBLE FOR TWO PEOPLE TO SIT COMFORTABLY ON IT
. $
IT IS LEFT TO ONE SIDE OF THE ' DECK ' SPACE - AS IF IN THE
SEA . $
MEANWHILE ALAN AND SONYA SIT DOWN . $
LECTURER GOES UPSTAGE TO THE ROW OF CHAIRS ) > $
WHEN I SNAP MY FINGERS , YOU WILL SLEEP UNTIL I ORDER YOU TO
 WAKE . $
YOU WILL SLEEP AND HEAR NOTHING . $
WHEN I SAY ' WAKE ' , YOU WILL WAKE . $
SLEEP NOW . $
#18 $
< ( LECTURER SNAPS HIS FINGERS . $
ALL THE PERFORMERS DROP INTO SLEEP , EXCEPT ARTHUR , WHO REM
AINS LOOKING AT THE LECTURER ) > $
YOU WILL SLEEP . $
I WILL SNAP MY FINGERS ONCE , AND YOU WILL SLEEP . $
< ( SNAPS FINGERS . $
A LONG PAUSE . $
SNAPS FINGERS AGAIN . $
ARTHUR'S HEAD DROPS IN SLEEP . $
LECTURER HESITATES A MOMENT , OBVIOUSLY WORRIED , THEN COMES
 BACK DOWNSTAGE ) > $
NEW STUDENTS MAY BE UNFAMILIAR WITH OUR PROCEDURE AT THESE L
ECTURES . $
IT IS MOST IMPORTANT THAT THERE SHOULD BE NO DISTRACTIONS FR
OM THE HALL . $
CONSEQUENTLY I MUST ASK YOU NOT TO COUGH , WHISPER , OR INDU
LGE IN LOVE-PLAY OF ANY KIND . $
EACH OF THESE CRIMINALS IS UNDER DEEP HYPNOSIS TO ENABLE HIM
 TO BE THE PERSON HE PRESENTS TO YOU . $
BEFORE THE RAIN , THIS WAS CALLED ACTING , AND WAS USED , AS
 WE USE IT , FOR EDUCATIONAL PURPOSES . $
IF THE HYPNOSIS SHOULD BE BROKEN BY DISTRACTION , THE CONSEQ
UENCES MIGHT BE UNFORTUNATE . $
PLEASE REMEMBER THAT , ALTHOUGH THESE PEOPLE ARE CRIMINALS ,
 THAT IS NO REASON FOR YOU TO PUT THEM AT RISK , ESPECIALLY
SINCE , WHEN THIS TASK IS OVER , THEY WILL HAVE EARNED REMIS
SION AND WILL BE PERMITTED TO RETURN TO NORMAL COMMUNITY DUT
IES . $
< ( HE SPEAKS TO THE CHARACTERS ) > $
WAKE . $
< ( THEY DO SO ) > $
PLACES . $
< ( ALAN AND SONYA ENTER THE BOAT . $
ARTHUR TAKES HIS CHAIR TO THE UPSTAIRS SECTION , AND SITS .
$
GERTRUDE , MURIEL , WESLEY AND BANNER TAKE THEIRS TO THE MAI
N SALOON . $
HUNTER PUTS ON A PAIR OF OILSKINS , AND GOES ON DECK . $
TONY STAYS WHERE HE IS ) > $
01 RAINING . $
< ( HUNTER TURNS UP HIS COLLAR AND REACTS TO THE RAIN ) > $
BEGIN . $
< ( ALAN AND SONYA HAVE ALSO REACTED TO THE RAIN , BUT MORE
AS IF THEY HAD BEEN IN IT FOR A LONG TIME , AND ARE USED TO
BEING SOAKED . $
ALAN IS ROWING . $
AN ASSISTANT PULLS THE BOARD PERHAPS ONE STEP FORWARD . $
#19 $
SONYA IS SINGING IN A LITTLE THIN VOICE ) > $
11 CRUISING DOWN THE RIVER , ON A SUNDAY AFTERNOON . $
THE SUN ABOVE , AND ONE YOU LOVE ... $
10 HUSH UP , LOVE . $
I CAN SEE A LIGHT . $
< ( CALLS ) > $
AHOY ? $
< ( ASSISTANT ECHOES HIS CALL IN A MUCH FAINTER VOICE , AND
HUNTER REACTS TO THE ASSISTANT ) > $
02 AHOY ! $
< ( HUNTER COCKS HIS HEAD AND LISTENS ) > $
10 AHOY ! $
AHOY THERE ! $
02 < ( FAINTER ) > $
AHOY ! $
AHOY THERE ! $
< ( HUNTER TURNS AND GOES INTO MAIN CABIN , WHERE BANNER HAS
 OPENED ONE OF THE BOOKS ON THE TABLE , AND IS READING . $
GERTRUDE SEEMS ( IN MIME ) TO BE KNITTING SOME INTRACTABLE M
ATERIAL , WESLEY STARES STRAIGHT IN FRONT OF HIM , AND MURIE
L WATCHES WESLEY . $
ALAN CONTINUES TO ROW , AND ASSISTANT TAKES ANOTHER COUPLE O
F STEPS FORWARD ) > $
03 ARTHUR ? $
09 INSIDE . $
< ( HUNTER GOES TO UPSTAIRS SECTION AND MIMES KNOCKING ) > $
03 ARTHUR ? $
04 YES ? $
03 PERMISSION TO ENTER , ARTHUR ? $
04 WHAT IS IT ? $
03 A SHOUT . $
SOMEBODY ELSE MUST HAVE FOUND US . $
10 < ( CALLS ) > $
AHOY ! $
02 < ( NOT AS FAINT AS BEFORE ) > $
AHOY ! $
04 COULD YOU SEE ANYTHING ? $
03 NO , ARTHUR . $
THE RAIN ... $
04 VERY WELL . $
< ( GETS UP ) > $
I SHALL COME WITH YOU . $
DO YOU HAVE YOUR SPEAR ? $
03 IT 'S IN THE LOO . $
04 GET IT . $
03 AYE , AYE , ARTHUR . $
< ( SECOND ASSISTANT COMES FORWARD , TAKES SPEAR FROM THE TA
BLE , AND GIVES IT TO HUNTER , WHILE ARTHUR MOVES INTO MAIN
CABIN ) > $
#20 $
10 AHOY ! $
AHOY THERE ! $
02 < ( NEARER ) > $
AHOY ! $
AHOY THERE ! $
03 READY , ARTHUR ? $
04 YES . $
GO FIRST WITH YOUR SPEAR . $
< ( HUNTER GOES OUT ON DECK , FOLLOWED BY ARTHUR . $
ASSISTANT BRINGS THE WOODEN BOARD ALMOST TO THE EDGE OF THE
DECK SPACE . $
ALAN STOPS ROWING ) > $
10 AHOY ! $
IS ANYONE THERE ? $
04 STAY WHERE YOU ARE . $
< ( ALAN ROWS A STROKE . $
ASSISTANT A LITTLE FORWARD ) > $
10 CAN WE COME ABOARD $
< ( ARTHUR MOTIONS HUNTER TO THE EDGE . $
HUNTER TAKES UP A POSITION OF OFFENCE ) > $
04 STAY WHERE YOU ARE , I SAID . $
IF YOU COME ANY CLOSER , I SHALL REQUEST CAPTAIN HUNTER TO J
AB YOU WITH HIS SPEAR . $
11 GOODNESS ! $
04 ARE YOU READY , CAPTAIN HUNTER ? $
03 AYE , AYE , ARTHUR . $
04 THEN STAND BY TO REPEL BOARDERS . $
10 IS ANYTHING WRONG ? $
CAN WE COME ABOARD ? $
11 IS ANYTHING WRONG ? $
CAN WE COME ABOARD ? $
11 HE CAN'T MEAN IT . $
04 HUNTER ! $
< ( HUNTER APPEARS ABOUT TO JAB DOWNWARDS ) > $
I 'VE WARNED YOU . $
YOU HAVE ONLY YOURSELVES TO BLAME IF YOU SHOULD SUSTAIN INJU
RY . $
< ( A PAUSE . $
ALAN LOOKS AT SONYA ) > $
10 COME ON , SONN . $
WE 'LL BE ON OUR WAY . $
< ( TURNING MOTION WITH MIMED PADDLE . $
ASSISTANT TURNS BOARD ) > $
11 < ( WAILS ) > $
OH , PLEASE CAN'T WE STAY ! $
10 WE 'LL FIND SOMEWHERE ELSE . $
< ( BOARD MOVES A LITTLE AWAY ) > $
03 < ( UNCOMFORTABLE ) > $
ER ... $
PERMISSION TO SPEAK , ARTHUR ? $
04 YES . $
03 THEY DO LOOK ... HARMLESS , YOU KNOW . $
04 THAT IS NOT THE QUESTION . $
< ( CALLS ) > $
YOU ! $
BOAT PEOPLE ! $
YOU NEED NOT LEAVE US YET . $
< ( ALAN STOPS ROWING . $
BOARD TURNS A LITTLE BACK ) > $
#21 $
I WISH TO INTERROGATE YOU , IF YOU ARE PREPARED TO SUFFER IT
 . $
11 OH , WE ARE , WE ARE . $
04 WHO ARE YOU ? $
ARE YOU HUSBAND AND WIFE ? $
10 11 < ( TOGETHER ) > $
10 NO . $
11 YES . $
04 10 < ( TOGETHER ) > $
04 WHAT ? $
SPEAK UP . $
ANSWER CLEARLY . $
10 YES WE ARE . $
11 NOT EXACTLY . $
04 IT IS OF NO CONSEQUENCE . $
CIRCUMSTANCES WILL FORCE US TO ADOPT A NEW VIEW OF SOCIAL RE
LATIONSHIPS . $
HOW OLD IS THE WOMAN ? $
10 TWENTY-THREE . $
04 IS SHE HEALTHY ? $
11 I 'M A BIT DAMP . $
10 SHE 'S HEALTHY . $
04 SO I SEE . $
I SUPPOSE WE COULD TAKE THE WOMAN ANYWAY . $
YOU ! $
- WHAT DO YOU DO . $
10 DO ? $
04 FOR A LIVING . $
< ( PAUSE ) > $
10 I 'M A COOK . $
< ( SONYA LOOKS AT ALAN IN AMAZEMENT . $
HUNTER GROUNDS HIS SPEAR , AND SPEAKS JOYFULLY TO ARTHUR ) >
 $
03 A COOK ! $
I SAY , ARTHUR , DO YOU THINK HE CAN COOK FISH ? $
04 CAN YOU COOK FISH ? $
10 I CAN COOK ANYTHING . $
03 MUST BE ALL RIGHT , THEN ? $
04 THERE IS NOTHING TO BE LOST BY TRYING HIM . $
HE MAY BE ABLE TO DEVISE A DISH WHICH INCORPORATES YOUR BREA
KFAST CEREAL , CAPTAIN HUNTER . $
03 OH , I SAY ! $
04 YOU MAY ALLOW THEM TO BOARD THE RAFT . $
THE DINGHY AT LEAST MAY BE USEFUL TO US . $
SEE IF YOU CAN FIND SOME BOLT OR HOOK TO WHICH IT MAY BE SEC
URED . $
03 THERE 'S A SORT OF RING THING . $
04 BY ALL MEANS , LET THEM USE THE RING THING . $
CARRY ON , CAPTAIN HUNTER . $
#22 $
03 AYE , AYE , ARTHUR . $
< ( ARTHUR TURNS , GOES INTO THE CABIN , AND SITS . $
MEANWHILE , HUNTER HAS EXTENDED HIS SPEAR , BUTT FIRST , AND
 ALAN - WITH THE ASSISTANT PULLING - HAS MOVED THE RAFT CLOS
E ENOUGH FOR SONYA TO GRASP THE BUTT OF THE SPEAR . $
BOARD IS PULLED RIGHT CLOSE TO ' DECK ' CARDS ) > $
YOU CAN COME UP , THEN , EH ? $
< ( SONYA MIMES PULLING HERSELF ABOARD . $
HUNTER PUTS DOWN SPEAR TO HELP HER ) > $
03 HOW DO YOU DO . $
11 HOW DO YOU DO . $
< ( ALAN MIMES CLIMBING ABOARD ) > $
03 MY NAME 'S HUNTER . $
11 YES , WE HEARD . $
< ( LOKS AROUND ) > $
IT 'S NICE HERE . $
03 OH ... $
DO YOU THINK SO ? $
11 NICER THAN THAT OLD DINGHY , I MUST SAY . $
SORT OF PALATIAL REALLY . $
10 MY NAME 'S ALAN ARMITAGE . $
THIS IS SONYA BANKS . $
DO YOU WANT ME TO TIE OUR DINGHY UP ? $
03 NO , I 'LL DO IT . $
THE RING THING 'S A BIT DIFFICULT TO FIND . $
10 THANK YOU . $
< ( HUNTER TAKES THE BOARD TO STAGE RIGHT AND TIES IT UP , A
SSISTANT TAKES SPEAR FROM HIM ) > $
11 WHY DID YOU TELL THEM YOU WERE A COOK ? $
YOU 'RE A WRITER . $
10 HE WOULDN'T HAVE LET ME ON BOARD UNLESS I COULD DO SOMETH
ING USEFUL . $
11 HE DIDN'T ASK ME . $
10 WHAT ? $
11 IF I COULD ... $
ANYTHING . $
JUST IF I WAS HEALTHY . $
CAN YOU COOK ? $
10 I 'M NOT BAD . $
< ( PAUSE ) > $
WE CAN TAKE A CHANCE  , AND GO . $
FIND SOMEWHERE ELSE . $
< ( PAUSE ) > $
I 'M SUPPOSED TO PROTECT YOU . $
11 YOU 'VE DONE ALL RIGHT . $
< ( PAUSE ) > $
WHAT DO YOU THINK ? $
10 I THINK WE SHOULD STAY . $
< ( HUNTER RETURNS ) > $
03 EXPECT YOU 'D LIKE TO COME IN AND MEET THE CHAPS , EH ? $
10 YES , WE SHOULD . $
#23 $
03 WELL , IT 'S IN HERE . $
I 'LL GO FIRST . $
< ( HUNTER GOES INTO THE MAIN CABIN AREA . $
ALAN STARTS TO FOLLOW . $
SONYA TOUCHES HIS ARM . $
HE TURNS , AND LOOKS AT HER . $
THEN HE PUTS HIS ARM AROUND HER , AND THEY KISS , PASSIONATE
LY , AS IF THEY WEREN'T SURE WHEN THEY 'D HAVE THE CHANCE AG
AIN . $
HOLD IT , THEN ) > $
01 SUPPER . $
< ( THEY MOVE IMMEDIATELY TO THEIR PLACES . $
ARTHUR REMAINS IN THE CABIN . $
MURIEL IS SERVING STEW FROM AN IMAGINARY STEWPOT . $
ALAN , SONYA , BANNER , GERTRUDE , HUNTER , AND WESLEY TAKE
THEIR PLACES AT THE TABLE , LEAVING A PLACE FOR TONY , AND T
HE HEAD OF THE TABLE EMPTY FOR ARTHUR . $
TONY TAKES STATION ON DECK AS IF FISHING ) > $
01 BEGIN . $
08 I TOLD ARTHUR I COULDN'T COOK FISH . $
WESLEY DOESN'T LIKE IT - HE 'S NEVER CARED FOR IT . $
I SAID TO ARTHUR , YOU CAN'T DO WHAT YOU 'RE NOT USED TO IN
THIS WORLD , AND I 'VE NEVER BEEN USED TO COOKING FISH . $
AND HE SAID , BEING AS THERE WAS ONLY FISH TO COOK , I 'D HA
VE TO MAKE A START AT IT , BUT IF WE FOUND ANYONE BETTER , I
 COULD LEAVE OFF . $
03 < ( TO ALAN ) > $
NOW WE 'VE FOUND YOU , EH ! $
LUCKY THING REALLY. $
NO OFFENCE , MRS. OTTERDALE . $
10 VERY LUCKY . $
03 OF COURSE WE ALL HAVE OUR TASKS . $
DISCIPLINE MUST BE MAINTAINED , EH . $
ALWAYS THINGS TO BE DONE . $
THAT 'S WHAT ARTHUR SAYS . $
WHEN I WAS HERE ON MY OWN , I GOT A BIT SLACK ACTUALLY . $
WRONG . $
I SEE THAT NOW . $
10 WHAT SORT OF THINGS ? $
09 MAKING NETS . $
STUFFING THE CRACKS IN BARRELS WITH STRING . $
07 < ( CHEERFUL : ENERGETIC ) > $
THE CRACKLING OF THORNS BENEATH THE POT . $
< ( HE BEGINS TO MAKE A DRONING SOUND , WHICH CONTINUES UNTI
L ARTHUR ENTERS ) > $
08 IT 'S CALLED CAULKING . $
IT MAKES THE TOILET SMELL OF GLUE . $
03 FISHING . $
COOKING . $
LOOK-OUT DUTY . $
07 THE FOOL HATH SAID IN HIS HEART , " THERE IS NO GOD . " $
CORRUPT ARE THEY , AND HAVE DONE ABOMINABLE INIQUITY . $
THERE IS NONE THAT DOETH GOOD . $
09 SWEEPING OUT THE HOLD . $
STRAIGHTENING NAILS . $
MAKING FURNITURE OUT OF OLD CRATES . $
#24 $
07 EVERY ONE OF THEM IS GONE BACK . $
THEY ARE ALTOGETHER BECOME FILTHY . $
05 READING ALOUD AFTER SUPPER . $
DISCUSSION GROUPS . $
07 < ( RISES AND SHOUTS ) > $
THE WORKERS OF INIQUITY EAT UP MY PEOPLE AS THEY EAT BREAD .
 $
08 WELL , I 'LL GO AND CALL HIM THEN . $
< ( WESLEY SITS ) > $
< ( MURIEL MOVES TO THE ' CABIN ' AREA , AND MIMES KNOCKING
) > $
04 JUST COMING . $
10 WHAT DOES HE DO IN THERE ? $
09 I BELIEVE HE THINKS A GREAT DEAL . $
04 < ( HAS JOINED THEM ) > $
WHERE IS MR. BATCH ? $
03 FISHING . $
04 NO MATTER . $
WE SHALL START WITHOUT HIM . $
MR. BANNER , PLEASE SAY GRACE . $
09 FOR WHAT WE ARE ABOUT TO RECEIVE , MAY THE LORD MAKE US T
RULY THANKFUL . $
04 AMEN . $
< ( TO THEM ALL ) > $
START . $
< ( THEY MIME EATING ) > $
10 I 'D BE A BIT MORE THANKFUL IF IT WERE PORK CHOPS OR A MI
XED GRILL . $
03 OR A WHACKING GREAT STEAK . $
SO SHOULD I , BY GEORGE . $
04 THAT WILL DO . $
I DON'T PERMIT IRREVERENCE , MR . ARMITAGE . $
NOT FOR ANY SUPERSTITIOUS REASONS - I AM AN AGNOSTIC MYSELF
- BUT BECAUSE I FIND THAT AN ELEMENT OF FORMALITY AT MEALTIM
ES HELPS TO REMIND US THAT WE ARE CIVILIZED BEINGS . $
I SHOULD HAVE PREFERRED A LATIN GRACE , BUT UNFORTUNATELY MR
. BANNER FAILED HIS DEGREE , AND CANNOT REMEMBER ANY . $
09 I AM A BROAD CHURCHMAN , YOU KNOW . $
04 ON THIS RAFT , MR. BANNER , YOU WILL BE THE SORT OF CHURC
HMAN , I DECIDE , AND NO OTHER . $
REMEMBER THAT . $
< ( TONY WALKS DOWN THE DECK AREA , AND ENTERS THE MAIN CABI
N ) > $
HOW LARGE IS YOUR CATCH ? $
06 I ONLY GOT THREE . $
04 YOU ARE BELOW YOUR TARGET , THEN . $
06 I 'M SORRY , ARTHUR . $
I 'D HAVE STAYED OUT THERE , BUT WHAT WITH THE CORPSES AND T
HAT IN THE WATER , YOU CAN'T GET THEM TO TAKE AN INTEREST .
$
#25 $
04 WE ARE AT SUPPER , MR. BATCH . $
06 SORRY . $
04 YOU HAD BETTER MEET MR. ARMITAGE . $
HE IS TO BE OUR CHEF FROM NOW ON . $
AND THIS IS MISS BANKS . $
MR. BATCH IS A STRONG MAN ; MISS BANKS IS A DANCER . $
I EXPECT YOU WILL HAVE MUCH IN COMMON . $
< ( TONY - A SORT OF HALF-NOD , HALF-BOW ) > $
11 A STRONG MAN ? $
06 WELL , I DO EXERCISES LIKE . $
WITH WEIGHTS AND THAT . $
11 WHERE ? $
06 Y.M.C.A. TOTTENHAM COURT ROAD . $
< ( TONY GOES OFF INTO THE KITCHEN ) > $
11 < ( DISAPPOINTED ) > $
OH ... I THOUGHT HE MEANT ... $
05 HARDLY ON BOARD , MY DEAR . $
THERE ARE NO FACILITIES . $
IT IS NOT LIKE THE CARE OF THE VOICE . $
HE WOULD REQUIRE EQUIPMENT OF THE MOST COMPLICATED SORT . $
11 I THOUGHT THERE MIGHT BE A HOLD SOMEWHERE . $
< ( TONY RETURNS ) > $
04 BUT THERE IS A HOLD . $
THAT IS AN EXCELLENT IDEA . $
A RECREATIONAL FACILITY WITH AN IMPORTANT PRACTICAL VALUE .
$
DO YOU THINK YOU COULD IMPROVISE EQUIPMENT , MR. BATCH ? $
06 EQUIPMENT ? $
04 WEIGHTS . $
06 I COULD MAKE SOMETHING . $
WITH BOXES AND BITS OF CHAIN AND THAT . $
YOU 'D HAVE TO GET THEM BALANCED . $
04 EXCELLENT , EXCELLENT . $
06 THEN I 'D NEED A BIT OF BOARD . $
FOR WHEN YOU LIE DOWN ON AN INCLINED PLANE . $
WHAT THEY CALL AN INCLINED PLANE , IN THE GYM . $
THAT 'S FOR LYING ON . $
AND LIFTING . $
YOU LIE ON IT , AND THEN YOU LIFT . $
IT STRENGTHENS THE STOMACH . $
04 CAPTAIN HUNTER , NO DOUBT THERE ARE BITS OF BOARD IN THE
HOLD ? $
03 BY GEORGE , YES . $
LOTS OF BITS OF BOARD . $
06 I 'D NEED A BIT OF BOARD THEN , FOR THE INCLINED PLANE .
$
04 AND YOU SHALL HAVE ONE . $
#26 $
06 THEN THERE 'S PRESS-UPS . $
YOU DON'T NEED NOTHING FOR PRESS-UPS . $
AND PULL-UPS , I COULD DO . $
< ( TONY COMES TO SIT DOWN BY SONYA . $
IT IS CLEAR THAT HE REGARDS HER AS SOMEONE WHO SHARES HIS IN
TERESTS ) > $
11 I THOUGHT ... $
04 YES , MISS BANKS ? $
WHAT DID YOU THINK ? $
HAVE NO HESITATION IN TELLING ME . $
11 I THOUGHT IF TONY WAS GOING TO PRACTICE IN THE HOLD , MAY
BE I COULD TOO . $
< ( SLIGHT PAUSE . $
ARTHUR LOOKS AT SONYA AND TONY AND GETS THE BEGINNINGS OF AN
 IDEA ) > $
03 YOU WISH TO LIFT WEIGHTS ? $
I CAN THINK OF NO MEDICAL REASON AGAINST IT . $
11 JUST TO DO MY BARRE , YOU KNOW . $
IF DANCERS DON'T PRACTICE , IT 'S AWFULLY HARD TO GET BACK T
O IT . $
10 < ( A LITTLE UNHAPPY ) > $
ER ... $
04 < ( TOPS HIM ) > $
BY ALL MEANS , MISS BANKS ; BY ALL MEANS . $
OUR NEW SOCIETY WILL NEED EVERY SKILL , EVERY ART . $
< ( LOOKS FROM SONYA TO TONY ) > $
PRACTISE BY ALL MEANS . $
MISS FORBES-COOPER , MRS. OTTERDALE , YOU HAVE NOT FINISHED
YOUR STEW . $
FINISH IT UP . $
WE ALL NEED NOURISHMENT . $
MR. OTTERDALE ! $
< ( MURIEL GIVES WESLEY A NUDGE AND HE RESUMES EATING ) > $
AS FOR YOU , MR. ARMITAGE , YOU WILL BE WANTING TO SHAVE . $
10 OH , I DON'T KNOW . $
04 YOU WILL FIND A RAZOR IN THE KITCHEN CUPBOARD . $
THERE IS NO SOAP , BUT YOU WILL DISCOVER THAT THE SKIN SOON
GETS USED TO THAT . $
10 HUNTER HAS A BEARD . $
04 HE HAD IT WHEN WE ARRIVED . $
03 I KEEP IT TRIMMED , YOU KNOW . $
04 EXACTLY , MR. BANNER ! $
09 FOR WHAT WE HAVE JUST RECEIVED MAY THE LORD MAKE US TRULY
 THANKFUL . $
04 AMEN . $
01 WAIT . $
< ( CHARACTERS REMAIN STILL . $
LECTURER SPEAKS TO AUDIENCE ) > $
THE BOOK OF ARTHUR IS IN FACT A SET OF BOOKS . $
IT BEGAN AT THE SHIP'S LOG , AND WAS KEPT UP IRREGULARLY BY
HUNTER - THERE ARE OCCASIONAL ENTRIES - ' THUNDER TODAY ' OR
 ' TROUBLE WITH SHARKS ' , AND A NUMBER OF ASTERISKS THAT MA
Y HAVE REFERRED - OH , TO SOME SOLITARY SEXUAL PRACTICES . $
$
#27 $
ARTHUR HIMSELF BEGAN TO WRITE UP THE LOG ON HIS ARRIVAL , BU
T ALL THE EARLY MATERIAL HAS BEEN AMENDED , CROSSED OUT , AN
D WRITTEN OVER . $
FOR A STATEMENT OF ARTHUR'S INTENTIONS AT THE BEGINNING OF T
HE VOYAGE , THE DIARY OF ALAN ARMITAGE APPEARS TO BE A MORE
RELIABLE SOURCE . $
< ( TO CHARACTERS ) > $
CONVERSATION ON DECK . $
< ( ALAN AND ARTHUR LEAVE THEIR PLACES AT THE TABLE , AND BE
GIN TO PACE THE DECK ) > $
04 TELL ME , MR. ARMITAGE , HAVE YOU COME TO ANY EXPLANATION
 IN YOUR MIND ABOUT THIS FLOOD ? $
10 GOD , I SUPPOSE . $
04 SO MR. OTTERDALE WOULD SAY . $
HE BELIEVES IT TO BE SOME FORM OF DIVINE PUNISHMENT FOR HIS
OWN SINS . $
A COMMON DELUSION . $
10 HAS HE SINNED MUCH ? $
04 HARDLY AT ALL . $
10 POTTY ? $
04 ONE MIGHT SAY SO . $
10 I 'M SURPRISED YOU KEEP HIM . $
< ( PAUSE . $
ARTHUR LOOKS SHARPLY AT ALAN ) > $
04 HIS WIFE IS ATTACHED TO HIM . $
10 AND MR. BANNER ? $
DOESN'T HE SAY GOD 'S SENT THE RAIN ? $
04 MR. BANNER IS A VERY BROAD CHURCHMAN . $
IT IS NOT CLEAR THAT HE BELIEVES IN GOD AT ALL . $
10 AND YOU ? $
04 I SAY THAT IT IS THE BEST THING THAT COULD EVER HAVE HAPP
ENED . $
10 I DON'T UNDERSTAND YOU . $
04 I DO A LOT OF READING IN MY SPARE TIME . $
I HAVE BEEN PRACTISING THE STRICTEST MENTAL DISCIPLINE EVER
SINCE I WAS A BOY . $
IF I HAD NOT DONE SO , I SHOULD NOT BE IN COMMAND HERE , AND
 IF I WERE NOT IN COMMAND  , IT IS DOUBTFUL WHETHER ANY OF Y
OU WOULD SURVIVE . $
#28 $
10 YOU THINK WE SHALL , THEN ? $
04 I HAVE NO DOUBT OF IT . $
NATURAL SELECTION IS RESPONSIBLE FOR THIS RAIN , AND BY NATU
RAL SELECTION CERTAIN PEOPLE WILL SURVIVE IT . $
I SHALL BE ONE OF THEM . $
SO WILL YOU , AS LONG AS YOU OBEY ME . $
10 WHY DID NATURAL SELECTION PICK US , DO YOU THINK ? $
04 I CAN SEE YOU ARE NOT A SERIOUS STUDENT OF HUMAN AFFAIRS
, MR. ARMITAGE . $
10 SO MUCH OF MY LIFE HAS BEEN SPENT IN THE KITCHEN . $
04 THEN LET ME USE A KITCHEN METAPHOR TO EXPLAIN MATTERS TO
YOU . $
WHAT HAPPENS WHEN YOU HAVE TOO MANY BOTTLES OF MILK , TOO MA
NY TOMATOES ? $
10 THEY GO BAD . $
04 EXACTLY . $
AND THAT IS WHAT HAS HAPPENED TO THE HUMAN RACE . $
10 TOO MANY PEOPLE ? $
04 FAR TOO MANY . $
AND THEY HAVE BEEN INCREASING AT AN INCREASING RATE . $
PEOPLE HAVE SPAWNED PEOPLE . $
10 YES . $
THEY DO THAT . $
04 AND NOT ONLY WERE MEN INCREASING THEIR NUMBERS , SO THAT
IN THREE GENERATIONS WE SHOULD HAVE USED UP THE NATURAL RESO
URCES OF THE WORLD , BUT WORSE - FAR WORSE - THE POORER , MO
RE BRUTISH SORT WERE INCREASING FASTER THAN THE REST . $
HAVE YOU ANY IDEA OF THE RISE IN THE RATE OF MENTAL DEFICIEN
CY IN GREAT BRITAIN OVER THE PAST THIRTY YEARS ? $
10 ER - $
04 NO , OF COURSE YOU HAVEN'T . $
BUT I HAVE . $
I READ . $
I CAN SEE THINGS . $
I AM NOT BLIND , LIKE SOME . $
10 NO , INDEED . $
04 THE PROPORTION OF MORONS AND NEAR-MORONS HAS BEEN A RISIN
G CURVE , MR. ARMITAGE , BECAUSE ALTHOUGH ONE CAN PERSUADE I
NTELLIGENT PEOPLE TO CONTROL THEIR NUMBERS , ONE CANNOT TEAC
H CONTRACEPTION TO IDIOTS . $
IDIOTS HAVE MORE AND MORE OUTNUMBERED THE INTELLIGENT AND ,
UNDER A SYSTEM OF DEMOCRACY , HAD AS MUCH POLITICAL POWER .
$
LUNACY ! $
THE RAIN HAS WIPED THAT OUT . $
ONLY INTELLIGENT PEOPLE WILL SURVIVE IT , AND SUCH OF THE LE
SS INTELLIGENT AS THEY CHOOSE TO CARRY WITH THEM . $
#29 $
10 WHY CARRY ANY ? $
04 FOR THE ROUGH WORK . $
10 WHAT IF THEY REFUSE ? $
04 THEY WON'T REFUSE . $
DOES MR. BATCH REFUSE ? $
DOES CAPTAIN HUNTER ? $
10 NO . $
04 DO YOU REFUSE ? $
< ( PAUSE ) > $
10 NO . $
04 YOU KNOW WHEN YOU 'RE WELL OFF . $
SO DO THEY . $
THERE WILL BE MUCH FOR EVERYONE TO DO WHEN THE WATERS SUBSID
E , AND WE BEGIN OUR SETTLEMENT . $
AND WITH CAREFUL BREEDING , INHERITED CHARACTERISTICS - $
10 BREEDING ? $
< ( PAUSE ) > $
04 WE SHOULD HAVE TO MATCH THE CHILDREN VERY CAREFULLY , SHO
ULD WE NOT ? $
10 OH . $
04 WE ARE A SMALL GROUP . $
10 IF YOU 'RE SO KEEN ON CHILDREN , WHY DO WE SLEEP WITH THE
 MEN AND WOMEN SEPARATED ? $
04 OH , THERE WILL BE TIME FOR THAT , MR. ARMITAGE . $
AND I DO NOT INTEND , YOU KNOW , TO ENFORCE A TOTAL CHASTITY
 . $
THERE MUST BE MANY OCCASIONS WHEN YOU AND MISS BANKS CAN ...
 $
10 WE 'RE NEVER ALONE TOGETHER . $
YOU KNOW THAT . $
04 SURELY YOU COULD MAKE THE OPPORTUNITY . $
SHE SPENDS A GOOD DEAL OF TIME ALONE IN THE HOLD WITH MR. BA
TCH AS IT IS . $
THEY DO THEIR EXERCISES TOGETHER . $
< ( PAUSE ) > $
10 WHAT IF THE WATERS NEVER DO SUBSIDE ? $
04 THEY WILL . $
DO YOU IMAGINE THAT NATURAL SELECTION INTENDS TO REPLACE US
BY FISH ? $
< ( PAUSE ) > $
01 EXERCISES IN THE HOLD . $
< ( ALAN AND ARTHUR RETURN TO THEIR SEATS . $
TONY AND SONYA COME INTO THE 'HOLD ' AREA ) > $
#30 $
BEGIN . $
< ( TONY MIMES HIS WEIGHT-LIFTING EXERCISES . $
SONYA DOES HER BARRE , COUNTING TO HERSELF , ' ONE AN' TWO A
N' THREE AN' FOUR AN ' ... ) > $
11 THERE WAS A BOY I KNEW RUPTURED HIMSELF LIFTING HEAVY WEI
GHTS . $
06 THERE 'S RIGHT AND WRONG WAYS OF DOING ANYTHING . $
11 WELL , HE WAS A BIT SIMPLE . $
HE LEFT THE SHOW AT PORTSMOUTH . $
WENT OFF WITH A SAILOR . $
HE SAID HE 'D PROMISED HIS MUM HE 'D NEVER MARRY UNLESS IT W
AS INTO THE NAVY . $
06 I SAW SOME BALLET ONCE . $
11 < ( PLEASED ) > $
DID YOU ? $
06 IT WAS ON THE TELLY . $
THERE WAS THIS GEEZER WITH LONG SLEEVES AND A DIRTY GREAT BO
W TIE . $
AND A LOT OF BIRDS IN WHITE SKIRTS . $
11 BIRDS ? $
06 GIRLS . $
11 OH ... I THOUGHT YOU MEANT ' SWAN LAKE ' . $
06 MUST BE GOOD FOR YOUR MUSCLES , ALL THAT , THEN ? $
11 MMM . $
06 SORT OF LIKE WHAT I DO . $
ONLY IT DEVELOPS YOU IN DIFFERENT PLACES . $
LIKE WITH US IT 'S THE CHEST AND ARMS MORE . $
AND WITH YOU IT 'S THE LEGS . $
11 < ( COUNTING ) > $
ONE AN' TWO AN' THREE AN' ... $
06 SORT OF ARTISTIC REALLY . $
I DONE SOME ARTISTIC POSES ONCE FOR A PHOTOGRAPHER . $
SHOWING OFF ME PECTORALS . $
I HAD TO RUB THIS OIL ALL OVER ME . $
THEN IT GOT ON THE SHEETS AFTER . $
11 WE DON'T DO THAT . $
06 THAT WHAT YOU 'RE DOING NOW - DO YOU DO THAT IN SHOWS LIK
E ? $
11 NO . $
I DO MODERN . $
06 < ( NOT UNDERSTANDING ) > $
OH , YES ? $
11 DO YOU WANT TO SEE ? $
HERE , YOU COUNT FOR ME . $
06 COUNT ? $
11 LIKE I WAS DOING . $
ONE AN' TWO AN' THREE AN' - $
06 < ( BEGINS LABORIOUSLY ) > $
ONE AN' TWO AN' - $
11 ONLY DO IT WITH A SYNCOPATED BEAT . $
A ONE AND A TWO AND A THREE AND A FOUR . $
#31 $
AND CLAP , EH ? $
LIKE THIS . $
< ( SONYA SHOWS HIM A QUICK , SYNCOPATED BEAT , CLAPPING HER
 HANDS . $
AS HE BEGINS , SHE GOES INTO A MODERN ROUTINE . $
HE GETS FASTER AND FASTER . $
SHE CAN'T KEEP UP , AND STARTS TO LAUGH . $
ALAN LEAVES HIS SEAT , AND BEGINS TO WALK SLOWLY TOWARDS THE
 HOLD AREA . $
TONY BEGINS TO LAUGH ALSO . $
THE ROUTINE AND CLAPPING BREAK DOWN , AS THEY ARE BOTH LAUGH
ING . ) > $
< ( ALAN COMES INTO THE HOLD ) > $
10 WHAT 'S THE JOKE ? $
11 IT 'S TONY . $
HE CAN'T COUNT . $
06 I CAN , THEN . $
SHE CAN'T KEEP UP . $
10 SORRY TO INTERRUPT . $
I JUST THOUGHT I 'D SEE HOW YOU WERE GETTING ON . $
< ( LECTURER SPEAKS . $
THE CHARACTERS REMAIN STILL ) > $
01 < ( TO AUDIENCE ) > $
ARMITAGE'S DIARY  IS NOT A WHOLLY RELIABLE SOURCE . $
ONE HAS TO CONSIDER THAT ANY DIARIST IS LIKELY TO BE A SELF-
CENTRED PERSON , WHO EXAGGERATES HIS OWN IMPORTANCE . $
ARMITAGE BELIEVED , FIRST THAT ARTHUR CONSIDERED HIM AS A PO
SSIBLE RIVAL , SECOND THAT ARTHUR DELIBERATELY ENCOURAGED AN
 ASSOCIATION BETWEEN MISS BANKS AND TONY BATCH SO AS TO CRIP
PLE ARMITAGE WITH JEALOUSY . $
IF THERE WAS REALLY A CONTEST FOR LEADERSHIP , IT WAS OVER A
 TRIVIAL MATTER , AND ARMITAGE LOST . $
< ( TO CHARACTERS ) > $
PLACES FOR THE EVENING DISCUSSION . $
BOOK CRICKET . $
< ( WESLEY GOES ON DECK AS A LOOK-OUT . $
BANNER AND HUNTER BEGIN A GAME OF BOOK-CRICKET AT THE TABLE
, WATCHED BY MURIEL . $
TONY AND SONYA REMAIN IN THE HOLD . $
ARTHUR GOES TO THE CABIN , GERTRUDE TO THE KITCHEN , WHERE S
HE WILL MIME TRYING TO SHRED A TWIG , WATCHED BY ALAN ) > $
09 OH DEAR ! $
POOR KENNETH BARRINGTON HAS BEEN BOWLED . $
03 LUCK OF THE GAME , OLD MAN . $
BOWLED TRUEMAN - SEVEN . $
09 I DON'T KNOW WHY YOU KEEP TRUEMAN ON . $
YOU 'D THINK HE 'D BE TIRED BY NOW . $
03 JUST BOWLED BARRINGTON , DIDN'T HE ? $
< ( ALAN HAS COME IN FROM THE KITCHEN , AND IS PICKING OVER
THE BOOKS ) > $
#32 $
10 I HOPE YOU 'RE NOT USING JAMAICA INN FOR YOUR BOOK CRICKE
T , BECAUSE I 'M READING IT . $
09 < ( LOOKING ) > $
NO , IT 'S PRINCIPLES OF NAVIGATION UNDER SAIL . $
03 WHERE 'S OLD GERTRUDE ? $
10 MAKING TOOTHBRUSHES . $
SHE SAYS THE NATIVES OF INDIA USE SHREDDED TWIGS , AND HAVE
THE WHITEST TEETH IN THE WORLD . $
SHE GOT IT FROM THE CHILDREN'S ENCYCLOPAEDIA . $
03 I BROUGHT THAT . $
IT 'S NOT ONE OF THE COMPANY'S BOOKS . $
< ( ALAN HAS FOUND ' JAMAICA INN ' ) > $
08 YOU 'LL NOT HAVE MUCH TIME FOR YOUR READING . $
IT 'S NEARLY TIME FOR STUDY PERIOD . $
09 WHAT IS IT TONIGHT ? $
10 SHAKESPEARE . $
< ( GERTRUDE HAS COME IN FROM THE KITCHEN . $
ARTHUR LEAVES THE CABIN AND JOINS THEM , AT FIRST UNOBSERVED
 ) > $
05 CAN I BE DOING IT WRONG ? $
THE TWIGS WON'T SHRED . $
ALL THAT HAPPENS WHEN I CLEAN MY TEETH IS THAT I GET A MOUTH
FUL OF BARK . $
04 YOU NEED A SPECIAL SORT OF WOOD , MISS FORBES-COOPER . $
YOU SHOULD HAVE READ FURTHER INTO THE ENCYCLOPAEDIA . $
08 ARTHUR KNOWS . $
ARTHUR ALWAYS KNOWS . $
05 ARTHUR , HOW FOOLISH OF ME ! $
I AM TRULY SORRY . $
04 NO , NO , MISS FORBES-COOPER . $
WE LEARN BY DOING . $
WHERE ARE THE OTHERS ? $
08 WESLEY 'S DOING LOOK-OUT . $
IT 'S HIS TASK . $
04 < ( SMILES ) > $
AND NO DOUBT MR. BATCH AND MISS BANKS ARE ... PRACTISING TOG
ETHER ? $
03 ALWAYS AT IT . $
08 YES , THEY ARE . $
10 WHAT DO YOU MEAN BY THAT ? $
03 ALWAYS AT IT . $
EXERCISES . $
I THOUGHT I MIGHT DO IT . $
10 THEN WHY DON'T YOU ? $
03 TWO 'S COMPANY . $
08 THAT 'S RIGHT . $
10 I THINK YOU SHOULD BE CAREFUL WHAT YOU 'RE SAYING . $
03 DON'T SEE YOU DOWN THERE , BY GEORGE . $
10 I DO THE COOKING . $
YOU KNOW THAT . $
03 THERE YOU ARE , THEN . $
#33 $
10 IF YOU WANT TO DO EXERCISES , THEN DO THEM . $
DON'T HANG AROUND HINTING . $
03 WHO 'S HINTING ? $
I 'M NOT HINTING . $
10 THEY 'D BE GLAD TO HAVE YOU , IF YOU WANT TO KNOW . $
I WAS DOWN THERE MYSELF . $
THEY ASKED ME . $
I WATCHED FOR A BIT , AND CAME BACK . $
ANY ONE OF US CAN GO DOWN AT ANY TIME . $
WATCH , JOIN IN , OR ANYTHING . $
SO YOU CAN KEEP YOUR INSINUATIONS , AND STUFF THEM . $
RIGHT ? $
04 I AGREE . $
CAPTAIN HUNTER , YOU WILL NOT UPSET MR. ARMITAGE . $
HE IS TOO BUSY WITH THE COOKING TO MAKE FREQUENT TRIPS TO SE
E WHAT GOES ON IN THE HOLD , BUT HE IS GLAD , AS WE ALL ARE
, THAT MISS BANKS HAS FOUND A FRIEND . $
MEANWHILE , PLEASE CALL THEM , MISS FORBES-COOPER . $
I WISH TO HOLD A CONFERENCE ON A MINOR MATTER . $
< ( GERTRUDE GOES TO WHERE THE DOOR IS IMAGINED TO BE , OPEN
S IT , BUT KEEPS OUT OF THE WET . $
SHE CALLS ) > $
05 SONYA ! $
TONY ! $
ARTHUR WANTS YOU . $
08 WESLEY ! $
04 < ( TO WESLEY ) > $
MAKE YOUR REPORT , MR. OTTERDALE . $
07 MY EYES  HAVE SEEN NOTHING . $
04 THEN SIT DOWN , EVERYBODY , AND ATTEND . $
< ( THEY COMPOSE THEMSELVES ROUGHLY AS AN AUDIENCE , THOUGH
THERE MUST BE ROOM FOR CHAIRS TO BE MOVED . AS WILL APPEAR )
 > $
04 I HAVE BEEN CONSIDERING THE PROBLEM OF DAMP . $
WHO HERE HAS ANY IDEAS TO CONTRIBUTE ON THAT SUBJECT ? $
< ( PAUSE . $
THEY LOOK AT EACH OTHER ) > $
08 WESLEY 'S GOT FOOT ROT . $
I HAVEN'T LIKED TO SAY . $
AND IT 'S NOT HEALTHY , NEVER HAVING DRY UNDERWEAR . $
04 THE PROBLEM IS SOLVED . $
WE SHALL LIGHT THE STOVE ONE DAY A WEEK . $
11 OH , BLISS ! $
04 WE SHALL USE SOME OF THE WOODEN CRATES IN THE HOLD TO STA
RT THE FIRE . $
PERHAPS GLUB ITSELF WILL BURN . $
THEN WE SHALL STACK WET DRIFTWOOD AGAINST THE STOVE TO DRY ,
 WHEN IT WILL BE BURNED IN ITS TURN , AND DRY OTHER DRIFTWOO
D . $
05 DEAR ARTHUR ! $
AT ALL TIMES SO FAR-SEEING ! $
04 THE THOUGHT CAME TO ME THIS AFTERNOON . $
03 THAT 'S OLD ARTHUR'S TASK , BY GEORGE . $
THINKING , THAT 'S HIS TASK . $
#34 $
DOES IT ALL THE TIME , TOO . $
NO REST PERIODS . $
10 WELL , WE CAN ALL THINK I HOPE . $
03 NOT OUR TASK , THOUGH , IS IT ? $
10 THERE 'S PLENTY OF DRIFTWOOD . $
WE CAN HAVE THE STOVE GOING ALL THE TIME ONCE IT 'S STARTED
. $
STUPID JUST TO DO IT ONCE A WEEK . $
04 YOU FIND MY ARRANGEMENTS STUPID , MR. ARMITAGE ? $
10 WELL , IT 'S NOT REALLY AN ARRANGEMENT , IS IT ? $
I MEAN , WE 'RE STILL DISCUSSING IT . $
04 NO . $
YOU ARE STILL DISCUSSING IT . $
< ( SILENCE . $
GERTRUDE MOVES AWAY FROM ALAN ) > $
10 DAMMIT , WE CAN DISCUSS IT , ARTHUR . $
KICK IT AROUND A BIT . $
08 EXCUSE ME . $
< ( MURIEL MOVES ) > $
10 ARTHUR , I 'M NOT OPPOSING YOU OR ANYTHING . $
ALL I 'M SAYING IS THAT WE CAN QUITE EASILY - $
04 I 'M DELIGHTED TO FIND THAT MR. ARMITAGE CONSIDERS HIMSEL
F EQUALLY ABLE TO TAKE DECISIONS . $
IT IS A QUALITY OF LEADERSHIP . $
< ( BANNER ALSO MOVES ) > $
09 < ( NERVOUS ) > $
WE DON'T DISAGREE WITH ARTHUR HERE . $
03 BY GEORGE , NO . $
BETTER NOT , EH ? $
08 ARTHUR KNOWS WHAT 'S GOOD FOR US . $
< ( SONYA COMES AND STANDS BESIDE ALAN . $
TONY DOES NOT APPEAR TO NOTICE WHAT IS HAPPENING . $
ALAN LOOKS AT SONYA AND THEN AT ARTHUR ) > $
04 PRAY DO NOT DISTRESS YOURSELF , MISS BANKS . $
MR. ARMITAGE KNOWS WHERE HIS DUTY LIES . $
10 WHAT DUTY ? $
04 TO YOURSELF . $
TO US ALL . $
TO MISS BANKS , CERTAINLY . $
ON BOARD SHIP , A MUTINEER PUTS HIS CLOSE FRIENDS IN DANGER
. $
10 PERHAPS I WAS WRONG . $
04 ARE YOU SORRY FOR THAT ? $
10 YES , I AM SORRY . $
04 IT WOULD BE IMPROVIDENT - DO YOU AGREE ? - TO BURN ALL TH
E WOOD . $
10 IT WAS A VERY STUPID SUGGESTION . $
I SEE THAT NOW . $
#35 $
04 NEVERTHELESS YOU MAY FEEL FREE TO MAKE SUGGESTIONS , MR.
ARMITAGE . $
I SHALL DECIDE WHETHER THEY BE STUPID OR NOT . $
10 THANK YOU , ARTHUR . $
04 LADIES , AND GENTLEMEN , PRAY RESUME YOUR FORMER PLACES .
 $
THERE IS PLENTY OF ROOM NEAR MR. ARMITAGE . $
< ( ALL RETURN TO THEIR FORMER POSITIONS , WHILE ) > $
AN NOW , MISS FORBES-COOPER , IF YOU WOULD CARE TO PROCEED W
ITH THE STUDY PERIOD ? $
05 WE WERE DOING JULIUS CAESAR . $
04 CAESAR WAS A GREAT MAN . $
HE FOUND HIS VOCATION , AS I HAVE , IN MIDDLE LIFE . $
< ( LEAVING ) > $
PROCEED , MISS FORBES-COOPER . $
< ( GERTRUDE COMES TO THE FRONT OF THE CLASS ARTHUR TO CABIN
 ) > $
05 < ( COUGHS IMPORTANTLY ) > $
WOULD ANYONE LIKE TO TELL ME WHERE WE LEFT OFF ON MONDAY ? $
09 WE WERE DISCUSSING THE MURDER OF CAESAR AS MYTH , AS I RE
MEMBER . $
11 YOU SAID THEY 'D ALL KILLED THEIR FATHER . $
05 QUITE RIGHT , MY DEAR . $
CAESAR WAS A FATHER TO THE ROMANS , AND WHEN THE CONSPIRATOR
S KILLED HIM , ALL THE PEOPLE SHARED IN THEIR TRIUMPH AND TH
EIR GUILT . $
BECAUSE AS FREUD TELLS US , EVERYBODY WANTS TO KILL HIS FATH
ER . $
03 OH , I SAY ! $
05 HERO WORSHIP IS FOLLOWED BY THE DESTRUCTION OF HEROES . $
09 THAT 'S VERY TRUE . $
05 THAT DESTRUCTION MAY GIVE JOY , BUT IT WILL ALSO CAUSE GU
ILT , AND IT IS UPON THIS GUILT THAT ANTONY PLAYS . $
IS THAT CLEAR ? $
09 MOST CLEAR AND INTERESTING . $
08 OH , YES . $
VERY . $
05 MR. BATCH ? $
< ( TONY'S ATTENTION HAS OBVIOUSLY WANDERED ) > $
11 YOU SHOULDN'T GO SO FAST FOR HIM . $
05 I CANNOT ADJUST THE PACE OF THE CLASS TO ITS SLOWEST MEMB
ER . $
11 < ( TO TONY ) > $
SHE SAYS THAT WHEN THEY KILLED CAESAR THEY WERE KILLING SOME
ONE WHO WAS LIKE A FATHER TO THEM . $
#36 $
06 YEAH ... $
WELL , THAT 'S WRONG , ENNIT ? $
05 IT IS NOT WRONG , MR. BATCH . $
IT IS PART OF THE NATURAL ORDER . $
06 LIKE ARTHUR - YOU TAKE ARTHUR . $
I MEAN , HE 'S IN CHARGE ; HE 'S THE GAFFER . $
THAT DON'T MEAN IT 'S RIGHT TO - $
09 PERHAPS YOU HAD BETTER REMIND US OF ANTONY'S SPEECH , GER
TRUDE . $
THEN WE SHOULD HAVE IT FRESH IN OUR MEMORIES . $
05 COME NOW , HAROLD . $
SURELY THAT ISN'T NECESSARY . $
09 YOU DO IT SO WELL . $
WE SHOULD ALL PROFIT BY IT . $
< ( WESLEY BEGINS TO MAKE A DRONING NOISE ) > $
08 GIVE OVER NOW , WESLEY . $
GERTRUDE 'S GOING TO SPEAK SOME POETRY . $
YOU 'LL LIKE THAT . $
05 WELL ... PERHAPS JUST THE BEGINNING . $
I SHALL HAVE TO STAND ON SOMETHING . $
AND YOU CAN ALL BE CITIZENS . $
< ( BANNER AND HUNTER HELP HER ON THE TABLE . $
HER AUDIENCE STANDS ROUND . $
SHE BEGINS TO DECLAIM ) > $
FRIENDS , ROMANS , COUNTRYMEN , LEND ME YOUR EARS . $
I COME TO BURY CAESAR , NOT - $
01 ENOUGH . $
< ( PAUSE . $
GERTRUDE DEFLATED ) > $
05 WHAT ? $
01 THANK YOU . $
ENOUGH . $
< ( BANNER AND HUNTER HELP GERTRUDE DOWN AGAIN . $
HOLD THE SILENCE LONG ENOUGH TO COMMUNICATE A FEELING OF HUR
T AND RESENTMENT FROM GERTRUDE . $
THEY TAKE THEIR PLACES IN THE MAIN SALOON , SITTING IN SILEN
CE . $
MEANWHILE ) > $
01 MR. ARMITAGE , THE STORM , PLEASE . $
FROM THE BEGINNING . $
< ( ALAN TAKES A CHAIR FROM THE SALOON , BRINGS IT OUT ON DE
CK . $
BEGINS TO MIME FISHING . $
MEANWHILE ) > $
AS I EXPLAINED IN MY FIRST LECTURE , WE DO NOT KNOW EXACTLY
WHEN THE RAIN BEGAN , BECAUSE NOBODY NOTICED IT . $
THEY ONLY BEGAN TO TAKE NOTICE , WHEN IT DID NOT STOP . $
IN ITS NATURE , IT APPEARS TO HAVE BEEN A CALM , SETTLED DOW
NPOUR , WITH NO WIND . $
ON 26TH JUNE 1970 , WHEN THE RAIN HAD CONTINUED FOR APPROXIM
ATELY TWO YEARS THIS CALM WAS BROKEN . $
#37 $
< ( ALAN MOVES ON HIS CHAIR , AS IF THE RAFT SHOULD BE BEGIN
NING TO ROCK A LITTLE . $
WHEN HE NOTICES WHAT IS HAPPENING , HE IS SURPRISED . $
HE GETS UP , AND BEGINS TO GO INDOORS . $
ALL LOOK UP AS ALAN GOES SWIFTLY THROUGH THE MAIN CABIN AND
INTO THE UPSTAIRS AREA ) > $
03 WHAT 'S UP ? $
< ( NO REPLY . $
ALAN MIMES KNOCKING ) > $
04 YES ? $
10 PERMISSION TO SPEAK , ARTHUR ? $
04 YES . $
10 SOMETHING 'S UP . $
THERE 'S A SORT OF SWELL BEGINNING . $
AND THERE 'S A WIND COMING UP . $
04 WELL ? $
10 IT 'S BEEN DEAD CALM FOR MONTHS . $
04 YES . $
< ( AS IF THE WHOLE RAFT ROCKS VIOLENTLY . $
ALL REACT TO THIS ) > $
THERE IS SOME MOTION , CERTAINLY . $
< ( HE GETS UP , AND COMES INTO THE MAIN CABIN ) > $
05 ARTHUR - $
04 I AM GOING OUTSIDE TO SEE . $
< ( WESLEY BEGINS THE SAME DRONING NOISE WE HAVE HEARD BEFOR
E ) > $
BELAY THAT , MR. OTTERDALE . $
< ( ALAN AND ARTHUR GO ON DECK ) > $
10 IT 'S GOT MUCH DARKER . $
04 YES . $
< ( ANOTHER LURCHING MOTION . $
ALL REACT . $
ARTHUR GOES BACK AS IF TO CALL THROUGH INTO THE MAIN CABIN )
 > $
A DISTINCT MOTION . $
MOST DISTINCT . $
CAPTAIN HUNTER , COME OUTSIDE PLEASE . $
< ( HUNTER HAS BEGUN TO GET INTO HIS OILSKINS , WHILE ) > $
11 WHAT 'S HAPPENING ? $
03 LOOKS AS IF WE 'RE IN FOR A BIT OF A BLOW . $
< ( HE GOES OUT ON DECK ) > $
LOOKS AS IF - $
04 WHAT ACTION DO YOU USUALLY TAKE UNDER THESE CIRCUMSTANCES
 ? $
#38 $
03 GET THE SAIL DOWN . $
04 YES . $
MR. BATCH WILL HELP YOU . $
< ( ALAN GOES TO DOOR OF MAIN CABIN , AND CALLS ) > $
10 TONY ! $
< ( TONY GETS UP ) > $
04 MR. ARMITAGE AND MR. OTTERDALE WILL BRING THE RUBBER DING
HY INDOORS . $
I SHOULD NOT CARE TO LOSE IT . $
10 < ( CALLS ) > $
AND WESLEY ! $
< ( NUDGED BY MURIEL , WESLEY JOINS TONY ) > $
04 AND AFTER THE SAIL ? $
03 I GO INSIDE , SHUT THE DOOR , PULL THAT SORT OF SHUTTER T
HING ACROSS IT SO THE CABIN DOESN'T GET FLOODED , AND GO TO
SLEEP . $
< ( ANOTHER VIOLENT ROCKING . $
GERTRUDE FALLS OVER ON MURIEL . $
TONY AND WESLEY , AFTER IT , STAGGER OUT ON DECK ) > $
08 < ( A HOWL ) > $
06 MURIEL 'S CUT HER LIP . $
THAT GERTRUDE FELL ON HER . $
04 NO TIME FOR THAT . $
CAPTAIN HUNTER , LET US BEGIN . $
03 AYE , AYE , ARTHUR . $
WE 'VE GOT TO TAKE THE SAIL DOWN , OLD TONE . $
04 MR. ARMITAGE - $
< ( HUNTER AND TONY HAVE BEGUN TO MOVE , BUT HUNTER SEES SOM
ETHING ) > $
03 CHRIST ! $
04 WHAT ? $
03 < ( SHOUTS ) > $
HANG ON ! $
HANG ON TO SOMETHING ! $
< ( ALL DIVE FOR WHAT IS SOLID AND NEAREST ) > $
BLOODY TIDAL WAVE . $
< ( VIOLENT REACTIONS AS WAVE HITS . $
BANNER AND WOMEN CLINGING TO TABLE IN CABIN ) > $
01 WAIT ! $
< ( ALL FREEZE ) > $
IT SEEMS THAT THERE WAS A SUCCESSION OF MONSTROUS WAVES . $
THE RAFT WOULD TILT AS THEY WERE CARRIED UP TO THE CREST . $
THERE THE WIND WOULD HIT THEM . $
THEN THEY WOULD SLIDE DOWN INTO A TROUGH AGAIN - WHERE THEY
WERE AT LEAST SHELTERED FROM THE WIND . $
< ( TO ASSISTANTS ) > $
WIND THIS TIME . $
< ( TO CAST ) > $
CONTINUE ! $
#39 $
< ( ASSISTANT LEAVES STAGE . $
FROM NOW ON , WIND HEARD WHEN A WAVE HITS THEM , DIMINISHING
 IN VOLUME WHEN THEY ARE COMPARATIVELY AT REST , IN THE TROU
GH OF A WAVE . $
WESLEY DRONES WHEN NOT SPEAKING ) > $
04 THE DINGHY , MR. ARMITAGE . $
10 COME ON , WESLEY . $
07 THE LORD IS MIGHTY IN ANGER . $
HE SENDETH THE STORM TO CHASTISE US . $
03 COME ON , OLD TONE . $
GET CRACKING , EH ? $
< ( SEES WAVE APPROACHING ) > $
NO ! $
WAIT ! $
10 WESLEY , HANG ON . $
< ( WAVE HITS . $
WHEN THEY RECOVER ) > $
03 RIGHT ? $
< ( WESLEY MOVES FORWARD TO THE CENTRE OF THE DECK ) > $
07 OH LORD , WE ARE FIT AND READY FOR THY CHASTISEMENT . $
04 GET HIM BACK . $
< ( ALAN GETS HIM BACK ) > $
07 < ( STRUGGLES AGAINST ALAN'S HOLD ) > $
WE ARE THY SERVANTS , OH LORD , THY SLAVES AND CHATTELS . $
NOT AS WE WILL , BUT AS THOU WILT , OH LORD . $
03 WAVE ! $
< ( TONY DIVES FOR WHAT HE HAS BEEN HOLDING ON TO . $
WESLEY PULLS AWAY ) > $
10 < ( SHOUTS ABOVE WIND ) > $
HOLD ON ! $
HOLD ON , SOD YOU ! $
< ( WESLEY BEGINS TO CRY OUT , WITHOUT WORDS , IN A LOUD VOI
CE . $
HE PULLS AGAINST ALAN , WHO LETS GO . $
HE IS BLOWN ACROSS THE DECK AND INTO THE SEA . $
HE GOES LIMP . $
WAVE PASSES ) > $
04 WHAT HAPPENED ? $
10 I WAS HOLDING HIM . $
06 HE 'S GONE NOW . $
10 I MAY HAVE LET GO . $
04 GET THE DINGHY INSIDE . $
I SHALL HELP YOU . $
CAPTAIN HUNTER , MR. BATCH , YOU WAY USE A KNIFE FOR THE SAI
L SINCE TIME IS SHORT . $
INSTRUCT MR. BANNER TO PRAY FOR SUCCOUR , IF HE SHOULD NOT A
LREADY BE DOING SO . $
< ( TONY AND HUNTER GET INSIDE TO CROSS THE SALOON TO REACH
THE MAST ON THE OTHER SIDE OF THE DECK . $
ARTHUR RUNS QUICKLY ACROSS TO ALAN . $
A WAVE HITS . $
RECOVERY ) > $
#40 $
10 HE WENT MAD , I THINK . $
06 < ( TO BANNER ) > $
HE SAYS YOU GOT TO PRAY . $
04 IT IS OF NO CONSEQUENCE . $
HE WAS MAD BEFORE . $
09 WHAT DOES HE WISH ME TO SAY ? $
06 FOR SUCCOUR, HE SAYS . $
04 HE WAS EXPENDABLE . $
03 COME ON , TONE . $
< ( TONY AND HUNTER OUT ON DECK TO REAR . $
ALAN AND ARTHUR HAVE BEEN WORKING AT THE DINGHY ) > $
10 HOLD ON ! $
< ( A WAVE HITS . $
TONY AND HUNTER GRAB MAST , AND HOLD ON . $
RECOVERY ) > $
03 QUICK !  $
< ( SLASH AT LOWER ROPE . $
THEN ON THE OTHER'S SHOULDERS FOR UPPER . $
WHILE ) > $
09 OH LORD , IF IT BE INDEED THY DESIGN , AS SOME HAVE SUGGE
STED , TO PUNISH US IN THIS WAY FOR OUR MISDEEDS , BE NOT TO
O OUTRAGEOUS IN THY WRATH . $
SPARE , OH LORD , THE HELPLESS . $
BRING SUCCOUR TO THE DISTRESSED . $
03 TONE ! $
HURRY ! $
< ( TONY CASTS A SCARED GLANCE AT THE WAVES , MAKES A SLASH
AT THE ROPE , THEN DROPS DOWN TO DECK , CLINGING TO THE MAST
 . $
A WAVE STRIKES . $
THEN RECOVERY . $
THEN ALAN AND ARTHUR GET THE DINGHY ON THE DECK . $
WHILE ) > $
09 CONSIDER , OH LORD , THAT NOT ALL HAVE BEEN GUILTY IN EQU
AL MEASURE . $
CONSIDER ESPECIALLY THE WOMEN AND CHILDREN . $
CONSIDER - $
< ( ASSISTANT HITS BANNER WITH A BOOK . $
HE FALLS . $
ARTHUR AND ALAN INTO SALOON ) > $
04 INSIDE . $
< ( THEY GET INDOORS ) > $
SHUTTER . $
< ( TONY , ALAN AND HUNTER PULL ACROSS THE IMAGINARY SHUTTER
 AND LOCK IT , WHILE ) > $
WHY IS MR. BANNER NOT PRAYING ? $
11 BOOK HIT HIM . $
04 PORTHOLE . $
< ( HUNTER TO PORTHOLE ) > $
THEN FIND SOMETHING SOLID , AND CLING ON . $
05 BUT WHAT OF HAROLD ? $
04 HOLD HIM . $
IT WILL DO HIM NO GOOD TO BE FLYING ABOUT . $
#41 $
< ( LIGHTS DOWN AS PORTS CLOSED . $
A WAVE HITS . $
THEN SILENCE ) > $
08 WHAT HAVE YOU DONE WITH MY HUSBAND ? $
< ( PAUSE ) > $
WHAT HAVE YOU DONE WITH MY HUSBAND ? $
01 < ( GENTLY ) > $
NO MORE NOW . $
< ( LECTURER MOVES ACROSS TO THE CHARACTERS ) > $
< ( STILL GENTLY ) > $
SLEEP NOW . $
REST NOW . $
NO MORE RAIN NOW . $
< ( ASSISTANTS REVIVE CHARACTERS - WHO RESPOND LIKE AUTOMATA
 - AND POINT THE WAY OFFSTAGE . $
THEY GO . $
LECTURER RETURNS TO HIS PLACE AND SPEAKS DIRECTLY TO THE AUD
IENCE ) > $
01 PLEASE BREAK FOR TEN MINUTES AND REASSEMBLE HERE . $
< END OF ACT ONE > $
< ACT TWO > $
< DURING THE INTERVAL , THE CARDS ARE REARRANGED SO AS TO AL
LOW A LARGER DECK AREA . $
THE CHARACTERS ARE BROUGHT IN , AND SIT AGAINST THE BACK WAL
L . $
HOUSE LIGHTS LOWERED . $
LECTURER ENTERS . $
HE SURVEYS THE CHARACTERS , THEN SENDS THEM TO SLEEP BY CLIC
KING HIS FINGERS . $
HE TURNS TO ADDRESS THE AUDIENCE . > $
01 NOBODY IN THIS HALL HAS COMMITTED A CRIMINAL OFFENCE , OR
 YOU WOULD NOT OF COURSE BE HERE . $
CONSEQUENTLY YOU MAY NOT REALIZE THAT WHAT YOU WITNESS IS NO
T ONLY A HISTORY LECTURE , BUT ALSO A NECESSARY PART OF THE
RECONDITIONING OF SOME UNHAPPY PEOPLE WHO HAVE COMMITTED CRI
MES AGAINST THE COMMUNITY . $
IN EACH CASE , THE CRIMINAL'S OFFENCE HAS A PARALLEL IN THE
CONDUCT OF THE HISTORICAL PERSON HE IS PRESENTING . $
THUS YOUR ARTHUR HENDERSON HAS BEEN GUILTY OF PERSISTENTLY I
NDIVIDUALISTIC BEHAVIOUR . $
YOUR ALAN ARMITAGE HAS A HISTORY OF PETTY CRIME - LACK OF GR
OUP EFFORT , PUBLIC SARCASM , PSYCHO-SOMATIC ASTHMA . $
BOTH YOUR CAPTAIN HUNTER AND YOUR SONYA BANKS HAVE BEEN GUIL
TY OF PRIVATE PLEASURE AND IRRATIONAL ENJOYMENT , LEADING TO
 THE NEGLECT OF TASKS . $
#42 $
YOUR GERTRUDE FORBES-COOPER IS A PERSISTENT LIAR , YOUR MURI
EL OTTERDALE A MURDERESS , YOUR TONY BATCH HAS BEEN EITHER L
ATE FOR OR ABSENT FROM COMMUNITY MEETINGS EVER SINCE HE WAS
OLD ENOUGH TO ATTEND , AND YOUR HAROLD BANNER SUFFERS FROM D
OUBT , AMOUNTING OFTEN TO DESPAIR . $
IN VOLUNTEERING TO PRESENT THESE CHARACTERS , THE CRIMINALSC
CONCERNED ARE ABLE TO ACT OUT THEIR OWN ANTI-COMMUNAL TENDEN
CIES , PROVIDING NOT ONLY INSTRUCTION FOR YOU , BUT THERAPY
FOR THEMSELVES . $
< ( TO THE CAST ) > $
WAKE ! $
< ( THEY DO SO ) > $
< ( TO AUDIENCE ) > $
NOW THE SUN SHONE , AND THE AIR WAS STILL . $
THE RAFT LAY BECALMED . $
THE SAIL HUNG FROM THE MAST LIKE OLD WASHING . $
SINCE THE RAFT DID NOT MOVE , THE BATTERIES WHICH PROVIDED L
IGHT AND HEAT WERE NOT RECHARGED . $
< ( TO CHARACTERS ) > $
DAYS IN THE SUN . $
THE BEGINNING TIME . $
< ( ALL BUT ARTHUR AND MURIEL LEAVE THEIR CHAIRS , WALK OUT
ON TO THE DECK AREA , STRETCH THEIR ARMS , ENJOY THE SUN . $
THE MEN TAKE OFF THEIR SHIRTS . $
THEY DISPOSE THEMSELVES FOR SUNBATHING . $
WHILE ) > $
< ( TO AUDIENCE ) > $
THEY HAD THE SUN - WHAT DID THEY WANT WITH LIGHT AND HEAT ?
$
EXCEPT THAT THE SUN BY ITSELF WOULD NOT DISTIL FRESH WATER F
ROM SALT , AND GIVE THEM WATER FOR DRINKING . $
< ( ARTHUR COMES BRISKLY OUT ON DECK , FOLLOWED BY MURIEL ,
WHO BRINGS A CHAIR AND THE LOG-BOOK WITH HER . $
ARTHUR CLAPS HIS HANDS ) > $
04 I HAVE DECIDED TO CALL THE FIRST MEETING OF THE NEW SOCIE
TY . $
< ( TO MURIEL ) > $
THANK YOU , MRS. OTTERDALE . $
SET IT THERE , IF YOU PLEASE . $
< ( SHE SETS CHAIR FOR HIM ) > $
HAVE YOU THE LOG-BOOK ? $
SIT DOWN . $
< ( SHE DOES SO ; HE CONTINUES ) > $
THIS WILL BE OUR MINUTE BOOK . $
I SHALL NOW ENTER THE MINUTES OF OUR FIRST MEETING . $
BY THIS MEANS , WE SHALL HAVE A RECORD OF OUR SOCIETY FROM T
HE BEGINNING . $
< ( HE SITS , PRODUCES A PENCIL , AND BEGINS TO WRITE ) > $
MINUTES OF THE FIRST MEETING OF THE NEW SOCIETY . $
13TH JULY 1969 . $
PRESENT ...L $
< ( CONTINUES TO WRITE ) > $
10 BUT WE 'VE NO SEED . $
NO LIVESTOCK . $
HOW CAN WE SURVIVE ? $
#43 $
04 < ( WHILE WRITING ) > $
THERE WILL BE A TIME FOR QUESTIONS LATER , MR. ARMITAGE . $
MEANWHILE I HAVE NOT YET DECLARED THE MEETING OPEN . $
< ( FINISHES ) > $
THE MEETING IS OPEN . $
I PROPOSE THAT THE SOCIETY BE CALLED THE NEW SOCIETY . $
ALL IN FAVOUR ? $
< ( ALL RAISE THEIR HANDS ) > $
09 AYE . $
04 GOOD . $
< ( WRITING ) > $
OFFICERS . $
WE SHOULD NOT , IN MY VIEW , BURDEN OURSELVES WITH TOO MANY
AT FIRST . $
ONE OFFICER , TO BE CALLED THE PRESIDENT , AND TO COMBINE TH
E DUTIES OF PRESIDENT , SECRETARY AND TREASURER , SHOULD SUF
FICE . $
THAT IS MY PROPOSAL . $
ALL IN FAVOUR ? $
< ( ALL RAISE THEIR HANDS ) > $
03 AYE , AYE . $
09 < ( HESITANTLY ) > $
I SHOULD LIKE TO PROPOSE ARTHUR FOR PRESIDENT . $
04 WHO SECONDS ? $
< ( LOOKS AT ALAN . $
PAUSE ) > $
10 I DO . $
04 ALL IN FAVOUR ? $
< ( ALL RAISE THEIR HANDS ) > $
04 < ( WRITING ) > $
NEMINE CONTRA DICENTE . $
NEXT ... $
10 DO YOU THINK THERE SHOULD BE ANY PROVISION FOR A DEPUTY P
RESIDENT ? $
04 WHY ? $
10 IN CASE ANYTHING WERE TO HAPPEN TO YOU , MR. PRESIDENT .
$
04 NOTHING WILL . $
NOW ... $
RULES . $
AS YOUR PRESIDENT , I SHALL PROMULGATE RULES FROM TIME TO TI
ME . $
RULE ONE . $
DOUBT IS AN INFECTION . $
IT CAN DISABLE US . $
IF WE SHOULD DISCOVER IT , WE MUST KILL IT , AS WE SHOULD KI
LL A VIRUS . $
10 AH ! $
04 YOU SPOKE ? $
10 JUST BREATHING . $
04 BREATHE MORE QUIETLY . $
ANY PART OF THE BODY POLITIC WHICH DOUBTS ITS SURVIVAL WILL
BE CUT OUT . $
ANY QUESTIONS . $
10 NONE . $
04 RULE TWO . $
WHILE WE REMAIN BECALMED , WE SHALL CUT DOWN ON THE USE OF P
OWER . $
NO LIGHTS WILL BE USED . $
WE SHALL RISE WITH THE SUN , AND RETIRE WITH IT . $
#44 $
11 I DON'T MIND . $
I CAN'T KEEP UP WITH ALL THAT SHAKESPEARE . $
04 YOUR MINDING IS NOT IN QUESTION , MISS BANKS . $
IT WELL BE DONE . $
FURTHERMORE , THERE WILL BE NO COOKING . $
HEAT WILL BE USED ONLY TO DISTIL WATER . $
03 NO STEW . $
JUST EAT GLUB ? $
04 WE SHALL DO BETTER WITH FISH . $
ONLY WE MUST MAKE SHIFT WITH AU BLEU . $
09 BLUE ? $
04 RAW . $
03 EAT RAW FISH ? $
04 IT IS NOT UNKNOWN . $
09 I SUPPOSE ... IT MIGHT BE ALMOST JAPANESE . $
04 EXACTLY . $
A GREAT DELICACY - PROPERLY REGARDED . $
AND SEAWEED ALSO . $
< ( A BUZZ OF APPALLED CONVERSATION FROM THE OTHERS ) > $
SETTLE DOWN . $
LASTLY - $
01 WAIT . $
< ( TO AUDIENCE ) > $
THE NEW RULE WAS PUT INTO EFFECT THAT NIGHT . $
< ( TO CAST ) > $
FISH SUPPER . $
< ( PLACES FOR SUPPER ) > $
04 MR. BANNER , PLEASE ASK A BLESSING . $
09 < ( DOLEFUL ) > $
FOR WHAT WE ARE ABOUT TO RECEIVE MAY THE LORD MAKE US TRULY
THANKFUL . $
04 AMEN . $
< ( A PAUSE . $
ALL LOOK AT ARTHUR . $
HE TASTES THE FISH ) > $
04 IT IS UNPLEASANT ON THE WHOLE . $
< ( HUNTER AND BANNER TASTE ) > $
09 THE JAPANESE - $
03 THERE 'S ALWAYS BEEN SOMETHING FISHY ABOUT THE JAPANESE .
 $
< ( ALAN , TONY , MURIEL AND GERTRUDE TASTE AND SWALLOW . $
SONYA DOES NOT . $
ALL LOOK AT HER ) > $
04 COME NOW , MISS BANKS . $
< ( SONYA LIFTS A SPOONFUL TOWARDS HER MOUTH , PAUSES , THEN
PUTS IT BACK ON THE PLATE ) > $
11 I DON'T FANCY IT . $
04 IT WILL DO YOU GOOD . $
11 NOT IF I BRING IT ALL UP AGAIN , IT WON'T . $
#45 $
04 YOU MUST KEEP IT DOWN . $
11 I CAN'T $
I DON'T WANT ANY . $
ANYBODY CAN HAVE MINE . $
04 < ( LOOKING AROUND ) > $
THERE IS NO NEED FOR US ALL TO STOP EATING , JUST BECAUSE MI
SS BANKS IS HAVING A LITTLE DIFFICULTY WITH HER FISH . $
< ( THEY BEGIN EATING AGAIN ) > $
04 NOW , MISS BANKS , WE MUST EAT OUR FISH . $
LET US TRY AGAIN . $
08 MUST EAT OUR NICE FISH . $
05 YES , INDEED . $
DELICIOUS . $
10 I DON'T SEE WHY SHE SHOULD BE FORCED TO EAT . $
IT 'S HER OWN FUNERAL . $
04 WHILE SHE IS IN MY CHARGE , I DO NOT INTEND HER FUNERAL T
O TAKE PLACE . $
10 COULDN'T SHE HAVE - $
04 THERE WILL BE NO EXCEPTIONS . $
10 SORRY . $
04 SORROW BY ITSELF MEANS NOTHING , UNLESS IT IS ACCOMPANIED
 BY THE INTENTION OF AMENDMENT . $
DO NOT INTERFERE AGAIN . $
< ( TO SONYA , BLAZING OUT ) > $
EAT YOUR FISH ! $
< ( SHOCKED SILENCE . $
THEN ALL BUT SONYA AND TONY ( WHO IS EATING NORMALLY ) BEGIN
 TO EAT AT DOUBLE TIME . $
SONYA LIFTS A SPOONFUL TOWARDS HER MOUTH AGAIN ) > $
04 COME NOW , MISS BANKS . $
I UNDERSTAND YOUR FEELINGS . $
THE FISH IS INDEED NAUSEOUS AT FIRST TASTE . $
IF YOU WISH , I SHALL ASK MRS. OTTERDALE TO HOLD YOUR NOSE W
HILE YOU EAT . $
08 < ( DELIGHTED , BEGINS TO RISE ) > $
HOLD HER NOSE , AND DOWN IT GOES . $
< ( ARTHUR WAVES HER DOWN AGAIN ) > $
04 WE SHALL AVOID IT IF WE CAN . $
06 < ( GENTLY ) > $
COME ON THEN , OLD SONN , EH ? $
< ( HER SPOON FOLLOWS HIS IN TIME . $
SHE TAKES A MOUTHFUL , CHEWS , SWALLOWS ) > $
04 EXCELLENT , EXCELLENT ! $
NOW , ALL TOGETHER . $
WITH ME . $
BEGIN . $
< ( ALL BEGIN EATING , IN TIME WITH ARTHUR ) > $
01 ENOUGH ! $
< ( ALL STOP ) > $
GO ON TO THE MORNING OF AUGUST 3RD . $
< ( THEY BEGIN TO TAKE UP PLACES . $
GERTRUDE AND HAROLD ARRANGE A COUPLE OF CHAIRS AS BACK-RESTS
 FOR SUNBATHING ON DECK . $
#46 $
HUNTER TAKES HIS SPEAR, AND BEGINS A PATROL UP AND DOWN ONE
SIDE OF THE DECK . $
ALAN GOES INTO THE KITCHEN , ARTHUR UPSTAIRS ; MURIEL REMAIN
S AT THE TABLE . $
TONY AND SONYA GO TO THE HOLD , AND BEGIN THEIR EXERCISES .
$
WHILE ) > $
YOU BEGIN TO REVEAL YOURSELVES A LITTLE . $
09 IT IS TRUE I HAD NO VOCATION , BUT I THOUGHT I MIGHT DO S
OME GOOD IN THE WORLD . $
05 I NEVER MARRIED , YOU KNOW . $
NOBODY LASTED LONG ENOUGH FOR ME . $
09 I WANTED TO BE OF USE . $
05 SIR CHARLES COCHRAN ONCE TOLD ME I WAS TOO INTENSE FOR LI
FE . $
BORN FOR THE THEATRE , NOT FOR LIFE , HE SAID . $
BUT THEN HE HAD TO BE POLITE , BECAUSE HE WAS TURNING ME DOW
N FOR A PART . $
09 I WANTED TO HELP PEOPLE . $
05 WHAT ? $
WHAT , HAROLD ? $
09 I WANTED TO HELP . $
05 WHY DIDN'T YOU BECOME A SOCIAL WORKER ? $
09 THE QUALIFICATIONS . $
05 A FREE HAND , AN OPEN HEART - SURELY THAT IS ALL ONE NEED
S ? $
09 AND A DEGREE IN SOCIAL SCIENCE . $
< ( ALAN LEAVES THE KITCHEN AND MOVES TO THE HOLD ) > $
I LEFT OXFORD WITHOUT A DEGREE OF ANY KIND , SO THERE WAS NO
THING FOR IT BUT THE CHURCH . $
< ( ALAN STANDS AT THE ENTRANCE TO THE HOLD , AND WATCHES TO
NY AND SONYA , WHO SEE HIM ALMOST AT ONCE , AND STOP WHAT TH
EY ARE DOING ) > $
10 HERE YOU ARE , THEN . $
11 YES . $
10 BUSY ? $
11 NOT REALLY . $
10 I THOUGHT I MIGHT DO IT FOR A BIT . $
11 YOU WANT TO DO WEIGHT-LIFTING ? $
10 IT 'S GOOD FOR YOU , ISN'T IT ? $
< ( PAUSE . $
TONY AND SONYA EXCHANGE AN UNCOMFORTABLE GLANCE ) > $
#47 $
06 YOU DON'T WANT TO DO TOO MUCH AT FIRST , YOU KNOW . $
10 NO ? $
06 COULD DO YOURSELF A DAMAGE . $
HERNIA OR SOMETHING . $
I MEAN , IT 'S BEEN KNOWN . $
10 I 'LL DO SOMETHING SIMPLE , THEN . $
06 YOU COULD TRY PRESS-UPS , I SUPPOSE . $
10 ALL RIGHT . $
I 'LL TRY PRESS-UPS . $
< ( PAUSE . $
TONY MOTIONS HIM TO GET INTO POSITION , AND ALAN DOES SO . $
MEANWHILE MURIEL LEAVES HER PLACE AT THE TABLE , AND WAITS O
UTSIDE ARTHUR'S DOOR . $
WHILE ) > $
09 YOU MIGHT SAY I DRIFTED INTO IT - AN APT ENOUGH METAPHOR
FOR A ROWING MAN . $
I WAS GIVEN MY BLUE IN MY SECOND YEAR . $
NOBODY HAD TAKEN MUCH NOTICE OF ME UP TO THEN , BUT THE MORA
L REARMAMENT PEOPLE WERE KEEN TO RECRUIT ATHLETIC PERSONALIT
IES . $
THEY ASKED ME TO TEA AT ST. PETER'S HALL . $
THERE WAS A RUGGER BLUE AND A BOXING BLUE AND TWO SOUTH AFRI
CANS AND A PEER . $
WE HAD STRAWBERRIES AND CREAM , AND CONFESSED OUR SINS . $
06 GET YOUR ARMS RIGHT . $
THEY 'RE NOT RIGHT . $
05 BUT THE BELIEF ? $
DOGMA ? $
THE MATTER OF FAITH ? $
09 OH , THERE 'S A VERY WIDE LATITUDE OF BELIEF IN THE CHURC
H OF ENGLAND NOWADAYS . $
THE IMPORTANT THING WAS TO DO GOOD . $
AND REALLY YOU KNOW , I WAS SO BUSY WITH THE YOUTH CLUB , AN
D THE SUICIDE SERVICE , AND MEALS ON WHEELS , AND PENSIONERS
' EVENINGS , I HAD LITTLE TIME TO THINK ABOUT RELIGIOUS QUES
TIONS . $
06 NOW - KEEP YOUR BACK STRAIGHT . $
DON'T BEND YOUR BACK . $
09 AND WHEN I DID ,I DISCOVERED THAT MOST THINGS COULD BE EX
PLAINED QUITE SIMPLY . $
ALL THOSE DOUBTS PEOPLE USED TO HAVE IN VICTORIAN NOVELS . $
THERE WAS NEVER ANY NEED FOR THEM NOW THAT ONE CAN DUPLICATE
 THE VIRGIN BIRTH WITH A DARNING NEEDLE , AND PEOPLE ARE BEI
NG RAISED FROM THE DEAD EVERY DAY . $
IN ANY CASE , NOBODY WANTED ME TO BELIEVE IN GOD AS A PERSON
 , OR IN CHRIST AS ANYTHING ELSE . $
NOWADAYS , HEAVEN IS NOT A PLACE , YOU KNOW , BUT A ONENESS
WITH GOD . $
THE INDIVIDUAL SOUL JUST DISSOLVES INTO THE GOD SOUL . $
NOT AN EASY THING TO EXPLAIN TO MY PARISHIONERS , BUT THEN I
 DIDN'T HAVE TO , BECAUSE THEY NEVER CAME TO CHURCH . $
#48 $
< ( MURIEL MIMES KNOCKING ) > $
04 WHAT DO YOU WANT , MRS. OTTERDALE ? $
08 JUST TO TELL YOU . $
04 WHAT ? $
08 I 'D ALWAYS DO ANYTHING YOU WANTED , ARTHUR . $
YOU 'VE ONLY TO ASK . $
04 I KNOW IT . $
THANK YOU , MRS. OTTERDALE . $
< ( ALAN HAS BEEN LYING IN POSITION , OCCASIONALLY LIFTING H
IMSELF A LITTLE WAY , BUT NOT COMPLETING A PRESS-UP ) > $
06 COME ON , THEN . $
< ( ANOTHER ATTEMPT ) > $
THEN ALAN GETS OUT OF POSITION , AND SITS UP ) > $
10 I CAN'T DO IT . $
06 YOU CAN DO ONE . $
10 < ( NEAR TEARS ) > $
I DAN'T DO ONE BLOODY PRESS-UP . $
03 < ( SHOUTS ) > $
LAND HO ! $
< ( HUNTER HAS SEEN SOMETHING IN THE DISTANCE , DOWNSTAGE ,
ON THE LECTURER'S SIDE OF THE STAGE . $
AS THE OTHERS REACT TO HIS CRY , THE LECTURER STOPS THEM ) >
 $
01 WAIT ! $
BOARDING PARTY , REMAIN PLACES , THE REST . $
< ( TO AUDIENCE ) > $
ARMITAGE'S DIARY REPORTS THAT THEY HAD SEEN AN ARK . $
< ( TO ASSISTANT ) > $
PLACARD , PLEASE . $
< ( ASSISTANT HOLDS UP PLACARD SHOWING A TOY NOAH'S ARK ) >
$
IT IS NOT CLEAR WHAT AN ARK WAS . $
THE CHILDREN'S ENCYCLOPAEDIA APPEARS TO SUGGEST THAT IT WAS
AT ONCE A KIND OF BOAT , A RELIGIOUS OBJECT , AND A TOY FOR
CHILDREN . $
IT WAS FILLED WITH LIVE ANIMALS , AND CARRIED BEFORE THE PEO
PLE OF PALESTINE IN BATTLE . $
IT LOOKED LIKE THIS . $
< ( TO ASSISTANT ) > $
THANK YOU . $
< ( PLACARD DOWN : TO AUDIENCE ) > $
THERE WAS A MAN ABOARD THE ARK . $
WE KNOW LITTLE ABOUT HIM - CERTAINLY NOT ENOUGH TO CREATE A
PERSONALITY . $
CONSEQUENTLY HE WILL BE PRESENTED TO YOU BY THE UNIVERSITY S
TAFF . $
< ( TO ALAN AND ARTHUR ) > $
YOU HAVE BOARDED THE ARK . $
YOU SMELL THE STENCH OF IT . $
04 SOMETHING HAS DIED . $
AND NOT RECENTLY . $
GOOD . $
10 GOOD ? $
04 WHATEVER HAS DIED HAS NOT BEEN CLEARED AWAY . $
PERHAPS THAT IS BECAUSE THERE IS NOBODY TO CLEAR IT . $
#49 $
01 THERE IS SOMEBODY . $
AN OLD MAN APPEARS . $
< ( ASSISTANT FORWARD ) > $
HIS EYES ARE RED IN A FACE ENCRUSTED WITH FILTH AND SET IN A
 FRAME OF MATTED HAIR . $
CATCH HIM BEFORE HE FALLS . $
< ( THEY DO SO ) > $
HIS MOUTH OPENS , BUT HE IS PARCHED , AND CANNOT SPEAK . $
04 GIVE HIM WATER . $
< ( ALAN , SUPPORTS ASSISTANT GENTLY , AND HELPS HIM TO DRIN
K ) > $
WHO IS ABOARD YOUR ARK , OLD MAN ? $
< ( LECTURER ANSWERS FOR THE OLD MAN , BUT DOES NOT ACT . $
HIS VOICE IS FLAT , AS IF READING A REPORT ) > $
01 DEAD . $
ALL DEAD . $
04 DID YOU HAVE LIVESTOCK ? $
COWS ? $
PIGS ? $
CHICKENS EVEN ? $
01 ALL DEAD . $
THERE WAS NO WATER . $
AND THEY HAD FOULED THEIR QUARTERS . $
04 YOU HAD BETTER TAKE A LOOK ROUND , MR. ARMITAGE . $
< ( ALAN CEASES TO SUPPORT THE ASSISTANT ) > $
01 I HAVE DRUNK BLOOD . $
BLOOD . $
I HAVE DRUNK BLOOD . $
04 SEE IF YOU CAN FIND ANYTHING THAT MAY BE OF USE . $
< ( ALAN SUMMONS HIS RESOLUTION , AND GOES QUICKLY THROUGH T
HE IMAGINARY DOOR TO THE EXTREME SIDE OF THE STAGE ) > $
01 HAM ... $
SHEM ... $
BOTH DEAD . $
MY WIFE LEFT ME , YOU KNOW , BEFORE THE WORD WAS FULFILLED .
 $
FORTY DAYS AND FORTY NIGHTS , I LOST COUNT . $
SHE TOOK JAPHET AND WENT TO HER MARRIED SISTER IN RUISLIP .
$
MORE HAS OCCURRED THAN WAS FORETOLD . $
04 < ( CALLS ) > $
WHAT DO YOU FIND , MR. ARMITAGE ? $
10 < ( RETURNS ) > $
ANIMALS ALL DEAD . $
SACKS OF GRAIN ROTTING . $
BUT THERE 'S SOME SEED IN BINS . $
04 IN WHAT CONDITION ? $
10 I OPENED ONE . $
LOOKS ALL RIGHT . $
04 CAN WE TAKE THEM ? $
10 TOO BIG . $
SINK THE DINGHY . $
04 < ( THINKS ) > $
VERY WELL . $
I SHALL DEVISE SOMETHING . $
THERE ARE SACKS ON THE RAFT . $
WE SHALL TRANSHIP . $
MEANWHILE WE CAN RETURN . $
10 < ( INDICATING ASSISTANT ) > $
WHAT ABOUT HIM ? $
#50 $
04 HE IS IN NO STATE TO BE MOVED . $
10 DO WE COME BACK FOR HIM ? $
04 UNLESS YOU WOULD PREFER TO REMAIN . $
10 SHALL I LEAVE THE WATER BOTTLE ? $
04 IF YOU WISH . $
01 IT WAS NOT THE TRUE VOICE I HEARD . $
ND PONY . $
ONY . $
I KNEW THEN IT WAS NOT THE TRUE VOICE . $
10 < ( TO ASSISTANT ) > $
WE 'LL BE BACK . $
JUST WAIT . $
01 ENOUGH . $
PLACES . $
< ( ALAN AND ARTHUR BEGIN TO RETURN TO THEIR CHAIRS . $
LECTURER STOPS ARTHUR , WHO HALTS AND HALF-TURNS ) > $
ARTHUR  $
04 YES ? $
01 WHAT WILL YOU DO WITH THE OLD MAN ? $
04 OH ... $
KILL HIM , OF COURSE . $
< ( ARTHUR PROCEEDS TO HIS CHAIR ) > $
01 < ( TO AUDIENCE ) > $
THEY TRANSHIPPED THE GRAIN . $
IT TOOK TWO DAYS . $
ON THE SECOND NIGHT , THE ARK CAUGHT FIRE . $
< ( LECTURER NODS TO ASSISTANT , WHO GIVES A LONG SCREAM . $
THE CAST HAVE BEEN SITTING AS IF ASLEEP ON THEIR CHAIRS , BU
T AT THE FIRST SCREAM ALAN WAKES , LISTENS , THEN MOVES FORW
ARDS INTO THE MAIN CABIN , AND THEN ON DECK . $
WHEN HE REACHES THE DECK , HE RUNS FORWARD TO THE EDGE . $
MURIEL WAKES , SEES ALAN GOING , AND FOLLOWS HIM UNOBSERVED
) > $
10 THE BASTARD ! $
THE ROTTEN BASTARD ! $
08 YOU SHOULDN'T SPEAK AGAINST ARTHUR LIKE THAT . $
10 SPEAK AGAINST HIM ! $
DON'T YOU SEE WHAT HE 'S DONE ? $
LOOK AT THE ARK BURNING . $
THAT 'S NOT AN ACCIDENT . $
08 ARTHUR DOES WHAT HE HAS TO DO . $
10 AND THE OLD MAN ? $
08 THAT 'S AS MAY BE . $
10 ARTHUR 'S MURDERED HIM . $
08 OH , YES . $
MY HUSBAND TOO . $
< ( PAUSE ) > $
10 WHAT ? $
08 WESLEY TOO . $
YOU KNOW THAT . $
10 BUT WESLEY ... BLEW AWAY . $
#51 $
08 NO . $
ARTHUR TOOK CARE OF THAT . $
I KNOW . $
ARTHUR TAKES WHAT HE WANTS . $
AFTER ALL , HE HAS TO , HASN'T HE , IF WE 'RE TO RESPECT HIM
 ? $
< ( SHE NODS WISELY , AND GOES BACK IN . $
ALAN FOLLOWS HER . $
LECTURER STOPS HIM . > $
01 WAIT . $
< ( ALAN OBEYS ) > $
WILL YOU PROTEST ? $
10 NO . $
01 TELL ME WHAT YOU ARE THINKING . $
10 WHAT 'S THE POINT ? $
01 OF WHAT ? $
10 HUMAN LIFE . $
EVERYTHING . $
LOOK . $
< ( TURNING TO HIM ) > $
YOU 'RE BORN ; YOU GROW OLD ; YOU DIE . $
YOU FEED AND SLEEP , AND GO TO WORK EVERY WEEK , AND TAKE A
HOLIDAY ONCE A YEAR . $
YOU RAISE CHILDREN , AND THEY GROW UP AND LEAVE YOU , AND YO
U 'RE LEFT ALONE . $
MUCH OF YOUR LIFE IS SPENT IN DISCOMFORT , AND MORE IN BORED
OM , AND MOST IN INDIFFERENCE . $
ALL YOU HAVE TO EXPECT IS MONOTONY AND STRUGGLE WHILE YOU 'R
E WORKING , AND LONELINESS AND FEAR IN YOUR OLD AGE . $
AND WHAT 'S IT ALL FOR ? $
YOU DON'T REALLY BELIEVE THAT MAKING THINGS , AND PACKING TH
EM UP , AND MOVING THEM ABOUT , AND SELLING THEM , AND BUYIN
G THEM , AND CONSUMING THEM , AND MAKING NEW THINGS TO REPLA
CE THEM , ADD UP TO A REASON FOR LIVING . $
BUT YOU GO ON - KEEPING ALIVE , BECAUSE YOU 'RE AFRAID OF DE
ATH . $
IF ARTHUR KNOWS WHAT HE WANTS , AND WHY HE WANTS IT , WHAT C
AN I DO ? $
01 YOU DO NOT SPEAK OF YOUR JEALOUSY ! $
10 NO . $
I WATCH . $
I LISTEN . $
I TRY TO OVERHEAR . $
< ( PAUSE ) > $
I IMAGINE . $
01 WHY NOT SPEAK TO HER ? $
10 WE 'RE NEVER ALONE TOGETHER . $
01 MISS BANKS ! $
< ( TO ALAN ) > $
NOW YOU ARE ALONE . $
< ( SONYA COMES TO ALAN , WHILE ) > $
10 < ( TO LECTURER ) > $
I REMEMBER ... IT 'S VERY FAINT WHAT I REMEMBER . $
NOT CLEAR . $
I KNOW THERE WAS A TIME ... I KNOW WE WEREN'T TOGETHER FOR S
O LONG . $
01 THREE WEEKS . $
10 THERE 'S A LOT BEFORE THAT I DON'T KNOW ... I DON'T REMEM
BER . $
#52 $
11 THREE WEEKS . $
10 < ( TO HER ) > $
JUST DRIFTING . $
GOING HUNGRY MOSTLY . $
I REMEMBER THAT WE WERE HAPPY . $
WE SANG A LOT . $
WE MADE LOVE . $
11 YES . $
10 THAT FIRST NIGHT . $
11 I REMEMBER . $
10 I 'D NEVER KNOWN ANYTHING LIKE IT . $
SEX HAD BEEN - BEEN HAVING PEOPLE - IMPOSING MYSELF . $
AND PRETENDING WHAT I DIDN'T REALLY FEEL . $
I 'D NEVER FELT SO CLOSE . $
WE 'RE NOT CLOSE HERE . $
WE 'RE NEVER EVEN ALONE TOGETHER . $
11 WE 'RE ALONE NOW . $
10 SOMEONE MIGHT COME . $
< ( PAUSE ) > $
11 WHAT DO YOU WANT TO SAY ? $
< ( PAUSE ) > $
DO YOU THINK I DON'T MISS YOU ? $
DO YOU THINK I DON'T WANT TO BE ALONE WITH YOU ? $
< ( HE COMES TO HER TENTATIVELY . $
THEY KISS , AT FIRST TENTATIVELY , THEN MORE FIERCELY , THEN
 AS CLOSELY AS CAN BE ) > $
10 < ( A SORT OF LAUGH ) > $
AND THEY SAY A STARVATION DIET KEEPS YOUR THOUGHTS OFF SEX !
 $
< ( HE BEGINS GENTLY TO PERSUADE HER TO THE GROUND , BUT SHE
 PULLS AWAY ) > $
11 NO . $
NOT NOW . $
10 NOT ? $
11 LET 'S JUST ... BE TOGETHER FOR A BIT . $
SEX - IT 'S NOT THAT IMPORTANT . $
10 OH , IT IS . $
11 IT 'S JUST SEX . $
WE CAN HAVE SEX ANY TIME . $
10 NO , WE CAN'T . $
YOU KNOW BLOODY WELL WE CAN'T . $
11 NO , BUT ... I MEAN , I DON'T SEE WHY IT HAS TO BE THE FI
RST THING ... I MEAN , IF TWO PEOPLE LOVE EACH OTHER - $
10 THEY MAKE LOVE . $
11 THEY DON'T HAVE TO , THAT 'S THE POINT . $
IF THEY LOVE EACH OTHER , THEY DON'T HAVE TO . $
10 BUT , LOVE , I WANT TO . $
WE BOTH WANT TO . $
I ACHE FOR IT . $
#53 $
11 I THOUGHT IT 'D BE NICE JUST TO BE TOGETHER FOR A BIT ...
 SORT OF - COMFY . $
10 AFTER . $
11 WE NEVER TALK . $
NOT YOU AND ME . $
WE NEVER GET THE CHANCE . $
TONY 'S THE ONLY PERSON I EVER TALK TO . $
10 AH , YES ; TONY . $
YOU ARE ALONE WITH HIM . OF COURSE . $
VERY CONVENIENT . $
< ( PAUSE ) > $
11 WE DON'T HAVE TO BE . $
10 YOU DON'T ENCOURAGE VISITORS . $
11 WHAT DO YOU MEAN ? $
10 I DIDN'T GET MUCH OF A WELCOME . $
I WAS HUMILIATED , AS I REMEMBER . $
11 NOT HUMILIATED . $
10 WHAT WOULD YOU CALL IT ? $
11 HE WAS TRYING TO HELP . $
< ( PAUSE ) > $
ANYWAY , WHY SHOULD WE SPEND OUR TIME TALKING ABOUT TONY ? $
10 HE INTERESTS ME . $
< ( PAUSE ) > $
WHAT ABOUT TONY ANYWAY ? $
HOW ABOUT HIM ? $
IS SEX THE FIRST THING IN HIS MIND , WOULD YOU SAY ? $
11 OF COURSE NOT . $
10 WHY NOT ? $
HE 'S NOT QUEER ? $
11 NO . $
10 AH , YOU KNOW THAT  , THEN ? $
11 SEX DOESN'T COME INTO IT . $
I DON'T LOVE TONY . $
WE GET ON ; THAT 'S ALL . $
HE 'S MORE MY KIND OF PERSON THAN - $
10 I AM ? $
< ( PAUSE ) > $
11 YES , IN A WAY . $
BUT I DON'T LOVE HIM . $
10 I DON'T SEE WHY THAT SHOULD STOP YOU . $
IF SEX ISN'T THAT IMPORTANT . $
11 I DIDN'T MEAN THAT . $
10 AS FAR AS I CAN SEE , YOUR WAY OF SHOWING LOVE FOR SOMEON
E IS NOT TO HAVE SEX WITH HIM . $
SO SINCE YOU SAY YOU DON'T LOVE TONY - $
11 STOP IT . $
10 YES , YOU 'RE ALONE WITH TONY , AREN'T YOU ? $
AND DO YOU THINK I DON'T WONDER WHAT YOU DO TOGETHER ? $
DO YOU THINK I DON'T SIT HERE AND WONDER ? $
#54 $
11 YOU KNOW WHAT WE DO . $
WE DO OUR EXERCISES . $
10 THAT 'S ONE WAY OF DESCRIBING IT . $
11 YOU STUPID SOD ! $
< ( PAUSE ) > $
10 YOU COULD DO YOUR EXERCISES UP HERE . $
ON DECK . $
11 WE COULD , BUT WE DON'T . $
10 < ( BURSTS OUT ) > $
' WE ? ' $
' WE ! ' $
YOU AND TONY AREN'T ' WE ' . $
YOU AND I ARE ' WE ' . $
11 WELL , BEHAVE LIKE IT , THEN . $
TRUST ME FOR A START . $
10 TRUST ! $
11 WHY SHOULD THAT BE DIFFICULT ? $
10 I 'LL TELL YOU . $
11 PRAY DO . $
10 YOU AND I - WE 'D NEVER MET BEFORE I FOUND YOU FLOATING O
N THAT PIANO IN GLOUCESTERSHIRE . $
WE MADE LOVE THAT SAME NIGHT . $
YOU DIDN'T ' HOLD BACK ' OR ANYTHING . $
YOU DIDN'T WANT JUST TO ' BE ' TOGETHER . $
NOTHING LIKE THAT . $
WE DIVED INTO SEX . $
WE PULLED IT UP OVER OUR HEADS , AND DROWNED IN IT . $
AND YOU WERE A BLOODY SIGHT BETTER THAN I WAS . $
MORE EXPERIENCED . $
BUT I SUPPOSE THAT 'S BECAUSE IT WAS ' JUST SEX ' , EH ? $
NOT THAT IMPORTANT . $
11 AND ? $
10 IF ME , WHY NOT TONY ? $
IF SO SOON WITH ME , SO QUICK WITH ME ? $
< ( PAUSE ) > $
10 I THINK I 'LL GO IN NOW . $
I 'VE GONE OFF YOU . $
FUNNY ! $
- I CAME OUT TO TELL YOU SOMETHING . $
IT 'S RATHER IMPORTANT ACTUALLY . $
I 'VE BEEN SAVING IT TO TELL YOU . $
NOBODY ELSE KNOWS . $
10 NOT EVEN TONY ? $
11 I 'M PREGNANT . $
< ( PAUSE ) > $
10 WHAT ? $
11 I THOUGHT YOU 'D BE PLEASED . $
I WAS THAT STUPID . $
10 BUT I AM . $
I AM , LOVE . $
I AM . $
I AM PLEASED . $
11 ARE YOU ? $
WELL , THAT WON'T LAST , WILL IT ? $
AFTER ALL  , YOU DON'T KNOW WHOSE IT IS . $
#55 $
< ( SHE TURNS HER BACK ON HIM , AND GOES INSIDE . $
HE WATCHES HER ) > $
01 THE WATER RATION WAS REDUCED . $
RAW FISH GAVE EVERYONE DIARRHOEA . $
THEY GREW WEAKER . $
THE SUN BROUGHT OUT SELF-DOUBTS LIKE BUBBLES ON A TARRED ROO
F , WHICH GREW , AND BURST , AND GREW AGAIN . $
< ( TO CAST ) > $
DAYS IN THE SUN . $
THE MIDDLE TIME . $
< ( HUNTER , GERTRUDE AND BANNER HAVE APPEARED WITH CHAIRS W
HICH THEY ARRANGE FOR SUNBATHING . $
ALAN STAYS WHERE HE IS . $
TONY AND SONYA GO INTO THE HOLD AREA FOR THEIR EXERCISES . $
MURIEL WATCHES ALAN AND THE SUNBATHERS FROM A LITTLE DISTANC
E ) > $
09 I FOUND I COULDN'T COMMUNICATE , DO YOU SEE ? $
THERE WERE PROBLEMS OF LANGUAGE . $
AMONG THE CRIMINAL CLASSES , THE WORD ' BIRD ' FOR INSTANCE
, IS USED TO MEAN ' LADY FRIEND ' AND ALSO A STRETCH IN PRIS
ON . $
SO THAT THE EXPRESSION ' TO DO ONE'S BIRD ' WAS ONLY CONFUSI
NG . $
05 I PLAYED ANTIGONE IN THE WEST END WHEN I WAS ONLY TWENTY-
FOUR . $
GILBERT MURRAY SENT ME ORCHIDS AND DOCTOR ERNEST JONES TOOK
ME OUT TO LUNCH . $
< ( SONYA LAUGHS ) > $
08 THEY 'RE DOWN THERE . $
10 I KNOW . $
08 THEY 'RE ALWAYS DOWN THERE . $
05 SIX YEARS AGO , I WENT BACK TO THE SAME THEATRE . $
MY AGENT SAID IT WOULD BE A COME-BACK FOR ME . $
I WAS THE VICAR'S WIFE IN A COMEDY ABOUT SAILORS - NOT A LAR
GE PART , BY NO MEANS LARGE . $
I 'D WRITTEN ' GERTRUDE FORBES-COOPER , ACTRESS' IN GREASEPA
INT ON THE WALL OF MY DRESSING-ROOM . $
IT WAS STILL THERE , SO I CROSSED OUT THE ' ACTRESS' . $
03 I USED TO WONDER WHAT WAS GOING TO HAPPEN TO ALL THE CHAP
S LIKE ME . $
I MEAN , IF YOU 'RE NOT BRIGHT , WHERE ARE YOU GOING TO GO ?
 $
I USED TO LOOK AT MIDDLE-AGED CHAPS IN THE TUBE , ON BUSES ;
 I USED TO THINK , ' YOU 'RE LIKE ME . $
YOU 'RE NOT BRIGHT . $
YOU 'LL GO UNDER . $
BOUND TO . ' $
05 THE THEATRE ! $
THAT FEELING ONE HAD SOMETIMES IN THE THEATRE , THAT WONDERF
UL THRILL , ALMOST OF REVERENCE , A PRICKING OF THE BACK HAI
RS ... $
#56 $
09 YES ? $
05 I DISCOVERED IT COULD BE SELF-INDUCED . $
09 BUT SURELY ONE LEARNS FROM THE THEATRE , DOES ONE NOT ? $
10 LEARNS WHAT ? $
09 ABOUT THE NATURE OF LIFE ? $
10 YOU 'D LEARN MORE ABOUT LIFE FROM ONE WEEK AS A PROBATION
 OFFICER THAN TEN YEARS OF HEAVY THEATRE-GOING . $
08 WE ARE IN A BAD TEMPER , AREN'T WE ? $
05 ARTHUR SEES THESE THINGS SO DIFFERENTLY . $
IT IS A MATTER OF PROPORTION HE SAYS . $
09 OF CONTROL . $
05 OF SEEING THINGS IN PROPORTION . $
09 CONTROL . $
THINGS HAD GOT OUT OF HAND . $
THAT IS WHY I WAS ABLE TO DO NO GOOD . $
EVEN THE YOUTH WORK - THE ONLY WAY ONE COULD AVOID DAMAGES T
O THE PREMISES AS TO EXCLUDE UNDESIRABLES , AND THESE WERE T
HE ONES WHO MOST NEEDE HELP . $
I BECAME CONFUSED IN MY MIND . $
03 ' DOWN YOU GO , ' I 'D THINK . $
' THEY 'LL AUTOMATE THE LOT OF YOU . $
RABBITS ! ' $
09 AT LAST I BEGAN TO DOUBT MY OWN MOTIVES . $
I HAD TO LIVE FROM MOMENT TO MOMENT , AND HOPE I WAS RIGHT .
 $
BUT THE DOUBTS WOULD ALWAYS BE WAITING FOR ME . $
ARTHUR SAYS - $
10 OH , ARTHUR ! $
ARTHUR ! $
09 IT IS A MATTER OF CONTROL . $
10 HOW CAN ARTHUR OR ANYONE ELSE - $
05 ARTHUR WILL LOOK AFTER THINGS . $
IT IS ONLY A MATTER OF OBEYING . $
08 ARTHUR KNOWS WHAT 'S RIGHT . $
09 EXACTLY . $
EXACTLY . $
10 HOW ? $
HOW DOES HE KNOW ? $
03 WELL , I MEAN THERE 'S A PLACE FOR EVERYBODY WITH ARTHUR
. $
08 ARTHUR KNOWS WHAT 'S BEST FOR ALL OF US . $
10 A MURDERER ! $
< ( SILENCE . $
ARTHUR GETS UP FROM HIS CHAIR ) > $
ARTHUR 'S OUR LEADER , AND WE DEPEND ON HIM , BUT HE 'S NOT
A GOD . $
#57 $
HE 'S NOT ABOVE DOING FOOLISH AND WICKED THINGS ; YOU KNOW T
HAT . $
IT WOULDN'T HAVE HURT US TO HAVE TAKEN THAT OLD MAN FROM THE
 ARK , BUT ARTHUR MURDERED HIM . $
< ( PAUSE ) > $
09 HOW HOT IT IS ! $
03 DISCIPLINE MUST BE MAINTAINED , YOU KNOW . $
05 I REMEMBER THAT AS A VERY LITTLE GIRL , I COULD LIE ALL D
AY IN THE SUN . $
MOTHER ALWYS SAID I WAS STORING UP ENERGY FOR THE WINTER . $
10 < ( NEAR TEARS ) > $
YOU DON'T WANT TO HEAR . $
YOU JUST LIE HERE , AIRING YOUR BLOODY DOUBTS , BUT YOU WON'
T LISTEN . $
YOU 'RE AFRAID OF BEING UPSET . $
05 BUT WE 'RE NOT AFRAID OF ANYTHING , WHILE ARTHUR IS HERE
TO LOOK AFTER US . $
< ( MURIEL LEAVES THE DECK AREA , AND GOES TO CABIN . $
SHE KNOCKS ) > $
04 COME IN , MRS. OTTERDALE . $
< ( SHE DOES SO ) > $
MAKE YOUR REPORT . $
08 THEY 'RE CARRYING ON ? $
04 WHO ? $
08 THAT SONYA AND TONY . $
HE KNOWS . $
HE CAN'T KEEP HIS MIND OFF IT WHEN THEY 'RE DOWN THERE . $
04 NO SELF-DISCIPLINE . $
HE DESERVES WHAT HE GETS . $
08 WHAT ARE YOU GOING TO DO ABOUT IT , ARTHUR ? $
04 PERMIT IT . $
08 BUT THEY 'RE CARRYING ON . $
04 IT IS OF NO CONSEQUENCE . $
IF MISS BANKS IS CARRYING ON NOW , SHE CAN HAVE LESS OBJECTI
ON TO BEING SHARED LATER . $
08 SHALL I BE SHARED , ARTHUR ? $
04 OF COURSE . $
08 < ( A HORRID LITTLE GIGGLE ) > $
IT 'LL MAKE A CHANGE . $
WILL GERTRUDE BE - $
04 ALL THE WOMEN WILL BE SHARED . $
IN THE NEW SOCIETY WE SHALL ALL LOVE ONE ANOTHER . $
EQUALLY . $
08 BUT YOU MOST , ARTHUR . $
04 FIRST , MRS. OTTERDALE , NOT MOST . $
THERE IS A DISTINCTION . $
WHAT ELSE DD YOU HAVE TO TELL ME ? $
#58 $
08 HE 'S BEEN TALKING AGAINST YOU . $
04 MR. ARMITAGE ? $
IN WHAT WAY ? $
08 HE SAID YOU WERE A MURDERER . $
HE SAID YOU DID FOOLISH AND WICKED THINGS . $
HE SAID YOU WEREN'T A GOD . $
04 FOOLISH ? $
08 THAT 'S WHAT HE SAID . $
04 WHAT CAN HE HAVE MEANT BY FOOLISH ? $
08 FOOLISH AND WICKED , HE SAID . $
HE TOLD HAROLD AND GERTRUDE . $
04 WHAT DID THEY REPLY ? $
08 THEY SAID IT WAS VERY HOT . $
04 FOOLISH ? $
I SHOULD BE ANGRY IF I DID NOT CONSIDER THE SOURCE . $
08 WHAT 'LL YOU DO TO HIM , THEN ? $
04 NOTHING . $
HE DOES NO HARM . $
MR. ARMITAGE IS WITHOUT A BACKBONE AND WITHOUT CONVICTIONS .
 $
WHEN IT COMES TO THE POINT HE WILL ALWAYS DO AS HE IS TOLD .
 $
MEANWHILE WE CAN USE A COOK . $
AND YOU MIGHT LOOK MORE CLOSELY AT MISS BANKS , MY DEAR . $
SHE IS CONCEALING SOMETHING . $
08 YES ARTHUR . $
< ( PAUSE ) > $
THERE 'S NOTHING ELSE , ARTHUR . $
04 NOTHING ? $
08 UNLESS ... YOU WANTED ANYTHING ... $
< ( ARTHUR TAKES HER BY THE SHOULDERS ) > $
04 YOU MUST NOT BE COY , MY DEAR . $
IT IS NOT BECOMING IN A WIDOW OF YOUR YEARS . $
< ( HE EMBRACES HER , IN THE MANNER OF ONE WHO TAKES , BUT D
OES NOT SHARE ) > $
04 BUT YOU MUST BE VERY QUIET . $
< ( HE KISSES HER AGAIN , THEN BREAKS AWAY ) > $
04 NOT A GOD , HE SAID ! $
08 I 'LL LIE DOWN , SHALL I ? $
01 ENOUGH . $
THE EVENING MEAL NOW . $
< ( AS THEY TAKE THEIR PLACES IN THE SALOON AREA ; TO AUDIEN
CE ) > $
THE CHANGE FROM AN AUTOCRATIC TO A THEOCRATIC SOCIETY BEGAN
THAT EVENING AT SUPPER . $
04 I HAVE BEEN THINKING ABOUT MYTH . $
08 MYTH ... $
YES ... $
04 WE ARE ALL OF US IN A MYTHOLOGICAL SITUATION , ARE WE NOT
 ? $
#59 $
09 ER ... $
04 WE ARE THE PEOPLE WHO CAME OUT OF THE SEA . $
A NEW RACE WILL SPRING , AS IT WERE , FROM OUR LOINS . $
06 LOINS ? $
10 SEX . $
04 CONSIDER OUR DESCENDANTS . $
FOR THEIR OWN SELF-RESPECT , THEY MUST REMEMBER US AS GREATE
R THAN WE ARE . $
WE MAY KNOW THAT WE ARE QUITE ORDINARY BEINGS - $
05 NO , NO , ARTHUR . $
08 NOT YOU , ARTHUR . $
03 NOT ARTHUR , BY GEORGE . $
04 THANK YOU . $
< ( A LITTLE SMILE ) > $
HOWEVER . $
09 DO PLEASE CONTINUE , ARTHUR . $
04 WE MAY KNOW THAT WE ARE HUMAN . $
BUT IF WE ARE TO FOUND A RACE , THEY MAY WISH TO THINK OF US
 AS GODS . $
AND IT MAY BE GOOD FOR THEM TO THINK SO . $
IT WILL ENCOURAGE MORALITY AND RIGHT BEHAVIOUR . $
06 GODS ? $
US ? $
04 AND GODDESSES , OF COURSE . $
< ( PERMISSIVE NOD TO THE WOMEN ) > $
11 THANK YOU . $
04 COOKS IN THE FUTURE MAY LIGHT A CANDLE TO MR. ARMITAGE .
$
AND AS FOR ME ... $
05 YES , ARTHUR . $
04 OUR DESCENDANTS MAY THINK OF ME AS THE LEADER OF ALL . $
THE SOURCE OF ALL POWER AND BENEFITS . $
THEY MAY DO THAT . $
05 OH , THEY WILL . $
THEY WILL . $
04 WHAT MAKES A GOD ? $
ANY THINKING PERSON WILL TELL YOU THAT MEN MAKE THEIR OWN .
$
THEY DO SO BY WORSHIP . $
WHATEVER YOU WORSHIP IS GOD , WHETHER IT BE A TREE , OR THE
SUN , OR TWO STICKS , OR A BULL , OR A RING OF STONES . $
SIMPLE MEN WORSHIP THE THINGS THEMSELVES . $
COMPLICATED MEN WORSHIP THE IDEAS THE THINGS EXPRESS . $
BUT IN TERMS OF ULTIMATE BEHAVIOUR , IT MAKES LITTLE DIFFERE
NCE . $
THE BEHAVIOUR - THE RITUAL - IS WHAT MATTERS . $
INTERPRETATIONS MAY CHANGE , BUT THE RITUAL ENDURES . $
IS THAT NOT SO , MR. BANNER ? $
09 VERY LARGELY , ARTHUR . $
#60 $
04 VERY LARGELY . $
09 ENTIRELY . $
04 GOOD . $
< ( LOOKS ROUND THE TABLE ) > $
YOU HAD BETTER BEGIN BY WORSHIPPING ME . $
SOME OF YOU MAY FEEL THAT I AM UNWORTHY . $
YOU MUST CONQUER THAT FEELING . $
IT WILL , IN ANY CASE , DIE WITH YOU , WHILE WHAT IS RECORDE
D OF YOUR BEHAVIOUR WILL LIVE ON AS REVEALED RELIGION . $
ANY QUESTIONS ? $
< ( PAUSE ) > $
10 NO QUESTIONS . $
04 THEN WE SHALL BEGIN OUR MEAL . $
MR. BANNER , PLEASE ASK A BLESSING . $
< ( BANNER LOOKS TIMIDLY AT ARTHUR , WHO GIVES HIM AN ENCOUR
AGING NOD ) > $
09 FOR WHAT WE ARE ABOUT TO RECEIVE , MAY ARTHUR MAKE US TRU
LY THANKFUL . $
04 QUITE RIGHT . $
AND SO I DO . $
< ( HOLDS HIS ARMS OUT IN BENISON ) > $
01 THEY REQUIRED A WIND , SO THAT THE RAFT WOULD BE PROPELLE
D THROUGH THE SEA , AND ITS BATTERIES BE RECHARGED , AND THE
Y WOULD HAVE HEAT AGAIN TO DISTIL WATER , AND COOK THEIR FOO
D . $
ARTHUR TOLD THEM THAT THEY MUST BEHAVE IN A MANNER APPROPRIA
TE TO THE MYTH IN WHICH THEY WERE PARTICIPATING . $
THEY MUST ATTEMPT TO RAISE A WIND BY MAGIC . $
THEY DID SO . $
< ( GERTRUDE GOES TO THE UPSTAGE DECK AREA WHERE SHE BEATS A
T THE FOOT OF THE IMAGINARY MAST , CONTINUING TO DO THIS THR
OUGH THE ACTION UNTIL INDICATED . $
MEANWHILE ) > $
THEY BEAT A WET RAG AGAINST METAL , BUT THERE WAS NO WIND .
$
< ( MURIEL GOES OUT ON DECK WITH AN IMAGINARY BOWL OF WATER
AND SWOOSHES IT ROUND THROUGHOUT THE ACTION , WHILE ) > $
THEY FILLED A BOWL WITH SEA-WATER AND ROCKED IT ABOUT TO MAK
E WAVES IN SYMPATHETIC MAGIC , BUT THE WAVES LACKED SYMPATHY
 , AND THERE WAS NO WIND . $
< ( HUNTER GOES TO THE FRONT OF THE DECK AREA , AND BEGINS T
O WHISTLE MOURNFULLY ) > $
THEY WHISTLED . $
#61 $
< ( ALAN , TONY , BANNER AND ARTHUR JOIN HUNTER IN WHISTLING
 ) > $
THE MEN ALL WHISTLED FOR A WIND . $
< ( SONYA JOINS THEM AND GERTRUDE AND MURIEL BEGIN TO WHISTL
E WHERE THEY ARE ) > $
AND THE WOMEN WHISTLED FOR A WIND , BUT THE WIND DID NOT REP
LY . $
< ( ARTHUR WATCHES FOR A MOMENT THEN ) > $
04 STOP . $
WHAT NEXT ? $
10 THEY USED TO NAIL A GOLD PIECE TO THE MAST . $
04 THEY ? $
10 PEOPLE . $
PRIMITIVE PEOPLE . $
04 MR. BATCH , PRAY INSTRUCT MISS FORBES-COOPER TO CEASE WHI
STLING AND JOIN US . $
PERHAPS SOMEONE HAS A GOLD PIECE WITH THEM ? $
< ( PAUSE . $
NOBODY HAS ) > $
OR ANY GOLD OBJECT ? $
08 I 'VE GOT TWO POUNDS . $
04 YES . $
08 NINE AND SEVEN . $
04 GET IT . $
CAPTAIN HUNTER , PRAY FETCH A HAMMER , PROCEED TO THE MAST A
ND PREPARE TO NAIL . $
< ( HUNTER GOES OFF TO THE HOLD AREA FOR A HAMMER AND A NAIL
 . $
MURIEL FEELS FURTIVELY INSIDE HER CLOTHING AND GETS OUT IMAG
INARY MONEY , WHILE ) > $
10 THEY THREW MONEY INTO THE SEA TOO . $
A SORT OF OFFERING . $
04 < ( TAKING MONEY FROM MURIEL ) > $
THEN WE SHALL DIVIDE THE MONEY . $
MR. BATCH , YOU WILL ASSIST CAPTAIN HUNTER TO NAIL THIS POUN
D NOTE AS HIGH UP THE MAST AS POSSIBLE . $
MOUNT HIS SHOULDERS . $
WE SHALL THROW THE REMAINING ONE POUND NINE AND SEVEN SIMULT
ANEOUSLY INTO THE SEA . $
IS THERE ANYTHING ELSE , MR. ARMITAGE , WHILE YOU THINK OF I
T ? $
10 NOT UNLESS YOU HAVE ANYBODY IN MIND FOR IPHIGENIA . $
04 IPHIGENIA ? $
I DON'T UNDERSTAND YOU . $
10 OH , IT WASN'T A SERIOUS SUGGESTION . $
I 'M AFRAID YOU 'D NEED A REAL CHILD IF YOU WERE GOING TO SA
CRIFICE TO - $
< ( HE STOPS HIMSELF , HORRIFIED . $
SONYA'S HANDS HAVE GONE TO HER BELLY . $
#62 $
THEY GAZE AT EACH OTHER . $
ARTHUR NOTICES . $
BANNER DOES NOT AND CHUNTERS ON ) > $
09 THE REFERENCE , ARTHUR , IS TO KING AGAMEMNON , WHO SACRI
FIED HIS OWN DAUGHTER WHEN THE GREEKS LAY BECALMED AT AULIS
. $
10 I SAID IT WASN'T A SERIOUS SUGGESTION . $
< ( HUNTER TO THE MAST WITH AN IMAGINARY HAMMER AND NAIL . $
TONY GETS UP ON HIS SHOULDERS AND PREPARES TO NAIL THE POUND
 NOTE WHILE ARTHUR DRAWS THE REST OF THE CREW INTO A HALF-CI
RCLE TO WATCH HIM OFFER THE MONEY ) > $
04 READY , MR. BATCH ? $
06 O.K. $
04 RIGHT . $
I SUPPOSE NOTES WILL BE ACCEPTABLE . $
< ( HE THROWS THE MONEY . $
TONY HAMMERS . $
THE REST WATCH ) > $
05 HOW PRETTY THE HALF-CROWNS LOOK , TURNING OVER AND OVER -
 OH ! $
11 WHAT ? $
05 A FISH WAS EATEN THE POUND NOTE . $
04 A FISH HAS EATEN THE POUND NOTE . $
THE GIFT HAS BEEN ACCEPTED . $
BUT I IMAGINE THAT WE MUST WAIT A WHILE . $
< ( TONY AND HUNTER RETURN ) > $
06 HEY , ARTHUR ! $
04 YES ? $
06 I SAW SOMETHING . $
LOOKED LIKE FOG OR SOMETHING . $
04 FOG ? $
IMPOSSIBLE . $
06 OR SMOKE OR SOMETHING . $
A SORT OF WALL , ALL THICK AND CLOUDY . $
IT 'S OVER THERE . $
LOOK . $
10 < ( SARCASTIC DISLIKE FOR TONY ) > $
A FOREST FIRE , PERHAPS ? $
06 WHAT 'S SO FUNNY ? $
IT COULD BE SOMETHING BURNING . $
I MEAN , WE BURNED - $
< ( HISS OF INDRAWN BREATH FROM BANNER , GERTRUDE AND MURIEL
 ) > $
04 WHAT ? $
WHAT DID ' WE ' BURN ? $
06 I 'M NOT TRYING TO MAKE NOTHING OF IT . $
04 THEN AVOID THE IMPRESSION THAT YOU ARE . $
< ( HE GETS UP ON TO ONE OF THE CHAIRS FOR A BETTER VIEW ) >
 $
IT DOES APPEAR TO BE FOG . $
AND MOVING , AS I SUPPOSE , TOWARDS US , SINCE WE DO NOT MOV
E . $
#63 $
11 YES . $
YOU CAN SEE IT NOW . $
FROM DOWN HERE . $
< ( THEY MOVE TOWARDS THE EDGE OF THE RAFT , AS IF THE FOG W
ERE APPROACHING THEM FROM THE AUDIENCE ) > $
03 NEVER SEEN FOG LIKE THAT BEFORE . $
NOTHING LIKE IT IN THE CHILDREN'S ENCYCLOPAEDIA . $
09 OUT OF ... A CLEAR SKY . $
03 I DARE SAY THERE 'S AN EXPLANATION IF WE LOOKED IT UP . $
09 DRIFT ... SEA-DRIFT ... $
03 YOU 'D LOOK IN THE INDEX . $
UNDER F I DARE SAY . $
09 THE EDGE OF THE WORLD WAS HELD BY THE ANCIENTS TO BE A PL
ACE OF FOGS . $
< ( GERTRUDE AND MURIEL ARE FRIGHTENED . $
THEY MOVE CLOSER TO ARTHUR ) > $
04 THE WORLD IS ROUND . $
IT HAS NO EDGE . $
09 NO ... NO , OF COURSE NOT . $
05 IT IS A LITTLE LIKE ' OUTWARD BOUND ' . $
WHEN ONE MAKES THE CROSSING BETWEEN THIS WORLD AND THE NEXT
. $
11 I SAW A PICTURE ABOUT NIAGARA FALLS ONCE . $
THEY WERE ALL STEAMY . $
MARILYN MONROE WAS IN IT . $
10 IT 'S MUCH CLOSER NOW . $
03 BE IN IT SOON , EH ? $
08 ARTHUR ! $
05 ARTHUR , MAKE HER BE QUIET . $
08 I WISH WE 'D NEVER COME . $
I WISH WE 'D STAYED AT HOME . $
WE DON'T KNOW HOW THICK IT IS OR ANYTHING . $
01 < ( TO FIRST ASSISTANT ) > $
NOISE , PLEASE . $
< ( ASSISTANT GOES OFFSTAGE , WHILE ) > $
10 < ( ANGRY ) > $
THERE 'S NOTHING TO BE FRIGHTENED OF . $
WE 'VE ALL FLOWN THROUGH CLOUD BEFORE . $
06 WHAT 'S A CLOUD DOING DOWN HERE , THEN ? $
< ( A NOISE BEGINS . $
IT IS A HIGH NOISE ON ONE NOTE . $
IT GETS LOUDER AS THE SCENE PROGRESSES , CUTTING OUT WHEN IN
DICATED . $
AS IT BEGINS , THEY LISTEN ) > $
01 < ( TO CAST ) > $
WITH THE NOISE , THE WATER BECOMES SUDDENLY CHOPPY . $
< ( ALL STAGGER ) > $
04 THIS IS RIDICULOUS . $
THERE IS NO WIND TO INSPIRE ROUGH WATER . $
#64 $
03 HEY ! $
THE WATER 'S CHANGING COLOUR . $
< ( THEY SHIFT THE FOCUS OF THEIR ATTENTION DOWNWARDS ) > $
11 IT 'S ALL BROWN . $
05 < ( A WAIL ) > $
THE WATER 'S POISONED . $
ARTHUR ! $
08 IT 'S THE DROWNED PEOPLE , POISONING THE WATER . $
04 NONSENSE . $
IT IS ONLY WEED . $
A COMMON PHENOMENON AT SEA . $
BROWN WEED . $
10 WE 'VE NEVER SEEN WEED BEFORE . $
NOT LIKE THIS . $
COVERING THE SEA . $
04 YOU SEE IT NOW . $
< ( PAUSE ) > $
11 I WISH I KNEW WHAT THE NOISE WAS . $
01 < ( TO CAST ) > $
A MOMENT . $
< ( THEY ARE STILL ; TO AUDIENCE ) > $
THEY HAD , OF COURSE , COME TO WHAT IS INDEED A COMMON ENOUG
H PHENOMENON AT SEA - THE MEETING OF TWO CURRENTS , ONE WARM
 , ONE COLD . $
ALL THIS TIME THEY HAD THOUGHT THEMSELVES MOTIONLESS , THEY
HAD BEEN DRIFTING WITH ONE CURRENT . $
NOW THEY HAD COME TO THE JUNCTION , AND FOUND MIST THERE , A
ND A GREAT DEAL OF WEED , AND A HIGH CONCENTRATION OF MARINE
 LIFE , MOST OF IT IN VIOLENT ACTIVITY . $
< ( TO CAST ) > $
CONTINUE . $
04 I HAVE WORKED THINGS OUT . $
WE ARE IN A CURRENT . $
WE HAVE BEEN DRIFTING , AND WITHOUT A POINT OF REFERENCE , C
OULD NOT KNOW IT . $
09 < ( SNEEZES ) > $
10 BLESS YOU . $
09 THANK YOU . $
04 SURELY WE WERE MORE WARMLY CLAD WHEN WE CAME ABOARD ? $
05 WILL I GET YOUR OILSKINS , ARTHUR ? $
04 NO . $
BLANKETS . $
BLANKETS FOR ALL . $
MISS FORBES-COOPER , ASSIST HER . $
< ( THEY GO TO THE INDOORS AREA , WHERE FIRST ASSISTANT AND
SECOND ASSISTANT GIVE THEM BLANKETS ) > $
03 HALLO ! $
04 WHAT WAS THAT ? $
< ( HUNTER GOES TO SEE , AND AS HE DOES SO , ANOTHER LURCH M
AKES THEM ALL STAGGER . $
HE PICKS UP AN IMAGINARY FISH ) > $
#65 $
03 IT 'S A FISH . $
JUMPED RIGHT OUT OF THE WATER ON TO THE DECK . $
SILLY LITTLE BASTARD MUST HAVE LOST HIS WAY IN THE FOG . $
< ( GERTRUDE AND MURIEL REAPPEAR WITH BLANKETS ) > $
04 ONE TO EACH , PLEASE . $
03 WHAT SHALL I DO WITH THE FISH ? $
10 EAT IT ! $
03 BETTER TO THROW IT BACK . $
IT  'S UNDERSIZED ANYWAY . $
< ( ALL HAVE BEEN GIVEN BLANKETS AND WEAR THEM ROUND THEIR S
HOULDERS ) > $
04 HAS EVERYONE BEEN ISSUED WITH BLANKETS ? $
11 WE DO LOOK LIKE A LOT OF RED INDIANS , I MUST SAY . $
09 IT 'S GETTING ... THICKER . $
08 ARTHUR , WILL IT FINISH SOON ? $
04 STAY CLOSE TO ME , MRS. OTTERDALE , IF YOU ARE FRIGHTENED
 . $
05 I 'M FRIGHTENED TOO . $
04 VERY WELL . $
YOU MAY COME CLOSE ALSO . $
11 THAT NOISE IS LOUDER TOO . $
09 I DON'T UNDERSTAND THE NOISE . $
I CONFESS I DO NOT . $
< ( ANOTHER LURCH - THOUGH THEY HAVE BEEN A LITTLE UNSTEADY
EVER SINCE THE CHOPPINESS OF THE WATER WAS REMARKED ) > $
10 I 'M NOT USED TO THIS . $
I DIDN'T FEEL VERY WELL . $
04 STAY CLOSE TO THE SIDE , THEN , AND DO NOT SOIL THE DECK
. $
11 I 'M SO COLD . $
< ( ALAN HAS AN IDEA . $
HE DIPS HIS HAND OVER THE SIDE ) > $
10 THE WATER 'S COLD . $
IT 'S BEEN WARM ALL THIS TIME . $
05 < ( A WAIL ) > $
I 'M FRIGHTENED . $
08 < ( JOINING IN ) > $
FRIGHTENED ! $
< ( THEY TAKE ARTHUR'S HANDS . $
HE TRIES TO BREAK THEIR HOLD ) > $
04 MRS. OTTERDALE ! $
MISS FORBES-COOPER ! $
LET GO OF MY HANDS . $
05 WE 'RE FRIGHTENED . $
08 FRIGHTENED . $
04 I MUST RETAIN MY FREEDOM OF ACTION . $
GO INSIDE . LADIES . $
05 < ( SOBS ) > $
I CAN'T . $
IF I CAN'T SEE , I DON'T KNOW WHAT I SHAN'T IMAGINE . $
05 CAN'T GO IN . $
DON'T MAKE US GO IN . $
#66 $
< ( LECTURER NOW MOVES TO THEM AND SPEAKS TO THEM SHARPLY AN
D URGENTLY ) > $
01 FISH ! $
FISH EVERYWHERE . $
JUMPING AND LEAPING . $
HUNTING AND HUNTED . $
EATING AND BEING EATEN . $
THE AIR AND THE WATER , THICK WITH FISH AND MIST , ALL ALIVE
 , ALL EVERYWHERE - SCREAMING , SCREAMING ALL AROUND . $
THAT IS WHAT YOU HEAR . $
YOU HEAR THE FISH SCREAM . $
08 I WANT TO GO HOME . $
I WANT TO GO HOME . $
< ( GERTRUDE CLAPS HER HANDS ON HER BREAST AS THOUGH A FISH
HAS JUMPED AT HER . $
ALL THE FOLLOWING DIALOGUE OVERLAPS ) > $
< ( GERTRUDE SCREAMS ) > $
WHAT IS IT ? $
OH , WHAT IS IT ? $
05 ARTHUR ! $
SAVE ME ? $
ARTHUR ! $
< ( GERTRUDE TRIES TO CLASP ARTHUR , WHO TRIES TO AVOID HER
. $
MURIEL , JEALOUS AS WELL AS FRIGHTENED , TRIES TO PULL HER O
FF , AND CLASP ARTHUR FOR HERSELF . $
HUNTER AND BANNER ARE TRYING TO CALM THEM DOWN . $
SONYA MOVES AWAY , HER HANDS OVER HER BELLY TO PROTECT IT .
$
BOTH ALAN AND TONY COME TO HER , BUT BOTH STOP , ON MEETING
THE OTHER . $
NOISE CONTINUES , LOUDER . $
OVERLAPPING DIALOGUE . $
A MESS ) > $
03 IT 'S ONLY A FISH . $
IT 'S HARMLESS . $
08 LEAVE ARTHUR ALONE . $
YOU LEAVE HIM ALONE . $
04 MISS FORBES COOPER ! $
MRS. OTTERDALE ! $
05 SAVE ME ! $
SAVE ME ! $
YOU PROMISED . $
05 YOU KEEP OFF HIM . $
HE 'S MINE . $
03 HAROLD , TELL HER IT 'S ONLY A FISH . $
05 ARTHUR ! $
04 UNHAND ME . $
03 < ( TOSSING FISH AWAY ) > $
IT 'S HARMLESS . $
IT COULDN'T HURT YOU . $
04 MR. BANNER ! $
CAPTAIN HUNTER ! $
GET RID OF THESE WOMEN . $
09 COME ON NOW , GERTRUDE . $
05 WON'T GO . $
DON'T MAKE ME GO . $
03 09 COME ON . $
< ( PULLING ) > $
05 08 NO ! $
NO ! $
< ( RESISTING ) > $
08 < ( TO ARTHUR ) > $
YOU 'RE GOD ! $
YOU TOLD US . $
MAKE IT STOP . $
05 GOD. $
YOU 'RE GOD. $
#67 $
GOD ! $
GOD ! $
MAKE IT STOP . $
05 GOD MAKE IT STOP . $
< ( A PAUSE WHILE THE MEN WAIT FOR ARTHUR TO RESPOND . $
ALL TALK HAS TO BE LOUD ABOVE THE NOISE , BUT ALAN NOW SAYS
SAVAGELY ) > $
10 GO ON , ARTHUR . $
MAKE IT STOP , IF YOU 'RE GOD . $
< ( PAUSE ) > $
04 LET GO YOUR HANDS , WOMEN . $
TAKE YOUR HANDS FROM MY ROBE . $
< ( THE WOMEN LET GO . $
ALL WATCH ARTHUR . $
HE GOES TO THE EDGE OF THE DECK AREA , SPREADS HIS BLANKET L
IKE WINGS FROM HIS SHOULDERS , AND ADDRESSES THE AUDIENCE AR
EA ) > $
WATERS ! $
BY VIRTUE OF THE AUTHORITY VESTED IN ME AS GOD , I COMMAND Y
OU TO STOP . $
< ( A SMALL PAUSE . $
THEN THE NOISE CUTS OUT ) > $
I WILL HAVE NO MORE NONSENSE , WATERS . $
I COMMAND IT . $
< ( PAUSE ) > $
NOW , GO FORTH , AND FEEL THE WATERS , MR. ARMITAGE . $
< ( ALAN DOES SO ) > $
10 THEY 'RE WARM AGAIN . $
09 GOD BE PRAISED . $
< ( ARTHUR TURNS AND LOOKS AT HIM ) > $
GOD ARTHUR BE PRAISED , THAT IS . $
04 WE SHALL GO IN NOW . $
THERE IS NOTHING MORE TO DO HERE . $
< ( WEARING HIS BLANKET LIKE A ROBE , HE WALKS UPSTAGE . $
THE OTHERS FALL IN BEHIND HIM , MAKING A PROCESSION . $
THE PROCESSION GOES OFFSTAGE COMPLETELY . $
LECTURER STEPS FORWARD ) > $
01 FROM THAT TIME , A SMALL WIND BLEW FROM THE SOUTH-WEST .
$
IT WAS ENOUGH TO MOVE THE RAFT , AND RECHARGE THE BATTERIES
, SO THAT THEY HAD WATER AGAIN , AND WARM FOOD . $
FROM THAT TIME ALSO , THEY HAD COMPANY ALWAYS WITH THEM - A
SMALL COMPANY OF SHARKS WHO FOLLOWED THE RAFT WHEREVER IT WE
NT . $
< ( LECTURER LEAVES STAGE ) > $
< END OF ACT TWO > $
#68 $
< ACT THREE > $
< ALL THE CHARACTERS BUT ARTHUR ARE ON THEIR CHAIRS ; HE REM
AINS OFFSTAGE . $
ASSISTANTS HAVE REMOVED UN-NEEDED AND SET NEEDED PROPS . $
LECTURER ARRIVES . $
HOUSE LIGHTS DOWN . ) > $
01 THE MIRACLE BY WHICH ARTHUR PROVED HIS GODHEAD WAS NOT RE
ALLY A MIRACLE . $
THE RAFT HAD PASSED OUT OF THE JUNCTION AREA OF THE TWO CURR
ENTS : THAT IS ALL . $
BUT TO THE PEOPLE OF THE RAFT - AND CERTAINLY TO ARTHUR HIMS
ELF - IT DID SEEM MIRACULOUS . $
MEANWHILE THE SUN SHONE . $
THE DAYS PASSED . $
MISS BANKS'S CONDITION BECAME OBVIOUS , AND WAS ACCEPTED . $
< ( AN ASSISTANT COMES TO SONYA AND MOTIONS HER TO STAND . $
HE FASTENS TO HER STOMACH A KIND OF SMALL BOLSTER , TYING IT
 WITH TAPES AT THE BACK . $
SHE RUNS HER HAND WONDERINGLY OVER IT , AS IF FEELING THE BA
BY WITHIN HER BELLY . $
WHILE ) > $
THERE WERE NO MORE EXERCISES , THOUGH SHE CONTINUED TO SPEND
 TIME WITH MR. BATCH . $
11 < ( BEGINS TO SING ' FLOW GENTLY SWEET AFTON ' LIKE A LUL
LABY TO HERSELF ) > $
06 WHAT 'S THAT , THEN ? $
11 ' FLOW GENTLY SWEET AFTON . ' $
DON'T YOU KNOW IT ? $
COME OUT IN THE SUN . $
I 'LL TEACH YOU . $
< ( SONYA AND TONY FIND A PLACE TOGETHER ON THE DECK AREA ,
WHILE ) > $
01 THE GOD ARTHUR REMAINED INCOMMUNICADO . $
HE WAS GROWING A BEARD , AS BECAME THE GODHEAD . $
AS THE ONLY CLERGYMAN , MR BANNER BECAME PRIEST TO THE GOD .
 $
HE PREPARED THE GOD'S FOOD , AND WAS THE ONLY ONE ALLOWED TO
 SEE THE GOD . $
< ( BANNER RISES AND MIMES A BUSINESS IN THE KITCHEN AREA ,
WHILE ) > $
MR. ARMITAGE CONTINUED TO COOK FOR THE OTHERS . $
< ( ALAN GOES TO THE ENTRANCE OF THE KITCHEN AREA AND WATCHE
S BANNER DISDAINFULLY . $
WHILE ) > $
#69 $
DRIFTING GENTLY IN THE WARM WATER , REMOTE FROM ANY SOCIETY
BUT THEIR OWN , WITH A GOD NOW TO LOOK AFTER THEM , EACH IN
HIS OWN WAY MOVED BACK INTO CHILDHOOD : IT WAS SO EASY . $
< ( GENTLY TO MURIEL ) > $
PLAY , MURIEL . $
GO OUT AND PLAY NOW . $
< ( SOLEMNLY MURIEL GOES OUT ON DECK , AND BEGINS TO MIME PL
AYING A BOUNCING-BALL GAME AGAINST THE IMAGINARY WALL OF THE
 CABIN ) > $
08 < ( SINGS ) > $
BOUNCY , BOUNCY , BALL-IE ] $
BREAK A LEG OF DOLL-IE . $
01 GERTRUDE ] $
08 < ( SINGS ) > $
ONE AN' TWO AN' THREE AN' FOUR AN' FIVE AN' SIX . $
< ( ETC. ) > $
< ( GERTRUDE GETS UP DURING MURIEL'S CHANT AND BEGINS TO RUM
MAGE IN A CORNER OF THE SALOON AREA ) > $
05 HAROLD . $
09 YES ? $
05 DO YOU WANT A GAME ? $
09 DRAUGHTS OR HALMA . $
05 DRAUGHTS , OF COURSE , SILLY BILLY . $
09 NO . $
05 HALMA THEN . $
09 I CAN'T . $
I 'VE GOT TO GET THE GOD HIS LUNCH . $
10 I 'LL PLAY . $
05 NO . $
I WANT TO PLAY WITH HAROLD . $
< ( BANNER HAS CARRIED AN IMAGINARY PLATE IN FROM THE KITCHE
N AREA , AND SETS IT ON THE TABLE ) > $
10 SUIT YOURSELF . $
09 < ( TO GERTRUDE ) > $
HELP  ME ON WITH MY SURPLICE . $
< ( ALAN GOES ON OUTSIDE . $
BANNER GETS HIS SURPLICE ON , HELPED BY GERTRUDE , AND CARRI
ES THE IMAGINARY PLATE TO THE CABIN AREA . $
WHILE ) > $
08 I DID THIRTY-ONE . $
10 GOOD . $
08 YOU DON'T CARE , DO YOU ? $
10 NO . $
08 BET YOU CAN'T DO THIRTY-ONE . $
BET YOU CAN'T DO ANY . $
#70 $
10 < ( LOOKING ROUND ) > $
WHERE 'S HUNTER ? $
08 IN THE TOILET . $
HE 'S ALWAYS THERE ; IT 'S NOT FAIR . $
YOU CAN'T GET IN . $
HE DOESN'T DO ANYTHING . $
HE JUST SITS THERE , SUCKING HIS THUMB . $
< ( BANNER MIMES KNOCKING ) > $
09 THE SERVANT OF THE GOD , WITH THE GOD'S LUNCH . $
01 ENTER AND WAIT . $
YOU SEE THE GOD BEFORE YOU . $
< ( BANNER ENTERS THE UPSTAIRS AREA AND WAITS ) > $
11 < ( SINGS ) > $
FLOW GENTLY , SWEET AFTON , AMONG THY GREEN BRAES . $
06 WHAT 'S BRAES , THEN ? $
11 I DON'T KNOW . $
IT 'S JUST THE SONG . $
< ( SINGS ) > $
FLOW GENTLY , I 'LL SING THEE A SONG IN THY PRAISE . $
< ( MURIEL HAS BEEN WATCHING AND HAS COME TO STAND OVER THEM
 . $
NOW SHE BEGINS TO SING IN COMPETITION ) > $
08 < ( SINGS ) > $
ROOT THEM UP . $
PUT THEM BEHIND , FOUR LITTLE FOXES THAT WILL SPOIL THE VINE
 . $
11 SHUT UP . $
I 'M TRYING TO TEACH TONY A SONG . $
08 WHO 'S STOPPING YOU ? $
11 HE CAN'T CONCENTRATE ON ONE SONG , IF YOU 'RE SINGING ANO
THER . $
08 SUCKS ! $
BOO ! $
BOODLEIE-HOO ! $
I 'VE GOT A BETTER SONG THAN YOU . $
06 < ( SAYS ) > $
FLOW GENTLY . $
I 'LL SING THEE A SONG IN THY PRAISE . $
08 < ( SINGS ) > $
ENVY ! $
JEALOUSY ! $
MALICE ! $
PRIDE ! $
ALL IF ALLOWED WILL IN YOUR HEART ABIDE . $
< ( ALAN SHRUGS AND AND GOES BACK INTO THE SALOON AREA ) > $
10 WHAT 'S THE GOD HAVING FOR LUNCH ? $
05 WELL , HAROLD CALLS IT BOUILLABAISSE . $
WHAT ARE WE HAVING ? $
10 FLYING FISH . $
11 < ( SINGS ) > $
FLOW GENTLY , SWEET AFTON , AMONG THY GREEN BRAES . $
FLOW GENTLY , I 'LL SING THEE A SONG IN THY PRAISE . $
06 < ( SAYS ) > $
SONG IN THY PRAISE . $
08 < ( SINGS ) > $
ALL IF ALLOWED WILL IN YOUR HEART ABIDE . $
10 WE GET BETTER FOOD THAN THE GOD DOES BECAUSE I 'M A BETTE
R COOK THAN HAROLD IS . $
05 < ( SHOCKED ) > $
HAROLD ISN'T A COOK AT ALL . $
HE 'S THE PRIEST OF THE GOD . $
#71 $
YOU ARE AWFUL , SAYING THAT . $
HAROLD DOESN'T COOK . $
HE PREPARES THE GOD'S REPAST . $
YOU COOK . $
< ( LECTURER SIGNS TO ASSISTANT , WHO GOES INTO THE CABIN AR
EA AND WHISPERS TO BANNER . $
WHILE ) > $
11 < ( SINGS ) > $
MY MARY 'S ASLEEP BY THY MURMURING STREAM . $
06 < ( SAYS ) > $
-RING STREAM . $
11 < ( SINGS ) > $
FLOW GENTLY , SWEET AFTON . $
DISTURB NOT HER DREAM . $
< ( BANNER COMES OUT OF THE CABIN AREA TO THE SALOON ) > $
09 THE GOD WANTS SOME GLUE . $
10 WHAT 'S HE WANT GLUE FOR ? $
09 HE DIDN'T SAY . $
05 IT 'S BETTER NOT TO QUESTION THE GOD'S DESIRES . $
WHATEVER THE GOD WANTS IS GOOD . $
09 HE MAY HAVE A USE FOR GLUE . $
ON THE OTHER HAND , HE MAY JUST WANT IT . $
10 THERE 'S SOME IN THE HOLD . $
I 'LL GET IT . $
09 NO . $
I 'LL GO . $
OTHERWISE IT WOULD ONLY HAVE TO BE PURIFIED . $
05 NOW WE 'LL MISS OUR GAME . $
09 < ( GOING ) > $
THE SERVICE OF THE GOD COMES BEFORE GAMES . $
< ( BANNER MIMES THE BUSINESS OF GOING DOWN INTO THE HOLD AN
D SEARCHING ABOUT . $
WHILE ) > $
10 I SAID I 'D PLAY . $
LET ME PLAY . $
WHY CAN'T I PLAY ? $
05 WE 'LL KEEP A SEPARATE SCORE , THEN . $
ONE FOR YOU AND ONE FOR HAROLD . $
THERE 'S NO POINT IN PLAYING UNLESS YOU CAN SEE WHO 'S WON .
 $
< ( THEY CARRY THEIR IMAGINARY BOX OF DRAUGHTS OUT ON TO THE
 DECK AND SET UP THE BOARD , WHILE ) > $
11 NOW GO ALL THROUGH BY YOURSELF . $
06 < ( SINGS ) > $
FLOW GENTLY , SWEET AFTON , AMONG THY GREEN ... $
< ( STOPS ) > $
11 < ( PROMPTS ) > $
BRAES . $
06 < ( SINGS ) > $
FLOW GENTLY , I 'LL ... I 'LL SING THEE ... $
11 < ( PROMPTS , SINGING ) > $
A SONG IN THY PRAISE . $
10 CAN'T YOU SHUT UP SINGING THAT ? $
IT PUTS ME OFF . $
08 < ( WITH RELISH ) > $
ENVY ! $
JEALOUSY ! $
MALICE ! $
PRIDE ! $
06 < ( SINGS ) > $
MY MARY 'S ASLEEP BY THY MURMURING STREAM . $
08 < ( SINGS ) > $
ALL IF ALLOWED WILL IN YOUR HEART ABIDE . $
05 YOU 'VE GOT TO TAKE ME . $
AND NOW $
< ( MOVING PIECE ) > $
I ... TAKE ... YOU . $
#72 $
YOU 'RE NOT MUCH GOOD , ARE YOU ? $
10 I CAN' T CONCENTRATE WITH TONY CATERWAULING ALL THE TIME
. $
< ( BANNER HAS COME OUT OF THE HOLD . $
HE GOES INTO THE SALOON AREA , AND THEN TO CABIN , AND KNOCK
S . $
WHILE ) > $
09 THE SERVANT OF GOD WITH GLUE . $
< ( HE ENTERS . $
PAUSE . $
ASSISTANT WHISPERS . $
WHILE ) > $
05 SHOULDN'T HAVE ASKED TO PLAY , THEN . $
10 OH , FOR CHRIST'S SAKE , WHY DOES EVERYBODY KEEP GETTING
AT ME ALL THE TIME ? $
05 WHO 'S GETTING AT YOU ? $
I 'M NOT GETTING AT YOU . $
08 SHE 'S NOT GETTING AT YOU . $
10 < ( MIMICKING ) > $
' SHOULDN'T HAVE ASKED TO PLAY , THEN . ' $
IT 'S NO PLEASURE PLAYING WITH YOU . $
05 ALAN , DON'T STRUGGLE . $
YOU 'RE NOT HAPPY WITHIN YOURSELF . $
< ( BANNER RECEIVES THE MESSAGE , COMES INTO THE SALOON , TH
EN OUT ON DECK . $
WHILE ) > $
10 < ( ANGRY ) > $
YES , I AM . $
I 'M QUITE HAPPY . $
05 IF YOU WERE HAPPY IN YOURSELF , YOU 'D SEE THAT THE GOD A
RTHUR IS GOOD AND NECESSARY , AS WE DO . $
09 JUST MAKE AN ACT OF FAITH , DEAR BOY . $
EVERYTHING FOLLOWS FROM THAT . $
05 YOU 'LL BE A DIFFERENT MAN . $
10 I DON'T WANT TO BE A DIFFERENT MAN . $
09 DON'T YOU ? $
ARE YOU ENJOYING LIFE AS YOU ARE ? $
10 WHAT 'S HE WANT WITH GLUE ? $
09 WE ARE TO MAKE A MASK . $
08 CAN I HELP ? $
I CAN HELP , CAN'T I ? $
I 'LL HELP . $
09 WE CAN ALL HELP , AS AN ACT OF DEVOTION . $
WE SOAK PAPER IN GLUE , AND IT TURNS INTO PAPIER MACHE . $
THEN WE MOULD IT . $
10 WHAT DOES HE WANT A MASK FOR ? $
08 QUESTIONS ! $
ALWAYS ASKING QUESTIONS ! $
09 HE SAYS HIS FACE IS TOO TERRIBLE FOR US TO SEE . $
10 WHAT 'S HAPPENED TO HIS FACE ? $
05 IT IS THE FACE OF A GOD . $
OF COURSE IT 'S TERRIBLE . $
IT MUST BE . $
10 HAROLD SEES IT . $
09 NOT LATELY . $
HE COVERS IT UNDER THE SHEET . $
HE SAYS WE 'RE TO MAKE EYEHOLES AND A MOUTH . $
#73 $
THIS IS GOING TO BE A SMILING MASK , BUT LATER ON WE WAY HAV
E TO MAKE A FROWNING ONE . $
05 OH , HAROLD , I HOPE HE WILL NEVER APPEAR TO US IN A FROW
NING MASK . $
08 NOT TO US , BUT HE MAY TO SOME . $
01 < ( TO ASSISTANTS ) > $
BRING ON THE GOD . $
< ( ASSISTANTS GO OFFSTAGE . $
CHARACTERS FACE UPSTAGE IN SILENCE , AND WAIT , LECTURER CON
TINUES ) > $
THEY SOAKED PAGES OF THE SHELL GUIDE TO BEDFORDSHIRE IN A PO
T WITH GLUE , AND MADE A MASK . $
THE GOD KEPT TO HIS OWN SMALL ROOM , AND WAS NOT SEEN OUTSID
E . $
< ( ASSISTANTS  BRING ARTHUR ON . $
HE IS MASKED AND HIS BEARD PROTRUDES OUTSIDE THE MASK . $
HE WALKS LIKE A SLEEPWALKER , GUIDED BY THE ASSISTANTS , WHO
 STAND HIM ON HIS STOOL . $
WHILE ) > $
IT WAS HOT IN THE GOD'S HOLY PLACE , AND CLOSE , AND BEING A
 GOD , HE COULD NOT WASH OR VISIT THE LAVATORY , EXCEPT PRIV
ATELY , SO THE ATMOSPHERE BECAME UNPLEASANT . $
< ( BANNER MARSHALS ALL THE OTHERS EXCEPT HUNTER IN A GROUP
OUTSIDE THE UPSTAIRS AREA . $
WHILE ) > $
MR. BANNER BROUGHT THE WORSHIPPERS INTO THE GOD'S PRESENCE .
 . $
09 NOW , REMEMBER . $
WHEN YOU GET INTO THE PRESENCE , KNEEL , AND BOW YOUR HEADS
. $
< ( HE LOOKS AROUND FOR HUNTER , SEES HIM STILL SITTING ON H
IS CHAIR AGAINST THE BACK WALL , AND GOES TO GET HIM . $
HUNTER PULLS IMAGINARY CHAIN . $
BANNER PUSHES AND PULLS HIM INTO POSITION . $
HUNTER MOVES LIKE A SMALL CHILD , AND SUCKS HIS THUMB , WHEN
 HE IS IN POSITION ) > $
09 READY ? $
11 IT 'S SO HOT INSIDE . $
09 FOLLOW ME . $
11 I DON'T FEEL VERY WELL . $
09 < ( IRRITATED ) > $
REALLY ! $
SOME PEOPLE ! $
11 < ( TO ALAN ) > $
I FEEL FUNNY . $
< ( BANNER MIMES KNOCKING , CALLS OUT , AND OPENS THE DOOR )
 > $
09 < ( INTONES ) > $
THE WORSHIPPERS APPROACH , GOD ARTHUR . $
ALL MAKE REVERENCE BEFORE THEE . $
#74 $
< ( THEY GO IN , MUCH CROWDED TOGETHER . $
BANNER MOTIONS THEM TO KNEEL . $
THEY DO SO , GERTRUDE HELPING HUNTER , WHO GIVES THE GOD A M
ILITARY SALUTE . $
GREAT SQUASH AND DISCOMFORT . $
WHILE ) > $
01 THERE WAS SOME DEFECT IN THE CONSTRUCTION OF THE MASK . $
IT MADE THE GOD SOUND AS IF HE HAD NO ROOF TO HIS MOUTH . $
MR. BANNER , AS PRIEST OF THE GOD , SUPPLIED A RUNNING TRANS
LATION . $
04 HEE HA HEE HO HIGH . $
09 THE GOD TELLS US WE SHALL SEE GREAT THINGS . $
05 < ( WHISPERS TO HUNTER ) > $
GREAT THINGS . $
< ( MURIEL SHUSHES HER ) > $
04 HI HA HAY HAHEE HO HOO . $
09 HE HAS A SURPRISE FOR US . $
11 < ( WHISPERS ) > $
SO HOT ! $
09 SSSH ! $
12 SSSH ! $
10 < ( WHISPERS ) > $
I 'LL TAKE HER OUT . $
09 < ( WHISPERS ) > $
YOU WILL NOT . $
04 HA HEE HA HA HI - $
10 < ( WHISPERS ) > $
SHE 'S NOT WELL . $
09 THE GOD SAYS - $
04 < ( REPEATS ) > $
HA HEE HA HA HI - $
< ( SONYA KEELS OVER IN A FAINT . $
SILENCE . $
THE OTHERS LOOK AT HER , AND THEN FRIGHTENED AT THE GOD . $
ARTHUR LOOKS DOWN AT HER ) > $
04 HA HEE HA HO . $
09 A MIRACLE . $
04 HEE HA HEE HO HO . $
HY HEE HEAHESS HO HE HO . $
09 SHE HAS BEEN OVERCOME BY THE NEARNESS OF THE GOD . $
10 WHAT SHOULD I DO ABOUT IT ! $
04 HA EE HOU . $
09 TAKE HER OUT . $
04 HE HIVE HE . $
09 REVIVE HER . $
< ( ALAN LOOKS AROUND HELPLESSLY , THEN PICKS SONYA UP IN HI
S ARMS , AND CARRIES HER OUT , WHILE ) > $
#75 $
08 SAUCY ! $
PUTTING HERSELF FORWARD . $
05 SSSSH ! $
09 < ( MOTIONS TO BOW HER HEAD AGAIN ) > $
NOT IF THE GOD WILLED IT , MRS. OTTERDALE . $
< ( LOOKS AT ARTHUR FOR CONFIRMATION ) > $
04 HA HEE . $
09 HE DID . $
04 HEE HUS HRAIE . $
09 LET US PRAY . $
< ( SILENCE FROM THE UPSTAIRS AREA , AS THEY PRAY . $
ALAN SETS SONYA IN THE DECK AREA . $
SHE HOLDS HIM ) > $
10 ARE YOU O.K. EH , LOVE ? $
ARE YOU ? $
11 WHAT 'S GOING TO BECOME OF ME ? $
10 YOU 'LL BE ALL RIGHT . $
11 THE TIME 'S SO NEAR . $
10 I PROMISE . $
11 NO DOCTOR OR NOTHING . $
ALAN , I 'M FRIGHTENED . $
10 WE 'LL ALL HELP . $
I READ A BOOK . $
NATURAL BIRTH - IT 'S OFTEN DONE . $
LOVE , WE 'LL ALL - $
11 BLOODY CHILDREN'S ENCYCLOPAEDIA . $
10 NO , LOVE .$
THERE 'S THE WOMEN ; THEY - $
11 NOT MURIEL . $
< ( PAUSE ) > $
10 NO . $
NOT MURIEL . $
I 'LL KEEP HER AWAY . $
< ( FROM THE CABIN AREA , MURIEL GIVES A SCREAM , FALLS DOWN
 , FROTHS AND ROLLS ABOUT . $
ALAN AND SONYA HEAR THIS AND LOOK , SCARED AND PUZZLED , IN
THAT DIRECTION . $
OVERLAPPING DIALOGUE - ARTHUR GIVES ROOFLESS COMMANDS , WHIC
H BANNER TRANSLATES AS ' REMOVE HER ... $
LOOSEN HER CLOTHING ... $
SHE HAS BEEN POSSESSED ... ' $
WHILE GERTRUDE PUSHES HUNTER TOWARDS A CHAIR , AND OUT OF TH
E WAY . $
- ALL THIS VERY QUICK AND MORE NOISE THAN DIALOGUE . $
BANNER AND TONY CARRY MURIEL INTO THE SALOON AREA , AND LAY
HER OUT ON THE TABLE . $
GERTRUDE JOINS THEM ) > $
09 < ( TO GERTRUDE ) > $
SHE HAS BEEN POSSESSED . $
YOU OFTEN HEAR OF SUCH CASES IN THE UNITED STATES . $
< ( PAUSE . $
BROKEN BY LECTURER ) > $
01 < ( TO AUDIENCE ) > $
I HAVE USE THE WORDS ' THE GOD ' SO FAR BECAUSE IT SEEMS THA
T THIS IS WHAT ARTHUR SINCERELY BELIEVED HIMSELF TO BE . $
#76 $
BUT IT WAS , AS I 'VE SAID , HOT IN THE HOLY PLACE , AND THE
 AIR WAS OFFENSIVE , AND THE CIRCUMSTANCES UNCOMFORTABLE . $
A GOD WOULD NOT HAVE MINDED SUCH MATTERS . $
< ( HE HAS WALKED EASILY TO THE CABIN AREA AND STANDS BEHIND
 ARTHUR . $
WHILE ) > $
BUT ARTHUR MINDED . $
THERE WAS A SMALL PERSISTENT VOICE INSIDE THAT SPOKE TO HIM
. $
IT WAS THE VOICE OF HIS OWN DOUBT . $
AS HE GREW MORE UNCOMFORTABLE , THE VOICE BECAME MORE INSIST
ENT AND MORE PERSUASIVE . $
I SPEAK NOW AS THE VOICE OF ARTHUR'S DOUBT . $
< ( TO ARTHUR ) > $
CAN IT BE THAT YOU HAVE MADE AN ELEMENTARY THEOLOGICAL ERROR
 ? $
04 HEE HOH . $
01 YES , IT IS HOT . $
AND HORRID IN EVERY WAY . $
A GOD COULD NOT BE UNCOMFORTABLE . $
BUT YOU ARE . $
CAN IT BE THAT YOU ARE NOT THE GOD ? $
04 < ( REACTS AWAY ) > $
HI HA . $
HI HA . $
01 CONSIDER IF THE GOD WERE ONLY TO INHABIT YOU , THEN HE CO
ULD , AT ANY TIME , LEAVE . $
< ( PAUSE ) > $
NO MAN COULD CARRY THE GOD WITHIN HIM FOR EVER . $
THE GOD WOULD NOT WISH IT . $
< ( PAUSE ) > $
ONLY FOR A TIME . $
TO THOSE FOUND WORTHY . $
< ( TO CAST ) > $
SUPPER . $
OCTOBER 10TH . $
< ( PLACE FOR SUPPER ) > $
09 < ( HAS AN IMAGINARY PLATE ) > $
I 'LL JUST TAKE THE GOD HIS FIRST FRUITS , AND BE BACK DIREC
TLY . $
< ( BANNER BEARS THE PLATE TO THE CABIN AREA , MIMES KNOCKIN
G , ENTERS WITH THE IMAGINARY PLATE WHICH HE MAKES A CEREMON
Y OF LAYING AT THE GOD'S FEET . $
WHILE ) > $
08 THE GOD DOESN'T CARE FOR FLYING FISH . $
05 HOW DO YOU KNOW ? $
08 THE GOD LIKES US TO TAKE TROUBLE . $
WE DON'T CATCH FLYING FISH ; THEY CATCH THEMSELVES . $
THEY FLY ON BOARD DURING THE NIGHT , AND ALL WE DO IS PICK T
HEM UP IN THE MORNING . $
YOU CAN'T CALL THAT FIRST FRUITS WHEN THERE 'S NO TROUBLE IN
 IT . $
05 YOU 'RE NOT AN AUTHORITY ON WHAT THE GOD LIKES . $
08 YES , I AM . $
#77 $
05 JUST BECAUSE YOU SAY YOU 'VE BEEN POSSESSED - $
08 I HAVE BEEN POSSESSED . $
05 - THAT DOESN'T MAKE YOU AN AUTHORITY . $
< ( BANNER HAS RETURNED ) > $
09 WELL , THE GOD HAS BEEN PLEASED TO ACCEPT OUR LITTLE OFFE
RING , AND NOW WE CAN ALL TUCK IN . $
05 SEE ? $
HE DOES LIKE FLYING FISH . $
08 HE RESPECTS OUR FEELINGS . $
05 THE GOD DOESN'T HAVE TO RESPECT OUR FEELINGS . $
WE 'RE SUPPOSED TO RESPECT HIM AND HIS FEELINGS . $
IF HE DIDN'T LIKE FLYING FISH , HE 'D THROW THEM BACK . $
ISN'T THAT RIGHT , HAROLD ? $
09 WELL - $
08 I DON'T PAY ANY MIND TO YOU . $
YOU 'RE JEALOUS . $
05 WHAT HAVE I GOT TO BE JEALOUS ABOUT ? $
08 BECAUSE THE GOD POSSESSED ME . $
05 I WAS POSSESSED A LONG TIME BEFORE YOU WERE , IF YOU WANT
 TO KNOW . $
THE GOD POSSESSED ME BEFORE HE WAS A GOD . $
10 GERTRUDE , YOU NEVER TOLD US . $
08 HE WAS ALWAYS A GOD . $
WE DIDN'T KNOW IT BEFORE . $
05 WELL , THEN ? $
08 WELL THEN , WHAT ? $
05 HE WAS A GOD WHEN HE POSSESSED ME , THEN . $
08 HE NEVER POSSESSED YOU . $
05 I KNOW WHETHER I WAS POSSESSED OR NOT . $
09 LADIES ! $
LADIES ! $
08 SHUT UP ! $
09 MRS. OTTERDALE ! $
08 BE QUIET . $
YOU 'RE ONLY THE PRIEST , BUT I WAS POSSESSED . $
05 WHY DO YOU LET HER WALK ALL OVER YOU , HAROLD ? $
08 I DON'T PAY ANY MIND TO YOU . $
JEALOUS BITCH ! $
05 BITCH ! $
DID YOU CALL ME A BITCH ? $
< ( GERTRUDE RISES . $
SHE PICKS UP AN IMAGINARY PLATE ) > $
01 < ( TO ARTHUR ) > $
THE GOD STIRS WITHIN YOU . $
YOU FEEL HIM UNCOIL WITHIN YOU . $
08 BITCH . $
09 NO . $
DON'T THROW ANYTHING . $
I 'LL TELL THE GOD . $
#78 $
05 < ( IS SHAKING ) > $
I 'VE SOME PRIDE LEFT , HAROLD . $
I WON'T BE INSULTED IN FRONT OF EVERYONE . $
I 'VE HAD A LOT OF CRUELTY AND INCONSIDERATENESS TO PUT UP W
ITH IN MY LIFE , BECAUSE I 'VE ALWAYS SAID WHAT I THOUGHT AN
D NOT PRETENDED . $
I 'VE SAT ALONE IN A TINY ROOM - $
08 BITCH ! $
BITCH ! $
05 - WAITING FOR THE PHONE TO RING . $
I 'VE EATEN DIRT . $
I 'VE BEEN REFUSED . $
I 'VE WATCHED MY OWN PUPILS PRETEND NOT TO SEE ME IN THE FOY
ERS OF THEATRES . $
I 'VE BEEN IGNORED IN THE STREET . $
09 NOW , GERTRUDE ! $
05 WHAT RIGHT HAS THAT WOMAN TO INSULT ME ? $
- TELL ME THAT . $
SHE FALLS DOWN IN A FIT AND CALLS IT POSSESSION . $
08 THAT 'LL DO FROM YOU . $
YOU KEEP YOUR PLACE . $
IF THE GOD PREFERS ME TO YOU , THEN YOU OUGHT TO TAKE YOUR M
EDICINE , AND KEEP QUIET ABOUT IT , INSTEAD OF - $
05 OH ! $
YOU ! $
< ( SHE THROWS HER IMAGINARY PLATE . $
MURIEL DODGES ) > $
01 < ( TO ARTHUR ) > $
HE WILL GO NOW . $
HE WILL LEAVE YOU NOW . $
< ( GERTRUDE AND MURIEL SQUARE UP TO EACH OTHER , PREPARING
TO FIGHT ) > $
09 LADIES ! $
10 GIVE OVER , GERTRUDE . $
06 I SEEN SOME LADY WRESTLERS ONCE . $
THEY HAD MUD ALL OVER THEM . $
< ( MURIEL LAUNCHES AN ATTACK . $
BANNER FLAPS ABOUT , WITHOUT ACTUALLY TOUCHING THEM . $
HUNTER POINTS HIS FINGER CHILDISHLY AT THE TWO WOMEN AND BEG
INS TO LAUGH ) > $
01 < ( TO ARTHUR ) > $
NOW ! $
04 < ( A LONG SCREAM ) > $
< ( ALL ACTIVITY IN THE SALOON AREA STOPS DEAD . $
ALL LOOK , SHOCKED , TOWARDS THE UPSTAIRS AREA ) > $
01 < ( TO ARTHUR ) > $
HE IS GOING ... GOING ... $
HE GOES BACK . $
04 < ( A CONTINUOUS WHIMPERING ) > $
01 HE HAS GONE . $
< ( ARTHUR IS STILL . $
LECTURER SIGNS TO ASSISTANTS , WHO COME TO HIM , REMOVE HIS
MASK . $
WHILE ) > $
#79 $
10 YOU 'D BETTER GO AND SEE WHAT 'S HAPPENED . $
09 I DON'T WANT TO . $
I 'M FRIGHTENED .$
< ( ARTHUR WALKS BRISKLY INTO THE SALOON AREA . $
SILENCE . $
HE LOOKS ABOUT HIM , AT THE WOMEN , AND THE IMAGINARY PLATE
) > $
04 WHY ARE THERE BROKEN PLATES UPON THE FLOOR ? $
< ( PAUSE . $
ALL LOOK AT EACH OTHER ) > $
09 < ( TIMIDLY ) > $
THY SERVANTS FOUGHT AMONGST THEMSELVES . $
05 < ( A LITTLE BOB ) > $
I 'M SORRY , GOD ARTHUR . $
THE WOMAN PROVOKED ME AND I DID THROW A PLATE AT HER . $
04 I 'M NOT THE GOD , ARTHUR . $
THE GOD ARTHUR HAS GONE BACK TO HEAVEN . $
I AM HIS VICAR HERE ON EARTH . $
< ( TO BANNER ) > $
SO YOU MAY REMOVE THAT SURPLICE . $
MR. BANNER . $
I SHALL BE THE GOD'S HIGH PRIEST FROM NOW ON . $
< ( PAUSE ) > $
01 < ( TO CAST ) > $
EVENING SERVICE . $
< ( ALL BUT ARTHUR BRING CHAIRS OUT TO THE DECK AREA ( HUNTE
R AS ALWAYS BEING GUIDED AND HELPED ) , AND SIT IN A ROW . $
ARTHUR WATCHES , WAITS UNTIL THEY ARE READY , THEN TAKES THE
 SHIP'S LOG FROM THE TABLE AND COMES OUT TO THEM STANDING BE
FORE THEM AS THE PRIEST . $
WHILE ) > $
< ( TO AUDIENCE ) > $
THEY HAD A SERVICE EVERY EVENING , OUT ON THE DECK . $
IT BEGAN WITH A READING FROM WHAT HAD ONCE BEEN THE SHIP'S L
OG , THEN BECAME THE MINUTES OF THE NEW SOCIETY , AND WAS NO
W THE BOOK OF ARTHUR . $
AFTER THE READING THE HIGH PRIEST WOULD EXPOUND . $
04 < ( READS ) > $
THERE CAME A GREAT WIND OVER THE SURFACE OF THE WATERS , AND
 THE WATERS ROSE UP , AND THE FACE OF THE SKY WAS MADE BLACK
BY THE WATERS , AND THE VOICE OF THE GOD ARTHUR WAS HEARD IN
THE WIND , CRYING , ' WOE ! WOE ! TO THE SONS OF MEN . ' $
THEN MANY OF THOSE WHO WERE NOT OF THE SELECTED WERE SWALLOW
ED UP . $
THEY AND THEIR WIVES , THEIR CHILDREN AND THEIR BEASTS , BOT
H OF THE GREATER AND THE LESSER SORT , WERE SWALLOWED UP . $
< ( ASSISTANT MAKES A PLOPPING NOISE WITH HIS MOUTH . $
HEADS TURN ) > $
BUT OVER THE SELECTED , THE GOD HELD THE SHIELD OF HIS HAND
 AND ALL SAVE ONE - BEING JUDGED UNWORTHY - WERE SAVED BY TH
E GOD . $
#80 $
06 < ( QUIET : TO SONYA ) > $
WHAT ONE ? $
11 < ( WHISPERS ) > $
WESLEY . $
06 OH ! $
< ( ASSISTANT - A WHOLE SERIES OF PLOPS . $
HEADS TURN ) > $
09 HIGH PRIEST , ARTHUR ? $
04 YES ? $
09 MAY I BE PERMITTED TO DRAW YOUR ATTENTION TO A NATURAL PH
ENOMENON , DOUBTLESS SENT TO US BY THE GOD ... $
< ( ARTHUR WALKS TO THE EDGE OF THE DECK AREA , LOOKING DOWN
 INTO THE FRONT ROWS OF STALLS ) > $
04 EXTRAORDINARY ! $
< ( TO THE OTHERS ) > $
THE READING IS OVER . $
09 < ( TIMIDLY ) > $
MAY WE REMAIN AND OBSERVE THE PHENOMENON ? $
04 VERY WELL . $
WE SHALL REMAIN AND AWAIT A SIGN . $
01 THE NIGHT OF THE SQUID IS CONFUSED IN ARMITAGE'S ACCOUNT
. $
AT FIRST THERE WERE ONLY LITTLE SQUID , PACKED TOGETHER IN L
ARGE NUMBERS , COVERING THE SURFACE OF THE SEA . $
OUR FOREFATHERS STAYED ON DECK , WATCHING . $
IT BECAME DARK . $
< ( TO CAST ) > $
DARK . $
< ( TO AUDIENCE ) > $
A LITTLE THREAD OF WIND CAME UP TO CHILL THEM . $
11 COLD . $
01 CAPTAIN HUNTER , WHAT DO YOU SEE ? $
03 LOTS OF JOLLY LITTLE BROWN COBBLESTONES . $
ALL OVER . $
YOU COULD WALK TO LAND IF YOU KNEW WHERE IT WAS . $
01 NO , AFTER THAT . $
03 < ( A SCREAM ) > $
01 MURIEL ? $
HAROLD ? $
GERTRUDE ? $
08 SQUIGGLY . $
SQUIGGLY THINGS . $
09 BLACK . $
05 SNAKES . $
HORRID BLACK SNAKES . $
01 TOUCHING . $
EXPLORING . $
PULLING . $
< ( IT IS AS IF THE RAFT HAD TILTED . $
CAST ALL LEAN ONE WAY ) > $
08 NASTY PULLS US . $
09 DEMON . $
10 DON'T SIT THERE . $
HIT THEM . $
GET THEM AWAY . $
04 HE HAS LAID HIS HAND ON THE RAFT AND WE FEEL THE WEIGHT O
F IT . $
10 HE ? $
01 HE ! $
YOU SEE HIM . $
A SQUID . $
A GIANT SQUID . $
... TWO GREAT TENTACLES AND EIGHT SMALLER ONES , CLUSTERED A
BOUT A GIANT HEAD . $
#81 $
09 SEA-DEMON . $
05 HORRID . $
NASTY SNAKES . $
BEAKY THINGS . $
01 PULLING . $
NEARER AND NEARER . $
10 WE COULD GET INDOORS . $
WHY DON'T WE GET INDOORS . $
09 HIGH PRIEST ARTHUR , PRAY EXORCISE THE DEMON BEFORE IT EA
TS US . $
04 MY FATE CRIES OUT . $
< ( HE MOVES TOWARDS LECTURER ) > $
01 STOP . $
IT LETS YOU GO . $
< ( TILT REVERSED . $
TO AUDIENCE ) > $
THE CREATURE HAD TIRED OF PLAYING WITH THE RAFT , AND NOW DI
APPEARED . $
< ( ALL BUT ARTHUR DANCE LIKE CHILDREN ) > $
05 < ( CRIES OUT ) > $
IT 'S LET US GO . $
10 PUSHED US AWAY . $
11 IT 'S GONE . $
IT 'S REALLY GONE . $
03 < ( SUDDENLY ROARS WITH LAUGHTER ) > $
PUSHED US AWAY ] $
OLD SEA-THING DIDN'T WANT US , AND PUSHED US AWAY . $
< ( ARTHUR HAS BEEN REMAINING STILL , APART FROM THE OTHERS
. $
NOW HE TURNS ) > $
04 BE QUIET . $
< ( PAUSE ) > $
08 ARTHUR ? $
YOU 'LL TALK TO THE GOD ? $
YOU WON'T LET THAT SEA-THING COME BACK ? $
09 OF COURSE HE WON'T . $
05 WE MUST TRUST ARTHUR . $
HE IS ALL WE HAVE . $
09 AND VERY POWERFUL WITH THE GOD . $
08 YOU 'LL TALK TO HIM ? $
I DON'T LIKE THAT SEA-THING . $
< ( PAUSE ) > $
04 WOMAN , THAT WAS THE GOD . $
AND HE WILL COME AGAIN . $
< ( PAUSE ) > $
09 THE GOD ? $
04 YES . $
I HAD NO POWER OVER HIM . $
YOU SAW THAT . $
09 BUT WHAT DOES HE WANT ? $
04 I CANNOT SAY . $
BUT HE WILL COME AGAIN . $
10 IT WAS ONLY A SQUID . $
YOU KNOW THAT BLOODY WELL . $
FRIGHTENING THE WOMEN ! $
IT WAS A GIANT SQUID - THAT 'S ALL . $
#82 $
04 THE GOD CAN TAKE MANY FORMS . $
HE CAN TAKE THE FORM OF A MAN OR A SQUID . $
BUT IN ANY FORM , HE IS TERRIBLE . $
10 OH , FOR CHRIST'S SAKE , YOU DON'T REALLY BELIEVE IN ALL
THAT ! $
< ( ARTHUR STEPS FORWARD AND HITS HIM . $
THEN HE TURNS AND GOES INSIDE TO THE CABIN AREA , FOLLOWED B
Y BANNER . $
ALL THE OTHER BUT SONYA AND TONY FOLLOW HIM INSIDE , BUT SIT
 ON THEIR CHAIRS ON THE BACK WALL . $
SONYA HESITATES , AS IF TO STAY WITH ALAN ) > $
10 NO . $
YOU GO IN . $
I 'M IN DISGRACE . $
< ( SONYA GOES ) > $
10 BLOODY MADNESS ! $
06 OH , I DUNNO . $
10 YOU 'RE NOT GOING IN ? $
06 THOUGHT I MIGHT STAY OUT HERE FOR A BIT . $
I LIKE WATCHING THE WATER . $
RELAXES YOU . $
04 THERE IS NO PLACE FOR BLASPHEMERS . $
06 < ( INDICATING STALLS ) > $
FUNNY ! $
- THEY 'VE GONE NOW . $
ALL THEM LITTLE SQUID . $
WELL , THEY 'VE NOT GONE , I SUPPOSE ! $
WE 'VE GONE . $
MOVED ON PAST THEM . $
I OFTEN COME OUT HERE AND WATCH . $
SONN AND ME , WE - $
10 WHY DON'T YOU LEAVE ME ALONE ? $
04 GET HIM . $
< ( BANNER LEAVES ARTHUR ) > $
06 < ( SHARKS IS STILL THERE , MIND . $
THEY 'RE ALWAYS THERE . $
PATIENT . $
TAGGING ALONG . $
YOU 'D THINK THEY 'D GET TIRED . $
< ( BANNER COMES ON TO THE DECK AREA ) > $
09 THE HIGH PRIEST WANTS TO SEE YOU IN THE TEMPLE . $
HE 'S VERY ANGRY . $
HE SAYS THERE 'S NO PLACE FOR BLASPHEMERS AMONG THE SELECTED
 . $
I 'D MAKE AN ACT OF CONTRITION IF I WERE YOU . $
10 YOU THINK HE 'LL HAVE ME THROWN TO THE SHARKS ? $
09 I HOPE NOT . $
< ( SILENCE . $
ALAN STARES AT BANNER ) > $
10 BUT THAT WAS A JOKE . $
09 AN ACT OF CONTRITION SHOULD DO IT . $
10 IT WAS A JOKE . $
I MEAN , HE COULDN'T REALLY ... $
YOU WOULDN'T LET HIM . $
#83 $
< ( SILENCE ) > $
I 'LL TELL HIM I 'M SORRY . $
09 IT WAS A VERY EVIL AND WICKED REMARK . $
10 BLASPHEMOUS . $
I SEE THAT . $
I 'LL TELL HIM . $
09 HE 'S WAITING . $
< ( ALAN WALKS IN FROM THE DECK , STOPPING TO GIVE ONE WILD
AND WONDERING GLANCE AT BANNER , WHO DOES NOT RESPOND , BUT
USHERS HIM TO THE CABIN AREA , WHERE ARTHUR WAITS . $
WHILE ) > $
06 < ( AS IF TO THE SHARKS ) > $
WELL , I 'M NOT GOING TO BE YOUR DINNER . $
I 'LL TELL YOU THAT . $
09 THE SINNER APPROACHES YOUR PRESENCE , HIGH PRIEST . $
< ( GOES BACK TO HIS SEAT AGAINST THE WALL ) > $
04 ENTER . $
< ( ALAN ENTERS ) > $
10 I 'M VERY SORRY , HIGH PRIEST . $
I AM TRULY SORRY THAT I HAVE SINNED . $
04 THE GOD IS ANGRY . $
10 I AM TRULY - $
I 'VE TOLD YOU BEFORE , SORROW IS OF NO PRACTICAL USE WITHOU
T THE INTENTION OF AMENDMENT . $
10 I DO INTEND IT . $
04 IT IS NECESSARY AT THE BEGINNING THAT THERE SHOULD BE ONE
 AMONG THE SELECTED TO DOUBT AND REBEL , SO THAT HIS CHASTIS
EMENT BY THE GOD SHOULD BE REMEMBERED BY THE PEOPLE . $
10 I 'M NOT REBELLING , ARTHUR . $
04 NOT AT THE MOMENT . $
NO . $
10 NEVER AGAIN . $
04 WELL , YOU ARE NOT TO BE BLAMED FOR IT . $
YOU DO NO LESS IN YOUR WAY THAN WE ALL DO IN OURS . $
YOU EXPRESS THE WILL OF THE GOD . $
HE HAS WILLED YOUR DOUBT , BECAUSE HE WILLS YOUR EXPIATION .
 $
10 WHAT FORM WOULD THAT TAKE ... ARTHUR ? $
04 WHEN THE GOD CAME OUT OF THE SEA JUST NOW , WHAT DID HE W
ANT ? $
IT WAS NOT CLEAR TO ME . $
ALTHOUGH I AM CLOSE TO THE GOD - PART OF THE GOD , MR. ARMIT
AGE - HIS INTENTIONS ARE NOT ALWAYS CLEAR , EVEN TO ME . $
I DID NOT KNOW WHAT HE WOULD ... I HAD THOUGHT FOOLISHLY THA
T I WAS HIS ONLY INCARNATION . $
#84 $
NOT TRUE . $
THEN HE LAID HIS HAND ON THE RAFT , AND I WAS POWERLESS . $
IT WAS THE GOD HIMSELF . $
10 THE GOD ARTHUR ? $
04 IN ANOTHER FORM . $
10 IT COULDN'T HAVE BEEN ... AN ANTI-GOD ? $
04 NO , OR I SHOULD HAVE PREVAILED . $
IT WAS THE GOD HIMSELF - MADE SQUID . $
10 I SHOULD NEVER HAVE DOUBTED IT . $
I SEE THAT NOW . $
04 THEN YOU SPOKE , I STRUCK YOU , AND I KNEW . $
10 WHAT HE WANTED ? $
04 YES . $
10 AND THAT IS ? $
04 SACRIFICE . $
A SIGN OF OUR BELIEF . $
AN OFFERING . $
10 < ( TENTATIVE ) > $
WE DO SACRIFICE , HIGH PRIEST . $
WE OFFER OUR FIRST FRUITS TO THE GOD . $
04 THAT IS AN ACT OF DEVOTION , NOT A SACRIFICE . $
IT DOES NOT HURT US TO GIVE THEM . $
THOUGH ... ' FIRST FRUITS ' ... $
YES , EVEN FROM THE MOUTH OF AN UNBELIEVER , THE GOD MAY SPE
AK . $
FIRST FRUITS ... THE GOD'S APPEARANCE IN THE LIKENESS OF A S
EA-CREATURE ... THE DELAY IN COMING TO LAND ... $
IPHIGENIA ... $
IT ALL FITS , MR. ARMITAGE . $
IT IS ALL OF A PIECE . $
10 WHAT ... DID YOU THINK OF SACRIFICING , ARTHUR ? $
04 WHAT WOULD YOU THINK MOST WORTHY ? $
10 NOT ME . $
I 'M NOT WORTHY . $
I - $
04 NO . $
10 - THOUGH I 'M READY , OF COURSE , TO DO AS THE GOD WILLS
. $
04 NOT YOU . $
< ( PAUSE ) > $
10 LATER PERHAPS . $
04 PERHAPS . $
10 I DON'T KNOW WHAT YOU HAD IN MIND , OF COURSE - WHAT THE
GOD HAD IN MIND ... WHO ... $
04 WHY DO YOU ASK ? $
IT CAN MAKE NO DIFFERENCE . $
WE ARE ALL EQUAL IN THE EYES OF THE GOD . $
< ( PAUSE ) > $
#85 $
10 IT WOULDN'T BE ANY OF THE WOMEN , OF COURSE ... $
I MEAN , THE GOD WOULD WANT THEM TO ... TO MULTIPLY ... TO .
.. $
< ( RATTLED ) > $
THERE ARE SOME OF THE WOMEN IT COULDN'T POSSIBLY BE ] $
THERE ARE SOME - HE 'D WANT AN UNBLEMISHED BODY . $
A GOOD BODY . $
SOMEONE LIKE TONY ; HE 'D APPRECIATE THAT . $
HE 'D WANT ... $
OR IF YOU THOUGHT HAROLD ... $
IF YOU THOUGHT HE MIGHT RELISH HAROLD .... $
04 THE MECHANICS OF THE THING MIGHT NEED A LITTLE ARRANGEMEN
T . $
THAT IS OFTEN THE CASE IN MATTERS OF RELIGION , IS IT NOT ?
$
10 NONE OF THE WOMEN . $
04 I SHALL NEED YOUR HELP . $
SINCE YOU HAVE A PENANCE TO PERFORM , THAT IS CONVENIENT . $
10 THE GOD WOULDN'T WANT A PREGNANT WOMAN . $
IT 'S TABU . $
THAT 'S THE LAST PERSON HE 'D WANT . $
< ( PAUSE ) > $
04 THE PREGNANCY IS MUCH ADVANCED . $
< ( PAUSE ) > $
10 I HAVE TO GO TO THE LAVATORY . $
04 NO, YOU DON'T . $
< ( PAUSE ) > $
04 IT WOULD BE BETTER FOR THE OTHERS NOT TO KNOW . $
10 EH ? $
04 A SACRIFICE NEED NOT BE PUBLIC TO BE EFFECTIVE . $
ONLY THE WILL TO GIVE IS IMPORTANT . $
LATER ON , THE OTHERS WOULD BE TOLD . $
THAT IS THE GOD'S WILL . $
10 BUT THEY 'D NOTICE . $
YOU COULDN'T ... $
IT WOULD CAUSE GRAVE RESENTMENT . $
04 THE CONFINEMENT WILL TAKE PLACE IN THE TEMPLE . $
10 < ( DESPERATELY ) > $
I HAVE A REVELATION FROM THE GOD . $
04 < ( CARRIES STRAIGHT ON : OVERLAPPING ) > $
WE SHALL TAKE THE CHILD . $
10 THE CHILD ? $
04 AN INNOCENT LIFE . $
UNBLEMISHED . $
FOR THE GOD . $
10 THE CHILD ? $
04 YES . $
10 NOT ... ? $
#86 $
04 REALLY , MR. ARMITAGE , HAVE YOU BEEN FOLLOWING ME AT ALL
 ? $
10 YOU 'RE GOING TO TAKE THE CHILD ? $
... OH. $
... OH YES , I HAD QUITE THE WRONG IDEA . $
OH , THAT 'S WONDERFUL . $
THE CHILD ... $
YES . $
YES , YOU DO : YOU MUST : THAT 'S MUCH BETTER . $
I WAS QUITE WRONG . $
I WAS VERY AFRAID , AND QUITE WRONG . $
THE CHILD . $
< ( NOW IT HITS HIM ) > $
BUT HOW CAN YOU TELL HER ? $
04 THERE ARE ANAESTHETICS IN THE FIRST AID KIT . $
10 YOU 'LL SAY IT DIED IN CHILDBIRTH ? $
04 IT WILL BE A SECRET WE SHALL SHARE WITH THE GOD . $
GO NOW . $
< ( ALAN BEGINS TO GO , BUT HESITATES ) > $
10 THERE 'LL BE ... THERE 'LL BE OTHER CHILDREN . $
IT IS BEST , ISN'T IT ? $
I MEAN , IF SOMEONE 'S GOT TO - $
04 THE GOD DEMANDS IT . $
10 < ( GOING ) > $
YES . $
I SEE THAT . $
< ( HE GOES INTO THE SALOON AREA . $
HE IS DAZED . $
ASSISTANT COMES TO ARTHUR AND GIVES HIM THE MASK OF THE GOD
. $
HE SITS GAZING AT IT . $
SONYA IS SITTING WITH THE OTHERS AGAINST THE BACK WALL . $
ALAN GOES OUT ON DECK , IGNORES TONY , SITS ON A CORNER OF T
HE DECK , CROUCHED IN A BACK-TO-THE-WOMB POSITION . $
TONY LOOKS AT HIM . $
MEANWHILE , AS HE HAS LEFT THE MAIN CABIN , SONYA RISES FROM
 HER CHAIR , LOOKING AFTER HIM ) > $
11 ALAN ... $
< ( SHE FOLLOWS HIM OUT ON DECK ) > $
11 ALAN ... $
06 OVER THERE . $
< ( SHE JOINS TONY . $
PAUSE . $
SHE TAKES A STEP TOWARDS ALAN ) > $
11 ALAN ... $
10 GO AWAY . $
11 < ( SMALL GESTURE TO TONY TO MOVE AWAY ) > $
WHAT 'S THE MATTER , LOVE ? $
10 < ( HASN'T LOOKED ROUND ) > $
I SAW THAT . $
< ( TONY LOOKS FROM ONE TO ANOTHER , AND HESITATES ) > $
06 I 'LL GO IN , THEN . $
10 WHY ? $
< ( PAUSE ) > $
#87 $
11 GO ON IN , TONE . $
10 NO . $
11 < ( TO TONY ) > $
GO ON IN . $
10 < ( SHOUTS ) > $
I SAID , NO . $
06 < ( TO SONYA ) > $
SEE YOU . $
10 YOU DON'T WANT TO LEAVE US ALONE , TONY . $
NOBODY EVER LEAVES SONYA AND ME ALONE . $
YOU 'RE THE ONLY ONE WHO 'S EVER ALONE WITH SONYA . $
11 < ( TO TONY ) > $
SOMETHING 'S HAPPENED . $
06 ARTHUR 'S GIVE HIM A BOLLOCKING . $
10 WILL YOU PLEASE STOP TALKING ABOUT ME ? $
I 'M NOT SICK . $
11 TELL ME WHAT 'S HAPPENED , THEN . $
10 JUST GO AWAY AND LEAVE ME ALONE . $
GO AWAY AND DO YOUR EXERCISES . $
06 < ( TO SONYA ) > $
WHAT 'S HE ON ABOUT ? $
11 NOTHING . $
IT 'S NOT IMPORTANT . $
10 HA ! $
06 STUPID . $
YOU CAN'T DO EXERCISES IN THE DARK . $
10 CAN'T YOU ? $
11 THAT 'S ENOUGH , ALAN . $
10 < ( TURNS TO TONY ) > $
TELL ME , TONY . $
IS ARTHUR GOD ? $
06 I DON'T FOLLOW YOU . $
10 TRY . $
JUST PUT ONE THOUGHT AFTER ANOTHER . $
IT 'S A SIMPLE QUESTION . $
IS HE A GOD ? $
DO YOU OBEY HIM ? $
DO YOU DO HIS WILL ? $
11 I SAID , THAT 'S ENOUGH . $
10 WHEN YOU DO YOUR EXERCISES , IN THE HOLD . $
DO YOU GLORY IN IT ? $
A RELIGIOUS ACT ? $
06 I DON'T KNOW WHAT YOU 'RE ON ABOUT . $
IT 'S NOTHING TO DO WITH ME , ALL THAT ABOUT RELIGION . $
I JUST KEEP OUT OF TROUBLE . $
< ( PAUSE . $
ALAN GETS UP ) > $
10 YOU SMUG BASTARD ! $
ARTHUR , AND WHAT HE DOES TO US : THAT 'S NONE OF YOUR BUSIN
ESS . $
11 TONY , GO INSIDE . $
10 WHAT HE DOES TO US , AND WHAT HE MAKES US DO - YOU DON'T
WANT TO KNOW . $
WE CAN DESTROY OURSELVES , AND AS LONG AS YOU DO YOUR BLOODY
 EXERCISES DOWN IN THE HOLD , IT DOESN'T MATTER . $
#88 $
11 WHAT DO YOU MEAN . $
' WHAT HE MAKES US DO ? ' $
10 DO YOU THINK I DON'T KNOW WHAT SORT OF EXERCISES YOU GET
UP TO ? $
11 < ( LOSES TEMPER ) > $
NO , YOU DON'T . $
YOU DON'T KNOW ANY BLOODY THING . $
< ( PAUSE ) > $
06 < ( PUZZLED , TO SONYA ) > $
BUT IT 'S NOT LIKE THAT . $
11 HE 'S JEALOUS . $
06 YOU NEVER TOLD HIM WE - $
10 SHE WOULDN'T TELL ME YOU DIDN'T . $
06 < ( TO SONYA ) > $
WHY NOT ? $
11 HE WOULDN'T HAVE BELIEVED ME . $
HE WON'T BELIEVE YOU NOW . $
< ( PAUSE ) > $
06 < ( TO ALAN ) > $
YOU STUPID SOD ! $
YOU DON'T KNOW NOTHING ABOUT IT . $
< ( PAUSE ) > $
I CAN'T , IF YOU WANT TO KNOW . $
< ( PAUSE ) > $
IT 'S NOT THAT I DON'T FANCY YOU , SONN . $
I DO , AS A MATTER OF FACT . $
11 TONY , THIS IS NOT THE TIME . $
06 BUT I JUST CAN'T ; THAT 'S ALL . $
I DON'T KNOW WHY . $
IF IT WAS ANYONE ELSE , IT 'D BE FUNNY . $
LAUGHABLE . $
WHEN I WAS SIXTEEN , THE BOYS USED TO CALL ME A SEX MANIAC -
 I WORE MESELF OUT LIKE ; IT WASN'T HEALTHY . $
THEN I SAW ONE OF THEM ADVERTS IN THE PAPERS , WHY-BE A SEVE
N-STONE-WEAKLING ? $
AND I WANTED TO LOOK GOOD ON THE BEACH AND THAT , AND I THOU
GHT DOING EXERCISES MIGHT TAKE ME MIND OFF IT , YOU KNOW WHA
T I MEAN . $
AND AFTER A BIT I FOUND I WASN'T INTERESTED NO MORE . $
I THOUGHT IT WAS THE EXERCISES DONE IT . $
BEING TIRED WHEN I COME HOME FROM THE GYM . $
AND THEN I WON ALL THEM PRIZES AND HAD ME PICTURE ON THE COV
ER OF HEALTH AND STRENGTH , AND THEY WAS ALL AFTER ME - I CO
ULD TAKE ME PICK - AND THEN WHEN I DID WANT TO , I JUST COUL
DN'T . $
11 TONY ! $
GIVE OVER . $
GIVE OVER , EH ? $
06 I 'VE TRIED . $
THERE WAS ONE BIRD I FANCIED , SHE WOULDN'T BELIEVE IT . $
SHE THOUGHT I WAS QUEER , AND SHE COULD CURE ME , BUT I 'M N
OT . $
< ( PAUSE ) > $
SO NOW YOU KNOW . $
SHE 'S SAFE WITH ME . $
#89 $
ANY BIRD 'S SAFE WITH ME . $
< ( PAUSE ) > $
10 I 'M SORRY . $
< ( SONYA COMES OVER TO TONY , AND KISSES HIM ) > $
10 JEALOUSY ! $
YOU IMAGINE THINGS . $
YOU GET SICK WITH IT . $
11 SICK ! $
10 I 'VE BEEN STUPID . $
11 YOU THINK NOBODY IN THE WORLD EXISTS BUT YOU . $
YOU 'RE SICK , AND WE 'VE ALL GOT TO DIE OF IT . $
10 SONN , WE 'VE GOT TO GET AWAY FROM HERE . $
11 WHY ? $
SO THAT YOU CAN HAVE ME ALL TO YOURSELF AGAIN ? $
I 'LL TELL YOU NOW IT WON'T WORK . $
FIRST THING YOU KNOW , YOU 'LL BE SAYING , ' WHO ARE YOU THI
NKING ABOUT ? $
WHO DID YOU DREAM ABOUT LAST NIGHT ? $
WHO DO YOU THINK OF WHEN YOU KISS ME ? ' $
I TELL YOU , ALAN ARMITAGE , I 'M THE ONE WHO 'S SICK , AND
IT 'S TIME YOU REMEMBERED . $
I 'M REALLY SICK . $
I GET SICK IN THE MORNINGS . $
I VOMIT . $
I GET SO FRIGHTENED , I 'M SICK . $
AND I 'M SICK TO DEATH OF YOU . $
10 < ( TO TONY ) > $
TONY , WILL YOU HELP US ? $
HE WON'T KNOW . $
HE WON'T KNOW YOU HELPED . $
< ( PAUSE ) > $
OR YOU CAN COME WITH US , IF YOU LIKE . $
HE CAN COME WITH US , SONN . $
< ( PAUSE ) > $
06 HE GAVE YOU MORE THAN A BOLLOCKING . $
11 WHAT DID HE SAY TO YOU IN THERE ? $
10 HE SAYS THE GODS NEEDS A SACRIFICE . $
HE SAYS THAT 'S WHY IT CAME OUT OF THE SEA . $
HE SAYS IT WANTS A LIFE - SOMETHING NEW AND INNOCENT . $
HE SAYS WHEN THE BABY IS BORN , I HAVE TO HELP HIM SACRIFICE
 IT TO THE GOD . $
06 AND YOU SAID ? $
10 I WAS FRIGHTENED . $
THERE WAS NOBODY TO HELP ME . $
WHAT COULD I SAY ? $
06 WHAT DID YOU SAY ? $
10 I SAID I WOULD . $
06 YOU MUST BE BLOODY MAD . $
< ( TONY LEAVES THEM AND WALKS STRAIGHT INTO ARTHUR'S ROOM ,
 MIMING THROWING OPEN THE DOOR ) > $
YOU ! $
< ( ARTHUR BEGINS TO RISE . $
LECTURER STOPS HIM ) > $
#90 $
01 WAIT ! $
THE GOD PROTECTS YOU . $
HE POSSESSES YOU . $
< ( ARTHUR BEGINS TO PUT ON THE MASK , BUT TONY GRABS IT , A
ND THROWS IT ASIDE ) > $
04 HE HO - $
06 BLOODY KIDS' STUFF . $
< ( ASSISTANT GIVES ARTHUR A PIECE OF WOOD ROUGHLY IN THE SH
APE OF A KNIFE . $
ARTHUR STABS AT TONY , WHO CRIES OUT . $
ARTHUR ESCAPES INTO SALOON AREA ) > $
04 STOP HIM . $
HE IS ATTACKING THE GOD . $
< ( TONY FOLLOWS ARTHUR , CLASPING HIS SHOULDER . $
THE OTHER CHARACTERS LEAVE THEIR PLACES AND COME INTO THE SA
LOON , WHERE THEY WATCH ) > $
06 THIS LOONY WANTS TO KILL LITTLE KIDS . $
04 MR. ARMITAGE , YOU HAD NO BUSINESS TO SPEAK OF THIS . $
PRAY DO YOUR DUTY AND PROTECT ME . $
06 YOU KEEP OUT OF THIS . $
BLEEDER PULLED A KNIFE ON ME . $
I 'LL FIX HIM . $
04 YOU WILL BE HELPLESS WITHOUT ME . $
09 NO ONE MUST INTERFERE . $
IT IS FOR THE GOD HIMSELF TO SETTLE . $
< ( FIGHT BEGINS . $
THEY CIRCLE THE TABLE . $
BUT SUDDENLY ARTHUR STOPS . $
IT MUST APPEAR AS IF THE ACTOR HIMSELF HAS FORGOTTEN HIS LIN
ES , AND BEGUN TO FEEL ILL . $
HE LEAVES THE FIGHT AND SUPPORTS HIMSELF BY FIRST HOLDING ,
THEN SITTING ON THE TABLE ) > $
04 I 'M SORRY . $
I CAN'T GO ON . $
< ( THE OTHERS ARE SURPRISED . $
THEY LOOK AT THE LECTURER FOR GUIDANCE . $
THEY WILL REMAIN STILL UNTIL THEIR NEXT MOVES ARE INDICATED
, AND WILL ALWAYS BE LOOKING AT THE LECTURER WHEREVER HE MAY
 BE ) > $
01 WHAT ? $
04 I CAN'T GO ON . $
I KNOW WHAT WILL HAPPEN . $
01 YOU ARE ARTHUR . $
YOU KNOW ONLY WHAT HE KNOWS . $
YOU CANNOT KNOW THE FUTURE . $
04 I KNOW WHAT WILL HAPPEN . $
I WAS A STUDENT HERE . $
< ( LECTURER SIGNS TO ASSISTANT , WHO GOES OFFSTAGE ) > $
01 < ( GENTLE ) > $
IF YOU KNOW THAT , IF YOU CAN REMEMBER THAT , THEN YOU KNOW
THAT YOU WILL SURVIVE IT , AND GO FREE AFTERWARDS . $
#91 $
04 BUT ARTHUR WILL DIE . $
TONY WILL BREAK HIS NECK . $
I SHALL FEEL HIS DEATH . $
HIS PAIN . $
AND YOU MAKE THIS HAPPEN . $
YOU MAKE ME ARTHUR . $
01 YOU VOLUNTEERED . $
04 YES , I VOLUNTEERED FOR PRISON TOO , DO YOU REMEMBER ? $
WE ALL VOLUNTEER . $
< ( TO THE AUDIENCE ) > $
YOU VOLUNTEERED TO ATTEND THIS LECTURE . $
YOU VOLUNTEERED TO BE STUDENTS , AND THOSE WHO ARE NOT STUDE
NTS , VOLUNTEERED NOT TO BE . $
WE VOLUNTEER TO OBEY IN THIS COMMUNITY . $
WE - $
01 STOP ! $
< ( ASSISTANT HAS BROUGHT HIM A SMALL GLITTERING OBJECT , PR
OBABLY A REVOLVING MIRROR SET AGAINST A REFLECTOR . $
HE HOLDS IT UP , COMPELLING ARTHUR TO WATCH ) > $
NOW LET ME HELP YOU . $
LOOK AT ME . $
WATCH . $
WATCH NOW ; SUBMIT NOW . $
GIVE ME YOUR WILL , SO THAT I CAN HELP YOU . $
YOU WANT TO OBEY , BECAUSE YOU ARE PART OF US . $
THE COMMUNITY WILLS IT . $
YOU ARE THE GOD ARTHUR , AND YOU MUST DIE FOR US ALL . $
YOU ARE THE GOD , ARTHUR . $
YOU KNOW THAT NOW . $
YOU ARE THE GOD . $
< ( PAUSE . $
LECTURER APPEARS SATISFIED , AND RETURNS TO HIS PLACE ) > $
04 NO . $
I DON'T THINK SO . $
01 WHAT ? $
04 YOU ARE THE GOD . $
01 I AM LEADING LECTURER IN THE HISTORY OF THE COMMUNITY ; T
HAT IS ALL . $
AND YOU ARE ARTHUR HENDERSON . $
THE GOD ARTHUR . $
04 THERE ARE NO GODS HERE BUT YOU . $
YOU ARE THE RESURRECTION AND THE LIFE . $
YOU PUT US HERE . $
YOU PLAN OUT THE PATH WE ARE TO TRAVEL . $
BUT I HAVE FREE WILL , AND I CHOOSE NOT TO DIE , SO YOU CAN
KEEP YOUR RESURRECTION . $
01 YOU CHOOSE TO BE WHAT YOU ARE - ARTHUR HENDERSON . $
WHEN THIS IS OVER , YOU WILL BE - $
04 REBORN ? $
< ( LECTURER IMPATIENT ) > $
BUT WHAT IF I CHOOSE TO BE ARTHUR IN MY OWN WAY ? $
IF I CHOOSE TO CHANGE YOUR HISTORY ? $
TO BE ARTHUR , AND KILL TONY ? $
01 IF YOU DEFY ME , YOU WILL NOT KILL TONY . $
HE IS STRONGER THAN YOU , AND WILL BREAK YOUR NECK JUST THE
SAME . $
IF YOU CHOOSE TO FIGHT HIM IN DEFIANCE , AS YOUR OWN SICK SE
LF , INSTEAD OF IN OBEDIENCE AS ARTHUR HENDERSON , A PERSON
IN HISTORY , I CANNOT REVIVE YOU . $
BUT IF YOU SUBMIT TO ME , THOUGH YOU WILL SUFFER PAIN - AND
YOU WANT TO SUFFER IT ; THAT IS PART OF YOUR CURE - YET YOU
WILL BE REVIVED , AS WESLEY WAS . $
NOW ! $
< ( HE RAISES HIS HAND ) > $
LOOK AT ME . $
I WILL SNAP MY FINGERS , AND - $
04 NO . $
I AM MYSELF . $
I WILL OVERCOME . $
< ( LECTURER LOOKS AT HIM , AND MAKES A DECISION ) > $
01 VERY WELL . $
MR. BATCH , CONTINUE ! $
< ( ARTHUR TURNS , AND RUSHES AT TONY . $
THEY FIGHT . $
ARTHUR IS FORCED TO DROP THE KNIFE . $
TONY GETS A STRANGLE-HOLD ROUND ARTHUR'S NECK , AND WILL CLE
ARLY KILL HIM . $
BUT - ) > $
WAIT ! $
< ( ALL FREEZE . $
BUT ARTHUR , THOUGH HE CANNOT MOVE , BEING HELD IN TONY'S GR
IP , IS NOT HYPNOTISED . $
THE LECTURER MOCKS HIM ) > $
YOU SEE ? $
< ( ARTHUR IS HUMILIATED , AND CANNOT REPLY ) > $
THINK YOURSELF LUCKY THAT THE COMMUNITY CARES EVEN FOR ITS D
ISOBEDIENT MEMBERS , OR I SHOULD NOT HAVE SAVED YOU . $
< ( TURNS TO THE AUDIENCE ) > $
WE SHALL NOT CARRY THIS SCENE TO ITS CONCLUSION , FOR REASON
S WHICH MUST BE OBVIOUS TO YOU . $
HOWEVER , YOU MAY TAKE IT THAT THE COURSE OF HISTORY WAS NOT
 CHANGED . $
TONY KILLED ARTHUR , AND WITH THE DEATH OF THE GOD , THEY CA
ME TO LAND , AND OUR NEW SOCIETY BEGAN . $
I DO NOT WISH YOU TO UNDERVALUE ARTHUR HENDERSON . $
THOSE EARLY MINUTES OF THE NEW SOCIETY ARE THE SOURCE OF MAN
Y OF OUR COMMUNITY RULES . $
OUR VERY FIRST COMMUNITY LEADER WAS , IN FACT , THE SON WHOM
 MURIEL OTTERDALE BORE TO ARTHUR AFTER HIS DEATH . $
THE COMMUNITY ALWAYS USES WHAT IS GOOD IN A MAN . $
NEXT WEEK WE SHALL DISCUSS THE EARLY SETTLEMENT , THE PERIOD
OF CHAOS , AND THE EVOLUTION OF THE COMMUNITY SPIRIT . $
MR. BATCH , REMAIN . $
PLACES , YOU OTHERS . $
< ( ALAN , SONYA , HUNTER , BANNER AND MURIEL RETURN TO THEI
R PLACES . $
LECTURER GOES TO WHERE TONY STILL HOLDS ARTHUR . $
HE USES ARTHUR AS A SPECIMEN , IN HIS TALK TO THE STUDENTS )
 > $
#93 $
IN THE CASE OF THIS CRIMINAL WHO PRESENTED ARTHUR TO YOU , Y
OU HAVE BEEN ABLE TO STUDY THE EFFECTS OF ADVANCED INDIVIDUA
LISM , WHICH MADE HIM , AS WE NOW DISCOVER , A BAD SUBJECT F
OR HYPNOSIS , AND HAS CAUSED US TECHNICAL DIFFICULTIES DURIN
G THE LECTURE . $
HOWEVER , THE COMMUNITY DOES NOT AND WILL NOT ALLOW WASTE OF
 ANY KIND . $
WE CURE CRIMINALS ; WE DO NOT KILL THEM . $
THIS MAN WILL BE RETURNED TO MEDICAL CARE , - $
04 NO ! $
01 - AND YOU MAY BE SURE THAT , HOWEVER LONG IT TAKES , HOWE
VER INTENSE THE TREATMENT , IN THE END HE WILL WALK AMONG US
 AGAIN , A FREE AND OBEDIENT MEMBER OF THE COMMUNITY . $
< ( WALKING AWAY ) > $
MR. BATCH , - $
04 < ( INTERRUPTS . $
BIG VOICE ) > $
KILL THE GOD ! $
< ( HE CLICKS HIS FINGERS IN THE MANNER OF THE LECTURER . $
TONY TIGHTENS HIS GRIP AUTOMATICALLY . $
LECTURER IS CAUGHT BY SURPRISE , AND IS TOO LATE IN SAYING -
 ) > $
01 RELEASE HIM ! $
< ( TONY RELEASES ARTHUR , WHO DROPS TO THE GROUND , DEAD .
$
ASSISTANT KNEELS TO EXAMINE HIM , BUT THE LECTURER CROSSES Q
UICKLY , WAVES THE ASSISTANT AWAY , THEN KNEELS TO EXAMINE T
HE BODY HIMSELF ) > $
REMOVE THE PRISONERS . $
< ( ASSISTANT TOUCHES TONY , AND MOTIONS HIM OFFSTAGE . $
HE GOES . $
ASSISTANTS GO TO THE OTHER PRISONERS , TOUCHING EACH , AND I
NDICATING THE WAY OFFSTAGE . $
BANNER AND MURIEL ARE LAST ON OPPOSITE SIDES . $
WHEN BANNER IS TOUCHED - ) > $
09 WE HAVE COME TO LAND , MURIEL . $
08 I WONDER HOW WE SHALL GO ON THERE , THEN . $
< ( LECTURER STANDS TO ADDRESS THE AUDIENCE ) > $
01 THIS PRISONER IS DEAD . $
08 I WONDER HOW WE SHALL GO ON THERE , THEN . $
01 I HAVE TOLD YOU THIS WAS NOT PART OF THE INTENTION OF THE
 LECTURE . $
CONSEQUENTLY , IT IS CLEAR THAT THE MAN HIMSELF CHOSE - $
< ( REALISES WHAT HE IS SAYING . $
BUT THIS IS IMPOSSIBLE . $
A MEMBER OF THE COMMUNITY DOESN'T CHOOSE HIS OWN DEATH . $
PARALLEL IS WITH JUDGE BRACK IN HEDDA GABLER : ' PEOPLE DON'
T DO SUCH THINGS . ' $
#94 $
HE FINISHES LAMELY . ) > $
- THAT THE MAN CHOSE HIS OWN DEATH . $
< ( CROSSES TO THE LECTERN TO GATHER UP HIS NOTES ) > $
THERE WILL BE NO QUESTIONS . $
08 < ( HEARD FROM OFFSTAGE ) > $
I WONDER HOW WE SHALL GO ON THERE , THEN . $
01 < ( AS HE GOES ) > $
YOU WILL NOT DISCUSS WHAT HAS HAPPENED . $
< ( THE BODY OF ARTHUR IS LEFT , SPOTLIT , WHERE IT HAS FALL
EN ) > $
08 < ( HEARD ) > $
I WONDER HOW WE SHALL GO ON THERE , THEN . $
< LIGHTS FADE > $
< CURTAIN > $