
<< *181 VIVIENNE C. WELBURN : 'JOHNNY SO LONG' . LONDON , CA
LDER & BOYARS , 1967 , 135 P. FIRST PERF : 130765 . CHARACTE
RS : 01 TOBY , 02 RUSK , 03 LOLA , 04 JUDY , 05 STONE , 06 D
ARK . >> $
#11 $
< ACT ONE > $
< SCENE ONE > $
< A PATCH OF RUBBLE WASTE GROUND WITH THE SKELETON OF A HOUS
E . $
THERE ARE ODD MOUNDS FOR SITTING ON AND ODD PIECES OF LOST P
ROPERTY , AN AXE , A BROKEN TEAPOT ,  A NYLON , A FAN . $
THE FAIR IS OFF RIGHT , THE LIGHTS CAN BE SEEN TWINKLING AND
 THE MUSIC CRESCENDOES AT NOTED POINTS . $
TOBY ENTERS DRESSED IN JEANS AND SWEATER . $
HE IS SHORT AND DYNAMIC WITH A MOBILE FACE AND A CURIOUS DEE
P VOICE . $
HE STOPS STAGE CENTRE AND STARES OFF TOWARDS THE FAIR , DOES
 A FEW STEPS TO THE MUSIC THEN POSES WITH ONE FOOT ON THE MO
UND . > $
01 HELLO FOLKS - COME ALONG IN - SEE THE TREASURES OF THE EA
ST - ONCE IN A LIFETIME BEFORE YOUR VERY EYES - SEE THE FREA
KS OF NATURE , TRAINED FLEAS , BEARDED LADIES , DWARFS ; THE
 LOT ! $
LET ME BE YOUR GUIDE . $
< ( MUSIC CRESCENDOES ) > $
ENJOY YOURSELVES , SPEND FREELY , LET YOUR HAIR DOWN - OR AN
YTHING ELSE COME TO THAT . $
COME IN , COME IN . $
DON'T BE AFRAID LADY - IT 'S ALL FOR YOUR BENEFIT - AND MONE
Y OF COURSE . $
02 < ( LEAPS ONTO THE STAGE ) > $
BAH ! $
01 < ( IN SURPRISE ) > $
AH ! $
02 YOU 'RE EARLY . $
01 YOU 'RE LATE . $
02 IT 'S EIGHT . $
01 EIGHT THIRTY . $
02 EIGHT . $
01 THIRTY . $
02 EIGHT , EIGHT , EIGHT . $
01 YOU 'RE STILL ON SUMMERTIME . $
02 WHO CARES . $
01 FARMERS , THEIR WIVES AND COWS . $
02 WHERE 'S STONE ? $
#12 $
01 NOT HERE . $
02 I CAN SEE THAT . $
01 DON'T FIDGET LAD . $
ALL IS WELL . $
02 WHO SAID IT WASN'T . $
01 DON'T JUMP . $
02 YOU BUG ME . $
01 AH BUG , BUG , LITTLE BLUE BUG - LIKE MAN IS A DIG BUG BU
GGING AT BEDLIFE , LIKE YOU JITTERBUG ... $
02 AH SHUT UP FOOL . $
< ( CALLS ) > $
STONE . $
01 < ( SITTING MOCK PATHETICALLY ON TOP OF A MOUND ) > $
NO-ONE LOVES TOBY , POOR TOBY JUG . $
< ( PAUSE ) > $
02 YOU COMING ? $
01 < ( NODS HIS HEAD ) > $
THERE ? $
02 YEAH . $
01 MAYBE YES , MAYBE NO . $
02 WHAT 'S THAT MEANT TO MEAN ? $
01 I FOLLOW THE CROWD . $
02 THE CROWD 'S GOING . $
01 WE 'LL SEE . $
02 BOY DO I LOVE FAIRS . $
ALL THOSE LIGHTS AND WHIRLS . $
BIG DIP , COCONUTS , WALTZERS , GUN RANGE , CANDY FLOSS , BR
ASSY BROADS . $
01 BINGO ! $
< ( PAUSE . $
BOTH SIT , TOBY WITH HANDS DANGLING IN GESTURE OF A CLOWN .
$
RUSK NERVOUSLY TWITCHING . $
LOLA AND JUDY ENTER . ) > $
03 < ( POINTS AT THEM ) > $
GET THEM ! $
04 WHAT 'S WRONG ? $
#13 $
02 NOTHING . $
04 HELLO TOBY . $
< ( SHE SITS BESIDE HIM ) > $
02 < ( TO LOLA ) > $
DO YOU HAVE TO ? $
03 WHAT ? $
02 DRESS . $
03 DRESS ! $
02 LIKE THAT . $
03 WHAT 'S WRONG ? $
02 ALL TARTED UP . $
03 I LIKE IT . $
04 SHE LOOKS ALRIGHT . $
02 I KNOW YOU 'D THINK SO ! $
01 HE 'S NERVOUS . $
< ( TOBY STATES THE OBVIOUS WITH RESIGNATION . $
WHILST BEING USED BY THE OTHER CHARACTERS HE IS IN A VERY RE
AL SENSE ABOVE THEM ALL . ) > $
02 WHERE 'S STONE GOT TO ? $
< ( CALLS ) > $
STONE . $
03 ALL NERVOUS ABOUT STONE . $
WHO IS STONE ANYWAY ? $
WHAT 'S SO JET PROPELLED ABOUT HIM ? $
02 YOU 'RE DIM . $
04 DIM ENOUGH TO COOK FOR YOU . $
02 < ( TURNS TO HER ) > $
YOU SAY SOMETHING ? $
01 SURE SHE DID . $
02 AH SHUT UP . $
03 LET 'S MOVE . $
04 WE MUST WAIT . $
03 WHAT FOR ? $
#14 $
04 FOR HIM . $
03 AH HIM . $
02 YOU GO ON . $
04 NO , WE 'LL WAIT . $
01 WE 'VE GOT TIME . $
< ( THEY ALL SIT AND WAIT ) > $
01 ONCE UPON A TIME THERE WAS A DOG . $
NOT A VERY BIG DOG , IN FACT WHAT ONE MIGHT WELL CALL A SMAL
L DOG . $
THIS DOG WAS CALLED TOWSER , HE DIDN'T LIKE THE NAME BUT WHA
T CAN A POOR DOG DO ? $
HIS MASTER WOULD CALL HIM ' TOW OLD CHAP ' AND HIS MISTRESS
WOULD CALL HIM ' TOWSER-WOWSER SWEETIE ' . $
ONE DAY TOWSER DECIDED TO LEAVE , TO LEAVE HIS MASTER AND HI
S MISTRESS AND HIS KENNEL AND HIS RUBBER BONE TO GO OUT INTO
 THE BIG CITY . $
POOR TOWSER , HE WASN'T A BIG DOG , ONLY AN IGNORANT SCRUFFY
 DOG . $
HE DIDN'T KNOW ABOUT CITIES OR MOTOR CARS OR BRIGHT LIGHTS O
R WHAT HAPPENS TO IGNORANT SCRUFFY DOGS WITHOUT COLLARS IN B
IG BLEEPY CITIES . $
03 WHAT 'S BLEEPY ? $
01 A WORD . $
03 WHAT HAPPENED TO TOWSER ? $
02 HELL . $
WHERE 'S STONE ? $
< ( HE GETS UP . $
JUDY FOLLOWS HIM . ) > $
01 HE GOT RUN OVER . $
04 CALM DOWN . $
02 GO AWAY . $
04 WE CAN GO SOME OTHER TIME . $
02 SURE , SURE . $
04 HE DOESN'T CARE . $
03 WHAT A SILLY STORY . $
01 WHAT A SILLY LITTLE DOG . $
03 I 'D HAVE STAYED PUT . $
#15 $
01 I KNOW LOLA . $
02 LEAVE ME ALONE . $
04 YOU 'LL ONLY CRY . $
< ( HE HITS HER ) > $
OUCH ! $
< ( SHE STAGGERS OVER TO TOBY AND LOLA ) > $
01 < ( PASSIVELY ) > $
HE HIT YOU . $
03 I 'D LEAVE IF I WERE YOU . $
01 I THOUGHT YOU 'D STAY . $
03 STOP FOOLING , SHE 'S HURT . $
< ( RUSK COMES DOWN ) > $
03 SAY SORRY . $
02 WHAT FOR ? $
03 WHAT FOR ! $
02 YEAH , WHAT FOR ? $
03 FOR HITTING JUDY . $
02 SHE LOVES IT . $
01 ARE WE GOING ? $
02 WHERE ? $
01 TO THE FAIR . $
03 FAIR , FAIR , FAIR . $
< ( THE STAGE DARKENS AS THEY ALL TURN AND LOOK TOWARDS THE
FAIR ) > $
04 IS JOHNNY STILL THERE ? $
03 WHO 'S JOHNNY ? $
01 A MAN . $
02 GENIUS . $
04 AN ANGEL . $
01 A COWARD . $
02 GREAT POWER . $
#16 $
04 GREAT LAUGHTER . $
02 GREAT BEAUTY . $
04 GREAT PAIN . $
01 A BUM , A HICK , A NO-GOOD ROVING LUNATIC WITH AN EYE FOR
 A WOMAN , AN EAR FOR A TRUMPET , A FINGER ON THE KNIFE-WOUN
D UP AND AWAY . $
< ( THE STAGE SLOWLY BRIGHTENS ) > $
03 SOUNDS DAFT TO ME . $
02 JOHNNY WAS SUPERIOR . $
04 I THOUGHT THAT WAS STONE . $
02 STONE 'S DIFFERENT . $
03 DON'T WE KNOW IT ! $
04 IT 'S COLD , LET 'S GO HOME . $
01 I 'LL TAKE YOU . $
< ( JUDY LOOKS AT RUSK ) > $
04 RUSK - ? $
02 TOBY 'LL TAKE YOU . $
04 ALL RIGHT , LET 'S GO . $
< ( THEY TURN TO GO ) > $
01 YOU COMING LOLA ? $
03 MIGHT AS WELL . $
GOD , WHAT A WASTE OF TIME ! $
04 GOODNIGHT RUSK . $
02 'NIGHT . $
03 HE STAYING ? $
01 HE 'S WAITING . $
03 HE 'S CRACKED . $
#17 $
< ( THEY ALL GO OFF . $
RUSK WANDERS ROUND THE STAGE KICKING ODD PIECES OF RUBBLE .
$
HE TURNS AND LOOKS AT THE FAIR - THE LIGHTS AGAIN FADE SLOWL
Y . $
STONE ENTERS SILENTLY UP LEFT . ) > $
05 SO YOU WAITED . $
< ( RUSK JUMPS ) > $
02 STONE ! $
05 YOU WAITED . $
02 SURE I WAITED . $
05 AND THE OTHERS ? $
02 THEY LEFT . $
05 BUT YOU WAITED . $
02 SURE , I SAID SO DIDN'T I ! $
05 SURE YOU SAID SO . $
02 WHERE YOU BEEN ? $
05 OUT . $
02 OUT WHERE ? $
05 BEEN TO TOWN . $
02 WHAT TO DO ? $
05 NOTHING SPECIAL . $
02 NOTHING ? $
05 STOP FIDGETING MAN , COOL DOWN . $
02 WE WERE MEANT TO GO TO THE FAIR . $
05 IT 'LL WAIT . $
02 WHAT YOU BEEN UP TO ? $
05 I GOT A JOB . $
02 A JOB ! $
#18 $
05 SURE , A JOB . $
02 WHAT DOING ? $
05 WHAT 'S THAT TO YOU ? $
02 I 'D LIKE TO KNOW . $
05 TOUGH . $
02 TOUGH ? $
05 SURE , TOUGH . $
02 QUIT TEASING . $
05 QUIT JUMPING . $
02 I DON'T JUMP . $
05 LIKE A FLEA - HOP , HOP , HOP - CATCH THE MOON RUSK BOY -
 HOP TO THE MOON BROTHER . $
02 WHAT 'S YOUR JOB ? $
< ( THE FAIR MUSIC CRESCENDOES - STONE TURNS TO LISTENS TO I
T . ) > $
05 COMING TO THE FAIR ? $
02 CAN'T . $
05 WHY NOT ? $
02 THE OTHERS - $
05 I SEE , ' THE OTHERS ' . $
02 GO TOMORROW . $
05 I 'M GOING NOW . $
< ( HE TURNS AND STRIDES TO THE FAR CORNER OF THE STAGE - TH
EN STOPS . $
RUSK RISES AS IF TO FOLLOW , THEN HOVERS , UNCERTAINLY . ) >
 $
02 GO TOMORROW . $
05 THEY 'RE CLOSING DOWN . $
02 WE 'LL GO TOMORROW - $
05 SURE . $
#19 $
< ( HE CROSSES BACK ON TO THE STAGE . ) > $
05 WHERE 'S JUDY ? $
02 SHE WENT HOME . $
05 NICE KID . $
02 O.K. $
< ( THE FAIRGROUND MUSIC STOPS ABRUPTLY AND THERE IS SILENCE
 . $
STONE SITS DOWN AND GAZES AT THE BACK OF THE AUDITORIUM . )
> $
02 WHAT 'S YOUR JOB ? $
05 NOTHING SPECIAL . $
02 WHAT IS IT ? $
05 QUIT IT RUSK . $
02 I - $
05 GET OFF MY SHADOW , QUIT STALKING ME . $
SITTING THERE WITH BIG EYES , SCARED I 'LL RUN . $
I WALK ALONG RUSK , I WALK ALONG . $
02 BIG CAT . $
05 TIGER CAT . $
02 YOU THINKING ? $
05 THINKING WHAT ? $
02 THINKING OF GOING ? $
05 GOING ? $
WHERE ? $
02 WANDERING ? $
05 SURE LIKE JOHNNY . $
02 HE QUIT . $
05 GO HOME RUSK . $
02 RUSK GO HOME . $
05 I 'M MOVING . $
< ( HE RISES ) > $
TELL THE OTHERS SORRY - I 'LL COME TOMORROW . $
#20 $
< ( HE GOES OUT WHISTLING THE FAIRGROUND TUNE . $
RUSK LIES DOWN AND GAZES AT THE SKY . ) > $
02 BIG CAT , LEAN CAT , TIGER WALKS ALONE IN THE NIGHT - I D
ON'T TREAD YOUR SHADOW STONE , IT 'S TOO CRAZY BEAUTIFUL . $
< BLACKOUT > $
< SCENE TWO > $
< THE SAME THE NEXT DAY . $
TOBY AND JUDY SIT TOGETHER . $
IT IS DAYTIME AND THE STAGE IS FULL OF LIGHT . > $
04 HOW OLD ARE YOU TOBY ? $
01 OF AGE . $
04 I 'M NINETEEN . $
01 YOU COULD BE FORTY . $
04 THAT 'S OLD . $
01 GNARLED . $
04 WITHERED . $
01 PAST IT . $
04 UGH ! $
01 ONE DAY . $
04 WE WILL BE OLD . $
01 GONE WILL BE THE ANGUISH AND THE STRIVING , THE DREAMING
AND THE BUILDING THAT WERE NEVER OURS . $
04 WILL WE LOVE ? $
01 WE WILL SAG . $
AN OLD HORSEHAIR SOFA IN A DUSTY ROOM WITH A COBWEB HANGING
WHERE THE FIRE USED TO BE . $
04 AND A BED . $
#21 $
01 WITH A PATCHWORK QUILT . $
04 MADE FROM DRESSES . $
01 TABLE CLOTHS . $
04 UNDERWEAR . $
01 CUSHION COVERS . $
04 TEA TOWELS , TRAY CLOTHS . $
01 CURTAINS , NET . $
04 REMNANTS . $
01 COTTON . $
04 RAYON . $
01 NYLON . $
04 ALL WORKED TOGETHER WITH FINE OLD THREAD . $
01 COBWEB . $
04 BLANKET STITCH . $
01 CROCHET . $
04 WELL WORN . $
01 DAMP . $
04 WOOD WORM . $
01 DRY ROT . $
04 RUST . $
01 RAGS AND OLD IRON ! $
< ( THERE IS A PAUSE . $
TOBY LEAPS ROUND THE STAGE TRYING TO SWOT AN IMAGINARY FLY .
 $
JUDY STARES SADLY UP AT THE LIGHTS SHIELDING HER EYES ) > $
04 ONE DAY WE WILL WAKE UP AND THERE WILL BE NO SUN . $
IT WILL BE 11 O'CLOCK ON A SUNDAY MORNING AND WE WILL THINK
THE CLOCK HAS STOPPED . $
01 WE WILL RISE AND LOOK OUT OF THE WINDOW . $
#22 $
04 BUT ALL WILL BE BLACKNESS , BURNED OUT . $
01 WE WILL GO BACK TO BED . $
04 THERE WILL BE NOTHING ELSE TO DO . $
01 ARE YOU WAITING FOR RUSK ? $
04 I SUPPOSE IT BECOMES A HABIT  . $
01 IT BECOMES A CULT . $
04 WE 'RE JUST KILLING TIME . $
01 THAT MEANS NOTHING . $
04 WHAT MEANS NOTHING ? $
01 KILLING TIME . $
04 IT 'S A PHRASE . $
01 PATCHWORK PIECE . $
04 WHEN I WAS FIVE MY UNCLE HENRY GAVE ME A LITTLE PLASTIC W
ATCH . $
IT DIDN'T GO BUT I WORE IT AND PRETENDED IT WAS A REAL ONE .
 $
THEN ONE DAY I LEFT IT IN THE SCHOOL WASHROOM AND IT WAS STO
LEN . $
I CRIED ALL NIGHT . $
I THOUGHT I 'D NEVER KNOW WHAT TIME TO GET UP OR WHAT TIME T
O GO TO BED ANYMORE . $
01 WE ALL GROW UP . $
< ( HE STANDS UP AND DOES A SOMERSAULT . $
HE LANDS WITH HIS BACK TO THE AUDIENCE . ) > $
01 WHEN I WAS A CHILD , I THOUGHT AS A CHILD $
< ( HE STANDS ) > $
BUT NOW THAT I AM BECOME A MAN $
< ( HE TURNS ) > $
I NO LONGER THINK . $
04 YOU 'RE NOT SERIOUS , YOU 'RE NEVER SERIOUS , YOU JUST FO
OL ROUND ALL THE TIME ! $
< ( SHE PACES BACKWARDS AND FORWARDS ) > $
WHY DON'T YOU DO SOMETHING USEFUL ? $
< ( TOBY COCKS HIS HEAD ON ONE SIDE AND STARES SADLY OUT AT
THE AUDIENCE ) > $
YOU 'RE NEVER SERIOUS TOBY . $
WHY CAN'T YOU BE SERIOUS ? $
#23 $
< ( TOBY SPRINGS TO HIS FEET ) > $
01 RIGHT . $
LADIES AND GENTLEMEN , YOU SEE HERE BEFORE YOUR VERY EYES A
MAN ABOUT TO BE SERIOUS . $
< ( HE MAKES VARIOUS PROFOUND AND ACADEMIC POSTURES ) > $
YOU NAME IT , I 'LL WITHER IT . $
04 NAME WHAT ? $
01 THE SUBJECT . $
04 WHAT SUBJECT ? $
01 TEAPOTS , TRIANGLES , BUTTERFLIES , DOOR-KNOBS ; BOMBS ,
SOCIETY , BEAUTY , ART ? $
RELATIONSHIPS , PLAYWRIGHTS , PLAYWRIGHT'S RELATIONSHIPS ; S
ONNNETS ... $
04 STOP IT ! $
01 SILENCE , FEAR , NECTAR , VIRILITY . $
ISOLATION IN SMALL CAGES WITH HIGH WINDOWS ; THE MOON ; THER
MO-NUCLEAR PHYSICS , CARS , LADYBIRDS . $
TELL ME YOUNG MAN HAVE YOU EVER EXAMINED A LADYBIRD ? $
ONLY BECAUSE I WAS ENVIRONMENTALLY UNSUITED SIR . $
AND FOR MY NEXT STATEMENT ....... $
04 SIT DOWN TOBY . $
01 SIT DOWN TOBY , $
< ( HE SITS ) > $
THERE 'S A GOOD DOG . $
04 HAVE YOU EVER BEEN IN LOVE ? $
01 IS IT FOR THIS THAT I HAVE SAT ME DOWN ? $
04 HAVE YOU ? $
01 HAVE I ? $
04 HAVE YOU EVER BEEN IN LOVE ? $
01 LET ME THINK . $
< ( HE SITS IN STUDIED THOUGHT , THEN LOOKS UP SUDDENLY ) >
$
I LOVED MY MOTHER . $
04 THAT DOESN'T COUNT . $
01 HAVE IT YOUR OWN WAY . $
04 I MEAN REALLY IN LOVE . $
01 I DON'T REMEMBER . $
#24 $
04 YOU WOULD IF YOU HAD BEEN . $
01 IT BLURS ; THE SMELL OF SMOKE IN A DARK ROOM WHERE THE CI
GARETTE BURNED OUT WHILE YOU WERE MAKING LOVE . $
A CREAKING FLOORBOARD AND THE LANDLADY'S SNORES . $
SUN , DUST , A SLEEPING FACE ; THE NAUSEA OF SURFEIT AND THE
 FEAR OF SUFFOCATION . $
BLURRED AND GREY , OR WAS IT BLUE . $
04 HE CUT MY LIP . $
01 WHERE ? $
< ( SHE SHOWS HIM ) > $
WHEN HE HIT YOU ? $
< ( SHE NODS ) > $
04 HE 'S SO ANGRY . $
01 HE 'S NERVOUS . $
04 IT 'S STONE . $
01 YOU JEALOUS ? $
04 SHOULD I ? $
01 NOT REALLY . $
04 HE 'S NOT . $
01 NOT WHAT ? $
04 NOT - THAT . $
01 THAT ? $
04 ONE OF THEM . $
01 THEM ? $
04 THEM , THEM , THEM . $
HE LOVES ME . $
01 SURE . $
04 HE SAID SO . $
01 SURE . $
04 YOU DON'T BELIEVE ... $
#25 $
01 I DON'T KNOW . $
04 BEFORE IT WAS BEAUTIFUL . $
01 BEFORE WHAT ? $
04 BEFORE STONE CAME . $
01 STONE CAME WITH JOHNNY . $
04 I WISH HE 'D LEFT ... $
01 HE 'LL GO . $
04 WHEN ? $
01 SOON . $
04 LIKE JOHNNY , BUT ... $
01 BUT ... ? $
04 JOHNNY 'LL BE BACK . $
01 YOU WANT THAT ? $
04 JOHNNY WAS FINE . $
YOU COULD RELY ON JOHNNY . $
01 HE LEFT . $
04 HE 'LL BE BACK . $
01 AND STONE ? $
04 < ( SIGHS ) > $
STONE 'S ALRIGHT , HE 'S NOTHING SPECIAL , JUST A BLOKE WHO
JOINED UP WITH JOHNNY AND GOT LEFT BEHIND . $
WHEN JOHNNY COMES BACK IT 'LL ALL BE FINE AGAIN , LIKE IT WA
S BEFORE . $
01 MAYBE . $
04 I FEEL DEPRESSED . $
01 YOU 'RE BORED . $
04 WHERE 'RE THE OTHERS ? $
01 HE 'S PROBABLY IN BED . $
< ( SILENCE . $
JUDY STARES SADLY DOWN INTO THE FOOTLIGHTS . $
TOBY WHISTLES AN IMPROVISED TUNE , SLIGHTLY OFF KEY . $
LOLA WALKS ON CARRYING AN ENORMOUS HANDBAG . ) > $
#26 $
03 WHAT A DIN ! $
< ( TOBY CONTINUES . $
JUDY DOESN'T MOVE ) > $
SHUT UP YOU . $
< ( TOBY GIVES TWO MORE NOTES THEN STOPS ABRUPTLY . $
HE DOESN'T TURN TO LOOK AT HER . ) > $
WHAT 'S UP ? $
04 NOTHING . $
03 COME OFF IT ! $
04 I SAID NOTHING DIDN'T I ? $
03 YOU BEEN QUARRELLING ? $
04 NO ! $
01 NEVER ! $
04 QUARRELLING ! $
01 COULD WE ... $
04 WOULD WE ... $
01 NO . $
04 NO , NO . $
01 NEVER , NEVER , NEVER . $
03 I ONLY ASKED . $
04 SHOULDN'T YOU BE AT WORK ? $
03 YES . $
04 WHAT HAPPENED ? $
03 I 'M SICK . $
01 SHE 'S SICK . $
04 SHOULD BE IN BED . $
01 DOCTOR . $
04 BANDAGES , CHLOROFORM , THERMOMETERS . $
#27 $
01 URINE , VOMIT , SWEAT . $
04 SNEEZY , PAINFUL . $
01 SLEEPY , DROOPY , DISINTEGRATING . $
03 STOP . $
I 'M NOT . $
01 NOT ? $
03 NOT SICK . $
04 YOU SAID YOU WERE . $
03 THAT 'S AN EXCUSE . $
01 WHAT FOR ? $
03 GETTING OFF WORK , STUPID . $
01 AN EXCUSE FOR GETTING OFF WORK - HOW WRONG ! $
HOW DECEITFUL , NO SENSE OF RESPONSIBILITY . $
THE TROUBLE WITH MODERN YOUTH IS THAT THEY LACK A SENSE OF P
URPOSE AND RESPONSIBILITY . $
THEY JUST DON'T CARE . $
03 WELL I DON'T CARE . $
01 SO I SEE . $
03 YOU TRY CARING FOR A TYPEWRITER - CLICKETY CLACK , TAP ,
TAP , TAP . $
YES SIR , NOW SIR ? $
IN TRIPLICATE 3 X 1 TAP , TAP , WATCHING THE CLOCK - TICK ,
TOCK SLOWLY . $
YOU 'VE NEVER DONE IT , YOU 'VE NEVER HAD A JOB , YOU DO JUS
T NOTHING ALL DAY ! $
01 I THINK YOU MAY BE RIGHT . $
04 SHE IS RIGHT . $
01 BUT WHAT IS NOTHING ? $
I BREATHE , I WALK , I TALK , I SMILE , I THINK . $
04 THAT 'S NO USE . $
03 HOW DO YOU EAT ? $
01 THE GOOD LORD FEEDS US ALL ! $
03 IF IT WEREN'T FOR ME AND JUDY , YOU MEN 'D STARVE . $
04 STONE 'S GOT A JOB . $
#28 $
03 NOT BEFORE TIME ! $
YOU SICK TOO ? $
04 IT 'S MY HALF DAY . $
< ( THEY ALL SIT IN SILENCE . $
LOLA SWINGS HER BAG IMPATIENTLY ) > $
03 WHAT 'S STONE'S JOB ? $
04 DUNNO . $
< ( THEY CONTINUE IN SILENCE ) > $
03 I 'M GOING INTO TOWN . $
04 OH . $
03 YOU COMING ? $
04 NO . $
03 OH . $
01 I 'LL COME WITH YOU . $
03 WILL YOU ? $
01 NEED SOME RAZOR-BLADES . $
03 I 'LL GET THEM . $
01 I NEED THE WALK . $
03 O.K. $
< ( THEY TURN TO GO ) > $
01 DON'T DEPEND JUDY . $
< ( THEY EXIT . $
JUDY LIES ON HER BACK AND PICKS UP THE FAN . $
SHE WAVES IT IN THE AIR MAKING CURIOUS PATTERNS . $
STONE ENTERS AND COMES AND STANDS OVER HER . ) > $
04 GO AWAY . $
05 DON'T BE AGGRESSIVE , YOU 'RE IN A VULNERABLE POSITION .
$
04 SHOO . $
< ( SHE SITS UP AND LOOKS AT HIM ) > $
I DON'T FANCY YOU . $
#29 $
05 PITY . $
< ( HE PULLS HER TO HER FEET ) > $
AND HOW 'S JUDY ? $
04 TIRED . $
< ( SHE WALKS AWAY FROM HIM . $
HE SHRUGS AND SITS DOWN . ) > $
04 WHERE 'S RUSK ? $
05 DON'T ASK ME . $
04 WHAT 'VE YOU BEEN SAYING TO RUSK ? $
05 SAYING ? $
04 ABOUT ME . $
05 NOTHING . $
04 YOU HAVE , YOU MUST HAVE . $
HE HARDLY SPEAKS TO ME NOW . $
05 ALL GOOD THINGS COME TO AN END . $
04 I 'LL GET MY OWN BACK . $
05 < ( SIGHS ) > $
JUDY COME HERE . $
< ( SHE HESITATES BUT COMES ; HE PUTS AN ARM ROUND HER . ) >
 $
YOU BLUE ? $
< ( SHE NODS ) > $
I 'VE KNOWN YOU SOME TIME NOW JUDY . $
< ( SHE NODS ) > $
I WOULDN'T BREAK THINGS UP . $
NOW DON'T YOU GET BLUE-CHILDISH . $
YOU NESTLE SOFT . $
RUSK IS YOUNG WITH AN URGE TO TRY ALL THINGS , TOO YOUNG FOR
 YOU . $
NESTLE SOFT . $
INSIDE HERE WE FEEL SMALL AND SAFE BUT THERE ARE THINGS OUT
IN THE BIGGER SPACES . $
JOHNNY USED TO TALK ABOUT THEM . $
THERE ARE OTHER BIG THINGS TO FEEL - RUSK WANTS THOSE BIG TH
INGS . $
YOU SEEM SMALL AND SOFT , HE LIKES THE HARD ENORMOUS KICKS .
 $
04 WHAT DO I DO ? $
#30 $
05 LEAVE ALONE . $
04 I LOVE . $
05 THAT 'S YOUNG TALK . $
< ( SHE SITS UP AND LOOKS AT HIM ) > $
04 I DON'T BELIEVE YOU ! $
IT 'S YOU - I DON'T TRUST YOU . $
05 IT 'S THE WEATHER . $
LONG HEAVY DAYS FULL OF MOIST SURPRISE . $
BULGING SKIES . $
NOT WOMAN'S WEATHER - TOO SWEALTERY FOR NORMAL PASTIMES . $
THE WEATHER FOR HEAT AND NAKED LYING ALONE . $
WEATHER FOR BIG FEELING , I ALMOST UNDERSTAND RUSK , THE URG
E TO BE CONTROLLED , THE URGE TO TASTE OF PERVERSITY IN RICH
 , DEEP EVENINGS . $
ALMOST EXOTIC . $
04 UGH ! $
05 IN SUCH DAYS I WANT TO BE A SNAKE , LONG , BLACK AND MYST
ERIOUS , BURROWING THROUGH THE EARTH-HOLES , HIDING , VENOMO
US AND VIRILE ; ALIVE AND LONG AND SLENDER . $
DO YOU THINK I 'D MAKE A POET JUDY ? $
04 NEVER . $
05 FEEL THE EARTH . $
< ( SHE LIES NEXT TO HIM ) > $
FEEL IT REVOLVE . $
04 SPINNING . $
05 FEEL THE HEAT . $
04 PRESSING DOWN . $
05 THE WEIGHT , THE SINKING . $
FEEL THE POWER OF THE CREATURE INSIDE THE EARTH . $
04 TASTING . $
05 ALIVE . $
< ( HE RAISES HIMSELF ON ONE ELBOW AND LEANS OVER . ) > $
JUDY . $
04 YES ? $
#31 $
05 HAVE YOU EVER HAD A MAN ? $
04 GO AWAY . $
05 HAVE YOU ? $
04 LEAVE ME ALONE . $
05 YES OR NO ? $
04 YES , YES , YES - OR NO ? $
< ( HE BENDS AND KISSES HER , SOFTLY , SENSUOUSLY . $
SHE REACTS . ) > $
05 RELAX . $
04 LEAVE ME BE . $
< ( HE CONTINUES TO KISS HER FACE , THROAT AND ARMS , SLOWLY
 , EACH MOTION IS SLOW AND HEAVY . $
SHE SUDDENLY STARTS UP . ) > $
04 LEAVE ME . $
I DON'T WANT IT . $
I DON'T WANT YOU . $
I LOVE RUSK , YOU HEAR - OH , YOU 'RE CLEVER AREN'T YOU , RE
ALLY CLEVER . $
ALL THAT TALK - IT 'S JUST SOUNDS . $
I 'M GOING . $
< ( STONE STANDS QUIETLY WATCHING HER . $
SHE STARES AT HIM HYPNOTISED . $
THEY BEGIN TO MOVE SLOWLY TOWARDS EACH OTHER AS THE FAIRGROU
ND MUSIC BEGINS AGAIN . $
RUSK APPEARS RUNNING , HE STOPS . ) > $
02 HI STONE . $
< ( STONE SLAPS HIS THIGH WITH HIS HAND AND TURNS TO THE AUD
IENCE - HIS FACE IS IMPASSIVE . ) > $
04 < ( RUNS TO HIM ) > $
HELLO RUSK . $
< ( RUSK MOVES TOWARDS STONE , AVOIDING HER . ) > $
04 YOU NOT AT WORK YET ? $
05 I DON'T BEGIN THIS WEEK . $
04 I 'M HUNGRY . $
04 SO AM I . $
05 YOU TWO GO AND EAT THEN . $
< ( HE SMILES BLANDLY ) > $
#32 $
04 RUSK ? $
02 ALRIGHT . $
YOU COOKING ? $
04 I SUPPOSE SO . $
02 SEE YOU THIS EVENING ? $
05 MAYBE . $
< ( THEY GO OUT . $
STONE PICKS UP THE FAN AND FINGERS IT SENSUOUSLY . $
THE FAIRGROUND MUSIC CONTINUES TO PLAY . $
DARK ENTERS . $
SHE IS DRESSED IN BLACK WITH LONG DARK HAIR FALLING TO HER W
AIST . $
SHE WEARS A WHITE SHAWL AND CARRIES A LARGE GREEN BAG . $
HER VOICE IS DEEP AND VIBRANT . ) > $
06 I 'M LOOKING FOR JOHNNY . $
< ( STONE STARTS ) > $
05 JOHNNY WHO ? $
< ( SHE LAUGHS , RICH AND HEAVY ) > $
06 THERE ONLY IS ONE JOHNNY . $
05 HE PASSED ON . $
06 WHERE ? $
05 THE FAIR . $
< ( HE POINTS ) > $
< ( SHE COCKS HER HEAD ON ONE SIDE , LISTENING TO THE MUSIC
. ) > $
06 OF COURSE . $
< ( SHE MOVES TOWARDS THE FAIR . ) > $
05 DON'T GO . $
< ( SHE TURNS ) > $
WHERE ARE YOU FROM ? $
WHO ARE YOU ? $
06 A STRANGER - NO ROOTS . $
I PASS THROUGH AND LEAVE , ETCHING THE EARTHEN TRAIL , WITHE
RING GRASS WITH ACID . $
05 SOUNDS EXOTIC . $
#33 $
06 IT 'S NOT NORMAL . $
05 JOHNNY SPOKE LIKE THAT . $
< ( TOBY ENTERS AND WATCHES ) > $
ARE YOU FOLLOWING HIM ? $
06 YOU ARE VERY DULL . $
< ( TOBY SPRINGS FORWARD AND BOWS . ) > $
01 WILL YOU BE SOJOURNING LONG DARK STRANGER ? $
06 < ( SMILES ) > $
HOW QUAINT . $
05 HE 'S A FOOL . $
01 YOU COMPLIMENT ME , SIR . $
< ( DARK MOVES OFF IN THE DIRECTION OF THE FAIR AND STONE FO
LLOWS HER ) > $
AND THUS - WE SPIN . $
< BLACKOUT > $
< ( SCENE THREE ) > $
< THE SAME EVENING . $
TOBY IS SITTING FINGERING THE TEAPOT . > $
01 THIS CHIP , A LOVER'S QUARREL ? $
A CHILD'S MISTAKE ? $
A DUSTMAN'S CARELESSNESS ? $
WAS THE DOER PUNISHED BY THE POSSESSOR OR DID NO-ONE CARE ?
$
DID YOU STAND WITH PRIDE , YOUR BELLY FULL OF TEA AND STRUT
AND POUR YOUR FIRM , FINE , BROWN WARMTH DOWN SOFT RED GULLE
TS ? $
YOU WERE MASS PRODUCED - YOU 'RE NOT UNIQUE - YOU CAME OFF A
CONVEYOR BELT . $
YOU WERE PACKED AND UNPACKED , BOUGHT AND SOLD . $
YOU SAW AND HEARD ALL AND CAN TELL NOTHING . $
YOU WERE USEFUL - AND NOW ? $
HOW DID YOU GET HERE ? $
< ( JUDY AND LOLA ENTER ) > $
#34 $
03 HE 'S AT IT AGAIN ! $
01 I AM CONVERSING WITH THE TEA POT . $
04 WHAT 'S IT TELL YOU ? $
01 WHAT IT 'S LIKE TO BE USED AND STAINED , CHIPPED AND THRO
WN AWAY . $
03 SOPPY ! $
04 WHERE 'RE THE OTHERS ? $
01 STONE HAS FOUND HIS DARK LADY . $
03 YOU WHAT ? $
01 HIS DARK LADY . $
EVERY MAN HAS ONE , IT 'S JUST A MATTER OF FINDING HER . $
04 WHO IS SHE ? $
01 WHO KNOWS ? $
< ( HE RETURNS TO THE TEAPOT ) > $
I WONDER WHAT HAPPENED TO YOUR LID . $
03 MERCIFUL HEAVENS ! $
< ( SHE SITS DOWN WITH A BUMP ) > $
04 WE 'LL NEVER GO . $
03 WHERE ? $
04 THE FAIR . $
03 WHAT 'RE WE SITTING HERE FOR THEN ? $
04 WE 'RE WAITING . $
03 WHAT FOR ? $
01 I RESIST THE TEMPTATION . $
03 IT 'S SOPPY . $
04 FUTILE . $
01 BORING . $
#35 $
03 LOOPY . $
04 PUERILE . $
01 IT 'S NO USE WITHOUT A LID . $
< ( DELIBERATELY BREAKING THE RHYTHM ) > $
03 GIVE OVER . $
01 YOU SHOULD WORRY - YOU 'RE NOT A TEA POT $
< ( SLOWLY , FADING AWAY AS HE LOOKS AT HER ) > $
- WITHOUT A - $
< ( DEEP SIGH ) > $
YES . $
03 YOU 'RE A NUT . $
04 SITTING TALKING TO TEA POTS ! $
< ( RUSK COMES IN ) > $
02 HI . $
04 HI . $
01 HI DIDDLE DIDDLE . $
02 YOU SEEN STONE ? $
03 OH NOT ALL OVER AGAIN . $
04 HE DISAPPEARED WITH A WOMAN . $
02 WHAT WOMAN ? $
04 TOBY SAW HER . $
02 TOBY . $
< ( HE IS ABSORBED ) > $
TOBY ! $
01 YES RUSK ? $
02 WHO WAS THE WOMAN ? $
01 A DARK LADY AS I REMEMBER . $
03 MAD . $
LET 'S GO . $
< ( NO-ONE MOVES . $
SHE STANDS ) > $
WELL , I 'M GOING . $
< ( SHE STRIDES OFF TOWARDS THE FAIR BUT STOPS AND TURNS ) >
 $
WELL ISN'T ANYONE ELSE COMING ? $
< ( THEY ALL SIT AND WATCH HER ) > $
#36 $
DON'T LOOK AT ME LIKE THAT ! $
STOP STARING WON'T YOU - I SAID STOP STARING ! $
OH DAMN ! $
< ( SHE COMES BACK AND SITS DOWN ) > $
WELL WHAT 'RE WE GOING TO DO NOW ? $
01 < ( BREAKING THE TENSION ) > $
ANYONE FOR TENNIS ? $
< ( HE JUMPS AND DOES AN ELEGANT SERVE . $
HE STANDS WITH HANDS ON KNEES WATCHING - JUMPS UP AND SPINS
) > $
AN ACE ! $
02 JACK ! $
< ( JUMPS UP ) > $
< ( DARK AND STONE ENTER ) > $
06 QUEEN . $
05 KING . $
03 WHAT ABOUT ME ? $
WHAT ABOUT ME ? $
< ( RUSK STANDS AND STARES AT STONE AND DARK . $
TOBY SITS ON THE GROUND AGAIN AND PICKS UP THE TEA POT . ) >
 $
01 < ( SINGS SOFTLY ) > $
MY WIFE AND I LIVED ALL ALONE WITH A LITTLE BROWN POT WE CAL
LED OUR OWN . $
06 GOOD EVENING FOOL . $
01 GOOD EVENING MILADY . $
WILL MILADY BE REQUIRING MY SERVICES THIS EVENING ? $
06 I FEAR NOT . $
I 'M GOING TO THE FAIR . $
05 NOT TONIGHT . $
06 I MUST . $
05 IT 'S TOO LATE . $
02 NO IT 'S NOT . $
04 YES IT IS . $
06 NO IT 'S NOT . $
01 < ( SINGS SOFTLY ) > $
ANYTHING YOU CAN DO I CAN DO BETTER . $
#37 $
03 I 'M FED UP . $
06 GO HOME THEN LITTLE GIRL . $
03 AND WHO THE HELL ARE YOU ? $
06 I 'M JOHNNY'S GIRL . $
04 02 JOHNNY ! $
03 GAWD ALMIGHTY - JOHNNY ! $
01 THEY SEEK HIM HERE , THEY SEEK HIM THERE , HIS WOMEN SEEK
 HIM EVERYWHERE . $
06 JOHNNY ONLY HAD ONE WOMAN . $
01 METAPHORICALLY SPEAKING . $
06 YOU ARGUING ? $
01 HYPOTHETICALLY . $
06 MAGNETICALLY . $
01 PATHETICALLY . $
06 AESTHETICALLY . $
01 SYNTHETICALLY ... ICALLY ... ICALLY ... ICALLY . $
ONCE UPON A TIME THERE WAS A FAMILY CALLED ICCLY , OF ITALIA
N ORIGIN . $
THERE WAS MR AND MRS ICCLY AND BABY CYNTHET , COMMONLY KNOWN
 AS CYN . $
CYN SEEMED AN ATTRACTIVE ENOUGH CHILD WITH A SHOCK OF BRILLI
ANT WAVES . $
EVERYONE ADORED HER AND COURTED HER FAVOURS . $
BUT ALL WHO TOUCHED HER WITHERED AND DIED . $
ONLY HER FATHER COM AND HER MOTHER MAJ HAD POWER OVER HER -
AND ONE AN OF THE ONOMOUS FAMILY WHO WOOED AND WON HER . $
THUS SHE BECAME CYN ON ... $
05 AH SHUT UP . $
06 YOU 'RE NOT APPRECIATED ARE YOU ? $
05 FORGET HIM , HE DOESN'T MATTER . $
06 AND YOU DO . $
05 THAT 'S RIGHT . $
04 RUSK . $
< ( SHE GOES OVER TO HIM . $
HE THROWS AN ARM ROUND HER . ) > $
#38 $
02 HELLO BABY . $
04 RUSK , LET 'S GO HOME . $
02 WE 'RE GOING TO THE FAIR . $
04 I WANT TO GO HOME . $
02 PATIENCE DARLING . $
< ( HE GLANCES AT STONE WHO IS TALKING SOFTLY TO DARK ) > $
SHE 'S QUITE A WOMAN . $
04 SHE 'S GETTING ON . $
01 PAST IT . $
02 PAST WHAT ? $
01 THE AGE OF INDISCRETION . $
03 I 'M BORED . $
04 < ( TO RUSK ) > $
LET 'S GO HOME . $
03 < ( YAWNS ) > $
I 'M BORED . $
01 LADIES AND GENTLEMEN . $
< ( ROLL OF DRUMS ) > $
LADIES AND GENTLEMEN - PLEASE TAKE YOUR PLACES . $
< ( THEY ALL SIT IN A HORSESHOE SHAPE AS IF ROUND A COMMITTE
E TABLE ) > $
MINUTES . $
04 PROCEDURAL MOTION THAT THE MINUTES BE TAKEN AS READ . $
01 PROCEDURAL MOTION - SPEAKERS . $
03 THERE ARE NO MINUTES . $
02 NO MINUTES . $
06 NO SECONDS . $
05 NO TIME . $
04 NO SEASONS . $
02 NO DAYS . $
#39 $
04 NO NIGHTS . $
01 NO OBJECTIONS . $
02 PROCEDURAL MOTION THAT THE PROCEDURAL MOTION NOW BE PUT .
 $
01 < ( QUICKLY ) > $
PROCEDURAL MOTION THAT THE PROCEDURAL MOTION THAT THE MINUTE
S BE TAKEN AS READ BE NOW PUT . $
IN FAVOUR . $
01 02 03 04 05 06 AYE . $
01 AGAINST . $
03 THERE ARE NO MINUTES . $
01 PLEASE MISS PHILIPS , NOT AGAIN . $
< ( HE PAUSES , POSTURES , AND STARING AT THE AUDIENCE , CON
TINUES ) > $
FELLOW COLLEAGUES , FELLOW MEMBERS OF A FOREVER STANDING COM
MITTEE , WE ARE HERE TONIGHT TO MOVE THAT WE MOVE $
< ( PAUSE ) > $
THERE . $
< ( HE POINTS AT THE FAIR - ITS MUSIC RISES MOCKINGLY ) > $
WE MUST DECIDE DEMOCRATICALLY . $
05 OF COURSE . $
04 SHUT UP . $
01 YES , DEMOCRATICALLY , WE MUST DECIDE , DECIDE NOT ONLY W
HETHER WE MOVE THERE . $
03 WHERE ? $
04 THE FAIR . $
03 OH . $
01 BUT WHETHER WE MOVE ... ELSEWHERE ... OR STAY HERE . $
I HOPE WE CAN DISCUSS THIS LIKE THE RATIONAL BEINGS WE ARE ,
 OR OUGHT TO BE , AND NOT BE SWAYED BY PERSONALITIES OR POLI
TICS . $
06 IMPOSSIBLE . $
05 IMPROBABLE . $
#40 $
04 I DISAGREE . $
05 WITH ALL DUE RESPECT ... $
06 OUT OF THE QUESTION . $
02 MAY I QUOTE FROM ... $
05 I CRAVE YOUR PATIENCE . $
04 WE 'RE RESPONSIBLE TO . $
02 ELECTED BY . $
05 MY LEARNED COLLEAGUE . $
02 RIGHT HONOURABLE FRIEND . $
06 IS WRONG . $
04 IS WRONG . $
06 YES WRONG , WRONG , WRONG . $
05 THERE IS NO JUSTICE . $
04 NO FREEDOM . $
03 NO MORALITY . $
05 IT 'S A MATTER OF PRIORITIES . $
04 OF PRINCIPLES . $
03 MINORITIES . $
01 ORDER - ORDER - ORDER . $
< ( THEY ALL JUMP UP AND WEAVE ROUND IN A TIGHT CIRCLE ) > $
05 IT 'S A MATTER OF PRIORITIES - PRIORITIES . $
04 OF POLITICS AND SABOTAGE . $
02 OF INTERESTS . $
01 VESTED . $
< ( THEY ALL COLLAPSE ON THE FLOOR EXCEPT DARK AND TOBY . $
DARK STANDS DOWN RIGHT AND TOBY DOWN LEFT ) > $
#41 $
06 IT 'S A MATTER OF INVESTMENTS , BATTLESHIPS , AIRCRAFT ;
SPIES AND SECURITY , PROFITS AND LOSS . $
IT 'S A MATTER OF IMAGE , BUILD UP , MASS MANIPULATION ; A M
ATTER OF MONEY GOING OUT AND MONEY COMING BACK . $
01 IT 'S A MATTER OF CLICHES , ANGER , RASH GENERALIZATIONS
; A MATTER OF HALF THOUGHT THINKS AND WAFER THIN THOUGHTS .
$
IT 'S A MATTER FOR PHILOSOPHY , PSYCHOLOGY AND HUMAN ENDEAVO
UR . $
06 A MATTER OF POWER AND POLITICS . $
01 A MATTER OF SEX . $
06 IT CALLS FOR IDEALISM , COURAGE AND TOUGH YOUNG INTELLECT
S . $
01 IT CALLS FOR PLODDING ENDURANCE AND A BLUNTED MIND . $
06 IT CALLS FOR PEOPLE WITH DEVOTION , FAITH AND FEELING . $
01 IT CALLS FOR PEOPLE WHO WILL GIVE IT JUST ONE MORE GO . $
06 WE WILL FIGHT ! $
01 WE WILL BUMBLE THROUGH . $
03 < ( SITS UP ) > $
LORD . $
I 'M BORED . $
< ( TOBY TURNS TO DARK AND RAISES ONE EYEBROW . $
HE SITS DOWN CROSSLEGGED AND OBSERVES ) > $
05 IT 'S GETTING LATE . $
06 YES , I MUST GO . $
05 BUT THE FAIR 'S CLOSING DOWN . $
06 NO IT 'S NOT . $
05 STAY . $
06 WHERE ? $
05 I 'VE GOT A PLACE . $
06 < ( LAUGHS ) > $
YOU 'RE NOT SERIOUS ! $
< ( SHE WANDERS OVER TO TOBY AND SITS DOWN ) > $
03 I 'M GOING . $
#42 $
< ( NO-ONE MOVES ) > $
I SAID I 'M GOING . $
05 YES DEAR . $
04 RUSK LET 'S GO . $
02 STONE ... $
05 YES ? $
02 I ... I 'LL SEE YOU TOMORROW . $
05 MAYBE . $
06 HEY , WHAT 'S THIS ? $
< ( SHE LAUGHS SOFTLY ) > $
NO WONDER JOHNNY GOT OUT . $
03 WELL , I 'M OFF . $
I 'VE GOT TO WORK IN THE MORNING . $
< ( SHE GOES OUT ) > $
04 RUSK ... $
02 AH , PUSH OFF . $
06 BE TACTFUL DEAR , LEAVE THE BOYS TOGETHER . $
05 GET OFF MY SHADOW RUSK - GET . $
02 BUT ... $
05 ALL RIGHT , I 'LL SEE YOU TOMORROW . $
WHY CAN'T YOU GROW UP ? $
02 IF YOU WERE ANY OTHER MAN , I 'D HIT YOU . $
05 SURE , NOW BUZZ . $
< ( RUSK TURNS AND RUSHES OFF ) > $
04 WAIT ... $
< ( SHE COLLAPSES IN TEARS ) > $
06 OH GOD , A MARTYR ! $
05 WELL DARK LADY ? $
06 NO THANKS STRANGER . $
I SLEEP ALONE . $
#43 $
05 WE 'LL SEE . $
< ( HE LIFTS JUDY UP ) > $
COME ON JUDY , LITTLE VIOLET . $
04 YOU LET ME GO . $
06 DOG VIOLET . $
05 STOP KICKING AND LET ME SEE YOU HOME . $
COME ON . $
THAT 'S IT . $
TIRED , WEARY OLD THING , COME ON . $
< ( THEY WALK OUT ON EACH OTHER'S ARMS ) > $
06 WONDER WHERE THEY 'LL END UP ? $
01 NOWHERE . $
06 OH YOU STILL HERE ? $
01 OF COURSE , I 'M WHY YOU SNUBBED STONE , REMEMBER ? $
06 DON'T FLATTER YOURSELF , I 'M JOHNNY'S GIRL . $
01 AH , I FORGOT . $
06 WHERE DO YOU SLEEP FOOL ? $
01 MILADY ASKS TOO MANY QUESTIONS . $
< ( SILENCE ) > $
06 HOW DO YOU FIT IN HERE ? $
01 I DON'T . $
06 THEN WHY STAY ? $
01 I 'M LAZY . $
06 NO AMBITION . $
01 WHAT IS AMBITION ? $
06 DRIVE - GO - DO THINGS , SEE THINGS , LIVE AND BE ... LIK
E $
01 JOHNNY . $
06 YES .$
01 THEY WORSHIP JOHNNY . $
#44 $
06 EVERYONE WORSHIPS JOHNNY . $
HE 'S LIFE . $
01 OF COURSE . $
06 I DON'T GET YOU . $
01 NO YOU DON'T . $
< ( HE PICKS UP THE TEA POT ) > $
OBSOLETE . $
NO LID , NO SPOUT . $
< ( HE FINGERS IT GENTLY ) > $
06 DO YOU THINK I 'LL FIND HIM ? $
01 NO . $
06 I DON'T EITHER , BUT I 'LL TRY . $
< ( TOBY CONTINUES TO FINGER THE TEA POT ) > $
06 WHAT 'S HE CALLED ? $
01 STONE . $
06 THAT 'S COLD . $
01 SEMI-PRECIOUS . $
06 IT 'S GETTING LATE . $
01 YES . $
06 LOOK AT ME . $
< ( HE DOES . $
SHE TAKES HIS FACE IN HER HANDS ) > $
06 YOU 'RE SAD . $
01 BUT OBEDIENT . $
06 DO YOU WANT TO KISS ME ? $
01 NOT PARTICULARLY . $
06 YOU 'RE A FOOL . $
01 SO THEY TELL ME . $
< ( SHE STANDS UP AND TURNS TOWARDS THE FAIR ) > $
#45 $
06 JOHNNY $
< ( SHE WALKS TOWARDS THE FAIR ) > $
IT 'S FINISHED I CAN'T GO ... $
01 IT 'S FIRST ON THE LEFT , SECOND ON THE RIGHT AND RIGHT A
GAIN BY THE PUB - NUMBER 24 . $
06 I 'LL COME TOMORROW JOHNNY . $ P
GOODNIGHT FOOL . $
< ( EXITS ) > $
01 < ( CARESSES THE TEA POT . $
HE LOOKS UP AND SINGS SOFTLY ) > $
HE PROMISED TO BUY ME A BUNCH OF BLUE RIBBON $
HE PROMISED TO BUY ME A BUNCH OF BLUE RIBBON $
HE PROMISED TO BUY ME A BUNCH OF BLUE RIBBON $
TO TIE UP MY BONNIE BROWN HAIR . $
OH DEAR , WHAT CAN THE MATTER BE ? $
OH DEAR , WHAT CAN THE MATTER BE ? $
< ( HE STOPS ) > $
GOODNIGHT FOOL . $
< BLACKOUT > $
#46 $
< ACT TWO > $
< SCENE ONE > $
< THREE WEEKS LATER . $
LOLA ENTERS WITH A LARGE SHOPPING BASKET FULL OF GROCERIES .
 $
SHE DROPS IT , COLLAPSES ON THE MOUND , REMOVES HER SHOES AN
D INSPECTS HER TOES . $
THEN SHE LEANS BACK ON HER HANDS AND SIGHS . > $
03 CAN'T REALLY THINK WHY I DO IT ALL $
< ( POINTS TO THE SHOPPING ) > $
- WEARS YOU OUT . $
SOFT HEARTED I AM $
< ( SIGHS ) > $
- YES , THAT 'S WHAT YOU 'D CALL ME - SOFT HEARTED . $
I MEAN THEY DON'T EVEN WORK - WELL , NOT PROPER WORK ANYWAY
, NOT REGULAR HOURS , PENSIONS 'N ALL THAT . $
STILL , I SUPPOSE THEY MANAGE ALRIGHT . $
< ( SHE PUTS HER SHOES ON AND STANDS WITH A GROAN ) > $
OH , ME POOR OLD FEET - I TELL YOU I 'M GETTING OLD BEFORE M
Y TIME LOOKING AFTER THIS LOT - AND FOR WHAT ? $
THAT BLOODY DARK - OOPS $
< ( SHE PUTS HER HAND TO HER MOUTH ) > $
- PARDON MY FRENCH - WELL , SHE 'S BEEN WITH US THREE WEEKS
NOW AND STILL NOT MOVING . $
I THOUGHT SHE WAS MEANT TO BE FOLLOWING JOHNNY - FAT LOT SHE
 'S DONE ABOUT IT - YAK , YAK , YAK - ' DO YOU ALWAYS USE PO
TATOES ' . $$
- OH PARDON ME . $
< ( SHE TAKES DARK'S CHARACTERISTICALLY AGGRESSIVE STANCE )
> $
DO LEAVE ME ALONE . $
I WANT TO BE ALONE . $
SILENCE . $
< ( SHE WALKS ROUND IN A TRAGIC MANNER . $
DARK ENTERS ) > $
06 ARE YOU ILL ? $
03 I WASN'T THREE SECONDS AGO . $
06 BUZZ . $
03 < ( MAKES BUZZING NOISE ) > $$
ZZZZZZZ . $
06 LEAVE ME ALONE - I WANT TO BE ALONE . $
< ( LOLA SHRUGS AT THE AUDIENCE AND WANDERS TO THE CORNER WI
TH HER SHOPPING ) > $
06 SILENCE . $
< ( SHE WALKS ROUND BROODILY ) > $
06 THREE WEEKS AND STILL NO ACTION , STILL NO URGE TO GO . $
I MUST GET OUT - THEY 'RE SUFFOCATING ME . $
#47 $
< ( SHE PICKS UP A STONE AND THROWS IT ) > $
I NEED ACTION . $
< ( TOBY APPEARS AND WATCHES ) > $
I NEED ACTION . $
< ( STONE ENTERS ) > $
OH , HELLO . $
05 BEAUTIFUL MORNING . $
06 GLAD YOU LIKE IT . $
05 YOU IN A MOOD AGAIN ? $
06 YES . $
< ( HE SITS DOWN AND LIGHTS A CIGARETTE ) > $
05 HOW LONG THIS TIME ? $
< ( SHE GOES AND STANDS OVER HIM ) > $
06 LEAVE OFF . $
< ( HE PUTS OUT A HAND AND SEIZES HER LEG ) > $
05 CALM DOWN . $
06 I NEED ACTION . $
05 O.K. $
< ( HE SITS UP AND PULLS HER DOWN ) > $
06 YOU TURN ME . $
05 THAT 'S NOT WHAT YOU SAID ... $
06 LAST NIGHT - I THINK YOU STINK - YOU 'RE LOUSY , AND I DI
DN'T SAY THAT EITHER . $
I USE YOU - I DESPISE YOU . $
05 WAKE ME WHEN IT 'S OVER . $
< ( TOBY SITS DOWN QUIETLY ) > $
06 I HATE THIS LIGHT , WHY DOESN'T SOMEONE SWITCH IT OFF ? $
01 IT 'S NOT BEDTIME . $
#48 $
< ( DARK STARTS ) > $
06 I MIGHT HAVE THOUGHT YOU 'D BE HERE . $
01 I 'M THE FLEA IN THE BED , REMEMBER ? $
06 HOP HOP . $ $
01 TICKLE , TICKLE . $
06 NIP NIP $
01 BITE BITE $
06 ITCH $
01 BLOOD $
05 QUIT IT . $
06 GET YOU ! $
05 DARK ... $
< ( HE TURNS AND GESTURES TOBY TO GO . $
TOBY SHRUGS ) > $
01 FLY AWAY TOBY . $
< ( HE TURNS AND WALKS TO LOLA , HANDS HANGING LIMPLY BY HIS
 SIDES ) > $
06 LEAVE ME ALONE . $
< ( THEY BEGIN TO CIRCLE EACH OTHER ) > $
I CHASE NO-ONE . $
I BELONG NOWHERE . $
05 ACTION . $
< ( THEY CIRCLE EACH OTHER IN SILENCE ) > $
03 MAD . $
< ( SHE WANDERS TO THE CENTRE OF THE STAGE AGAIN , PUTS HER
BAG DOWN , GETS OUT A COMB AND A MIRROR AND BEGINS TO DO HER
 HAIR . $
HAVING TRIED IN VAIN TO COMB A CURL INTO PLACE SHE GIVES IN
AND TURNS TO THE AUDIENCE , COMB IN HAND . ) > $
I MEAN IT 'S ALL VERY WELL FOR THESE ARTISTIC PEOPLE , BUT I
T 'S NOT NORMAL IS IT ? $
I MEAN YOU CAN'T IMAGINE THOSE TWO WORKING IN AN OFFICE - YO
U KNOW , STAGGERING TO WORK ON A MONDAY . $
LORD KNOWS , I 'D NOT HAVE THE ENERGY AFTER ALL THAT CARRY O
N . $
#49 $
WHO DO THEY THINK THEY ARE ANYWAY ? $
SPONGERS LIKE THE REST . $
I DON'T KNOW WHY I STAY HERE , I DON'T REALLY . $
IT 'S JUST THAT IT 'D BE SO MUCH BOTHER GOING ANYWHERE ELSE
. $
YOU GET USED TO A PLACE DON'T YOU ? $
YOU GET USED TO STREETS AND COLOURS AND THE SHAPE OF YOUR RO
OM . $
YOU EVEN GET USED TO THE PEOPLE IF YOU WAIT LONG ENOUGH . $
WELL , YOU HAVE TO DON'T YOU ? $
I MEAN I LIKE AN EASY LIFE . $
THEY 'RE YOUNG YOU SEE . $
SO AM I OF COURSE , BUT I 'M DIFFERENT - I SEE THINGS AS THE
Y ARE - CATCH ME LARKING ROUND LIKE THAT ! $
< ( SHE TURNS AND CONTINUES HER BATTLE WITH THE CURL ) > $
AH WELL . $
< ( SHE PUTS HER COMB AND MIRROR AWAY ) > $
CAN'T STAY HERE CHATTING ALL DAY . $
05 LET 'S MOVE . $
06 WHERE TO ? $
03 GIVE IT A REST ! $
< ( THEY TURN ON HER ) > $
05 LOOK WHAT 'S ARRIVED . $
06 WEIRD CREATURE . $
05 LOOK HOW IT DRESSES . $
03 GO AWAY . $
< ( THEY LAUGH ) > $
GO AWAY - GO AWAY . $
< ( THEY HOLD HANDS , ENCIRCLING HER . $
SHE CANNOT ESCAPE ) > $
05 FLY AWAY LITTLE BIRD . $
06 FLY . $
05 SHE CAN'T . $
06 SHE 'S CAGED . $
05 TRAPPED . $
06 RELEASE HER . $
#50 $
< ( THEY LAUGH AND SUDDENLY BREAK THEIR GRASP . $
LOLA FALLS . $
SHE PICKS HERSELF UP , TREMBLING , AND RUNS OFF , NEARLY KNO
CKING RUSK OVER AS HE ENTERS ) > $
02 WHAT 'S UP WITH HER ? $
< ( STONE AND DARK LAUGH ) > $
05 JUST A JOKE . $
02 VERY COMIC . $
HAVE YOU SEEN JUDY ? $
06 NO . $
02 OH . $
< ( HE WANDERS ROUND , HANDS IN POCKETS ) > $
02 IT 'S NOT LIKE LOLA . $
06 WHAT ? $
02 RUNNING OFF IN A STATE . $
06 DON'T BOTHER ABOUT HER . $
05 IT WAS JUST A JOKE . $
< ( RUSK CONTINUES TO WANDER ) > $
06 HE 'S GETTING ON MY NERVES . $
I 'M GOING . $
05 WHERE ? $
06 WHO WANTS TO KNOW ? $
05 STILL LOOKING FOR JOHNNY . $
06 STILL LOOKING . $
05 HE 'S GONE . $
06 I 'LL LOOK . $
05 STAY . $
06 WITH YOU ? $
05 WITH ME . $
06 I 'M JOHNNY'S WOMAN . $
#51 $
02 THAT PROVES SOMETHING ? $
06 YOU WOULDN'T KNOW . $
< ( SHE TURNS TO STONE ) > $
05 I 'LL SEE YOU TONIGHT ? $
06 PERHAPS . $
< ( EXIT ) > $
02 SHE 'LL NEVER FIND HIM . $
05 PERHAPS . $
02 I SAID SHE 'LL NEVER FIND HIM . $
05 YOU DON'T KNOW . $
02 HE 'S GONE . $
05 SHE 'LL LOOK . $
02 WHERE 'S HE GONE ? $
05 HE WENT TO THE FAIR . $
02 A THIRD OF A YEAR AGO . $
05 FOR AN EVENING . $
02 TOO LONG . $
05 SHE 'S SOME WOMAN ! $
02 I 'LL TAKE YOUR WORD . $
05 QUIT JUMPING . $
02 SHE 'S NO GOOD . $
05 QUIT IT ! $
02 STONE - STONE LISTEN TO ME . $
05 MAKE IT SHORT . $
02 STOP THESE CRAZY DREAMS ABOUT THAT WILD WOMAN - JOHNNY'S
WOMAN . $
THERE 'S ONLY ONE JOHNNY . $
05 YOU TALK NO SENSE . $
#52 $
02 YOU 'RE BIG NOW AREN'T YOU ? $
REALLY BIG - THE LEADER , THE ORGANIZER ; BUT REMEMBER HOW Y
OU CRAWLED TO JOHNNY , HOW YOU FOLLOWED JOHNNY ? $
05 WE ALL DID . $
02 YES , BUT YOU WERE SPECIAL - YOU WERE JOHNNY'S RIGHT HAND
 - YOU HAD TO BE . $$
05 I ? $
02 WHATEVER HE WORE YOU WORE . $
05 BLUE JEANS . $
02 AND A LEATHER JACKET . $
05 UTILITY WEAR . $
02 HE USED YANK SLANG - YOU DID . $
05 YOU DO . $
02 I DO . $
05 I 'M GOING . $
02 YES GO - TO THE WOMAN - THE WOMAN JOHNNY HAD - BUT REMEMB
ER YOU 'LL NEVER BE MORE THAN SECOND BEST ... $
05 STOP IT - $
02 UNDERSTUDY - WAITING FOR WHEN JOHNNY COMES BACK . $
05 I WARN YOU . $
< ( HE CROSSES QUICKLY TO RUSK ) > $
02 DON'T YOU SEE SHE 'S USING YOU . $
< ( STONE SHAKES HIM VIOLENTLY ) > $
05 JEALOUS $
< ( HE THROWS HIM ON THE FLOOR AND LIGHTS A CIGARETTE ) > $
- YOU MAKE ME LAUGH . $
02 STONE - STONE - I MEANT TO HELP . $
05 DON'T GROVEL . $
I HATE GROVELLERS - I DO , I HATE THEM ! $
02 HE 'S STILL HERE ISN'T HE ? $
05 WHO ? $
#53 $
02 JOHNNY . $
05 GO READ SOME BOOKS SONNY - ALL THOSE BOOKS . $
THEY TEACH YOU TO DABBLE . $
YOU CREEP ROUND THE SURFACE - TOO SCARED TO JUMP . $
YOU 'VE GOT TO HAVE GUTS TO JUMP AND YOU NEVER HAD GUTS RUSK
 . $
YOU PRETEND TO FEEL BIG BUT IT 'S PEANUTS - YOU 'RE TOO DAMN
ED SCARED TO FEEL . $
02 I ... $
05 YOU TALK OF JOHNNY $
< ( HE LAUGHS ) > $
AND WHAT DO YOU REMEMBER ? $
WHAT DO YOU KNOW OF A MAN AS BIG AS JOHNNY ? $
HERE . $
< ( HE GRABS RUSK'S WRIST ) > $
YOU LOVE ME ? $
< ( RUSK LOOKS STARTLED ) > $
02 LET ME GO . $
05 WELL ? $
02 SURE . $
05 THEN KISS ME . $
GO AHEAD . $
02 NOW ? $
05 NOW . $
02 BUT ... $
< ( STONE PULLS HIM CLOSER ) > $
05 GO AHEAD . $
< ( RUSK STANDS POISED AND SUDDENLY BREAKS FREE ) > $
02 STOP IT . $
05 < ( LAUGHS ) > $
SCARED ? $
YES , YOU WOULDN'T KNOW WHERE TO BEGIN . $
YOU WANT TO KNOW WHERE TO BEGIN . $
YOU WANT TO FEEL BUT KEEP YOUR HANDS CLEAN - WELL GO AHEAD ,
 HAVE A LOVE AFFAIR WITH YOURSELF , BUT LEAVE WELL ALONE WHA
T YOU DON'T UNDERSTAND . $
< ( HE TURNS TO GO ) > $
02 STONE ... $
05 WHAT NOW ? $
02 I WAS SCARED . $
05 SURE - YOU 'RE SO BLOODY SCARED YOU CAN'T EVEN KEEP YOUR
OWN WOMAN . $
#54 $
02 WHAT DO YOU MEAN ? $
< ( STONE WALKS OFF ) > $
WHAT DO YOU MEAN ? $
< ( HE THROWS HIMSELF ON THE GROUND . $
TOBY SUDDENLY LEAPS UP HAVING BEEN STARING SILENTLY AT THE F
LOOR FOR SO LONG ) > $
01 TANTRUM ? $
02 SOD OFF ! $
01 SCARCELY . $
< ( HE SITS DOWN AGAIN BY RUSK AND TAKES OUT A PIECE OF STRI
NG . $
HE BEGINS TO PLAY STRING GAMES . $
RUSK SITS UP AND WATCHES HIM ) > $
02 DOES NOTHING BOTHER YOU ? $
01 OF COURSE . $
02 WHERE 'S JUDY ? $
01 WHERE YOU LEFT HER . $
02 I WANT TO SEE HER . $
< ( TOBY IGNORES HIM , ABSORBED ) > $
I SAID I WANT TO SEE HER . $
01 DID YOU ? $
02 TOBY WHAT SHALL I DO ? $
01 PLAY CAT'S CRADLE - $
< ( RUSK GETS UP IMPATIENTLY ) > $
NO ? $
PITY . $
02 CAT'S BLOODY CRADLE - LOOK AT ME ! $
I 'M ALMOST DEMENTED . $
01 NO YOU 'RE NOT . $
02 NOT WHAT ? $
01 THAT . $
02 HOW DO YOU KNOW ? $
01 YOU TOLD ME YOU WERE . $
02 SO ? $
01 SO PLAY CAT'S CRADLE . $
#55 $
< ( RUSK KNEELS DOWN AND THEY BECOME ABSORBED ) > $
01 THOSE TWO . $
02 THOSE TWO ? $
01 THESE TWO . $
02 AH ! $
< ( IT IS COMPLETED . $
TOBY BREAKS IT ) > $
01 YOU SEE - A HUMBLE BIT OF STRING . $
02 GAMES ! $
< ( HE LIES ON THE FLOOR ) > $
01 DID I EVER TELL YOU ABOUT MY FATHER ? $
NO ? $
WELL , MY FATHER WAS A LARGE MAN , A VERY LARGE MAN AND HE D
ECIDED HE 'D BUY A SUIT . $
HE WENT ALONG AND MEASURED AND FITTED AND FITTED AND MEASURE
D , WEEK AFTER WEEK . $
HE TALKED OF NOTHING ELSE , FIRST THE TROUSERS THEN THE WAIS
TCOAT AND FINALLY THE JACKET . $
THE GREAT DAY CAME AT LAST AND THE SUIT CAME HOME ! $
WE HAD THE BEST CUPS OUT AND HAM FOR TEA AND CREAM BUNS AND
TWO KINDS OF JAM - ALL FOR THE SUIT . $
WE LAY IT OUT IN THE FRONT ROOM AND ALL STOOD AND LOOKED AT
IT AND WASHED OUR HANDS AND FELT IT . $
02 WELL ? $
01 HE NEVER WORE IT OF COURSE , NOTHING EVER HAPPENED THAT W
AS IMPORTANT ENOUGH FOR THE SUIT . $
IT WENT INTO THE WARDROBE WITH THE MOTHBALLS AND WAS TAKEN O
UT AND BRUSHED EVERY WEEK BY MY MOTHER . $
02 STUPID . $
01 SAD . $
NO USE TO ANYONE ELSE - I MEAN I COULDN'T WEAR IT , I 'M NOT
 BIG ENOUGH . $
EVERYONE LOOKED AT IT OF COURSE AND HEARD ALL ABOUT IT , BUT
 IT WAS NEVER USED . $
< ( HE PICKS UP THE STRING AND BEGINS TO PLAY WITH IT ) > $
02 I 'M OFF TO FIND JUDY . $
01 SHE 'S BEEN LOOKING LONG ENOUGH . $
< ( RUSK MARCHES OFF . $
TOBY CONTINUES FOR A WHILE AND THEN JUMPS UP , HANDS IN POCK
ETS AND STARES OUT AT THE AUDIENCE ) > $
SAD . $
ABOUT MY DAD'S SUIT I MEAN . $
'COURSE IT 'S ALL A LIE - MY DAD COULD NEVER HAVE AFFORDED T
O HAVE A SUIT MADE - BUT WE ALL TELL LIES DON'T WE ? $
#56 $
IT 'S NICE TO TELL STORIES , ' THEY ' THINK THERE 'S A POINT
 DON'T THEY ? $
ALL A MATTER OF POWER REALLY . $
< ( HE JUMPS ON A MOUND , SPREADS HIS ARMS WIDE AND THEN CHA
NTS WITH MOCK EMPHASIS ) > $
I 'M THE KING OF THE CASTLE , AND YOU 'RE THE DIRTY RASCAL .
 $
< ( BLACKOUT ) > $
< SCENE TWO > $
< JUDY AND RUSK FACE EACH OTHER ACROSS THE STAGE . > $
02 I 'VE BEEN LOOKING . $
04 FOR STONE ? $
02 FOR YOU . $
< ( JUDY MOVES DOWNSTAGE AND SITS ) > $
02 WHERE 'VE YOU BEEN ? $
04 WASHING . $
02 WASHING ! $
04 YES , THINGS GET DIRTY . $
< ( HE BEGINS TO PACE ) > $
02 WELL , I 'VE BEEN LOOKING FOR YOU . $
#57 $
04 OH . $
02 AND HERE YOU ARE . $
04 YES . $
02 YOU MAKE IT DIFFICULT . $
04 WHAT ? $
02 EVERYTHING . $
04 DO I ? $
< ( HE CROSSES QUICKLY TO HER ) > $
02 JUDY WHAT 'VE YOU BEEN DOING ? $
04 DOING ? $
02 YES - YOU KNOW - $
0 I 'VE BEEN WASHING . $
02 NO I MEAN ... $
04 MEAN WHAT ? $
02 YOU 'VE BEEN UNFAITHFUL . $
04 HAVE I ? $
02 HAVE YOU ? $
04 WE 'RE NOT MARRIED . $
02 HAVE YOU ? $
04 HAVE YOU ? $
02 WHAT ? $
04 BEEN FAITHFUL ? $
02 OF COURSE . $
04 PHISICALLY . $
02 THAT 'S ALL THAT COUNTS . $
04 YOU DON'T BELIEVE THAT ! $
#58 $
02 WHAT ELSE ? $
04 FEELINGS . $
02 FEELINGS ! $
04 WHY NOT ? $
02 YOU KNOW NOTHING . $
04 COWARD . $
02 TRAITOR . $
04 VOYEUR . $
02 WHORE . $
< ( SHE SLAPS HIM HEAVILY ACROSS THE FACE ) > $
02 NO-MIND WOMAN - $
< ( HE SEIZES HER WRIST ) > . $
YOU 'RE MINE - UNDERSTAND - MINE . $
04 IT HURTS . $
02 SURE IT HURTS . $
< ( THEY WRESTLE SILENTLY FOR A WHILE ) > $
04 LET ME GO . $
< ( HE HOLDS HER CLOSE AND IS ABOUT TO KISS HER ) > $
WHAT 'S THE MATTER - STONE TURN YOU DOWN ? $
< ( HE SUDDENLY DROPS HIS ARMS AND TURNS AWAY ) > $
RUSK I 'M SORRY - I 'M SORRY . $
< ( SHE RUNS TO HIM BUT HE IGNORES HER ) > $
RUSK - $
< ( STILL NO REPLY . $
SHE MOVES BACK DOWNSTAGE ) > $
IT 'S NO USE YOU SEE , WE CAN'T BEGIN AGAIN - IT 'S TOO LONG
 . $
WE 'RE KICKING EACH OTHER ALL THE TIME . $
02 CLICHES . $
WHY DON'T YOU STOP TALKING ? $
YOU SOUND SO STUPID WHEN YOU TALK - YOU ALWAYS DID . $
04 KICK , KICK . $
02 YOU ENJOY IT . $
04 KICK . $
#59 $
02 YOU 'RE ONLY HAPPY IF I 'M HURTING YOU - PAIN 'S FUN ISN'
T IT ? $
YOU 'RE A MARTYR . $
04 KICK . $
02 YOU WANT IT . $
LOOK AT HER , BEGGING FOR IT . $
DID HE HURT YOU MORE ? $
04 HE ? $
02 THE OTHER ONE - THE ONE YOU WENT WITH - DID HE HURT YOU ,
 MAKE YOU CRY ? $
DID HE ? $
04 NO . $
02 HE DIDN'T . $
04 NO . $
HE WAS GENTLE AND STRONG . $
02 SURE . $
04 HE WAS A MAN . $
02 MEANING WHAT ? $
04 YOU 'RE NOT , DUCKY . $
02 YOU $
< ( HE SEIZES HER AND KISSES HER VIOLENTLY . $
JUDY LAUGHS ) > $
04 SO WHAT ! $
SO WHAT ! $
ANYONE CAN DO THAT - ANYONE - IT TAKES MORE . $
IT TAKES SOMEONE LIKE - $
02 LIKE WHO ? $
04 NO-ONE . $
< ( HE SHAKES HER ) > $
02 LIKE WHO ? $
LIKE WHO ? $
04 < ( MOCKINGLY ) > $
LIKE JOHNNY . $
< ( HE DROPS HIS HANDS ) > $
02 JOHNNY ! $
YOU NEVER ... $
04 DIDN'T I ? $
02 DID YOU ? $
04 < ( LAUGHS ) > $
OF COURSE NOT . $
HE HAD A WOMAN REMEMBER ? $
ALTHOUGH ... $
#60 $
02 WHY DO YOU MOCK ME JUDY ? $
04 BECAUSE YOU DON'T TRUST ME . $
< ( SHE LIGHTS A CIGARETTE ) > $
02 STONE SAID ... $
04 STONE SAID ! $
AND YOU BELIEVE HIM ! $
02 HE 'S NOT INVOLVED . $
04 ISN'T HE ? $
02 YOU MEAN ... $
04 I SAID NOTHING . $
02 I 'VE GOT TO KNOW - I 'VE GOT TO KNOW . $
04 STOP BEING MELODRAMATIC . $
< ( LOLA ENTERS ) > $
03 OH , PARDON ME . $
02 GO AWAY . $
03 CHARMING . $
WHAT 'S UP THEN ? $
04 NOTHING . $
03 LOOKS LIKE IT . $
< ( SHE SITS DOWN AND TAKES OUT A HUGE PACKET OF SANDWICHES
) > $
03 HAVE ONE ? $
04 NO THANKS . $
03 RUSK ? $
02 I 'M GOING . $
< ( HE TURNS , GLANCES AT JUDY AND WALKS OFF ) > $
03 WHAT 'S BITING HIM ? $
04 DON'T ASK ME . $
03 WELL THERE 'S NO-ONE ELSE TO ASK IS THERE ? $
HERE , HAVE ONE - THE EGG ARE RATHER NICE - NOT TOO WET . $
04 NO THANKS . $
#61 $
03 HAVE IT YOUR OWN WAY . $
I DON'T KNOW WHAT 'S COME OVER EVERYONE . $
04 WHAT DO YOU MEAN ? $
03 WELL , ALL THOSE WEIRD GOINGS ON WITH STONE AND HER - THE
N RUSK AND YOU . $
04 IT MEANT NOTHING . $
03 WELL IT 'S BEYOND ME I CAN TELL YOU . $ . $
< ( SHE BITES INTO A SANDWICH ) > $
I THINK I 'M THE ONLY NORMAL PERSON ROUND HERE . $
AH WELL , IF YOU FEEL YOU CAN'T CONFIDE IN ME ... $
I 'LL SAVE THESE . $
< ( SHE FOLDS UP HER SANDWICHES AND PUTS THEM IN HER BAG ) >
 $
04 YOU WOULDN'T UNDERSTAND . $
03 I SEE . $
04 LET IT DROP LOLA . $
03 VERY WELL . $
< ( SHE STANDS ) > $
I MUST GO TO WORK . $
04 DON'T GET LIKE THAT LO . $
03 HOW ELSE CAN I GET ? $
04 THINGS HAVE JUST GONE WRONG . $
03 I 'D GUESSED THAT . $
04 I JUST DON'T WANT TO TALK ABOUT IT . $
< ( LOLA TURNS - TOBY STEPS ONTO THE STAGE ) > $
03 LAWKS - YOU HERE AGAIN ! $
01 PRETEND I 'M AN ILLUSION . $
03 YOU WHAT ? $
01 MOTHBALLS . $
03 WHAT ! $
#62 $
01 MOTHBALLS . $
03 MOTHBALLS ? $
01 YES . $
I WAS MEDITATING MOTHBALLS . $
03 I 'M OFF . $
< ( SHE GOES OUT . $
JUDY LAUGHS ) > $
04 YOU SHOULDN'T TEASE HER . $
< ( TOBY LOOKS UP BLANKLY . $
PAUSE . ) > $
04 SHE FRIGHTENS ME . $
01 SHE ? $
04 HER - DARK . $
01 AH . $
04 I MISTRUST HER . $
HOW DO YOU FIND HER ? $
01 LONELY . $
04 THAT 'S THE LAST THING ... $
SHE 'S GOT STONE . $
01 SHE WANTS JOHNNY . $
04 I KNOW SHE 'S BEHIND IT . $
01 IT ? $
04 THE ROW - THE ROW I 'VE HAD WITH RUSK . $
I KNOW SHE 'S BEHIND IT . $
01 IT 'S A NICE DAY . $
04 A BIT COLD . $
01 BRISK . $
< ( HE STANDS , HANDS BEHIND BACK , AND GAZES AT THE BACK OF
 THE STAGE ) > $
04 MELLOW DAYS . $
01 DAYS OF SLOW DECAY . $
04 I WONDER WHAT WILL BECOME OF US . $
01 ALWAYS WONDERING . $
#63 $
04 DO YOU NEVER WONDER ? $
01 I WONDER AT SNOWDROPS AND THE COLOUR OF AUTUMN LEAVES . $
I WONDER AT ANTS AND DRAGONFLIES AND THE ENORMITY OF MAN . $
I WONDER LONELY AS A CLOUD . $
04 < ( LAUGHS ) > $
YOU TWIST EVERYTHING . $
< ( TOBY BEGINS TO TWIST WITH AN IMAGINARY PARTNER . $
JUDY COLLAPSES WITH LAUGHTER ) > $
01 THE WINNER . $
< ( HE SHAKES HIS HANDS HIGH AT THE CROWD , THEN TURNS AROUN
D AND DOES IT TO JUDY ) > $
YOU 'RE RATHER PRETTY WHEN YOU LAUGH . $
04 THANK YOU . $
01 ANYTIME . $
04 SO WE 'RE GOING TONIGHT . $
01 WHERE ? $
04 THE FAIR . $
01 AH YES . $
04 IT 'S CLOSING SOON ANYWAY . $
01 YES , WELL IT WOULD WOULDN'T IT , WINTER COMING AND ALL T
HAT . $
04 SHE 'S DETERMINED TO GO THIS TIME - DARK I MEAN . $
NOT BEFORE TIME EITHER . $
01 YES . $
04 IT 'S LIKE TALKING TO A WALL TALKING TO YOU . $
YOU 'RE ALL MAZES - WHY DON'T YOU FACE THINGS DIRECTLY ? $
01 THEY 'D BLIND ME . $
04 RUBBISH . $
01 DO YOU ? $
04 DO I WHAT ? $
01 FACE THINGS DIRECTLY ? $
04 SQUARELY . $
01 JOWL TO JOWL . $
#64 $
04 EYE TO EYE . $
01 BACK TO BACK . $
04 I THINK I 'LL GO AND HAVE A BATH . $
01 GOOD IDEA . $
04 YES - I THINK BETTER IN THE BATH . $
01 IT PURIFIES . $
04 SEE YOU . $
< ( EXIT ) > $
01 OF COURSE . $
< ( HE TAKES OUT A MOUTHORGAN AND BEGINS TO PLAY SOFTLY , A
SLOW BLUES TUNE . $
HE PLAYS FOR ABOUT 20 - 30 SECONDS BEFORE DARK WANDERS SLOWL
Y ONTO THE STAGE . $
SHE STANDS AND LISTENS FOR A WHILE ) > $
06 FOOL . $
01 AYE MILADY . $
06 YOU ARE SAD ? $
01 AS YOURSELF . $
06 WHAT IS YOUR NAME ? $
01 WHAT YOU WILL . $
06 ANSWER ME STRAIGHT . $
01 MY NAME IS YOUR PLEASURE . $
06 IT IS MY PLEASURE . $
01 AND YOUR PLEASURE IS MILADY ? $
06 TO KNOW YOUR NAME FOOL . $
01 THEN YOU HAVE HAD LITTLE PLEASURE MADAM AND THEREFORE YOU
 ARE SAD . $
06 TELL ME YOUR NAME ! $
01 SADNESS BREEDS ANGER . $
#65 $
06 STOP FOOLING AND TELL ME . $
01 THE ANCIENTS BELIEVED THAT TO POSSESS A NAME WAS TO POSSE
SS POWER . $
06 I HAVE POWER ENOUGH . $
01 THEN YOU NEED NOT MY NAME . $
06 YOUR WORDS TIRE ME . $
01 THEN REST . $
< ( HE INDICATES THE GROUND ) > $
06 I AM NOT USED TO BEING DENIED - THERE WAS ONLY ONE MAN WH
O DARE DENY ME . $
01 JOHNNY . $
06 ONLY JOHNNY . $
01 BUT HE TOLD YOU HIS NAME . $
06 HE WAS NO FOOL . $
01 INDEED NO . $
06 HOW DID HE TOLERATE YOU - ALL OF YOU ! $
01 HE DIDN'T . $
HE LEFT . $
06 NO WONDER . $
01 HE LEFT YOU TOO . $
< ( SHE SWINGS ROUND FIERCELY ) > $
WASTE NOT YOUR ANGER DARK LADY ON ONE WHO DOES NOT CARE . $
THE ONLY POWER IS NOT TO CARE . $
< ( HE CROSSES TO HER ) > $
NOW IF YOU WILL SIT $
< ( SHE DOES ) > $
I WILL PLAY . $
< ( HE BEGINS TO PLAY A FAST , BRISK TUNE ) > $
06 YOU PLAY WELL . $
01 I PRACTISE . $
06 OF COURSE ... $
01 JOHNNY PLAYED BETTER - BUT THEN I HAVE A DIFFERENT INSTRU
MENT . $
06 HOW LONG HAVE I BEEN HERE ? $
#66 $
01 THREE WEEKS . $
06 ONLY THAT LONG . $
IT SEEMS MUCH LONGER . $
THEY 'RE ALL KIDS , YOU KNOW THAT ? $
< ( TOBY HAS RESUMED PLAYING ) > $
OF COURSE YOU KNOW THAT . $
I 'M NOT A KID THOUGH . $
I 'M TWENTY SIX - TWENTY SIX AND NOTHING TO SHOW FOR IT BUT
A WANDERING LIFE . $
ALWAYS FOLLOWING , FOLLOWING THAT - MINSTREL . $
< ( SHE TURNS TO THE FAIR . $
THE MUSIC COMES THROUGH SOFTLY , STRANGELY IN HARMONY WITH T
OBY'S TUNE ) > $
I CAN'T REMEMBER WHEN WE MET - IT SEEMS I 'VE KNOWN HIM ALL
MY LIFE . $
I 'VE TRIED OTHERS OF COURSE - TOO MANY OF THEM BUT NONE HAV
E MANAGED TO KEEP ME . $
STOP PLAYING THAT THING WILL YOU ! $
< ( TOBY STOPS AND LOOKS AT HER , WAITING ) > $
IT ALL CLOSES IN ON ME AT NIGHT . $
ALL OF IT . $
THAT 'S WHY I NEED SOMEONE THERE - A BODY , IT DOESN'T MATTE
R WHO - JUST TO STOP IT ALL SUFFOCATING ME . $
01 DO YOU SMOKE ? $
06 NO . $
01 HOW WISE . $
IT 'S ALL QUITE SIMPLE REALLY . $
06 WHAT ? $
01 ALL OF IT . $
< ( THE STAGE DARKENS AND A SPOTLIGHT PICKS UP THE TWO FIGUR
ES CONFINED BY LIGHT ) > $
06 IT 'S VERY DARK . $
01 DON'T WORRY . $
< ( SHE TRIES TO STEP OUTSIDE THE LIGHT BUT CAN'T . $
SHE STRAINS AGAINST IT ) > $
06 I CAN'T GET OUT . $
01 NO . $
06 I MUST GET OUT . $
#67 $
01 JUST RELAX . $
06 I 'M AFRAID . $
01 AFRAID . $
06 SO BRIGHT . $
01 THE LIGHT . $
06 DAZZLING . $
01 BLINDING . $
06 TAKE IT AWAY . $
01 FACE IT . $
< ( HE FORCES HER TO FACE THE LIGHT ) > $
06 IT HURTS . $
01 IT 'LL SOON PASS . $
06 IT HURTS . $
01 YOUR EYES SOON BECOME ACCUSTOMED TO THE LIGHT . $
YOU CAN'T SEE AT FIRST BUT YOU GET USED TO IT . $
06 WHERE AM I ? $
01 RELAX . $
06 LIGHT , BLUEBELLS AND THE SMELL OF HONEY . $
A BROKEN BOTTLE ON THE PANTRY FLOOR . $
01 STICKY FINGERS . $
06 THE TASTE OF BLOOD . $
01 TENSION . $
06 ALONE . $
01 ALONE IN THE LIGHT . $
06 ALONE WITH A METER AND NO SHILLINGS , IN A ROOM WITH A LI
GHT AND NO CARPETS . $
01 BUT A BED . $
06 SINGLE , HARD , RESISTING SLEEP . $
01 TURN . $
#68 $
06 NO ENTRY , ONE WAY STREET . $
01 REVERSE . $
06 NO EXIT . $
01 ALONE . $
06 THE CLOCK TICKS TO FLORAL WALLPAPER AND A PICTURE OF THE
QUEEN . $
THE DOOR 'S LOCKED . $
01 SAFE . $
06 STERILE . $
01 STERILE . $
06 NO LIFE , NO MOVEMENT . $
THE SMELL OF HUMAN FLESH ALONE . $
01 YOU MOVE . $
06 I MOVE INTO THE DARK . $
01 WARMER . $
06 A BLANKET ON THE SOIL - THE DAMP DEW SEEPING UP . $
01 NIGHT . $
06 COOL AND SOFT . $
01 A MAN . $
06 < ( SCREAMS ) > $
JOHNNY ! $
01 NO . $
06 JOHNNY . $
01 NO. $
06 HE SAID . $
01 HE LEFT . $
06 HE LEFT . $
01 ALONE . $
06 NO ! $
01 ALONE . $
#69 $
06 NO . $
01 AN IMAGE . $
06 IMAGE ? $
01 A BIG MAN WITH A BIG GUITAR . $
06 HE STAYED . $
01 HE LEFT . $
06 HE PROMISED . $
01 HE BROKE . $
06 I AM JOHNNY'S WOMAN . $
01 ALONE . $
06 NO . $
01 ALONE , ALONE . $
06 NO , NO , NO . $
< ( THE LIGHT SNAPS OFF . $
SLOWLY THE LIGHTS RISE . $
TOBY IS SITTING QUIETLY WHERE HE WAS , MOUTHORGAN IN HAND .
$
DARK IS KNEELING SOBBING INTO HER HANDS . $
TOBY BEGINS TO PLAY SOFTLY . $
DARK LOOKS UP . ) > $
06 WHERE AM I ? $
01 HERE WITH ME . $
< ( SHE LISTENS TO THE FAIRGROUND MUSIC ) > $
06 WHAT HAPPENED ? $
01 NOTHING . $
06 WHO ARE YOU ? $
01 THE FOOL . $
06 WHAT DO YOU KNOW ? $
01 NOTHING YOU HAVEN'T TOLD ME . $
06 NO , OF COURSE NOT . $
01 SHALL I SING MILADY ? $
#70 $
06 NO I MUST PACK . $
< ( SHE STANDS , STRAIGHTENS HER SKIRT AND TAKES UP A MILITA
NT POSTURE ) > $
I KNOW YOU NOT FOOL . $
01 AS YOU WISH . $
06 YES INDEED , AS I WISH . $
< ( EXIT . $
TOBY RESUMES HIS PLAYING ) > $
< BLACKOUT > $
< SCENE THREE > $
< A FEW HOURS LATER . $
LOLA AND JUDY ARE CHASING EACH OTHER ROUND A MOUND . > $
03 WHEEEEE . $
04 WOOOSH . $
03 WHEEEEE . $
04 WOOOSH . $
03 WHEE . $
04 WOOSH . $
03 WHEE WOOSH . $
04 WOOSH WHEE . $
03 PLOP . $
< ( SHE FLOPS DOWN ) > $
04 I WIN . $
< ( SHE STANDS PANTING OVER LOLA ) > $
#71 $
03 YOU 'RE SLIMMER . $
04 YOU 'RE YOUNGER . $
03 I 'M TIRED . $
04 < ( KICKING A STONE ) > $
WHERE ARE THEY ? $
03 WE 'RE EARLY . $
04 I 'M TIRED OF WAITING . $
03 IS SHE COMING ? $
04 I SUPPOSE SO . $
03 I THINK I 'LL GO . $
04 YOU CAN'T . $
03 WHY NOT ? $
04 WELL WE 'VE ALL GOT TO GO . $
I MEAN IT WON'T BE THE SAME UNLESS WE ALL GO . $
03 I 'M TIRED . $
I DON'T WANT TO GO . $
04 IT 'S ONLY BECAUSE SHE 'S COMING . $
03 IT 'S NOT . $
04 YES IT IS . $
WHY YOU SCARED LOLA ? $
03 ME ? $
04 WHO ELSE ? $
03 I 'M NOT SCARED . $
04 YOU 'RE JEALOUS . $
< ( SHE LAUGHS ) > $
03 'COURSE I 'M NOT . $
SHE 'S MAD - YOU 'RE ALL MAD . $
DON'T KNOW WHY I STAY . $
04 WE 'RE PRIVILEGED . $
03 WELL , I 'M LOOKING FOR A NEW JOB ANYWAY . $
04 GO ON ! $
03 I AM . $
#72 $
04 DESERTER . $
03 IT WAS FUN ONCE , AT FIRST , BEFORE SHE CAME BUT NOW IT '
S ALL QUARRELS AND QUEER GOINGS-ON . $
04 WELL IT 'LL BE FUN TONIGHT . $
< ( PAUSE ) > $
IT MUST BE FUN TONIGHT . $
03 IT 'LL BE FUN ALRIGHT . $
< ( THERE IS A PAUSE . $
LOLA STARTS FILING HER NAILS . $
THE FAIRGROUND MUSIC CRESCENDOES ) > $
04 IF YOU HEARD THE WARNING NOW WHAT WOULD YOU DO ? $
03 WHAT WARNING ? $
04 THE BOMB - YOU KNOW . $
03 OH THAT . $
I 'D FINISH THIS NAIL I SUPPOSE . $
04 I SUPPOSE YOU WOULD . $
03 NOTHING MUCH ELSE TO DO . $
< ( PAUSE ) > $
03 ANYWAY IT WON'T . $
04 IT MIGHT . $
03 BUT IT WON'T . $
04 IT MIGHT . $
03 IT WON'T . $
04 WILL . $
03 OH WHAT 'S IT MATTER . $
< ( PAUSE . $
THEY ARE BOTH TENSE AND RESTIVE ) > $
04 DO YOU THINK SHE 'LL GO TONIGHT ? $
03 CAN'T TELL . $
04 IT 'S GETTING COLD . $
03 NEARLY THE END OF SUMMER . $
04 WINTER TIME . $
#73 $
03 WOOLLY TIME . $
04 BLEAK . $
03 COAL FIRES . $
04 RUNNING NOSES . $
03 TOASTED TEACAKES . $
04 SLUDGE . $
03 YOU RUIN EVERYTHING . $
< ( SHE TURNS TO THE AUDIENCE ) > $
WHY DOES EVERYONE HAVE TO BE SO DEPRESSING ? $
WHY CAN'T THEY LOOK ON THE BRIGHT SIDE ? $
YOU NEVER SEE PEOPLE SMILE THESE DAYS . $
IT 'S ALL MONEY , MONEY , MONEY . $
NOW ME I 'M JUST A SIMPLE , HAPPY SOUL - I DON'T ASK MUCH OF
 LIFE - A NICE HOUSE , ENOUGH MONEY , A TELEVISION AND MAYBE
 A FEW KIDS - AND A HUSBAND OF COURSE . $
BUT LOOK WHERE I 'VE LANDED - I MEAN HONESTLY , COULD YOU FI
ND A MORE DEPRESSING SET OF CHARACTERS ? $
IF THEY 'RE LIKE THIS NOW , LORD HELP 'EM WHEN THEY 'RE OLDE
R - I MEAN YOU CAN'T HAVE MUCH FUN WHEN YOU GET OLD CAN YOU
? $
STANDS TO REASON REALLY , YOU GOT TO SET AN EXAMPLE . $
< ( SHE CONTINUES TO FILE HER NAILS ) > $
ME ? $
I 'LL DRIFT OFF SOMEWHERE ELSE . $
I GET ON ALRIGHT WITH PEOPLE . $
TOLERANT YOU KNOW - WELL YOU 'VE PROBABLY GUESSED ALREADY .
$
YOU 'VE GOT TO BE TOLERANT HAVEN'T YOU ? $
YET I GET ON ALRIGHT WITH PEOPLE . $
04 HURRY UP . $
< ( SHE PACES . $
STONE SAUNTERS INTO THE STAGE ) > $
05 HELLO GIRLS . $
03 HUH . $
< ( SHE CONTINUES WITH HER NAILS , NOW TAKING OUT NAIL VARNI
SH ) > $
05 EVERYONE 'S LATE . $
04 LOOKS LIKE IT . $
#74 $
05 < ( CROSSING TO HER ) > $
I TAKE IT I 'M NO LONGER POPULAR . $
04 YOU PROMISED . $
05 WHAT ? $
04 RUSK . $
05 AH , RUSK . $
04 YES , RUSK . $
05 HE GOT UNDER MY SKIN . $
04 YOU PROMISED . $
05 SO ... ? $
04 HYPOCRITE . $
05 SO ... ? $
04 YOU DON'T CARE . $
05 I DO . $
04 HOW ? $
05 HE GOT UNDER MY SKIN . $
04 YOU PROMISED . $
05 I 'M SORRY . $
04 I DESPISE YOU . $
05 NATURALLY . $
< ( SHE CROSSES TO LOLA AND WATCHES THE NAILS INTENTLY ) > $
04 YOU MISSED THAT BIT . $
< ( LOLA IGNORES HER ) > $
YOU MISSED . $
YOU MISSED THAT BIT - THAT LITTLE BIT THERE , YOU MISSED IT
. $
LOOK , THAT BIT . $
< ( LOLA CONTINUES TO IGNORE HER ) > $
HERE LET ME . $
< ( SHE SNATCHES THE NAIL VARNISH AND IT SPILLS ) > $
03 < ( SCREAMING ) > $
LOOK WHAT YOU 'VE DONE ! $
LOOK NOW , LOOL AT THAT - IT 'S A MESS , IT 'S TERRIBLE , IT
 'S RUINED - WHY CAN'T YOU STOP INTERFERING ! $
#75 $
LOOK . $
LOOK . $
LOOK . $
< ( SHE IS ALMOST IN TEARS ) > $
04 OH LOLA , I 'M SORRY . $
< ( SHE TRIES TO BRUSH IT OFF ) > $
03 DON'T TOUCH IT , YOU MAKE IT WORSE ! $
< ( STONE CROSSES , PICKS UP SOME REMOVER ) > $
05 SIT DOWN . $
03 EH ? $
05 SIT DOWN . $
< ( SHE SITS . $
HE BEGINS TO USE THE REMOVER ) > $
IT 'LL NEED CLEANING OF COURSE , BUT THIS SHOULD HELP A LITT
LE . $
< ( HE CONTINUES IN SILENCE . $
LOLA STARES AT HIM IN AMAZEMENT ) > $
THERE . $
YOU 'D BETTER GO AND CHANGE NOW . $
03 < ( SNIFFING ) > $
THANK YOU . $
< ( SHE GOES OFF SCARCELY LOOKING AT JUDY ) > $
04 YOU NEEDN'T HAVE . $
05 SHE WAS UPSET . $
04 IT MADE ME FEEL ... I DON'T KNOW . $
05 YOU DID IT . $
04 I KNOW . $
05 BUT WHY ALL THE FUSS ? $
< ( THERE IS SILENCE . $
STONE CROSSES TO HER AND TAKES HER IN HIS ARMS GENTLY ) > $
I DIDN'T TELL HIM . $
04 YES , BUT ... $
05 I ONLY HINTED . $
04 EVERYTHING 'S HINTS . $
#76 $
< ( THEY TURN TOWARDS THE FAIRGROUND ) > $
04 IT 'S DIFFERENT AT NIGHT . $
05 EVERYTHING IS . $
04 DO YOU LOVE HER ? $
05 YES , BUT SHE 'LL GO . $
04 DON'T YOU CARE ? $
05 YES , BUT SHE 'LL GO . $
04 SHE 'S COLD . $
05 NO . $
04 I HATE HER . $
05 I KNOW . $
04 WE ALL DO . $
05 I DON'T . $
04 WHY ? $
05 WHY ? $
< ( HE LAUGHS ) > $
SHE 'S WHAT I WANT ; DARK , STRANGE , WILD . $
I JUST WANT HER . $
IN TWO YEARS I WON'T . $
THAT 'S IT . $
04 YOU MISS JOHNNY . $
05 WE ALL DO . $
04 WHY ME STONE ? $
05 YOU WERE THERE . $
04 EASY . $
05 IT 'S NOT LIKE THAT . $
YOU SIT THERE . $
YOU HAVE TO MAKE IT ALL MEAN SOMETHING . $
IT DOESN'T . $
IT JUST HAPPENS . $
IT CAN BE IMPORTANT WITHOUT MEANING ANYTHING . $
04 I FEEL SO FUTILE . $
05 YOU 'LL GROW OUT OF IT . $
DON'T TRY TO DIGEST EVERYTHING AT ONCE . $
HELL , I SHOULD TALK . $
< ( THE FAIRGROUND MUSIC CRESCENDOES ) > $
04 I DON'T WANT TO GO . $
#77 $
05 YOU DON'T HAVE TO . $
04 I SUPPOSE NOT . $
< ( HE SLIPS AN ARM ROUND HER ) > $
05 POOR LITTLE JUDY . $
IT MUST ALL SEEM VERY HARD . $
04 DON'T PITY ME ! $
< ( SHE BREAKS FROM HIM AND HE SMILES BROADLY ) > $
WHY ARE THEY SO LONG ? $
< ( LOLA RE-ENTERS , CHANGED ) > $
03 I FEEL BETTER NOW . $
< ( SHE SITS DOWN , MUCH SUBDUED ) > $
04 SEEN ANY OF THE OTHERS ? $
03 NO . $
< ( RUSK ENTERS FROM THE OPPOSITE DIRECTION . $
HE AND JUDY FACE EACH OTHER . $
STONE IS LYING DOWN ) > $
04 HELLO . $
02 HELLO . $
< ( THEY SLOWLY MOVE TOGETHER AND THEN RUSK WALKS STRAIGHT P
AST HER AND OVER TO STONE . $
HE LOOKS DOWN AT HIM ) > $
02 EARLY FOR ONCE . $
05 THAT 'S RIGHT . $
02 I 'VE BEEN LOOKING FOR YOU . $
05 LUCKY ME . $
02 I HAD A MESSAGE FOR YOU . $
05 WHO FROM ? $
02 A FRIEND OF YOURS . $
05 YOU MEAN ... ? $
< ( HE SITS UP QUICKLY ) > $
02 YES . $
#78 $
05 WHAT IS IT ? $
02 HOW MUCH IS IT WORTH ? $
05 STOP FOOLING . $
02 WHO 'S FOOLING ? $
05 WHERE IS SHE ? $
02 WHERE INDEED ? $
04 RUSK , WHAT IS IT ? $
02 KEEP AWAY YOU . $
03 WHAT 'S HAPPENING ? $
04 I DON'T KNOW . $
03 WHAT IS IT ? $
04 A MESSAGE . $
05 TELL ME ! $
03 WHO FROM ? $
04 HER . $
03 HER ! $
05 TELL ME ! $
03 WHAT IS IT ? $
04 HE WON'T SAY . $
02 < ( GLOATING ) > $
HE WON'T SAY . $
05 WHAT DO YOU WANT ? $
02 EXPLAIN . $
05 EXPLAIN WHAT ? $
02 WHAT YOU SAID . $
05 I SAID ? $
02 ABOUT HER . $
03 HER ? $
#79 $
02 HER . $
< ( HE INDICATES JUDY ) > $
04 ME . $
05 JUDY ? $
04 NO . $
05 I MUST KNOW . $
04 IT 'S A TRICK . $
03 A TRICK . $
04 A STUPID TRICK . $
03 TELL . $
05 TELL , TELL , TELL . $
< ( THEY SURROUND RUSK ) > $
04 TELL TELL TELL TELL . $
05 TELL TELL . $
03 SPEAK IT . $
04 SHRIEK IT . $
05 YELL IT . $
03 CRY IT . $
03 04 05 TELL IT - TELL IT - TELL TELL TELL . $
< ( TOBY APPEARS AND WATCHES ) > $
02 NO . $
05 SCARED , SCARED , SCARED . $
03 TELL-TALE TIT , YOUR TONGUE WILL SPLIT . $
04 TELL-TALE TIT . $
03 TELL-TALE , TELL-TALE . $
04 TELL TELL TELL . $
< ( THEY HAVE REACHED A FRENZY ALMOST EQUAL TO BLOOD LUST )
> $
01 SHE 'S GONE . $
#80 $
< ( THEY ALL STOP , STUNNED , AND SWING ROUND ) > $
05 GONE ? $
03 GONE . $
04 GONE ! $
01 GONE . $
05 WHERE ? $
04 WHEN ? $
03 HOW ? $
01 SHE WENT . $
05 SHE MUST COME BACK . $
02 SHE WON'T . $
05 SHE MUST . $
I 'LL FIND HER . $
< ( HE STRIDES OFF UP LEFT ) > $
02 HE 'S MAD . $
03 I 'M SCARED . $
04 LET 'S FOLLOW HIM . $
02 WHY  ? $
04 I DON'T KNOW . $
< ( RUSK AND JUDY STRIDE OFF . $
JUDY GRABS LOLA'S HAND ) > $
COME ON . $
< ( EXEUNT ) > $
01 BUT SHE WENT THAT WAY . $
< ( HE POINTS TO THE FAIR ) > $
< BLACKOUT > $
< ACT THREE > $
#81 $
< TOBY IS SITTING ALONE ON THE STAGE PLAYING HIS MOUTHORGAN
 . $
THE FAIR MUSIC CAN BE HEARD FAINTLY . $
LOLA LIMPS ON . > $
03 WHAT A NIGHT ! $
< ( TOBY CONTINUES TO PLAY ) > $
CAN'T FIND HIM . $
< ( SHE TAKES OFF HER SHOES ) > $
THERE , THAT 'S BETTER . $
OOO LOOK ! $
A BLISTER . $
01 WHERE ? $
< ( HE INSPECTS IT ) > $
03 THERE . $
01 NASTY . $
03 REALLY ? $
01 I 'D BE CAREFUL . $
03 OH DEAR . $
01 YES , PUT A PLASTER ON IT . $
< ( SHE DIPS IN HER BAG SEARCHING AND PRODUCES A BOX WITH PR
IDE ) > $
03 BE PREPARED . $
< ( SHE BEGINS TO PUT THE PLASTER ON AND THEN REALISES SHE C
AN'T OVER A NYLON ) > $
01 I WON'T LOOK . $
< ( SHE SWIVELS ROUND AND TAKES HER NYLON OFF . $
TOBY CLEANS HER HEEL CAREFULLY WITH A HANDKERCHIEF AND THEN
PUTS THE PLASTER ON ) > $
THERE ! $
03 THANKS . $
< ( SHE PUTS HER NYLON IN HER HANDBAG ) > $
IT 'S NICE TO SIT DOWN . $
WHY DIDN'T YOU COME ? $
#82 $
01 I 'M LAZY . $
03 YES , I SUPPOSE YOU ARE . $
< ( SHE LIES DOWN ) > $
FUNNY . $
01 VERY . $
03 HER GOING . $
SHE MIGHT HAVE SAID GOODBYE . $
I MEAN IT WOULD HAVE BEEN NICE . $
AFTER ALL , SHE 'S LIVED OFF US FOR NEARLY A MONTH . $
01 TRUE . $
03 FANCY JUST LEAVING LIKE THAT . $
01 YOU WANTED IT . $
03 I KNOW , BUT NOT LIKE THAT . $
I MEAN SHE MIGHT HAVE SAID GOODBYE . $
< ( PAUSE ) > $
HOW DID YOU KNOW ? $
01 I WAS TOLD . $
03 WHO BY ? $
01 < ( OVER EMPHASISING ) > $
HER . $
03 YOU SAW HER ? $
01 I DID . $
03 WHEN ? $
01 BEFORE SHE LEFT . $
03 WHAT DID SHE SAY ? $
01 WORDS . $
03 WHAT ? $
01 JUST WORDS . $
03 TELL ME . $
01 DOES IT MATTER ? $
#83 $
03 NO . $
< ( PAUSE ) > $
01 SHE SAID GOODBYE . $
< ( PAUSE ) > $
03 I 'M TIRED . $
01 ' WILL YOU COME INTO MY PARLOUR ' SAID THE SPIDER TO THE
FLY . $
' A PRETTIER LITTLE PARLOUR YOU NEVER DID ESPY . ' $
' THE WAY INTO MY PARLOUR IS UP A WINDING STAIR , AND THERE
ARE MANY LOVELY THINGS TO SEE WHEN YOU GET THERE . ' $
< ( PAUSE ) > $
03 DO YOU LIKE THIS PLACE ? $
01 I KNOW IT . $
03 IT 'S DIRTY . $
< ( SHE STANDS UP AND GAZES OFF AT THE FAIR ) > $
03 WOULD I HAVE LIKED JOHNNY ? $
01 YES . $
03 HE SOUNDS FUNNY . $
01 HE WAS . $
03 I DON'T LIKE FUNNY PEOPLE . $
01 HE WAS JOHNNY , REMEMBER . $
03 I WOULDN'T HAVE LIKED HIM . $
I CAN SEE THE LIGHTS . $
HAVE YOU EVER BEEN ? $
01 THERE ? $
< ( LOLA NODS ) > $
NO . $
03 IT 'S LATE . $
#84 $
< ( TOBY BEGINS TO PLAY SOFTLY . $
LOLA TURNS AND WALKS TOWARDS HIM . $
SHE CURLS UP AT HIS FEET AND FALLS ASLEEP . $
HE CONTINUES PLAYING . $
RUSK AND JUDY ENTER . ) > $
02 NOW WHAT ? $
04 WE 'RE BACK . $
02 WELL TRODDEN GROUND . $
< ( THEY SCARCELY NOTICE TOBY WHO FINISHES THE TUNE AND SLOW
LY , TENDERLY , STROKES LOLA'S HAIR . $
THEY ARE ABSORBED IN THEIR OWN PROBLEMS ) > $
02 WHERE DID HE GO ? $
WHERE DID HE GO ? $
04 WE LOOKED . $
02 HE MIGHT HAVE ... $
04 DONE ANYTHING . $
WE 'LL WAIT . $
< ( SHE SITS DOWN ) > $
02 WHY GO OFF ? $
04 HE LOVES HER . $
02 EH ? $
04 HE LOVES HER . $
02 HE 'S UPSET . $
04 SHE 'S GONE . $
02 AND YOU ? $
04 I 'M STILL HERE . $
02 YES . $
04 I LOVE YOU . $
02 YES . $
04 DON'T YOU CARE ? $
02 EH ? $
#85 $
04 OH NEVER MIND . $
< ( PAUSE ) > $
02 JUDY . $
04 YES ? $
02 I 'M TIRED . $
04 AGAIN . $
02 GIVE ME TIME . $
04 YOU 'VE GOT THAT . $
02 BUT YOU ... $
04 I 'M TIRED TOO . $
02 I KNOW . $
< ( HE SITS BESIDE HER AND PUTS AN ARM ROUND HER ) > $
I NEVER GUESSED . $
04 NO . $
02 IT SEEMED A GAME . $
04 WE NEVER KNOW . $
02 IT 'S ALL A GAME . $
04 NO . $
NO IT 'S NOT A GAME BECAUSE THAT HAS RULES . $
THIS ISN'T AN ORGANIZED THING . $
02 I LOVED HIM YOU KNOW . $
04 HE LOVED HER . $
02 SHE DEVOURED HIM . $
04 SHE ONLY NIBBLED . $
02 IT 'LL NEVER BE THE SAME . $
04 NOTHING IS . $
02 YOU AND ME . $
04 I DON'T WANT IT . $
#86 $
02 DON'T ... ? $
04 THE SAME . $
02 BUT ... ? $
04 YES , YES . $
I KNOW . $
ICE-CREAM SODAS , A TON UP DOWN THE A.1 . $
FORTY FAGS A DAY AND NO FOOD . $
IT WAS MARVELLOUS . $
02 FABULOUS . $
04 BUT UNREAL ... FOR US . $
02 THE GANG . $
04 GREAT , BUT WRONG . $
02 WRONG ? $
04 WELL LOOK AT IT ! $
WHERE 'S IT GONE ? $
IT ALL WENT WITH HIM - WITH JOHNNY . $
WHAT 'S A GANG WITHOUT A LEADER ? $
02 STONE - $
04 WHERE IS HE ? $
WE 'RE GOING TO THE FAIR - WE 'RE GOING BUT THERE 'S NO LEAD
ER . $
WHERE CAN WE GO WITHOUT - HOW CAN WE GO WITHOUT ? $
02 HE 'LL BE BACK . $
04 HOW DO YOU KNOW . $
YOU CAN'T . $
I WANT TO KNOW . $
I WANT TO LOOK AT THINGS WITH MY EYES . $
I WANT TO BELIEVE MY THINGS , SEE MY TRUTH . $
02 YOU CAN'T . $
04 I CAN TRY CAN'T I ? $
02 YOU 'RE ONLY A WOMAN . $
04 WELL WHAT ARE YOU GOING TO DO ? $
WAIT HERE FOR JOHNNY TILL YOU DIE OF OLD AGE ? $
02 I 'VE GOT THE BIKE OUTSIDE - LET 'S GO . $
04 WHERE ? $
02 FOR A RIDE - LIKE OLD TIMES - FOR A RIDE . $
< ( JUDY JUST GETS UP AND WALKS TO THE BACK OF THE STAGE ) >
 $
#87 $
04 YOU UNDERSTAND NOTHING . $
FACE YOURSELF - LOOK AT YOURSELF . $
< ( SHE TAKES A MIRROR FROM HER BAG AND THRUSTS IT IN FRONT
OF HIM ) > $
THERE , LOOK AT YOURSELF - LOOK HARD - LOOK HONESTLY . $
01 MOCK NOT THE MOTE IN HIS EYE . $
04 I THOUGHT YOU WERE ASLEEP . $
01 IT 'S MY TURN ON WATCH . $
< ( SHE REPLACES THE MIRROR ) > $
04 IF I DIDN'T LOVE YOU I 'D WALK OUT NOW . $
< ( PAUSE ) > $
LET 'S GO RUSK . $
02 NO . $
04 LEAVE IT ALL . $
02 NO . $
04 LEAVE . $
02 NO , NO , NO . $
< ( SHE TURNS AWAY , GOES OVER TO TOBY AND CURLS UP ) > $
04 HE DOESN'T LOVE ME . $
01 HE DOESN'T KNOW . $
04 HE DOESN'T . $
01 HE DOESN'T . $
04 BUT I DON'T THINK I CARE ANY MORE . $
01 GO TO SLEEP . $
< ( RUSK PACES ROUND FOR A SHORT WHILE AND THEN SITS ) > $
02 WHAT TIME IS IT ? $
01 LATE . $
#88 $
02 I KNOW IT 'S LATE . $
I ASKED THE TIME DIDN'T I ? $
< ( PAUSE . $
TOBY PICKS UP HIS MOUTHORGAN AND BEGINS TO PLAY OUT OF HARMO
NY WITH THE MUSIC OF THE FAIR . $
STONE WALKS ONTO THE STAGE STRANGELY SELF-POSSESSED . $
RUSK LOOKS UP AND SEES HIM . $
HE STANDS ) > $
05 SHE 'S NOT THERE . $
02 SHE DIDN'T GO THERE . $
05 SHE MIGHT HAVE . $
02 SHE DIDN'T . $
05 NO . $
< ( PAUSE ) > $
THEY ASLEEP ? $
< ( INDICATES JUDY AND LOLA . $
TOBY NODS ) > $
02 SHE WAS NO GOOD . $
05 GO AWAY RUSK . $
02 I WANT TO HELP . $
05 YOU CAN'T . $
02 IT WAS A GAME . $
05 WHAT WAS ? $
02 YOU AND HER . $
05 NO . $
02 SHE PLAYED WITH YOU . $
I SAW HER . $
05 SHE WOULD LIE CALM . $
SHE WOULD CLAW LIKE A TIGER AND SUBMIT . $
SHE WOULD CRY LIKE A CHILD . $
02 SHE MOCKED YOU . $
05 LIKE A CHILD . $
02 DO YOU ... DO YOU LOVE HER ? $
05 I THINK SO . $
02 LIKE ... JOHNNY ? $
#89 $
05 JOHNNY NEEDED NO-ONE . $
02 BUT SHE DIDN'T NEED YOU . $
05 NO . $
THAT 'S WHY IT HURTS . $
02 SHE WAS JOHNNY'S GIRL . $
01 SHE THOUGHT SHE WAS . $
05 HE WAS HARD , UNYIELDING , POWERFUL . $
HE COULD NEVER LOVE . $
02 HE WAS STRONG . $
05 HE TOOK WITHOUT ASKING . $
01 AND GAVE NOTHING . $
02 STAY OUT OF THIS . $
05 HE KNOWS . $
HE 'S ALWAYS KNOWN . $
< ( HE LAUGHS ) > $
02 WHAT ARE WE GOING TO DO STONE ? $
05 HOW SHOULD I KNOW ? $
02 YOU KNOW , YOU DO , YOU DO . $
YOU MUST ; YOU MUST KNOW STONE . $
YOU KNOW EVERYTHING . $
05 GO SEE AN OPTICIAN RUSK . $
02 YOU MUST KNOW . $
05 LOOK , I 'M CRAZY ABOUT A WOMAN WHO 'S JILTED ME . $
ME , YES , SHE JILTED ME . $
< ( HE LAUGHS ) > $
MAKES YOU WANT TO BLOODY WEEP . $
DON'T PUSH ME RUSK . $
LEAVE ALONE . $
02 YOU . $
05 YES , ME . $
02 YOU 'RE JUST FOOLING . $
05 < ( SUDDENLY LOSING CONTROL ) > $
LOOK . $
THERE . $
< ( HE POINTS TO JUDY ) > $
THERE . $
YOUR WOMAN RUSK . $
I HAD HER RUSK . $
ME . $
I HAD HER . $
ME AND JUDY TOGETHER ONE HOT , HEAVY NIGHT . $
02 YOU ... $
#90 $
05 ME . $
02 < ( UNCOMPREHENDING ) > $
NO ... NO . $
05 YES , ME RUSK . $
REMEMBER THAT . $
02 YOU WOULDN'T . $
05 ASK HER ... ASK HER . $
GO ON . $
< ( RUSK TURNS TO WAKE HER BUT STOPS . $
HE SITS DOWN ) > $
02 WHAT 'S THE POINT ? $
I THOUGHT YOU WERE ... I THOUGHT . $
05 I 'M NOT JOHNNY . $
I 'M NO HERO . $
IF YOU WANT TO FOLLOW HIM GO THAT WAY . $
< ( HE POINTS TO THE FAIR . $
THERE IS A SHORT PAUSE . $
TOBY BEGINS TO PLAY A BRISK TUNE . $
JUDY WAKES UP AND RUBS HER EYES . $
LOLA GRUNTS AND SITS UP ) > $
03 LORD . $
< ( TOBY SPRINGS TO HIS FEET PLAYING FASTER AND FASTER , TAP
PING HIS FOOT TO THE RHYTHM . $
HE STOPS AND LEAPS ON THE MOUND ) > $
01 ROLL UP , ROLL UP LADIES AND GENTS . $
ONCE IN A LIFETIME HERE BEFORE YOUR VERY EYES . $
ONLY 2/6D IN FULL TECHNICOLOUR , VIEW IT ALL FOR YOURSELF .
$
SEE THE LITTLE FLEAS PERFORMING AND WHIZZO THE STRONG MAN TE
AR THOSE TELEPHONE DIRECTORIES - ALL THOSE NAMES - JUST THIN
K LADIES AND GENTLEMEN . $
< ( THE OTHERS BEGIN TO MILL AROUND ) > $
03 MARVELLOUS ! $
04 FABULOUS ! $
02 INCREDIBLE ! $
05 FANTASTIC ! $
03 GREAT , GREAT , GREAT , GREAT ! $
04 DIG , DIG , DIG , DIG . $
01 ROLL-UP , ROLL-UP . $
05 BIG DIP STARTING NOW . $
#91 $
01 ROLL-UP , ROLL-UP . $
04 BEARDED LADY NOW ON SHOW . $
01 ROLL-UP , ROLL-UP . $
02 COCONUTS A TANNER A THROW . $
01 ROLL-UP , ROLL-UP . $
03 TAKE YOUR PICK . $
05 AMUSEMENTS . $
04 CANDY-FLOSS . $
03 ROUNDABOUTS . $
02 PERFORMING FLEAS . $
05 GHOST TRAIN . $
04 TUNNEL OF LOVE . $
01 ROLL-UP , ROLL-UP , ROLL-UP , ROLL-UP , ROLL-UP . $
< ( THEY BEGIN TO MOVE AROUND ) > $
05 BOWL . $
02 THROW . $
04 KICK . $
03 SCREAM . $
05 DANCE . $
03 EAT . $
04 LOVE . $
02 DREAM . $
01 ROLL-UP , ROLL-UP , ROLL-UP , ROLL-UP . $
03 THE FREAKS . $
05 THE SKIRTS . $
02 THE MUSIC . $
#92 $
03 ICE CREAM . $
04 TOFFEE APPLES . $
03 SHERBERT . $
05 MOVEMENT . $
02 SCENE . $
01 ROLL-UP , ROLL-UP , ROLL-UP , ROLL-UP . $
03 COO LOOK AT THAT OLD MAN OVER THERE ! $
DON'T HE LOOK DAFT ! $
05 SILLY OLD CODGER . $
02 NICE LEGS . $
04 WATCH IT ! $
05 KISS ME QUICK . $
03 NOT LIKELY ! $
05 KISS ME SLOW . $
04 LATER . $
02 CANDY-FLOSS ? $
04 PLEASE . $
< ( HE GRABS SOME AND THEY RUN OFF SQUEALING . $
THEY BEGIN TO EAT IT ) > $
04 STICKY . $
03 SICKLY . $
05 FLUFFY . $
02 SWEET . $
03 DON'T WANT IT . $
< ( SHE THROWS IT DOWN . $
TOBY STANDS REMOTE IN THE CENTRE OF ALL THE ACTIVITY ) > $
01 MAY I INTEREST YOU YOUNG LADIES IN THE PERFORMING FLEAS -
 TRAINED ESPECIALLY BY MADAM ZSA-ZSA FOR YOUR DELIGHT ? $
#93 $
03 COOOOOOO ! $
02 FOUR . $
< ( THEY WALK THROUGH THE ENTRANCE AND JOSTLE ) > $
04 I CAN'T SEE . $
02 TOO SMALL . $
05 LIGHT BAD . $
03 COO . $
02 SORRY SIR . $
03 INIT CLEVER ! ? $
04 LET 'S GO . $
05 GHOST TRAIN . $
< ( THEY STEP ON . $
THE STAGE DARKENS . $
THEY REACT TO UNSEEN OBJECTS ) > $
03 AH ! $
04 OOOOH ! $
05 DULL . $
02 BORING . $
05 MONOTONOUS . $
03 IT 'S A SKELETON ! $
05 TIRING . $
02 USELESS . $
03 GHOSTS . $
04 SPIDERS . $
03 WITCHES . $
04 MICE . $
03 MONSTERS . $
04 TORTURE . $
#94 $
03 WEREWOLVES . $
04 DAMP . $
05 DREARY . $
02 FUTILE . $
< ( TOBY SUDDENLY STEPS INTO A SPOT IN FRONT OF THEM . $
THEY SCREAM ) > $
01 LADIES AND GENTLEMEN , MAY I INTEREST YOU NOW IN THE FAMO
US HALL OF MIRRORS ? $
SEE YOURSELF AS YOU 'VE NEVER BEEN SEEN BEFORE ! $
< ( THEY LOOK AROUND AND LAUGH ) > $
03 YOU DON'T 'ALF LOOK QUEER ! $
04 LOOK AT YOU ! $
05 LONG . $
02 FAT . $
03 THIN . $
04 SHORT . $
05 TALL . $
03 SQUARE . $
02 PEAR . $
04 GROOOOOO . $
02 IT 'S A NORMAL ONE ! $
03 YOU LOOK DAFT . $
02 I DON'T . $
03 YOU DO . $
02 I DON'T . $
03 ALRIGHT , YOU DON'T . $
04 WHEEEEEEEE . $
03 WHEEEEEEEE . $
#95 $
04 WE 'RE FLYING . $
03 SOARING . $
04 LEAPING . $
03 SWEEPING . $
05 WHAT 'S THAT ? $
< ( A SPOT PICKS OUT TOBY WHO IS STANDING , FEET TURNED OUT
, HANDS CROSSED AND HEAD HANGING . $
HE LOOKS UP , SMILES WISTFULLY AND PRODUCES A CHRISTMAS SQUE
AKER TOY WITH A LONG , BLUE FEATHER . $
HE TURNS AND BLOWS IT OUT . $
HE LOOKS ASTONISHED AND STICKS IT BACK IN HIS POCKET WITH JU
ST THE FEATHER SHOWING . $
HE TAKES OUT HIS MOUTHORGAN AND BEGINS TO PLAY OUT OF TUNE .
 $
HE GETS AN ITCH AND IS DISTRACTED BY IT . $
AN IMAGINARY FLY IRRITATES HIM AND HE ATTEMPTS TO SWOT IT ,
FALLING OVER . $
THE CLOWN MIME SHOULD CONTINUE FOR ABOUT 5 - 8 MINUTES . $
TOBY IS ALWAYS NERVOUS , WISTFUL AND APOLOGETIC . $
THE OTHER CHARACTERS SHOULD ROAR WITH LAUGHTER . $
AT THE END TOBY GOES ROUND , HAND OUT . $
HE RECEIVES SIXPENCE - HOLDS HIS HAND OUT TO THE AUDIENCE ,
LOOKS WISTFUL , THEN HOLDING UP HIS SIXPENCE MAKES GESTURES
OF LOVE TO IT . $
THE FAIRGROUND MUSIC CRESCENDOES . $
HE JUMPS ROUND TO THEM , RAISES HIS HANDS IN A GESTURE THAT
THEY SHOULD RISE . $
HE RUNS ROUND THEM , ARMS RAISED , JUMPS AND LANDS IN FRONT
OF THEM , FEET APART . $
HE BEGINS TO CONDUCT TO THE MUSIC - THE CAROUSEL WALTZ ) > $
01 LAAA LA LA LA LA $
03 LA-LA-LA LA LA LA LA $
04 LA-LA-LA $
02 LA-LA-LA $
05 LA-LA-LA $
01 DUM . $
05 LA LA LA LA LA $
02 DE-DE-DE DE DE DE DE $
04 DE-DE-DE DE DE DE $
03 DE DE DE $
#96 $
01 DUM . $
02 03 04 05 01 DE DE DE DE DUM DE DIDDLE-E-DE DE DUM DIDDLE
UM DUM DUM UM DUM DUM DUM DE DE DE DE DUM DE DE DE DEEDLE UM
 DE-DE-DE-DE DE DE DE DE DE $
UM DUM DUM DUM $
DE DE DE DE DUM $
DE DE DE DEEDLE UM $
DE-DE-DE-DE DE DE
DE DE DE $
01 DUM . $
< ( THEY ARE ALL ALMOST FRENZIED . $
TOBY TAKES UP THE TUNE ON HIS MOUTHORGAN AND PLAYS IT BLUE .
 $
THE FAIR MUSIC DIES DOWN AND THEY ALL TURN AND FACE HIM AGHA
ST . $
THEY SIT AT THE FOOT OF THE MOUND AND LISTEN UNTIL HE HAS FI
NISHED . $
PAUSE ) > $
03 WHAT NOW ? $
04 WE NEVER WENT . $
01 NO . $
< ( THEY SIT AND LISTEN TO THE FAIRGROUND MUSIC ) > $
ONCE THERE WAS A BEAUTIFUL FOREST OF PINE TREES . $
THEY GREW AND GREW UNTIL THEY NEARLY TOUCHED THE SKY . $
THEY WERE TALL AND STRAIGHT AND PROUD . $
02 HE 'S OFF AGAIN . $
03 THERE SHOULD BE A LAW . $
04 IT 'S ALL HIS FAULT . $
03 HE STARTED IT . $
01 AND GREEN . $
VERY GREEN . $
THEY NEVER SHED THEIR LEAVES , YOU SEE . $
PINE TREES DON'T . $
05 PINE TREES DON'T HAVE LEAVES . $
01 NEEDLES . $
ONE DAY A MAN CAME TO THE VALLEY . $
05 A BIG MAN . $
01 BY MEN'S STANDARDS BUT NOT TO THE TREES . $
THEY LOOKED DOWN AT HIM AND THOUGHT HOW SMALL AND SILLY HE L
OOKED . $
#97 $
BUT HE LOOKED UP AT THEM AND THOUGHT ... $
02 WOOD . $
04 GOOD . $
03 A HOUSE . $
04 FOOD . $
03 A FIRE . $
02 A FAMILY . $
05 A HOME . $
01 SO HE CUT . $
02 WITH AN AXE . $
05 AND A SAW . $
01 AND A TREE FELL DOWN . $
03 WHAT THEN ? $
01 IT JUST FELL DOWN . $
03 IS THAT ALL ? $
01 THAT 'S ALL . $
03 THAT 'S SILLY . $
YOUR STORIES NEVER END PROPERLY . $
I DON'T KNOW WHY YOU BOTHER TO TELL THEM . $
01 IT HELPS TO PASS THE TIME . $
< ( PAUSE ) > $
05 THE WIND 'S GETTING UP . $
04 IT 'S COLD . $
05 TAKE MY COAT . $
02 NO , TAKE MINE . $
< ( JUDY STARES AT THEM BOTH ) > $
04 I 'LL HAVE TOBY'S . $
#98 $
01 < ( REMOVING HIS COAT AND GIVING IT TO HER ) > $
POOR TOBY . $
03 I KNOW . $
LET 'S PLAY A GAME ! $
04 HIDE AND SEEK . $
05 BLIND MAN'S BUFF . $
03 HUNT THE THIMBLE . $
01 CONSEQUENCES . $
03 WE HAVEN'T ANY PAPER . $
01 I SPY WITH MY LITTLE EYE SOMETHING BEGINNING WITH "T" . $
04 TIE . $
03 TOE . $
02 TORCH . $
05 TEA POT . $
03 HE TOOK THAT . $
05 TOOK ? $
03 THE TEA POT . $
05 SO ... ? $
03 SO HE CAN'T SPY IT WITH HIS LITTLE EYE CAN HE , STUPID !
$
04 TOBY . $
01 < ( EXCLAIMS ) > $
- YES ! $
04 YES WHAT ? $
01 THAT 'S IT . $
04 WHAT 'S IT ? $
01 TOBY . $
' T ' . $
I SPY WITH MY LITTLE EYE SOMETHING BEGINNING WITH ' T ' . $
- TOBY . $
02 YOU CAN'T SEE YOURSELF . $
03 THAT 'S CHEATING . $
#99 $
04 I 'M BORED . $
WHAT 'RE WE HANGING ROUND HERE FOR ANYWAY ? $
05 IT 'S JUST SOMETHING WE DO . $
02 WE 'VE ALWAYS DONE IT . $
04 WELL I 'M BORED . $
05 COME HOME WITH ME . $
04 FORGET SOME OTHER WAY . $
< ( STONE WALKS UP RIGHT , PICKS UP A STONE AND BEGINS TO SH
ARPEN A KNIFE . $
RUSK FOLLOWS HIM AND WATCHES ABSORBED ) > $
03 JUDY YOU DIDN'T REALLY ! $
04 WHAT ? $
03 YOU KNOW . $
04 I HAVEN'T A CLUE . $
03 WELL , YOU KNOW , GO WITH HIM . $
04 WHO ? $
03 < ( WHISPERS ) > $
STONE . $
04 OH HIM . $
YES . $
03 < ( DRAWS IN HER BREATH ) > $
HOW COULD YOU ! $
04 EASILY . $
03 REALLY ! $
04 YOU WANTED TO KNOW ; DON'T ACT SO SHOCKED . $
03 WELL I MEAN THAT 'S PROMIS ... PROMISCUITY ISN'T IT ? $
I MEAN TWO AT THE SAME TINE . $
04 IT 'S IMPOSSIBLE . $
03 IMPOSSIBLE ? $
04 TWO AT THE SAME TIME . $
03 YOU KNOW WHAT I MEAN . $
#100 $
04 YES LOLA , I KNOW WHAT YOU MEAN , I KNOW WHAT YOU MEAN .
$
03 NOT THAT I MIND REALLY , I MEAN IT 'S YOUR LIFE ISN'T IT
? $
BUT LOOK AT THE WAY HE TREATS YOU ! $
IT NEVER DOES , YOU KNOW , THEY 'RE BOUND TO DESPISE YOU IN
THE END . $
04 ARE THEY ? $
03 STANDS TO REASON . $
I KNEW A BLOKE ONCE ; GEOFF . $
HE WORKED IN THE CINEMA BACK HOME - YOU KNOW , PROJECTIONIST
 . $
I WENT WITH HIM FOR QUITE A WHILE . $
HE USED TO TAKE ME WALKS ON A SUNDAY AND THEN I 'D GET A FRE
E TICKET TO THE CINEMA . $
IT WAS USEFUL THAT WAY . $
04 YES IT WOULD BE . $
03 I WAS FOND OF HIM . $
WELL , YOU CAN'T HELP IT . $
BUT I KNOW WHAT 'S WHAT AND I USED TO SAY , " KEEP YOUR HAND
S TO YOURSELF GEOFF WRIGHT , ' I 'D SAY . $
04 WHAT HAPPENED ? $
03 HE TOOK UP WITH ONE OF THE USHERETTES . $
04 NICE ? $
03 CHEAP . $
I USED TO SAY , ' WHAT DO YOU SEE IN HER ? $
WHAT IN THE EARTH DO YOU SEE IN HER ? " $
HE NEVER TOLD ME . $
04 DID YOU NEVER GUESS ? $
03 WELL , IF THAT 'S ALL HE WANTED ... $
04 YES . $
WERE YOU UPSET ? $
03 A BIT . $
WE USED TO HAVE GRAND TIMES . $
04 IT SOUNDS FUN . $
03 IT WAS . $
ANYWAY I THOUGHT I 'D MOVE HERE . $
I THINK YOU NEED TO GET AWAY FOR A BIT . $
YOU KNOW , STAND ON YOUR OWN FEET . $
04 YES , IT 'S A GOOD IDEA - TO GET AWAY I MEAN . $
03 BUT PEOPLE ARE THE SAME ALL OVER YOU KNOW - SPEAK A BIT D
IFFERENT BUT THEY 'RE ALL THE SAME . $
04 OH LOLA ! $
< ( SHE HUGS HER ) > $
03 'ERE STEADY ON ! $
#101 $
04 GOD BLESS YOU ! $
02 RAZOR SHARP . $
05 THAT 'S RIGHT . $
02 WHAT FOR ? $
05 CUTTING . $
02 CUTTING WHAT ? $
05 OH YOU NEVER KNOW . $
ALL SORTS OF THINGS NEED CUTTING . $
< ( HE FEELS THE POINT AND CUTS HIMSELF . $
HE WATCHES THE BLOOD TRICKLE DOWN AND THEN STICKS THE THUMB
IN HIS MOUTH AND SUCKS IT ) > $
02 STOP IT ! $
03 WHAT 'S UP ? $
02 HE 'S CUT HIS THUMB . $
03 HERE , YOU WANT TO BE CAREFUL . $
< ( SHE FISHES IN HER BAG AND PRODUCES THE PLASTER ) > $
SHOW IT HERE . $
05 IT 'S ALRIGHT . $
03 KEEP IT CLEAN . $
05 IT 'S ALRIGHT ! $
03 MEN ! $
< ( SHE GRABS HIS HAND AND CAREFULLY WIPING OFF THE BLOOD SH
E STICKS THE PLASTER ON IT . $
HE WATCHES IN AMAZEMENT AND SLIGHT EMBARRASSMENT ) > $
03 THERE ! $
< ( SHE CATCHES HIS EYE AND BUSILY PUTS THE PLASTER AWAY ) >
 $
WELL , I MEAN IT MIGHT HAVE GOT DIRT IN IT AND THEN WHAT ? $
YOU CAN GET LOCK-JAW AND GANGRENE AND TERRIBLE THINGS FROM T
HAT YOU KNOW . $
05 THANK YOU LOLA . $
#102 $
04 I WANT TO GO HOME RUSK . $
02 LET 'S ALL GO . $
04 WE WON'T ALL FIT IN . $
03 HOW 'D YOU MANAGE TO CUT YOURSELF ? $
05 THIS . $
< ( HE PRODUCES THE KNIFE ) > $
03 COO . $
THAT 'S DANGEROUS ! $
HOW 'S IT WORK ? $
05 WELL YOU SEE , INSIDE HERE ... $
< ( HE WALKS AWAY FROM THE OTHERS , EXPLAINING TO HER HOW TH
E KNIFE WORKS ) > $
04 WELL ? $
02 WAIT A BIT . $
04 WHAT FOR ? $
02 I DON'T KNOW - JUST WAIT . $
04 HE WON'T COME . $
CAN'T YOU GET THAT INTO YOUR CRAZY HEAD ! $
HE WON'T COME . $
02 IT 'S NOT THAT . $
04 WHAT IS IT THEN ? $
02 I CAN'T EXPLAIN . $
04 IF I GO ALONE YOU 'LL NEVER SEE ME AGAIN . $
02 WHERE WILL YOU GO ? $
04 I 'VE GOT RELATIVES IN BIRMINGHAM . $
02 OH GREAT ! $
04 I MEAN IT . $
02 I KNOW . $
04 ARE YOU COMING ? $
02 CAN'T WE ... ? $
#103 $
04 WHAT 'S THE POINT ? $
DO YOU THINK IT 'S EASY ? $
JUST TO WALK OUT . $
YOU 'LL GET A GOOD JOB , AND I CAN TYPE A BIT . $
IT 'LL BE ALRIGHT IF WE LEAVE NOW . $
LEAVE JOHNNY AND STONE AND EVERYTHING . $
IT 'LL BE FINE . $
PLEASE RUSK . $
< ( RUSK LOOKS AT HER , HALF DECIDED ) > $
COME ON . $
< ( SHE HOLDS HIS HAND AND GENTLY LEADS HIM TO THE EDGE OF T
HE STAGE ) > $
02 GOODBYE . $
01 GOOD LUCK . $
02 WHAT 'S THE SECRET TOBY ? $
01 GOOD LUCK AND A PIECE OF STRING . $
< ( HE HOLDS UP THE STRING ) > $
02 < ( SMILES ) > $
FOOL . $
< ( THEY GO OUT ) > $
05 ... AND THEN THE SPRING RELEASES IT . $
< ( THE KNIFE BLADE SPRINGS OUT ) > $
03 COO . $
CAN I ? $
< ( HE PUTS THE BLADE BACK IN AND SHE FLICKS IT , HOLDING IT
 WITH BOTH HANDS AND SCREWING UP HER EYES . $
STONE LAUGHS ) > $
03 IT 'S EASY ! $
05 IT 'S DANGEROUS . $
03 NO WONDER YOU CUT YOURSELF . $
HERE LOOK . $
< ( SHE TURNS ROUND AND STOPS , SEEING ONLY TOBY ) > $
WHERE 'VE THEY GONE ? $
01 THEY JUST WENT . $
03 WITHOUT SAYING GOODBYE ? $
01 YOU WEREN'T LISTENING . $
#104 $
03 NO . $
HERE , LOOK AT THIS . $
< ( SHE FLICKS THE BLADE OUT ) > $
01 < ( SPRINGING ONE FROM HIS POCKET ) > $
SNAP ! $
03 AH ! $
05 WHERE DID YOU GET THAT ? $
01 A PRESENT . $
< ( HE PUTS IT BACK IN HIS POCKET ) > $
05 WHO FROM ? $
01 A FRIEND . $
05 JOHNNY ? $
01 A FRIEND . $
05 WAS IT JOHNNY ? $
< ( THEY LOOK AT EACH OTHER FOR A LONG TIME ) > $
03 FOR HEAVEN'S SAKE WHAT 'S ALL THIS ABOUT ? $
STOP IT YOU TWO ! $
STOP IT ! $
01 A PRESENT LOLA . $
< ( HE HANDS HER THE KNIFE FROM HIS POCKET ) > $
03 FOR ME ? $
01 YES . $
03 IT 'LL BE HANDY FOR THE POTATOES . $
ARE YOU SURE ? $
01 YES . $
03 I MEAN , IT WAS A PRESENT . $
01 YOU KEEP IT . $
03 WON'T YOUR FRIEND MIND ? $
01 HE 'LL NEVER KNOW . $
03 ALL FOR ME . $
01 BE CAREFUL WITH IT . $
03 ALL FOR ME . $
#105 $
< ( SHE SITS DOWN AND PLAYS WITH IT LIKE A CHILD WITH A NEW
TOY ) > $
05 I UNDERESTIMATED YOU . $
01 DID YOU ? $
05 IT WAS JOHNNY . $
01 YES . $
05 EVERYTHING 'S SECOND HAND ! $
< ( HE THROWS HIS KNIFE ON THE FLOOR ) > $
01 TEMPER ! $
05 HE GAVE ME HIS KNIFE . $
01 HE HAD MANY . $
05 YOU WERE HIS FRIEND . $
01 HE FOUND ME AMUSING . $
05 HE IGNORED YOU . $
01 PUBLICLY . $
DON'T YOU ALL . $
05 I WAS JOHNNY'S RIGHT HAND - HE DEPENDED ON ME . $
01 HE DIDN'T . $
05 I COULD CRUSH YOU . $
01 PHYSICALLY . $
05 YOU , YOUR MUSIC , YOUR STORIES - NONSENSE - A FOOL'S PAR
ADISE ! $
01 LOOK AT THAT . $
< ( HE POINTS AT LOLA ) > $
INNOCENCE AND EVIL . $
THAT 'S JOHNNY . $
NO HEART AND A WOMAN WHO HAD TOO MUCH . $
05 WHERE IS SHE ? $
01 LOOKING . $
05 WILL I FIND HER ? $
01 PERHAPS . $
05 AND JOHNNY ? $
#106 $
01 NEVER . $
05 NEVER ? $
01 HE WENT THAT WAY . $
< ( HE POINTS TO THE FAIR ) > $
03 DOESN'T IT EVER WEAR OUT ? $
THE SPRING I MEAN . $
01 EVENTUALLY . $
05 WHAT WILL YOU DO ? $
01 I 'LL STAY WITH MUSIC , STORIES AND THE MOON . $
05 YOU 'RE A REAL CLOWN . $
01 HARDLY ORIGINAL . $
< ( STONE MOVES OFF TOWARDS THE FAIR ) > $
05 WISH ME LUCK . $
01 YOU NEED MORE THAN THAT . $
< ( HE PICKS UP THE KNIFE AND THROWS IT TO STONE WHO CATCHES
 IT AND WALKS OFF . $
THE FAIRGROUND MUSIC CRESCENDOES , RECEIVING HIM ) > $
03 WHAT WAS ALL THAT ABOUT ? $
01 TRAVELLING . $
03 THEY 'VE ALL GONE . $
01 YES , IT 'S LATE . $
03 I THINK I 'LL GO BACK HOME . $
I MEAN GET RIGHT AWAY FROM THIS PLACE . $
FUNNY ALWAYS WANTING TO GET AWAY . $
01 BUT YOU 'RE GOING BACK . $
03 I SUPPOSE SO . $
01 HERE . $
< ( HE SPREADS OUT HER HANDS ) > $
#107 $
01 THIS LITTLE PIGGY WENT TO MARKET , THIS LITTLE PIGGY STAY
ED AT HOME , THIS LITTLE PIGGY HAD ROAST BEEF , THIS LITTLE
PIGGY HAD NONE , AND THIS LITTLE PIGGY WENT WEE , WEE , WEE
, WEE , ALL THE WAY HOME . $
< ( LOLA LAUGHS ) > $
03 YOU ARE DAFT . $
< ( PAUSE ) > $
WHY ARE THEY ALL SO MEAN TO YOU TOBY ? $
01 IT HELPS THEM . $
03 WELL , I MEAN YOU ARE A BIT FUNNY , BUT THAT 'S NO REASON
 TO TAKE ADVANTAGE OF YOU . $
I LIKE YOUR MUSIC ANYWAY . $
01 THANK YOU . $
03 < ( PLAYING WITH THE KNIFE ) > $
DID HE REALLY GIVE IT TO YOU ? $
01 YES . $
03 THAT WAS KIND OF HIM . $
01 HE HAD PLENTY ... OF KNIVES . $
03 BUT YOU ONLY NEED ONE . $
01 YOU DO LOLA . $
03 YES . $
< ( SHE LOOKS UP ) > $
IT 'S ALL CLOUDY . $
I THINK I 'LL WRITE TO MY MUM AND TELL HER I 'M COMING . $
SHE 'LL BE GLAD . $
SHE NEVER WANTED ME TO LEAVE HOME - WELL , THAT 'S NATURAL .
 $
MUMS WORRY , YOU KNOW , IT 'S NATURAL . $
01 YES , IT 'S NATURAL . $
03 WELL . $
< ( SHE STANDS UP AND STRAIGHTENS HER DRESS ) > $
I 'M GOING TO GET SOME SLEEP - COMING ? $
#108 $
01 NOT YET . $
03 OH . $
ALRIGHT . $
< ( SHE PICKS UP HER BAG ) > $
'BYE THEN . $
01 'BYE . $
< ( SHE GOES OFF . $
TOBY SITS AND GAZES AT THE FAIR . $
HE PICKS UP HIS MOUTHORGAN AND PLAYS THE CHORUS OF ' OH DEAR
 WHAT CAN THE MATTER BE ? ' - SADLY . $
HE TURNS AND FACES THE FAIR ) > $
SO LONG . $
< THE END > $
< ( SHE PICKS UP HER BAG ) > $