<< *200 . OLWEN WYMARK : STAY WHERE YOU ARE . LONDON , CALDE
R AND BOYARS , 1971 . P.67-P.110 OF "THE GYMNASIUM AND OTHER
 PLAYS". FIRST PERF. : 281269 . CHAR. : 01 NINA , 02 ELLEN ,
 03 TADDY , 04 DAVID >> $
#69 $
< ( THE STAGE IS DARK . $
THERE IS THE SOUND OF FOOTSTEPS OUTSIDE ) > $
02 ARE YOU ALL RIGHT ? $
BE CAREFUL . $
01 YOU BE CAREFUL WITH THAT BAG . $
< ( WE HEAR HER FUMBLING WITH THE KEY IN THE LOCK ) > $
SWINGING IT ABOUT . $
THERE 'S BREAKABLES IN THAT BAG . $
BLOODY KEY . $
< ( WAILS ) > $
THERE ! $
I 'VE DROPPED IT NOW . $
I 'VE DROPPED MY KEY . $
02 WAIT . $
I 'LL GET IT . $
HERE IT IS . $
SHALL I DO IT ? $
01 DO DEAR . $
THERE 'S A GOOD GIRL . $
< ( THE DOOR IS OPENED AND THE LIGHT FROM THE STREET SHOWS U
S A BASEMENT FLAT , NEAR SLUM , CLUTTERED , DANK , SMELLY .
$
THEY COME IN . $
NINA IS A FAT OLD WOMAN IN HER SEVENTIES , DERELICT LOOKING
, SPECTACLES , A KNITTED HAT . $
ELLEN , ABOUT THIRTY , IS PRETTY AND WELL DRESSED . $
NINA LEANS HEAVILY ON A STICK AND ELLEN HELPS HER THROUGH TH
E DOOR ) > $
02 WELL , IF YOU 'RE ALL RIGHT NOW . $
OH . $
YOUR BAG . $
< ( PUTS IT DOWN ) > $
I 'LL HAVE TO GO . $
< ( NINA PUTS HER HEAD BACK AND MAKES A NOISE BETWEEN A HOWL
 AND A GROAN ) > $
< ( VERY STARTLED ) > $
WHAT IS IT ? $
01 THE PAIN 'S COME BACK . $
ME LEG . $
I 'VE GOT A BLOOD CLOT UNDER ME KNEE . $
#70 $
02 HERE . $
SIT DOWN . $
01 < ( SITS WITH ELLEN'S HELP ) > $
OH ... THAT 'S BETTER . $
THAT 'S A BIT BETTER . $
TURN ON THAT LIGHT . $
< ( ELLEN LOOKS ABOUT ) > $
OVER THERE ! $
< ( ELLEN DOES . $
NINA ROCKS BACK AND FORTH IN THE CHAIR , HOLDING HER LEG AND
 GROANING . $
ELLEN STANDS WATCHING HER AGHAST . $
EVENTUALLY NINA STOPS ROCKING AND IS SILENT , EYES CLOSED )
> $
02 < ( AFTER A PAUSE . $
JUST TOUCHING HER ) > $
ARE YOU ALL RIGHT ? $
01 THE PAIN 'S GONE OFF NOW . $
< ( BUT SHE DOESN'T OPEN HER EYES ) > $
02 WELL ... I 'M AWFULLY SORRY BUT I REALLY HAVE TO BE GOING
 . $
01 < ( OPENING HER EYES AND TURNING HER HEAD SLOWLY TO LOOK
AT ELLEN ) > $
GOING ? $
HOW AM I TO MANAGE ? $
02 < ( CHILDISH ) > $
I HAVE TO GO . $
I WAS WAITING FOR SOMEONE WHEN I SAW YOU . $
HE 'LL BE THERE NOW . $
01 STUCK HERE IN THIS CHAIR . $
I WON'T BE ABLE TO MOVE FOR A HOUR NOW . $
I KNOW THAT . $
I GET THESE ATTACKS . $
I KNOW THEM . $
02 HE 'LL THINK I 'M NOT COMING . $
01 < ( INDIGNANT . $
REPROACHFUL ) > $
I' VE ONLY BEEN OUT OF HOSPITAL THREE DAYS . $
02 BUT ISN'T THERE SOMEBODY HERE ? $
TO TAKE CARE OF YOU ? $
WHO - HIM ? $
I HAVE TO CRY LIKE A BABY BEFORE HE 'LL TAKE ME UP TO THE TO
ILET . $
02 YOUR HUSBAND ? $
#71 $
01 I WOULDN'T HAVE HIM FOR A HUSBAND . $
HE 'S NOT RIGHT . $
02 DOES HE LIVE HERE ? $
01 HE LIVES HERE ALL RIGHT . $
OH YES , HE LIVES HERE . $
02 WELL HE 'LL BE BACK SOON WON'T HE ? $
01 WHO KNOWS ? $
STAYS OUT ALL NIGHT SOMETIMES . $
< ( PITEOUS ) > $
ALL ON MY OWN HERE . $
CAN'T MOVE . $
NO ONE TO PROTECT ME AND THE PAIN SO BAD SOMETIMES I CRY OUT
 IN PRAYER I CAN TELL YOU . $
02 < ( MORE CHILDISH BUT MORE DESPERATE ) > $
I HAVE TO GO . $
01 MAKE US A CUP OF TEA FIRST , EH ? $
WILL YOU JUST MAKE A CUP OF TEA FOR A POOR RUBBISHY OLD WOMA
N ? $
02 BUT HE WON'T KNOW WHERE I AM . $
01 YOUR HUSBAND IS IT ? $
02 < ( BRIEF PAUSE ) > $
YES . $
01 WELL HE 'LL WAIT . $
HE 'LL WAIT FOR HIS PRETTY WIFE . $
02 NO I MUST GO . $
HE 'LL BE WORRIED . $
01 BUT YOU 'RE NOT WORRIED ABOUT ME , ARE YOU ? $
OH NO . $
HELP AN OLD WOMAN ACROSS THE ROAD . $
THAT 'S RIGHT . $
THAT 'S A GOOD DEED . $
DIDN'T WANT TO HELP ME BACK HERE THOUGH DID YOU ? $
YOU 'D HAVE LEFT ME THERE . $
GOT ME ACROSS THE ROAD AND JUST LEFT ME . $
WHAT 'S THE GOOD OF THAT ? $
I HAD TO BEG FOR IT . $
THERE 'S YOUR GOOD SAMARITAN . $
02 WELL WHY WERE YOU OUT ? $
YOU SHOULDN'T HAVE BEEN OUT AT ALL . $
01 SOMEONE HAD TO GET SOME FOOD DIDN'T THEY ? $
HE 'S BROUGHT NOTHING IN . $
PERISH FROM HUNGER - HE WOULDN'T CARE . $
IT 'S TOOK ME HOURS JUST TO GET DOWN TO THAT LITTLE SHOP ACR
OSS THE ROAD . $
PEOPLE GOING PAST MAKING OUT I WAS DRUNK . $
THAT 'S WHAT THEY THINK IF YOU 'RE POOR . $
' OH , SHE 'S DRUNK ' THEY SAY . $
#72 $
' WHAT A FRIGHTFUL OLD WOMAN . $
LOOK AT HER , ' THEY SAY . $
NEVER THINK YOU 'RE JUST OUT OF HOSPITAL . $
NEARLY DIED . $
I WON'T LAST LONG , I KNOW THAT . $
02 OH YOU WILL ... I 'M SURE ... $
< ( NINA LOOKS STRAIGHT AT HER AND ELLEN TRAILS OFF . $
THERE IS A SILENCE AND THEN NINA LAUGHS ) > $
01 IT 'D BE EASIER FOR YOU IF I 'D POPPED OFF BEFORE YOU EVE
R SEEN ME . $
AND HE 'D BE GLAD . $
HE 'D BE EVER SO GLAD TO COME HOME AND FIND I 'D POPPED OFF
. $
< ( SHE PAUSES ) > $
AND I DON'T KNOW NOBODY ELSE . $
02 NOBODY ? $
01 NOBODY . $
< ( LEANS FORWARD AND SPEAKS SLOWLY ) > $
I 'D LIKE A CUP OF TEA . $
02 < ( AFTER A PAUSE ) > $
WHERE 'S THE KETTLE ? $
01 < ( LEANS BACK . $
CLOSES HER EYES ) > $
IT 'S BEHIND THAT CURTAIN . $
< ( WAVES HER ARM TOWARDS IT ) > $
ALL THE COMFORTS OF HOME . $
SINK , GAS RING - WE 'LL NEED A BOB OR A SIXPENCE . $
GOT A TANNER MY DUCK ? $
02 I THINK I 'VE GOT A SHILLING . $
YES . $
01 METER 'S UNDER THE SINK . $
< ( ELLEN GOES BEHIND THE CURTAIN . $
WE HEAR HER FILL THE KETTLE , PUT THE SHILLING IN THE METER
AND LIGHT THE GAS . $
MEANWHILE NINA HAS WITH DIFFICULTY TAKEN OFF ONE SHOE , PULL
ED HER SKIRT UP AND PEELED DOWN ONE STOCKING . $
SHE STARTS TO UNWIND A DIRTY ELASTIC BANDAGE FROM HER LEG )
> $
< ( CALLS ) > $
I SAY . $
DUCKY . $
< ( ELLEN COMES OUT ) > $
GIVE US A HAND WITH THIS BANDAGE DEAR , WILL YOU , WHILE THE
 KETTLE 'S BOILING . $
#73 $
< ( ELLEN WALKS SLOWLY TOWARDS HER ) > $
< ( STRUGGLING WITH IT ) > $
I 'M TOO WEAK , THAT 'S ALL . $
GOT TO BE DONE TWICE A DAY , SEE . $
< ( ELLEN SITS ON HER HEELS AND STARTS GINGERLY TO UNWIND TH
E BANDAGE AND ROLL IT UP ) > $
HAS TO BE TIGHT TO STOP THIS CLOT MOVING UP TO MY HEART . $
THAT 'S IT . $
THAT 'S GOT IT . $
< ( ELLEN HAS WOUND UP THE BANDAGE . $
SHE GETS UP WITH IT IT IN HER HAND ) > $
NOW PUT IT BACK ON AGAIN . $
< ( ELLEN CROUCHES DOWN AGAIN ) > $
NO NOT LIKE THAT . $
YOU GOT TO START IT RIGHT UP HERE . $
< ( SHE PULLS HER SKIRT EVEN FURTHER UP ) > $
RIGHT ROUND HERE . $
THAT 'S RIGHT . $
MOVE OVER A BIT DEAR . $
THEN I CAN REST MY FOOT ON YOUR KNEE THERE . $
THAT 'S THE WAY . $
THAT 'S BETTER . $
< ( SHE PUTS ONE HAND ON ELLEN'S SHOULDER AS SHE REWINDS THE
 BANDAGE , HER LEG STRETCHED OUT STRAIGHT , THE FOOT RESTING
 ON ELLEN'S LAP ) > $
< ( CROONING IT ) > $
THAT 'S IT . $
RIGHT ROUND . $
ROUND AGAIN . $
NICE AND TIGHT . $
< ( THE DOOR OPENS QUIETLY SO THAT THEY DON'T HEAR IT . $
A MAN , TADDY STANDS IN THE DOORWAY WATCHING THEM . $
HE IS IN HIS FIFTIES WITH GREY HAIR BUT A YOUTHFUL FACE . $
HE 'S WEARING A TATTERED GREATCOAT AND SUCKING A LOLLIPOP )
> $
03 < ( TAKES THE LOLLIPOP OUT OF HIS MOUTH AND MAKES A SWEEP
ING GESTURE ) > $
MOTHER - AND - CHILD . $
< ( ELLEN CRIES OUT , STARTLED ) > $
01 MIND OUT ! $
< ( LOOKS ROUND ) > $
OH IT 'S YOU . $
< ( THEN TO ELLEN ) > $
IT 'S ONLY TADDY . $
FINISH IT OFF THEN . $
THERE 'S A PIN ON THE END . $
NOT SO FAST . $
OW - OH - OH - OW - NOT SO FAST ! $
< ( ELLEN FINISHES AND PUTTING NINA'S FOOT ON THE FLOOR SHE
GETS UP ) > $
< ( QUERULOUS ) > $
WHAT ABOUT MY STOCKING ? $
#74 $
03 < ( STRIDES BRISKLY OVER ) > $
I 'LL DO THAT . $
< ( HOLDING THE LOLLIPOP IN HIS MOUTH HE PUTS ON HER STOCKIN
G AND HER SHOE . $
THEN HE TAKES THE LOLLIPOP OUT OF HIS MOUTH AND HOLDS IT UP
TO NINA ) > $
SUCK ? $
01 NO , I WANT MY TEA . $
< ( THROWS LOLLIPOP ACROSS THE ROOM ) > $
02 < ( WHO HAS BEEN EDGING OVER TO THE DOOR ) > $
THE KETTLE 'S BOILING - IN THERE . $
< ( TO NINA ) > $
YOU 'LL BE ALL RIGHT NOW WON'T YOU . $
YOUR - HE 'LL GET YOU SOME TEA . $
03 OH NO . $
SHE WON'T LET ME MAKE THE TEA . $
NOT WHEN SOMEBODY ELSE IS HERE . $
HATES MY TEA . $
02 BUT I 'M JUST GOING . $
03 < ( VERY REASONABLE ) > $
WELL , YOU CAN MAKE THE TEA BEFORE YOU GO . $
02 < ( HELPLESSLY ) > $
PLEASE ... $
03 < ( OVER HIS SHOULDER TO NINA ) > $
WHAT 'S SHE DOING HERE ? $
01 < ( OFFHAND ) > $
HOW DO I KNOW ? $
02 I - I JUST HELPED YOU UP THE ROAD ! $
< ( TO TADDY ) > $
SHE DIDN'T SEEM TO BE ABLE TO WALK . $
I DON'T THINK SHE OUGHT TO BE OUT SO SOON AFTER BEING IN HOS
PITAL . $
03 < ( FRIENDLY , SCATHING ) > $
SHE WASN'T IN HOSPITAL . $
02 OH . $
01 < ( MILD . $
MATTER OF FACT ) > $
I WAS . $
03 < ( CASUAL ) > $
ALL RIGHT , YOU WERE . $
02 WELL ... GOODBYE . $
#75 $
03 < ( CRANING ROUND TO LOOK AT ELLEN ) > $
WHY DON'T YOU JUST MAKE HER SOME TEA . $
02 BUT YOU 'RE HERE NOW . $
YOU CAN DO IT . $
< ( TADDY GOES OVER TO THE BED AND LIES ON IT HIS ARMS CROSS
ED UNDER HIS HEAD ) > $
03 I COULD . $
BUT I 'M NOT GOING TO . $
02 WHY ? $
WHY NOT ? $
03 BECAUSE I DON'T WANT TO . $
< ( BRIEF PAUSE ) > $
YOU DON'T WANT TO EITHER . $
02 BUT I DON'T LIVE HERE . $
I DON'T EVEN KNOW HER . $
03 YOU HAVE TO KNOW PEOPLE BEFORE YOU CAN MAKE THEM A CUP OF
 TEA ? $
02 THAT ISN'T FAIR . $
03 DID YOU WANT TO HELP HER HOME ? $
02 < ( MISERABLE . $
VERY YOUNG ) > $
I DON'T KNOW . $
03 WHY DID YOU DO IT THEN ? $
01 I DON'T KNOW . $
03 YOU MUST HAVE HAD SOME REASON . $
FELT SORRY FOR HER ? $
02 YES - YES I DID . $
01 SORRY ENOUGH TO SEE ME ACROSS THE ROAD . $
NOT SORRY ENOUGH TO GET ME HOME . $
02 I DID BRING YOU HOME . $
I PUT THE KETTLE ON . $
I DID YOUR BANDAGE . $
01 YES BUT YOU DIDN'T WANT TO . $
I HAD TO MAKE YOU DIDN'T I ? $
#76 $
< ( TADDY SITS UP AND PATS THE END OF THE BED ) > $
03 HERE . $
02 WHAT ? $
03 COME AND SIT HERE . $
02 NO ! $
01 < ( CLOSING HER EYES ) > $
DON'T BE NAUGHTY DEAR . $
DO AS YOU 'RE TOLD . $
03 < ( STILL PATTING THE BED . $
SPEAKS GENTLY BUT FIRMLY ) > $
COME HERE . $
< ( ELLEN COMES OVER BUT DOESN'T SIT . $
STANDS LOOKING DOWN AT HIM ) > $
< ( SHRUGS ) > $
NOW . $
TRY AND THINK . $
WHY DID YOU HELP HER ACROSS THE ROAD ? $
02 < ( MUTTERS ) > $
BECAUSE I COULDN'T THINK OF ANY WAY OUT OF IT . $
03 < ( WARM ) > $
VERY GOOD . $
THAT 'S VERY GOOD . $
01 < ( SITS STILL WITH EYES CLOSED ) > $
THAT KETTLE WILL BE BOILING ITS LIVER OUT . $
03 AND WHY DID YOU BRING HER HOME ? $
02 SHE WOULDN'T LET GO OF MY HAND . $
03 AND THEN YOU PUT THE KETTLE ON . $
02 YES . $
03 AND THEN YOU DID HER BANDAGE . $
02 YES . $
03 WHY ? $
#77 $
02 SHE TOLD ME TO . $
03 AND YOU ALWAYS DO AS YOU 'RE TOLD . $
< ( PAUSE . $
THEN RAPS IT OUT ) > $
MAKE THE TEA . $
< ( THEY LOOK AT EACH OTHER . $
THEN ELLEN TURNS AND RUNS TO THE DOOR ) > $
02 I WON'T . $
I DON'T HAVE TO . $
< ( PULLS AT THE DOOR HANDLE ) > $
01 < ( SURPRISED ) > $
YOU GOING ? $
02 YES ! $
I DIDN'T WANT TO COME HERE IN THE FIRST PLACE . $
YOU NEVER THANKED ME ; THAT DOESN'T MATTER . $
BUT I DID HELP YOU EVEN THOUGH I DIDN'T MUCH WANT TO . $
YOU CAN'T MAKE ME STAY HERE . $
< ( TADDY RISES AND WALKS OVER TO HER AND STANDS WITH HIS BA
CK TO THE DOOR . $
SHE BACKS AWAY FROM HIM NERVOUSLY ) > $
03 < ( POINTS TO THE CURTAINED KITCHEN , HIS EYES STEADILY O
N ELLEN ) > $
GET IN THERE AND MAKE THE TEA , DO YOU HEAR ME ? $
< ( AS IF BY REFLEX ELLEN TURNS AND STARTS FOR THE KITCHEN .
 $
TADDY AND NINA ROAR WITH LAUGHTER AND SHE STOPS AND LOOKS AT
 THEM ) > $
02 < ( SCARED ) > $
WHY ARE YOU LAUGHING ? $
01 TALK ABOUT A MONKEY ON A STRING ! $
03 < ( SMILING AND SHAKING HIS HEAD ) > $
YOU DO DO WHAT YOU 'RE TOLD . $
WELL , WELL . $
AMAZING . $
01 < ( BANGING HER STICK ON THE FLOOR WITH GREAT VIOLENCE )
> $
TEA ! $
I WANT MY TEA ! $
I WANT MY TEA ! $
03 < ( NOT LOOKING AT HER ) > $
STOP THAT . $
< ( NINA SUBSIDES INTO MUMBLING . $
ELLEN LOOKS FROM ONE TO THE OTHER , STARTS TO SPEAK , THEN C
HANGES HER MIND AND WALKS WITH ARTIFICIAL PURPOSEFULNESS TO
THE DOOR ) > $
#78 $
< ( GENUINE SURPRISE ) > $
NOW WHAT ? $
02 < ( FIRMLY ) > $
I MUST GO . $
I HAVE TO MEET < ( STUMBLES SLIGHTLY OVER THE WORDS ) > MY H
USBAND . $
WOULD YOU LET ME BY PLEASE . $
03 < ( WHO HAS SHIFTED SLIGHTLY TO BLOCK THE DOOR AGAIN ) >
$
OH COME ON . $
IT 'S NOT YOUR HUSBAND - NOW IS IT ? $
02 I - I - I - I - DON'T KNOW WHAT YOU MEAN . $
03 THERE 'S NO NEED TO PRETEND . $
WE 'VE KNOWN ALL ALONG . $
< ( GOES OVER TO NINA AND STANDS BESIDE HER ) > $
HAVEN'T WE , NINA ? $
01 < ( LARGELY ) > $
WELL A COURSE WE HAVE . $
02 KNOWN WHAT ? $
03 YOU MUST HAVE THOUGHT WE WERE VERY NAIVE . $
SHE MUST HAVE THOUGHT WE WERE JUST A COUPLE OF OLD FUDDY DUD
DIES EH , NINA ? $
01 STICK-IN-THE-MUDS . $
< ( PAUSE . $
THOUGHTFUL ) > $
STICKS-IN-THE-MUD . $
03 < ( HIS HAND ON NINA'S SHOULDER . $
THE VICTORIAN FATHER . $
GRAVE AND POMPOUS ) > $
NOW WE DON'T WANT TO GIVE YOU ADVICE . $
HEAVEN KNOWS YOU SHOULD BE OLD ENOUGH NOW TO MAKE YOUR OWN D
ECISIONS . $
BUT THERE IS ONE THING I 'D LIKE TO SAY . $
JUST ONE LAST WORD . $
I THINK WE 'RE AGREED ON THIS POINT MY DEAR ? $
< ( LOOKS DOWN ENQUIRINGLY AT NINA . $
HER ATTENTION HAS WANDERED AND SHE IS PICKING HER TEETH . $
NOW QUICKLY FOLDS HER HANDS IN HER LAP AND NODS AT HIM ) > $
WE 'D JUST LIKE YOU TO REFLECT A LITTLE ABOUT FAMILY LIFE .
$
THE PROTECTION OF THE YOUNG . $
THE LITTLE LIVES WHICH HAVE BEEN PUT INTO YOUR CARE . $
THE HOME . $
THE NEST ... $
< ( POINTS AT ELLEN IN SAD ACCUSATION ) > $
HOW MANY INNOCENT PEOPLE WILL SUFFER - ANSWER ME THAT ! $
01 < ( REGRETFUL HEAD SHAKING ) > $
HE 'S RIGHT , DEAR . $
IT WOULDN'T BE FAIR . $
POOR LITTLE PRETTIES - IT WOULDN'T BE RIGHT . $
#79 $
02 < ( SORT OF HALF LAUGHS ) > $
YOU 'RE BOTH MAD . $
I MEAN . $
INSANE . $
< ( THEY LOOK AT HER STEADILY ) > $
03 < ( GENTLY ) > $
HOW MANY CHILDREN HAS HE GOT - TWO IS IT ? $
02 < ( SHOCKED ) > $
HOW - $
03 < ( RAPS IT OUT ) > $
AND YOU 'VE GOT THREE HAVEN'T YOU ? $
02 < ( AUTOMATIC . $
STARING AT HIM ) > $
YES . $
03 < ( REASONABLE . $
SMILING ) > $
WELL , THAT 'S FIVE FOR A START ISN'T IT - TO SUFFER I MEAN
. $
NOT TO SPEAK OF THE OTHER WIFE AND OTHER HUSBAND OF COURSE .
 $
SEVEN . $
01 < ( WARMLY PLEADING ) > $
OH DON'T FORGET THE GRANNIES , DEAR . $
DON'T LEAVE THEM OUT . $
THEY 'LL BE HEARTBROKEN . $
< ( CLICKS TONGUE AND LOOKS SADLY AT ELLEN ) > $
03 < ( RUEFUL ) > $
A GOOD DEAL OF PAIN , I 'M AFRAID . $
01 AND THE GRAND-DADS A COURSE $
< ( GETTING QUITE INVOLVED AND COUNTING ON HER FINGERS ) > $
NOT TO MENTION THE UNCLES AND AUNTIES . $
AND THE COUSINS THERE WOULD BE - $
03 < ( FIRM ) > $
THAT 'LL DO . $
< ( THEN LIGHT AND MILD ) > $
I 'LL GO AND MAKE THAT TEA NOW . $
< ( GOES AT ONCE ) > $
< ( ELLEN HAS BEEN STANDING FROZEN THROUGH THIS . $
NOW SHE WATCHES TADDY GO AND AFTER A PAUSE SHE GOES QUICKLY
OVER TO NINA . $
WE HEAR TADDY WHISTLING IN THE KITCHEN ) > $
02 IS HE A DETECTIVE ? $
01 I DON'T KNOW . $
02 YOU SAID - YOU SAID HE CAME IN AT ALL SORTS OF HOURS . $
< ( ABSURDLY METHODICAL ) > $
DOES HE HAVE A TAPE RECORDER ? $
#80 $
< ( SNAPPING HER FINGERS . $
A BIT EXAGGERATED ) > $
YES ! $
HE DOES ! $
YOU COULD BE RIGHT . $
HE NEVER TELLS ME NOTHING . $
02 NO , IT CAN'T BE . $
< ( FIRM ) > $
IT 'S TOO SILLY . $
01 EXPECT YOU 'RE RIGHT . $
SILLY . $
YES . $
< ( PAUSE ) > $
STILL - IT 'S FUNNY . $
YOUR SAYING THAT I MEAN . $
FOR EXAMPLE , SOMETIMES HE 'LL GO OUT WITH THIS OTHER BLOKE
- A PHOTOGRAPHER HE IS - AND THEY ALWAYS GO EVER SO LATE AT
NIGHT AND MOST TIMES HE DON'T GET BACK HERE TILL MORNING . $
02 A PHOTOGRAPHER ! $
01 THAT 'S RIGHT . $
02 OH GOD . $
I SUPPOSE HE COULD BE - $
01 WELL , HE COULD . $
I MEAN IT WOULD HANG TOGETHER WOULDN'T IT . $
02 I DON'T KNOW - I DON'T KNOW ...... $
MAYBE IT WOULD MAKE IT WORSE TO GO NOW . $
I DON'T KNOW . $
DO YOU THINK I SHOULD STAY ? $
01 YOU MUST DO AS YOU THINK FIT , MY DEAR . $
I WOULDN'T LIKE TO ADVISE . $
02 BUT IT 'S SUCH AN IMPOSSIBLE COINCIDENCE . $
HOW CAN HE KNOW ANYTHING ABOUT ME ? $
HE COULDN'T KNOW I WAS COMING HERE . $
I MEAN , I 'M ONLY HERE BY ACCIDENT - $
< ( BREAKS OFF AND STARES AT NINA . $
AT THIS POINT TADDY'S WHISTLING IN THE KITCHEN STOPS ABRUPTL
Y ) > $
01 < ( SWEET , ENQUIRING ) > $
YES DEAR ? $
GO ON . $
02 < ( PUZZLED . $
NOT BELIEVING THIS BUT KNOWING IT ) > $
YOU BROUGHT ME HERE . $
YOU DID IT ALL ON PURPOSE . $
01 < ( BIT DANGEROUS ) > $
OH I SEE . $
HE SENT ME OUT TO FETCH YOU IS THAT RIGHT ? $
< ( ELLEN IS SILENT ) > $
IS THAT WHAT HAPPENED ? $
< ( STILL NO ANSWER . $
THEN IN A STRONG CRUEL TONE ) > $
#81 $
EH ? $
02 < ( BRAVE ) > $
YES . $
YES I DO THINK THAT HAPPENED . $
IT ALL FITS IN . $
01 < ( MORE DANGEROUS ) > $
FITS IN . $
OH YES . $
< ( VERY SWEET VOICE ) > $
AND WHERE DOES MY LEG FIT IN ? $
YOU 'D SAY THERE 'S NOTHING WRONG WITH IT WOULD YOU ? $
< ( ELLEN NODS ) > $
ALL PART OF THE ACT , EH ? $
< ( ELLEN NODS AGAIN ) > $
01 IT 'S ALL ABOUT YOU ISN'T IT ? $
THE STORY 'S ALWAYS GOT TO BE ABOUT YOU . $
< ( BRIEF PAUSE . $
THEN SPITS IT OUT WITH PAIN AND VENOM ) > $
SELFISH LITTLE BITCH ! $
< ( CLOSES HER EYES , PUTS HER HEAD BACK AND SPEAKS PRIVATEL
Y ) > $
I WAS IN HOSPITAL . $
I WAS THE ONE LYING IN BED AWAKE ALL NIGHT WAITING FOR THAT
 CLOT TO GET UP TO MY HEART . $
SWEATING AND CRYING - ALL ALONE . $
NURSES - CHEEKY HARD-BITTEN LITTLE MADAMS . $
DOCTOR DOESN'T EVEN LOOK AT YOU . $
JUST A USELESS HEAP OF RUBBISH NOBODY CARES ABOUT . $
< ( OPENS EYES AND LOOKS CLEARLY AT ELLEN ) > $
NOR DO I CARE , MIND . $
JUST ENOUGH TO STAY ALIVE . $
< ( TADDY HAS COME THROUGH AGAIN UNSEEN BY THEM AND HAS BEEN
 LISTENING ) > $
03 < ( GENTLY CONTEMPTUOUS ) > $
YOU WERE NOT IN HOSPITAL . $
< ( ELLEN STARTS AND STARES AT HIM . $
NINA DOESN'T MOVE . $
PAUSE ) > $
01 < ( THROWING HER STICK VIOLENTLY ACROSS THE ROOM ) > $
OH ALL RIGHT ! $
02 YOU WEREN'T ! $
< ( THEN TO TADDY ) > $
SHE WASN'T ! $
NONE OF THAT WAS TRUE . $
THERE 'S NOTHING THE MATTER WITH HER ! $
03 < ( LIGHTHEARTED . $
GRINNING ) > $
OH I DON'T THINK I 'D SAY THAT . $
01 < ( BITTER ) > $
OH VERY FUNNY AND WITTY I 'M SURE . $
02 < ( EFFORT AT CALM ) > $
BEFORE I GO , I WOULD LIKE SOME KIND OF EXPLANATION . $
I THINK - I THINK - $
#82 $
03 YES ? $
02 < ( RATHER QUAVERING DIGNITY ) $
I THINK YOU MAY BOTH REGRET ALL THIS - REGRET IT VERY MUCH .
 $
01 < ( LOOKING AT HER WITH ADMIRATION AND EVEN AFFECTION ) >
 $
WELL ! $
WELL THEN ! $
AH ... IT 'S A SHAME . $
< ( THEN TO TADDY ) > $
AND WHERE 'S MY BLOODY TEA ? $
03 < ( IRISH ) > $
NOW AREN'T I THE GREAT NINNY ? $
< ( BUSTLES OUT AND COMES IN AGAIN WITH THE TRAY ) > $
TEA IS SERVED , GENTLEMEN . $
< ( THEN OWN VOICE ) > $
KEEP A CUP HOT FOR ME IN THE POT . $
I 'M JUST GOING UP TO MAKE A COUPLE OF PHONE CALLS . $
< ( HE GOES OUT ANOTHER DOOR ) > $
01 < ( POURING ) > $
MILK AND SUGAR DEAR ? $
02 < ( RAPID ) > $
I DON'T WANT ANY . $
CALLING WHO ? $
WHO 'S HE TELEPHONING ? $
01 < ( GENEROUSLY REGRETFUL ) > $
HOW WOULD I KNOW , DEAR . $
HOW WOULD I EVER KNOW ? $
HERE . $
YOU TAKE THIS TEA . $
< ( PROFFERS CUP ) > $
IT 'S GOOD AND STRONG AND IT 'S GOOD AND SWEET . $
YOU 'RE LOOKING VERY PEAKY . $
< ( ELLEN AUTOMATICALLY TAKES THE CUP ) > $
THERE 'S MY DUCK . $
GO ON NOW - SIT DOWN . $
< ( ELLEN GOES . $
TAKES A SWIG OF HER OWN TEA ) > $
AH , THAT 'S GOOD . $
< ( LOOKS OVER AT ELLEN WHO IS JUST HOLDING HER CUP AND STAR
ING AT NOTHING ) > $
DRINK IT UP OLD LADY . $
02 < ( PUTS CUP ON FLOOR . $
VERY CHILDISH VOICE ) > $
I DON'T WANT IT . $
01 < ( SQUINTING AT HER ) > $
WELL POOR MITE . $
< ( SHOUTS TOWARDS THE DOOR TADDY LEFT BY ) > $
POOR MITE I SAY ! $
< ( THEN LOOKS AT ELLEN , PUTS HER HEAD FORWARD AND NODS CON
FIDENTIALLY ) > $
HERE . $
DON'T BELIEVE ALL I SAY WHEN HE 'S HERE , EH ? $
02 < ( SUSPICIOUS ) > $
WHAT DO YOU MEAN ? $
01 I GOT NO HOME OF MY OWN YOU KNOW . $
NOWHERE TO GO BUT HERE . $
#83 $
NO VISIBLE MEANS OF SUPPORT . $
02 < ( WHISPERS ) > $
DO YOU MEAN HE PAYS YOU ? $
01 PAYS ME ! $
ALL YOU YOUNG PEOPLE THINK ABOUT IS MONEY . $
< ( LOOKS AT ELLEN AND SPEAKS QUITE MATTER OF FACTLY BUT NOT
 WITHOUT SYMPATHY ) > $
YOU DON'T UNDERSTAND NOTHING DO YOU ? $
02 < ( LOUD . $
DESPERATE ) > $
NO ! $
NO I DON'T ! $
< ( PUTS HER FACE IN HER HANDS AND SOBS ) > $
I DON'T KNOW WHAT TO DO ! $
< ( NINA WATCHES HER IN SILENCE FOR A LITTLE WHILE SHE WEEPS
 . $
THEN HOLDING HER CUP IN HER LAP , SHE SINGS SOFTLY ) > $
01 WARM HANDS WARM THE MEN HAVE GONE TO PLOUGH IF YOU WANT T
O WARM YOUR HANDS WARM YOUR HANDS NOW . $
< ( ELLEN LOOKS UP AT NINA THROUGH HER FINGERS ) > $
< ( GRINS ) > $
MY GRAN USED TO SING ME THAT . $
NICE ISN'T IT ? $
WARM HANDS WARM THE MEN HAVE GONE TO PLOUGH IF YOU WANT TO -
 $
< ( BREAKS OFF AND SPEAKS BRISKLY ) > $
TELL YOU WHAT WE 'LL DO . $
02 < ( WIPING TEARS OFF HER FACE WITH HER FINGERS ) > $
WHAT ? $
01 NOW WHERE 'S THAT STICK ? $
< ( ELLEN LOOKS AROUND VAGUELY , NOT SEEING ) > $
NEVER YOU MIND . $
I 'LL GET IT . $
< ( SHE HEAVES HERSELF OFF HER CHAIR AND STARTS TO CRAWL GRO
TESQUELY IN THE DIRECTION OF THE STICK , GRUNTING AND PUFFIN
G . $
ELLEN GETS UP AND BACKS AWAY STARING AT HER , HORRIFIED ) >
$
#84 $
02 BUT YOU SAID YOU HADN'T BEEN IN HOSPITAL . $
01 < ( BRIEFLY . $
OVER HER SHOULDER ) > $
HE SAID . $
< ( ELLEN STARTS TO GO FORWARD TO HELP HER BUT NINA WAVES HE
R AWAY ) > $
NEVER MIND . $
NEVER MIND . $
I 'M USED TO THIS . $
GO AND LISTEN AT THAT DOOR . $
SEE IF HE 'S COMING BACK . $
< ( ELLEN GOES OVER TO THE DOOR AND PUTS HER EAR TO IT ) > $
02 < ( WHISPERING ) > $
I CAN'T HEAR ANYTHING . $
01 < ( GETTING HERSELF UP TO A STANDING POSITION WITH THE ST
ICK ) > $
UPS A DAISY ! $
< ( LOOKS SHREWDLY OVER AT ELLEN ) > $
HE THINKS HE KNOWS EVERYTHING . $
< ( PAUSE . $
NODS ) > $
THERE 'S A LOT HE DOESN'T KNOW . $
< ( PAUSE ) > $
FOR ONE THING HE IS JEALOUS ! $
NOW THAT IS ONE THING I AM NOT . $
MY DAD USED TO SAY TO ME , ' NINA , THERE IS NOT A JEALOUS B
ONE IN YOUR BODY . ' $
< ( THEN TO ELLEN ) > $
WHAT 'S YOUR NAME ? $
02 ELLEN . $
01 HMM . $
BIT PLAIN . $
ELAINE WOULD HAVE BEEN NICER . $
MORE STYLE . $
WHAT DID YOUR DADDY CALL YOU ? $
02 EL . $
HE ALWAYS CALLED ME EL . $
01 DON'T THINK MUCH OF THAT . $
I 'LL CALL YOU ELAINE . $
02 PLEASE ... $
01 DON'T RUSH ME DEARIE . $
YOU THINK OLD NINA 'S JUST RAMBLING ON . $
BUT ALL THE TIME $
< ( TAPS HER FOREHEAD ) > $
I 'M THINKING . $
I 'M PLANNING . $
02 PLANNING WHAT ? $
ARE YOU GOING TO HELP ME ? $
01 < ( ROLLING HER EYES ) > $
WELL A COURSE I 'M GOING TO HELP YOU , SILLY LITTLE JUGGINS
. $
02 WILL YOU TELL ME WHAT TO DO ? $
CAN I GO ? $
< ( STARTS TO CRY AGAIN ) > $
#85 $
I WANT TO GO AND FIND - $
< ( BREAKS OFF ) > $
01 FIND WHO ? $
02 < ( NOT LOOKING AT HER ) > $
M-M-MY HUSBAND . $
01 OH NOW . $
THERE 'S NO USE STARTING THAT AGAIN IS THERE ? $
I TOLD YOU BEFORE . $
JEALOUS ! $
TADDY ! $
HE 'S JEALOUS ! $
02 < ( UTTERLY PUZZLED ) > $
BUT YOU DON'T MEAN HE 'S JEALOUS OF ME . $
01 OH ELAINE , ELAINE . $
OH DEARY DEARY DEARY . $
WE SHALL NEVER GET ON AT THIS RATE . $
HERE . $
SIT DOWN WILL YOU ? $
I CAN'T GET ON WITH MY PLANNING - YOU STANDING ABOUT LIKE A
SCARED RABBIT . $
< ( ELLEN SITS IN THE CHAIR ) > $
NOW YOU JUST LISTEN TO NINA . $
WHEN HE COMES BACK - THE MINUTE HE COMES IN - I WANT YOU TO
FAINT ! $
FLAT ON THE FLOOR ! $
02 WHY ? $
01 < ( KIND/IRRITABLE ) > $
BECAUSE I SAY SO . $
02 I CAN'T . $
I DON'T THINK I CAN . $
01 COURSE YOU CAN . $
COURSE YOU CAN . $
EASY ENOUGH . $
JUST KEEL OVER . $
ANY FOOL CAN DO THAT . $
I 'D SHOW YOU MYSELF IF IT WASN'T FOR THIS SODDING STICK . $
ALL RIGHT THEN . $
THERE YOU ARE - STRETCHED OUT . $
THAT 'LL STOP HIM . $
' IT 'S THE SHOCK ' I 'LL SAY $
< ( DRAMATIC DELIVERY ) > $
' SHE MAY NEVER RECOVER FROM THIS ' I 'LL SAY . $
02 THEN WHAT WILL HAPPEN ? $
01 ' FETCH A DOCTOR , QUICK ! ' $
I 'LL SAY . $
THEN < ( PAUSE ) > $
WHILE HE 'S OUT OF THE WAY , UP YOU GET AND OFF YOU RUN SAFE
 HOME TO BEDDYBYES . $
02 BUT HOW CAN I GO ? $
HE KNOWS THINGS ABOUT ME . $
< ( SHE STANDS , HER HANDS OVER HER MOUTH STARING AT NINA )
> $
#86 $
HE 'S A BLACKMAILER ! $
01 SHHHHHH ! $
I DIDN'T SAY IT . $
< ( LOW ) > $
NOW YOU LISTEN TO ME , ELAINE . $
HE KNOWS NOTHING . $
HE NEVER SAW YOU BEFORE TONIGHT . $
IT WAS ME PICKED YOU . $
02 BUT WHY DID YOU DO IT ? $
WHY ? $
01 < ( REPROVING NANNY ) > $
TRY AND THINK OF OTHERS , ELAINE DEAR . $
I GOT TO DO WHAT I 'M TOLD OR IT WOULD BE THE OLD HEAVE HO F
OR NINA . $
TIPPED OUT IN THE STREET . $
02 < ( PAINFULLY TRYING TO WORK IT OUT ) > $
DO YOU MEAN YOU JUST GO OUT ... $
I MEAN HE SENDS YOU ... TO CHOOSE SOMEONE ... ANYBODY ... AN
D THEN FRIGHTEN THEM ABOUT SOME SECRET THEY MIGHT HAVE . $
01 EVERYBODY 'S GOT SECRETS , DUCK , AND I MUST SAY YOU WERE
N'T MUCH COP AT HIDING YOURS . $
CANDY FROM A BABY WITH YOU . $
THAT 'S WHY I FELT SORRY FOR YOU . $
02 < ( TURNS AWAY ) > $
YOU SAY YOU 'RE SORRY FOR ME . $
I DON'T BELIEVE YOU . $
01 < ( SAD ) > $
DON'T THEN . $
I CAN SEE AS HOW YOU WOULDN'T . $
02 < ( TURNS BACK AND LOOKS AT HER ) > $
YOU REALLY WILL HELP ME ? $
01 < ( LICKS HER FINGER , DRAWS IT ACROSS HER THROAT AND HOL
DS IT UP ) > $
PROMISE ! $
02 < ( GOING RIGHT UP TO HER . $
NEARLY TOUCHING ) > $
I DO BELIEVE YOU . $
01 < ( PUTS HER HAND ON ELLEN'S HEAD ) > $
THERE 'S MY GOOD GIRL . $
NOW - THE MINUTE WE HEAR HIM COMING , OVER YOU GO . $
CAN YOU DO THAT ? $
02 YES I CAN . $
I 'LL DO IT . $
01 THAT 'S RIGHT . $
I KNEW YOU COULD . $
YOU STAY HERE AND I 'LL BE BY THE DOOR . $
#87 $
YOU WATCH ME FOR THE SIGNAL . $
RIGHT ? $
02 < ( NODS . $
A LITTLE EXCITED NOW ) > $
RIGHT . $
< ( NINA GOES OVER TO THE DOOR . $
ELLEN WATCHES HER , HUGGING HERSELF AND TREMBLING A LITTLE )
 > $
01 < ( LOOKS OVER AT HER AND SMILES ) > $
DON'T WORRY , THEN . $
IT 'LL BE ALL RIGHT . $
DON'T YOU WORRY . $
< ( ELLEN MANAGES A SMILE AND NINA NODS AND SMILES BACK ) >
$
< ( EAR TO DOOR ) > $
NOTHING YET . $
NOT A SOUND . $
< ( STRAIGHTENS ) > $
DO YOU KNOW ? $
I GET A FUNNY SORT OF DREAM SOMETIMES . $
WELL IT 'S NOT REALLY A DREAM BECAUSE I 'M AWAKE . $
LIKE JUST BEFORE I GET UP OUT OF BED IN THE MORNINGS OR LIKE
 BEFORE I DROP OFF AT NIGHT . $
I GET THIS FEELING THE 'VE TAKEN OFF THE TOP OF MY HEAD . $
DOESN'T HURT OR ANYTHING . $
IT 'S JUST GONE AND I FEEL ALL LOVELY AND EMPTY , AND THEN I
 CAN FEEL THIS SORT OF GROWING RIGHT INSIDE MY HEAD . $
IT 'S GROWING UP AND UP AND I STAY EVER SO STILL . $
FLOWERS . $
ALL GROWING OUT OF THE TOP OF MY HEAD . $
LILACS AND HONEYSUCKLE AND DAFFS AND BLUEBELLS - ALL SORTS .
 $
THERE 'S THIS LOVELY SWEET SMELL AND I CAN FEEL THE FLOWERS
HANGING DOWN AND BRUSHING AGAINST MY FACE - JUST RUSTLING LI
KE AGAINST MY EARS AND MY EYES . $
< ( SHE SMILES TO HERSELF . $
THE LOOKS OVER AT ELLEN AND GRINS ) > $
YOU THINK I 'M DAFT . $
02 < ( QUICKLY ) > $
NO I DON'T . $
I DON'T . $
< ( THEY WAIT . $
THEN THERE IS THE SOUND OF FOOTSTEPS ) > $
01 HE 'S COMING . $
QUICK ! $
NOW ! $
< ( ELLEN LOOKS WILDLY ABOUT AND THEN AWKWARDLY AND IN A PAN
IC THROWS HERSELF FACE DOWN ON THE FLOOR ) > $
< ( LOUD ) > $
OH MY GOD ! $
OH MY GOD ! $
< ( HOLDING HER STICK UNDER HER ARM SHE RUNS VERY LIGHTLY OV
ER TO ELLEN . $
#88 $
KNEELS BESIDE HER . $
THE DOOR OPENS . $
TADDY COMES IN FOLLOWED BY A YOUNG MAN , DAVID . $
THEY GO OVER TO NINA AND ELLEN ) > $
03 WHAT HAVE YOU DONE TO HER ? $
01 ME ! $
WHAT DID I DO ? $
SHE 'S JUST HAD A FIT OR SOMETHING THAT 'S ALL . $
YOU 'VE SCARED HER INTO CONVULSIONS THAT 'S WHAT YOU 'VE DON
E . $
04 OH JESUS ! $
ELLEN . $
< ( HE TRIES TO GET TO HER BUT TADDY NEATLY INTERVENES . $
ELLEN PULLS HERSELF UP TO HER HANDS AND KNEES AND LOOKS UNBE
LIEVING AT DAVID ) > $
02 DAVID ! $
IT 'S DAVID ! $
OH YOU 'RE HERE . $
YOU 'RE HERE . $
HOW DID YOU FIND ME ? $
04 < ( TO TADDY ) > $
I 'LL GO AND GET SOME BRANDY . $
03 RIGHT . $
< ( DAVID GOES QUICKLY ) > $
02 < ( AFTER A BLANK SILENCE ) > $
HE 'S GONE . $
03 HE 'LL BE BACK . $
< ( THEN BUSINESSLIKE ) > $
NINA . $
GO AND WASH UP THESE TEA THINGS . $
AND FIND A GLASS IN THERE . $
01 < ( CHEERFUL ) > $
RIGHT-OH TADDY . $
RIGHT-OH , RIGHT-OH RIGHT OH $
< ( PUTS HER STICK DOWN , COLLECTS THE CUP AND WALTZES OUT W
ITH THE TRAY ) > $
ANYTHING TO OBLIGE . $
MIND YOUR BACKS LADIES AND GENTLEMEN PLEASE . $
< ( WHEN SHE GETS THROUGH THE CURTAIN SHE STARTS TO SING ) >
 $
' SHE WAS A SWEET LITTLE DICKY-BIRD , TWEET TWEET TWEET SHE
WENT ' - $
03 < ( RASING HIS VOICE SLIGHTLY BUT NOT LOOKING IN HER DIRE
CTION ) > $
ALL RIGHT . $
01 < ( STICKS HER HEAD THROUGH THE CURTAIN ) > $
SPOILSPORT ! $
ISN'T HE A MEAN OLD SPOILSPORT , ELAINE ? $
03 < ( FLAT ) > $
NINA . $
#89 $
01 < ( SULKY ) > $
OH ALL RIGHT . $
< ( GOES ) > $
02 SHE IS CRAZY . $
03 YES . $
NOW WHAT ABOUT THIS FIT OF YOURS ? $
02 IT WASN'T - I MEAN I DIDN'T . $
SHE TOLD ME TO . $
03 AH . $
I SHOULD HAVE KNOWN THAT . $
< ( HE FOLDS HIS ARMS AND PUTS HIS HEAD BACK AND STANDS QUIT
E STILL , EYES CLOSED . $
THEN DROPS HIS ARMS , OPENS HIS EYES AND LOOKS AT ELLEN ) >
$
YOU KNOW - SOMETIMES IT GETS TO BE A BIT TOO MUCH FOR ME . $
IT REALLY DOES . $
02 WHAT DOES ? $
03 < ( RUBBING HIS EYES WITH THE HEEL OF HIS PALMS ) > $
I 'M TIRED . $
< ( LOOKS AT ELLEN AGAIN ) > $
I CAN'T ALWAYS KNOW THE RIGHT THING TO DO , CAN I ? $
02 I DON'T KNOW . $
03 YOU SAY THAT A LOT DON'T YOU . $
< ( ELLEN DOESN'T ANSWER ) > $
03 < ( BIT IMPATIENT ) > $
YOU 'LL HAVE TO DO SOME OF THIS . $
I CAN'T DO IT ALL . $
02 SOME OF WHAT ? $
03 AFTER ALL , YOU 'VE GOT RESPONSIBILITY FOR IT TOO . $
02 HOW ? $
WHAT DO YOU MEAN ? $
WHO FOR ? $
03 < ( EXASPERATED ) > $
WELL FOR NINA , FOR EXAMPLE . $
YOU CAME HERE WITH HER . $
02 YES BUT I DIDN'T WANT TO . $
#90 $
03 < ( SIGHS ) > $
I 'M TALKING ABOUT WHAT YOU DID , NOT WHAT YOU FELT . $
< ( THEN BEGINS WALKING ABOUT SPEAKING MORE OR LESS TO HIMSE
LF ) > $
WELL NOW WHAT . $
WHAT 'S FOR THE BEST I WONDER . $
I WONDER . $
02 HE 'LL COME BACK AND HE 'LL TAKE ME AWAY . $
03 POSSIBLY , POSSIBLY . $
LET 'S WAIT AND SEE ABOUT THAT , SHALL WE ? $
IT 'S NOT , AFTER ALL , THE MAIN ISSUE . $
02 IT IS FOR ME ! $
I WANT TO GO . $
03 < ( REASONABLE ) > $
WE ALL ALWAYS WANT TO GO . $
DOES IT OCCUR TO YOU THAT THIS MIGHT BE HARD FOR ME TOO ? $
AND FOR NINA - GOD KNOWS . $
NO , I CAN SEE THAT IT WOULDN'T . $
02 YOU SAID SHE WAS CRAZY . $
SHE IS . $
03 YES YES . $
02 AND ... AND ... AND I THINK YOU ARE TOO . $
03 < ( GENIAL ) > $
A POSSIBILITY NOT TO BE DISCOUNTED . $
AND YOU - WHAT ABOUT YOU ? $
< ( LAUGHS KINDLY ) > $
THROWING YOURSELF ON THE FLOOR ? $
PRETENDING TO HAVE A FIT ? $
02 I DIDN'T WANT TO DO THAT . $
03 BUT YOU HAD TO BECAUSE SHE TOLD YOU TO . $
ANOTHER ONE OF YOUR LITTLE SAYINGS . $
< ( DAVID COMES IN . $
ELLEN JUMPS UP AND GOES TO HIM ) > $
04 < ( TO ELLEN ) > $
ARE YOU ALL RIGHT ? $
02 YES . $
CAN WE GO NOW ? $
03 < ( FRIENDLY , APOLOGETIC ) > $
I 'M AFRAID IT WAS ALL NINA'S IDEA - ONE OF HER FAMOUS CHARA
DES . $
< ( TO ELLEN ) > $
AND YOU WENT ALONG WITH IT . $
VERY GENEROUS . $
02 < ( TO DAVID ) > $
CAN WE GO ? $
#91 $
< ( NINA COMES THROUGH THE CURTAIN , A CLOTH SHOPPING BAG OV
ER HER HEAD ) > $
01 COME ON TAD . $
MARCO ! $
MARCO ! $
< ( TADDY GIVES AN ELABORATE RUEFUL SHRUG TO THE OTHERS AND
GOES UP TO NINA ) > $
03 POLO ! $
< ( SHE LUNGES AND HE MOVES QUICKLY OUT OF THE WAY . $
HE MOTIONS THE OTHERS TO JOIN IN ) > $
01 MARCO ! $
04 < ( MOVING TOWARDS HER AND GRINNING BACK AT ELLEN ) > $
POLO ! $
01 I 'LL GET YOU ! $
< ( LUNGES . $
MISSES ) > $
MARCO ! $
03 < ( QUICK ) > $
POLO ! $
01 MARCO ! $
04 POLO ! $
COME ON ELLEN . $
< ( NINA HAS BEEN GOING TOWARDS ONE AND THEN THE OTHER . $
NOW COMES STRAIGHT FOR ELLEN ) > $
01 MARCO ! $
02 < ( FAST . $
NERVOUS ) > $
POLO ! $
< ( SHE DOESN'T MOVE AND TADDY DARTS BACK AND MOVES HER OUT
OF NINA'S PATH ) > $
01 MARCO ! $
03 POLO ! $
01 MARCO ! $
04 POLO ! $
#92 $
< ( ELLEN RUNS OVER AND STANDS BY HIM . $
HE PUTS AN ARM AROUND HER ) > $
01 MARCO ! $
04 < ( TO ELLEN ) > $
GO ON . $
02 < ( BIT BRAVER ) > $
POLO ! $
< ( NINA MOVES IN FAST . $
DAVID SHOVES ELLEN ASIDE AND NINA GETS HIM . $
SHE PULLS THE BAG OFF HER HEAD ) > $
01 HA ! $
HA HA . $
< ( DANCES HIM ROUND AND THEN GIVES HIM A RATHER LONG SLOBBE
RY KISS . $
LOOKS OVER HER SHOULDER AT ELLEN ) > $
DON'T MIND DO YOU DEAR ? $
I DID WIN . $
03 THAT 'S THE ONLY REASON SHE PLAYS THIS GAME . $
FOR THE KISSING . $
GREAT SLUT ! $
01 < ( DELIGHTED ) > $
WHO YOU CALLING A SLUT ? $
03 < ( FRIENDLY ) > $
YOU . $
YOU 'RE A GREAT SLUT AND A FAT SOW . $
01 OH NAUGHTY . $
PERSONAL REMARK . $
< ( TO OTHERS ) > $
THAT 'S RIGHT ISN'T IT ? $
PERSONAL REMARK - BAD MANNERS . $
< ( THEN TO TADDY ) > $
WEASEL ! $
03 WALRUS ! $
01 CHEAT . $
CHEAT . $
WALRUSES ARE MEN . $
SNAKE ! $
03 SNAKES ARE WOMEN . $
04 < ( LOUD AND SUDDEN ) > $
WAIT ! $
STOP ! $
I CAN HEAR SOMETHING OUTSIDE . $
TURN OUT THE LIGHTS . $
< ( TADDY IMMEDIATELY DOES ) > $
02 < ( WHISPER ) > $
WHAT IS IT ? $
DAVID WHERE ARE YOU ? $
WHAT IS IT ? $
04 SHHHHH ! $
DON'T KNOW YET . $
WAIT . $
#93 $
< ( SILENCE ) > $
01 < ( QUAVERING ) > $
IT 'S NOT THEM AGAIN TADDY . $
IT 'S NOT THEM IS IT ? $
03 < ( TENSE , CLIPPED ) > $
DON'T THINK SO . $
DON'T BE FRIGHTENED , NINA . $
01 HOLD MY HAND TADDY . $
YOU KNOW I CAN'T STAND BEING ALONE IN THE DARK . $
03 HERE . $
I 'M HERE . $
BE QUIET NOW . $
SHALL I GO AND HAVE A LOOK ? $
04 NO . $
STAY WHERE YOU ARE . $
I 'LL GO . $
02 DAVID DON'T GO ! $
PLEASE DON'T GO ! $
04 IT 'S ALL RIGHT . $
JUST STAND QUITE STILL . $
< ( WE HEAR HIM GOING OVER TO THE DOOR ) > $
01 < ( MUTTERING IT RAPIDLY ) > $
SOUL OF CHRIST SANCTIFY ME . $
BODY OF CHRIST SAVE ME . $
BLOOD OF CHRIST INTOXICATE ME . $
WATER FROM THE SIDE OF CHRIST WASH ME . $
PASSION OF CHRIST STRENGTHEN ME . $
OH GOOD JESUS HEAR ME . $
WITHIN THY WOUNDS HIDE ME . $
NEVER LET ME BE SEPARATED FROM THEE . $
FROM THE MALIGNANT ENEMY DEFEND ME . $
AT MY DEATH CALL ME AND BID ME COME TO THEE THAT WITH THY SA
INTS I MAY PRAISE THEE FOREVER AND EVER AMEN . $
03 AMEN . $
< ( SILENCE AGAIN ) > $
04 < ( LOUD . $
CHEERFUL ) > $
ALL CLEAR ! $
LET 'S HAVE THE LIGHTS . $
03 < ( TURNS ON THE LIGHTS ) > $
PHEW ! $
WHAT WE ALL NEED NOW IS A DRINK . $
02 < ( TO DAVID ) > $
WHO WAS IT ? $
WHAT WAS IT ? $
03 NOBODY THIS TIME , THANK GOD . $
WHERE ARE THESE GLASSES , NINA ? $
#94 $
01 THERE 'S ONLY ONE , TADDY . $
< ( BRINGS OUT HALF PINT MUG ) > $
03 WELL , WE 'LL JUST HAVE TO HAVE A LOVING CUP . $
< ( HOLDS GLASS OUT TO DAVID WHO POURS BRANDY INTO IT . $
THEN HANDS IT TO ELLEN . $
VERY COURTLY ) > $
OUR GUEST FIRST . $
04 DRINK ELLEN . $
IT 'LL DO YOU GOOD . $
03 THAT 'S IT . $
< ( THEN HANDS IT TO DAVID BUT NINA INTERVENES AND GRABS IT
) > $
01 LADIES FIRST . $
< ( DRINKS ) > $
03 NINA NINA . $
YOU 'RE SUPPOSED TO BE THE HOSTESS . $
01 < ( TO DAVID HANDING HIM THE GLASS ) > $
SORRY DUCKY . $
04 QUITE ALL RIGHT . $
WELL . $
HERE 'S TO THE GOOD LIFE . $
< ( DRINKS AND HANDS IT ON TO TADDY ) > $
03 < ( RAISING GLASS ) > $
THE GOOD LIFE . $
CHAMPAGNE AND CADILLACS AND A MONTH IN THE COUNTRY ! $
02 < ( GOES UP TO DAVID AND WHISPERS ) > $
PLEASE CAN WE GO NOW ? $
04 HANG ON , LOVE . $
02 < ( WHISPERING ) > $
BUT WHY CAN'T WE ? $
01 WHISPER , WHISPER $
< ( WAGS HER FINGER ) > $
BAD MANNERS AGAIN . $
04 SHE 'S A BIT UPSET . $
01 I 'M NOT SURPRISED , POOR LITTLE ELAINE . $
FRIGHTENED INTO A FIT LIKE THAT . $
I DON'T WONDER . $
OH IT 'S A MAN'S WORLD , MY DEAR . $
TAKE IT FROM ME . $
03 SHE DIDN'T HAVE A FIT . $
01 THERE NOW , THERE I GO AGAIN . $
MIXING THINGS UP . $
IT 'S THE SHOCK . $
#95 $
HAVE SOME MORE BRANDY , ELAINE LOVEY . $
03 THAT 'S RIGHT . $
COME AND SIT DOWN . $
< ( POURS SOME MORE AND LEADS HER TO A CHAIR . $
THEN TO DAVID ) > $
SHE 'S TREMBLING . $
< ( DAVID GOES AND SITS BY ELLEN ON THE FLOOR . $
HE PUTS HIS ARM ACROSS HER LEGS AND HUGS THEM ) > $
04 IT 'S ALL RIGHT . $
IT 'S ALL RIGHT . $
< ( ELLEN DRINKS AND NINA COMES OVER AND TAKES THE GLASS ) >
 $
01 BETTER NOW ? $
I KNOW HOW YOU FEEL . $
IT 'S HARD ON A WOMAN . $
< ( MOVES ABOUT ORATING AND DRINKING ) > $
NIGHT AFTER NIGHT I 'LL SIT HERE - SOMETIMES WITHOUT NO LIGH
T IF I HAVEN'T GOT A TANNER . $
OH AND I HATE THE DARK . $
I 'LL JUST SIT WAITING - WAITING . $
HIM OUT $
< ( INDICATING TADDY ) > $
GOD KNOWS WHERE - LARKING ABOUT . $
AND I THINK TO MYSELF , ' NINA ' I THINK , ' THIS COULD BE T
HE NIGHT . ' $
KNOCK ON THE DOOR . $
IN THEY 'LL COME . $
BREAK THE DOOR DOWN MOST LIKELY - I WOULDN'T OPEN IT . $
PARALYSED WITH FEAR IN MY CHAIR WAITING FOR IT TO HAPPEN . $
CRASH ! $
< ( ELLEN JUMPS AND NINA PATS HER AND SAYS SOFTLY ) > $
CRASH . $
IN THEY 'D COME . $
THERE THEY 'D BE . $
' YOUR TURN , MISSUS ! $
< ( DRAMATIC THRILLING TONES ) > $
IT 'S YOUR TURN NOW ! ' $
03 YOU ALWAYS THINK IT 'S YOUR TURN , NINA . $
WHY SHOULD IT BE YOU ? $
BET YOU THOUGHT IT WAS YOUR TURN TONIGHT . $
01 MIGHT HAVE BEEN . $
MIGHT HAVE BEEN . $
WHY NOT I 'D LIKE TO KNOW ? $
03 IT MIGHT HAVE BEEN MINE . $
OR HIS . $
< ( PAUSE ) > $
OR HERS . $
< ( SILENCE AND THEY ALL LOOK AT ELLEN ) > $
02 MY TURN FOR WHAT ? $
< ( TO DAVID ) > $
WHAT DO THEY MEAN ? $
01 < ( THROUGH LAUGHTER TO TADDY ) > $
SHE THOUGHT YOU WERE A DETECTIVE . $
#96 $
< ( DAVID AND TADDY LAUGH HEARTILY ) > $
02 SHE SAID YOU WERE A BLACKMAILER . $
01 OOOOOH I NEVER . $
WHAT A FIB . $
I DIDN'T , TADDY . $
< ( TO ELLEN ) > $
THAT WAS YOUR STORY . $
04 < ( KIND . $
TO ELLEN ) > $
REALLY ? $
DID YOU REALLY THINK THAT ? $
02 I DIDN'T KNOW WHAT TO THINK . $
I DIDN'T UNDERSTAND WHAT WAS HAPPENING . $
03 < ( TO THE OTHERS ) > $
BE FAIR . $
IT 'S NOT SURPRISING . $
< ( TO ELLEN , SMILING ) > $
EVERYTHING HAPPENING SO FAST . $
NOT A BIT SURPRISING . $
01 I COULDN'T TELL HER COULD I , TADDY ? $
I MEAN I COULDN'T TELL HER ALL ABOUT YOU . $
IT WOULDN'T HAVE BEEN RIGHT . $
03 < ( FORMAL . $
GRAVE ) > $
NO , THAT 'S TRUE , NINA . $
IT WOULD NOT HAVE BEEN RIGHT AND I THANK YOU FOR YOUR DISCRE
TION . $
01 < ( HUMBLE ) > $
THANK YOU , TADDY . $
BUT YOU COULD TELL HER , COULDN'T YOU . $
03 < ( LOOKS DOWN . $
PENSIVE . $
THEN LOOKS UP ) > $
YES . $
YES . $
I COULD TELL HER . $
01 < ( PULLS UP A CHAIR NEAR ELLEN AND SITS DOWN ) > $
TADDY 'LL TELL YOU . $
03 < ( MANNERED AND ACTORISH BUT NOT PARODY ) > $
IT 'S A SAD LITTLE STORY AND RATHER STUPID . $
I WAS A DOCTOR - QUITE A GOOD DOCTOR IN FACT . $
WHEN I WAS FORTY , SOMETHING HAPPENED TO ME . $
< ( DEPRECATORY ) > $
I WON'T SAY IT WAS THE VOICE OF GOD . $
< ( SERIOUS AGAIN ) > $
BUT I DID FEEL I 'D BEEN - WELL - CALLED . $
I SUPPOSE YOU COULD SAY IT WAS A SORT OF VOCATION - MISSION
- SOMETHING LIKE THAT . $
I LEFT MY HOME . $
#97 $
01 MUSWELL HILL . $
03 < ( SHOOTS HER A BRIEF GLANCE . $
THEN NODS AND SMILES REMINISCENTLY ) > $
MUSWELL HILL . $
< ( THEN VERY SERIOUSLY TO ELLEN ) > $
I LEFT MY WIFE AND CHILDREN . $
I LEFT MY EXCELLENT PRACTICE - THE WHOLE LIFE I 'D KNOWN AND
 LOVED . $
AN I WENT DOWN THE EAST END OF LONDON . $
TO THE WORST SLUMMIEST PART OF THE DOCKS . $
I WANTED TO LIVE WITH THE METHS DRINKERS . $
I FELT I COULD HELP THEM TO ... FIND THEIR WAY BACK . $
< ( PAUSES ) > $
04 < ( RESPECTFUL ) > $
WHAT HAPPENED ? $
03 < ( SHRUGS . $
IRONIC ) > $
WHAT HAPPENED WAS THAT MY CAPACITY FOR SUFFERING , MY ZEAL F
OR COMBATING THE UGLINESS AND WASTE TURNED OUT TO BE LESS TH
AN MY SENSE OF PERSONAL DESPAIR . $
THE DESPAIR BEING , I SUPPOSE , WHY I WENT INTO THE ABSURD B
LOODY THING IN THE FIRST PLACE . $
04 < ( SYMPATHETIC ) > $
I SUPPOSE SO . $
03 < ( JAUNTY ) > $
WELL , I CRACKED UP ALL OVER THE SHOP , BECAME AN ALCOHOLIC
 MYSELF AND ENDED UP FAR WORSE THAN THOSE PEOPLE I 'D GONE O
UT TO ' SPEND MY COMPASSION ' ON . $
THEY HAD NONE FOR ME . $
THEY HATED ME . $
< ( TURNS AWAY , MOVED ) > $
I COULDN'T RUN . $
I DIDN'T KNOW WHERE TO RUN TO . $
OR WHY . $
SO I TRIED SUICIDE . $
A PATHETIC ATTEMPT . $
< ( TURNS BACK ) > $
NINA FOUND ME . $
< ( SIMPLY ) > $
SHE SAVED MY LIFE . $
< ( NINA SMILES AND SHAKES HER HEAD , LOOKS DOWN AT HER HAND
S ) > $
WE CAME HERE . $
04 < ( AFTER A PAUSE ) > $
AND NOW YOU LOOK AFTER HER . $
03 THAT 'S ABOUT IT . $
I DO WHAT I CAN . $
ONE TO ONE SALVATION . $
< ( TO ELLEN ) > $
HOW DOES THAT SOUND TO YOU ? $
< ( SHE LOOKS INTO TADDY'S FACE . $
THE OTHER TWO LOOK AT HER ) > $
02 I - I 'M SORRY . $
< ( NINA AND DAVID EXCHANGE A VERY FAINT SMILE ) > $
#98 $
03 AH , DON'T BE SORRY FOR ME . $
I 'M SAFE HERE . $
NINA 'S SAFE . $
01 YOU NEVER KNOW , TADDY , YOU NEVER KNOW . $
THE KNOCK ON THE DOOR . $
03 NO , YOU NEVER DO KNOW . $
IT 'S BEST NOT TO FORGET . $
< ( TO DAVID ) > $
YOU UNDERSTAND THAT I THINK . $
04 YES I THINK I DO . $
< ( SHAKES HIS HEAD ) > $
IT 'S UNCANNY . $
< ( LOOKS UP AT THEM ) > $
DO YOU KNOW - MY OWN FATHER DIED WHEN I WAS THIRTEEN - A HOP
ELESS ALCOHOLIC . $
01 < ( WARM ) > $
FUNNY OLD WORLD . $
02 < ( TO DAVID ) > $
YOU NEVER TOLD ME THAT . $
04 I 'VE NEVER TOLD ANYONE , ELLEN , UNTIL JUST NOW . $
AND I COULD NEVER FORGIVE MY FATHER EITHER . $
BUT NOW , SOMEHOW , I THINK I DO FORGIVE HIM . $
01 THAT 'S RIGHT . $
GOD REST HIM . $
WE 'RE ALL SINNERS DEAR . $
ALL MISERABLE SINNERS . $
04 I 'D WORSHIPPED HIM , YOU SEE . $
I WAS THE ONLY CHILD AND I THOUGHT HE WAS THE MOST WONDERFUL
 MAN IN THE WORLD . $
01 < ( LEANING FORWARD ) > $
AND WHAT WAS YOUR MUMMY LIKE , DEAR ? $
IT MUST HAVE BEEN TERRIBLE FOR HER . $
< ( DAVID , AS TADDY DID , LOOKS AT HER BRIEFLY ) > $
04 MY MOTHER ? $
... OH SHE $
< ( LAUGHS FONDLY ) > $
WAS A BEAUTIFUL FOOLISH WOMAN . $
I NEVER TOOK HER VERY SERIOUSLY , I 'M AFRAID . $
ALL SHE SEEMED TO CARE ABOUT WAS PARTIES AND PRETTY CLOTHES
. $
I HADN'T ANY IDEA , YOU SEE , THAT SHE WAS JUST PUTTING UP A
 FRONT ON A HIDEOUS SITUATION . $
SHE KEPT IT FROM ME . $
THEN - WHEN - WHEN IT HAPPENED ... $
OH , I DON'T WANT TO BORE YOU WITH ALL THAT . $
03 NO NO , PLEASE . $
I THINK YOU SHOULD TELL US . $
#99 $
01 WHAT DID SHE DO , POOR THING ? $
04 WELL THERE WAS NO MONEY OF COURSE . $
SHE JUST WENT OUT TO WORK . $
SHE DIDN'T KNOW HOW TO DO ANYTHING REALLY . $
JOBS IN SHOPS , WORKING IN A LAUNDRY , DISHWASHING - $
OH , SHE 'D ALWAYS LOSE THE JOB BUT SHE JUST WENT ON - ON TO
 ANOTHER AND ANOTHER . $
SHE SO DESPERATELY WANTED ME TO STAY IN SCHOOL AND HAVE A CA
REER . $
BUT ... SHE JUST WASN'T STRONG ENOUGH . $
< ( PAUSE ) > $
SHE COULDN'T TAKE IT . $
02 < ( TAKING HIS HAND ) > $
DID SHE ... DIE ? $
< ( NOW TADDY AND NINA EXCHANGE THE SAME FAINT SMILE ) > $
04 NO . $
SHE DIDN'T DIE . $
SHE 'S ... IN AN ASYLUM NOT FAR FROM EASTBOURNE . $
03 DO YOU SEE HER ? $
04 OH YES . $
ONCE A WEEK I GO DOWN THERE . $
SHE LIVES IN A KIND OF DREAM REALLY . $
SOMETIMES I WONDER WHY I GO . $
YOU SEE SHE DOESN'T KNOW WHO I AM . $
01 DOESN'T RECOGNISE YOU - HER OWN SON ? $
04 NO . $
< ( PAUSE ) > $
SOMETIMES SHE THINKS I 'M MY FATHER . $
< ( PAUSE ) > $
THOSE ARE THE WORST TIMES . $
< ( THERE IS A SILENCE ) > $
01 OH WHAT A TRAGEDY . $
WHAT A SAD AND TRAGICAL STORY . $
IT REMINDS ME . $
OH IT HAS TAKEN ME BACK ; JUST ALL THAT ABOUT THE PRETTY CLO
THES . $
I HAD SUCH LOVELY CLOTHES ONCE . $
IN PARIS $
< ( TO ELLEN ) > $
IF YOU COULD BELIEVE THAT . $
03 NO SHE COULDN'T . $
01 WHY NOT PRAY ? $
< ( ELLEN TAKES HER HAND FROM DAVID . $
TOUCHES NINA'S KNEE ) > $
02 GO ON . $
GO ON . $
PLEASE TELL ME . $
#100 $
01 < ( SULKY ) > $
YOU HEARD WHAT HE SAID . $
02 < ( URGENT ) > $
NO . $
I DIDN'T . $
I DIDN'T . $
WHAT WERE YOU DOING IN PARIS ? $
TELL ME . $
03 ' RAN AWAY FROM HOME AT SIXTEEN ? ' $
' ARTIST'S MODEL IN THE LATIN QUARTER ? ' $
IT 'S A HOPELESS RIDICULOUS STORY , NINA , AND YOU KNOW IT .
 $
01 I DON'T SEE WHY ? $
WHAT ABOUT HIM TRYING TO SHOOT ME ON THAT CHANNEL STEAMER ?
$
02 WHO ? $
WHO DID ? $
TELL ME . $
01 THE PAINTER CHAPPIE , DEAR , WHAT I LIVED WITH . $
03 OH GIVE OVER NINA . $
WE CAN'T TAKE ALL THAT . $
01 < ( TRIUMPHANTLY INDIGNANT ) > $
SEE ! $
SPOILSPORT AGAIN ! $
WE CAN TAKE YOUR STORY . $
OH OF COURSE . $
OH DEFINITELY . $
DOCTOR IN MUSWELL HILL INDEED . $
03 YOU SAID MUSWELL HILL . $
01 WELL I WAS A BIT CROSS . $
NATURALLY I WAS THINKING IT WAS GOING TO BE THE ONE ABOUT YO
U BEING A MASTER IN THAT PUBLIC SCHOOL AND CAUGHT IN BED WIT
H ONE OF THE BOYS . $
ALL THE SCANDAL AND THE DISGRACE . $
< ( ASIDE TO ELLEN ) > $
I WAS THE SCHOOL COOK , SEE . $
02 NO . $
NO . $
NO . $
NO . $
NO . $
03 THAT 'S WHERE THAT ONE FALLS TO BITS . $
YOU A COOK . $
YOU CAN'T EVEN MAKE A CUP OF TEA . $
01 I COULD . $
03 YES YOU COULD . $
BUT YOU WON'T AND YOU DON'T . $
< ( THEN TO DAVID ) > $
HOW IS YOUR MOTHER ? $
02 DON'T ! $
04 WONDERFUL FOR HER AGE , REALLY . $
SHE AND MY FATHER HAVE A COTTAGE IN THE COUNTRY . $
#101 $
HE 'S RETIRED NOW . $
< ( ELLEN PUTS HER HANDS OVER HER EYES AND DOUBLES UP , HIDI
NG HER FACE IN HER LAP . $
DAVID GETS UP AND MOVES AWAY AND THEY ALL THREE STAND LOOKIN
G AT HER . $
THERE IS A SILENCE ) > $
01 GOT A PAIN PERHAPS . $
03 LOOKS MORE FRIGHTENED TO ME . $
04 I EXPECT BOTH . $
01 I GET A PAIN IN MY TUM WHEN I 'M FRIGHTENED . $
< ( BRIGHTLY ) > $
NO NEED TO BE SCARED ELAINE DEAR . $
< ( ELLEN SITS UP AND LOOKS AT THEM ALL ) > $
02 I 'M NOT ELAINE . $
I 'M ELLEN . $
ELLEN . $
ELLEN . $
04 YES ? $
< ( A PAUSE WHILE SHE STARES AT HIM ) > $
02 THAT 'S ALL $
< ( HUGS HERSELF TIGHT ) > $
03 WELL , IT 'S QUITE A LOT . $
< ( ANOTHER PAUSE WHILE THEY REGARD HER ) > $
01 < ( JUDICIOUS ) > $
SHE IS FRIGHTENED YOU KNOW . $
LOOK AT HER . $
LIKE A LITTLE WILD CREATURE IN A TRAP . $
04 < ( KINDLY ) > $
WELL ACTUALLY THAT 'S ONE OF HER FAVOURITE PARTS . $
SHE 'S EXTREMELY GOOD AT THAT ONE . $
01 OH - IS SHE AN ACTRESS ? $
ARE YOU AN ACTRESS , DUCK ? $
04 < ( STILL PLEASANT ) > $
MORE OF A PERFORMER REALLY . $
< ( ELLEN STARES AT HIM WITH REAL PAIN AND THEN CONVULSIVELY
 DOUBLES UP AGAIN ) > $
#102 $
04 < ( STRONG AND SHARP ) > $
DON'T DO THAT ! $
SIT UP ! $
< ( SLOWLY ELLEN DOES BUT SHE CAN'T LOOK AT HIM ) > $
01 WELL THERE 'S NO NEED TO SHOUT , SURELY . $
POOR LITTLE POPPET . $
YOU 'RE NOT TO SHOUT AT HER . $
< ( CLAPS HER HANDS ) > $
I TELL YOU WHAT - WE 'LL HAVE ANOTHER LITTLE GAME . $
THAT 'LL CHEER HER UP . $
HIDE AND SEEK . $
< ( TO ELLEN ) > $
YOU CAN BE ' IT ' FIRST . $
< ( THEN LOUDER TO HER ) > $
HIDE AND SEEK , DEAR . $
QUICK NOW . $
WE 'RE ONLY GOING TO COUNT TO TWENTY . $
< ( SHE CLAPS HER HANDS OVER HER EYES . $
TADDY AND DAVID FOLLOW SUIT . $
NINA STARTS COUNTING AND THEY JOIN HER AND ALL COUNT LOUDER
 AND FASTER TO TWENTY . $
ELLEN JUST SITS ABSOLUTELY STILL , STARING ) > $
READY OR NOT , HERE WE COME ! $
< ( THEY UNCOVER THEIR EYES AND START LOOKING ELABORATELY AN
D SILENTLY ROUND THE ROOM UNDER THINGS AND BEHIND THINGS ) >
 $
04 NOBODY FOUND HER YET ? $
01 NOT A SAUSAGE . $
03 SHE 'S VERY GOOD AT THIS - REMARKABLE . $
01 WELL WHERE CAN SHE BE ? $
02 < ( SUDDEN . $
WILDLY ) > $
I 'M HERE ! $
< ( THEY ALL TURN ROUND AND LOOK AT HER ASTONISHED AND DELIG
HTED ) > $
01 THERE SHE IS ! $
03 WELL YOU CERTAINLY HAD US FOOLED . $
01 < ( TO DAVID ) > $
YOUR TURN NOW , DEAR . $
< ( SHE AND TADDY PUT THEIR HANDS OVER THEIR EYES . $
THEY HAVE COUNTED TO FIVE WHEN NINA TAKES HER HANDS DOWN AND
 LOOKS AT ELLEN ) > $
#103 $
OH NAUGHTY . $
MUSTN'T CHEAT . $
< ( GOES OVER TO HER AND PUTS HER HANDS OVER HER EYES FOR HE
R ) > $
NO PEEKING NOW . $
BACK TO ONE , TADDY . $
WE WEREN'T READY . $
ONE ! $
< ( AND AGAIN SHE AND TADDY COUNT FASTER AND LOUDER TO TWENT
Y ) > $
03 READY OR NOT HERE WE COME ! $
< ( THEY TAKE THEIR HANDS DOWN . $
DAVID HAS MOVED TO SIT DIRECTLY IN FRONT OF ELLEN ON HIS HEE
LS . $
HER HANDS ARE STILL OVER HER EYES . $
TADDY AND NINA START LOOKING ROUND THE ROOM AGAIN ) > $
01 < ( TURNING AND LOOKING AT ELLEN ) > $
OH NOW . $
WHO 'S BEING NAUGHTY AGAIN . $
PLAY UP , PLAY UP AND PLAY THE GAME . $
OPEN YOUR EYES . $
03 < ( GOES OVER TO ELLEN AND TAKES HER HANDS DOWN ) > $
YOU 'VE GOT TO LOOK TOO . $
01 WE CAN'T FIND HIM ANYWHERE . $
02 HE 'S HERE ! $
HE 'S HERE ! $
01 THERE NOW . $
SHE 'S FOUND HIM . $
03 VERY QUICK . $
VERY QUICK INDEED . $
THIS GIRL 'S A CHAMPION , NINA . $
< ( ELLEN LOOKS INTO DAVID'S FACE AND SPEAKS WITH REAL ENTRE
ATY ) > $
02 DAVID ? $
< ( HE LOOKS IMPASSIVELY BACK AT HER . $
SHE GETS UP QUICKLY AND BACKS AWAY . $
AT ONCE DAVID GETS UP AND STEPS BACK TO JOIN THE OTHERS ) >
$
04 SOMETHING WRONG ? $
#104 $
02 DON'T SPEAK TO ME ! $
YOU 'RE ONE OF THEM . $
04 AND WHO ARE ' THEY ' ? $
02 < ( POINTING ) > $
THEM ! $
THEM ! $
THEY 'RE THE ONES WHO MADE ME COME HERE . $
03 < ( QUIET BUT A LITTLE DANGEROUS ) > $
MADE ? $
MADE ? $
HOW ' MADE ' ? $
01 WHO STARTED IT THEN ? $
WHO BEGAN ? $
02 YOU DID ! $
01 OH NO , YOU CAME UP TO ME . $
YOU BEGAN . $
02 YOU KEPT ME . $
YOU WOULDN'T LET ME GO . $
04 < ( SHARP ) > $
FORCED YOU ? $
02 I DIDN'T SAY THAT - $
03 LOCKED ALL THE DOORS DID WE ? $
02 NO , IT WASN'T - $
03 ARE YOU SAYING YOU 'VE BEEN KEPT A PRISONER HERE ? $
02 < ( LOUD AND DESPERATE ) > $
NO ! $
NO ! $
NO ! $
< ( THERE IS A PAUSE ) > $
01 < ( COMFORTABLY ) > $
WELL A ' COURSE SHE WASN'T . $
03 < ( LAUGHS GENTLY ) > $
A PRISONER ... DEAR , DEAR , DEAR . $
04 < ( TO ELLEN . $
CLINICAL AND INTERESTED ) > $
YOU ARE FRIGHTENED . $
02 YES . $
04 WHAT OF ? $
#105 $
02 YOU ALL TOLD LIES . $
ALL OF YOU . $
YOU JUST GO ON TELLING LIES . $
01 STORIES MORE , REALLY . $
02 AND GAMES . $
AND TURNING OFF THE LIGHTS . $
AND SOMETHING BAD OUTSIDE ONLY NOTHING REALLY . $
PRETENDING NOT TO SEE WHEN YOU COULD . $
ANOTHER LIE OR A GAME OR A JOKE . $
NOTHING ORDINARY . $
NOTHING REAL . $
03 IF IT 'S NOT ORDINARY IT CAN'T BE REAL ? $
01 NO SURPRISES , EH ? $
02 IT 'S NOT THAT . $
I DON'T MEAN THAT . $
04 WHAT DO YOU MEAN ? $
02 < ( HALTINGLY TO HIM BUT EMPHATIC TOO ) > $
I MEAN YOU HAVE TO UNDERSTAND THINGS . $
YOU HAVE TO KNOW WHAT TO EXPECT . $
YOU HAVE TO KNOW WHAT 'S GOING TO HAPPEN , WHAT TO DO . $
04 < ( WITH REAL FEELING . $
TO HER ) > $
NO ! $
NO ! $
YOU DON'T ! $
02 I DO . $
04 WHY ? $
YOU TELL ME WHY , ELLEN . $
02 BECAUSE ... BECAUSE IF EVERYBODY BREAKS ALL THE RULES THE
N - THEN IT ALL FALLS APART . $
03 WHAT RULES ? $
02 < ( TO DAVID ) > $
YOU KNOW . $
EVERYBODY KNOWS . $
THE RULES ABOUT WHAT YOU OUGHT TO DO . $
01 AND WHAT YOU OUGHTN'T ? $
02 YES ! $
YES ! $
I BROKE THE RULES $
< ( TO DAVID ) > $
AND I 'M BEING PUNISHED FOR IT NOW . $
I KNEW ALL ALONG I 'D BE PUNISHED FOR IT . $
#106 $
< ( THERE IS A PAUSE AND THEN TADDY GOES OVER TO HER . $
HE SPEAKS DIRECTLY TO HER WITH A GENTLE INTENSITY ) > $
03 LISTEN . $
THERE WAS ONCE AN OLD WOMAN WHO LIVED IN A LITTLE HOUSE FACI
NG A MOUNTAIN . $
NOW IN ORDER TO GET TO CHURCH , WHICH SHE DID EVERY DAY , SH
E HAD TO CROSS OVER THE MOUNTAIN . $
SHE WAS OLD AND SHE WAS TIRED . $
ONE DAY SHE WAS READING HER BIBLE AND SHE CAME ACROSS THE BI
T THAT SAYS FAITH CAN MOVE MOUNTAINS . $
AND SHE THOUGHT TO HERSELF , ' WELL , ' SHE THOUGHT . $
SO THAT NIGHT SHE CLOSED HER LITTLE CHINTZ CURTAINS AND SHE
SAT UP THE WHOLE NIGHT THROUGH PRAYING THAT THE MOUNTAIN WOU
LD BE MOVED . $
WHEN MORNING CAME , SHE DREW THE CURTAINS AND THERE WAS THE
MOUNTAIN . $
AND SHE LOOKED , AND SHE SAID , ' I KNEW HE WOULDN'T . ' $
< ( SILENCE . $
NINA AND DAVID MAKE A SLIGHT MOVEMENT FORWARD . $
ELLEN LOOKS FROM ONE TO THE OTHER ) > $
02 < ( TURNS AWAY ) > $
I DON'T UNDERSTAND . $
I DON'T UNDERSTAND . $
< ( DAVID STEPS SWIFTLY FORWARD , TAKES HER BY THE SHOULDERS
 AND TURNS HER ROUND TO LOOK AT HIM ) > $
04 < ( ANGRY AND DESPERATE ) > $
NO OF COURSE YOU DON'T . $
HOW COULD YOU ? $
ELLEN , THAT STORY 'S ABOUT YOU . $
THAT 'S WHAT YOU DO . $
CAN'T YOU SEE ? $
IF YOU FIND YOU CAN'T PLAN AND DECIDE AHEAD AND MAKE SURE EV
ERYBODY , INCLUDING YOU , PLAYS THE PARTS YOU 'VE GIVEN THEM
 , YOU JUST STOP BEING ANYONE AT ALL . $
YOU CAN'T CONTROL THE SITUATION SO THEN YOU BELIEVE THAT THE
 SITUATION IS CONTROLLING YOU . $
THEN IT ALL HAS TO BE A CONSPIRACY , YOU THE VICTIM . $
EITHER WAY - EITHER WAY , ELLEN , NOTHING IS ALLOWED TO OCCU
R . $
02 < ( DEFIANT . $
RELEASING HERSELF FROM HIS GRASP ) > $
AND DOES EVERYONE HAVE TO BE MAD BEFORE ANYTHING CAN OCCUR ?
 $
04 < ( TURNING AWAY . $
WEARILY ) > $
MAYBE . $
YES . $
PROBABLY . $
UP TO A POINT . $
#107 $
02 IT ISN'T LIKE THAT . $
IT CAN'T BE LIKE THAT . $
04 < ( FACING HER AGAIN ) > $
IT ISN'T LIKE ANYTHING . $
IT JUST IS . $
< ( PUTS HIS HANDS ON TOP OF HIS HEAD , FRUSTRATED . $
THEN TAKES HIS HANDS DOWN AND SPEAKS FAST ) > $
LOOK , LOOK . $
I 'LL SHOW YOU WHAT YOU WOULD HAVE WANTED ALL THIS TO BE LIK
E . $
< ( GOES OVER TO NINA ) > $
WHAT WERE YOU DOING WHEN SHE CAME UP TO YOU . $
GO ON . $
SHOW ME . $
01 I WASN'T DOING NOTHING . $
JUST STANDING THERE LEANING ON MY STICK . $
< ( STARTS TO ACT THIS AS SHE GOES ON ) > $
OH YES , THAT 'S RIGHT , I DID GET A BIT CROSS . $
ALL THEM BLEEDING CARS . $
NONE OF THEM WOULD STOP FOR ME . $
RUSH RUSH RUSH , BACK AND FORTH . $
SO I STARTS SHAKING MY STICK AND SHOUTING A BIT . $
' BASTARDS ! $
STOP WILL YOU ! $
LET ME ACROSS ONE OF YOU BUGGERS ! ' $
04 WELL THAT WOULD BE WRONG FOR A START . $
< ( TO ELLEN ) > $
THAT 'S WRONG ISN'T IT ? $
POOR OLD LADIES DON'T SWEAR . $
< ( TO NINA ) > $
JUST BE HELPLESS AND PITIFUL . $
I 'M HER COMING UP TO HELP YOU . $
< ( TAKES A FEW STEPS AWAY AND THEN WALKS BACK LOOKING SOLIC
ITOUS ) > $
01 OH , OH WHAT SHALL I DO ? $
I 'LL NEVER GET HOME . $
WON'T SOMEBODY HELP A POOR OLD WOMAN ? $
04 CAN I HELP ? $
01 OH WOULD YOU , SIR - MISS , I MEAN . $
GOD BLESS YOU MISS . $
< ( THEY ACT CROSSING THE STREET ) > $
04 ARE YOU SURE YOU 'RE ALL RIGHT ? $
CAN YOU GET HOME BY YOURSELF ? $
01 I 'LL MANAGE . $
DON'T YOU WORRY YOUR PRETTY LITTLE HEAD ABOUT ME . $
IT 'S ONLY JUST UP THE HILL . $
04 I 'LL SEE YOU HOME . $
NO , IT 'S NO TROUBLE . $
HERE , TAKE MY ARM . $
#108 $
< ( THEY WALK A FEW MORE STEPS . $
THEN TADDY COMES FORWARD AND MIMES , OPENING A DOOR ) > $
03 OH THERE YOU ARE , MOTHER . $
01 < ( INDIGNANT ) > $
MOTHER ! $
03 < ( SMOOTHLY ) > $
SHUT UP NINA . $
I WAS GETTING QUITE WORRIED ABOUT YOU , MOTHER . $
YOU KNOW YOU DIDN'T OUGHT TO BE OUT ON YOUR OWN . $
01 THIS YOUNG LADY SEEN ME HOME . $
03 THERE 'S KIND . $
PLEASE DO STEP IN , MISS . $
NOW MOTHER YOU COME AND SIT DOWN . $
< ( HE AND DAVID SIT HER DOWN ) > $
SHE 'S NOT BEEN OUT OF HOSPITAL LONG , YOU KNOW . $
01 < ( SHIVERING ) > $
I 'M COLD , SON . $
I 'M COLD . $
PUT THE FIRE ON . $
03 I 'VE GOT NO MONEY FOR THE METER , MOTHER . $
I 'LL GET YOU A BLANKET . $
04 PLEASE . $
I 'VE GOT PLENTY OF SIXPENCES AND SHILLINGS IN MY PURSE . $
TAKE THEM , DO . $
03 OH YOU 'RE TOO KIND . $
SHE 'S TOO KIND ISN'T SHE , MOTHER ? $
01 AH , YOU DON'T MEET MANY CHRISTIAN PEOPLE THESE DAYS . $
03 AT LEAST LET US GIVE YOU A CUP OF TEA . $
04 NO NO . $
I MUST GO . $
< ( AND THEN WITH A KIND OF SMILING SAVAGERY ) > $
I 'VE ' DONE ' YOU TWO , YOU SEE , AND NOW I 'VE GOT TO GO A
ND ' DO ' HIM . $
< ( NOW , SLOWLY , TADDY AND DAVID TURN TO LOOK AT ELLEN . $
SHE LOOKS BACK . $
THEN SHE GETS UP VIOLENTLY FROM HER CHAIR KNOCKING IT OVER D
ELIBERATELY ) > $
#109 $
02 < ( CALM ) > $
I HATE THIS PLACE . $
< ( SHE STARTS TO MOVE ROUND THE ROOM , METHODICALLY TURNING
 OVER CHAIRS AND TABLES , PULLING PICTURES OFF THE WALLS ETC
 . $
SHE IS SILENT , CONCENTRATED AND SWIFT . $
THE OTHERS JUST WATCH HER ATTENTIVELY ) > $
THERE ! $
< ( SHE LOOKS ROUND AT THE MESS ) > $
I DID THAT ! $
03 YES . $
01 WHY ? $
04 WERE YOU ANGRY ? $
02 < ( WITH GLAD RAGE . $
LOUD ) > $
YES ! $
04 < ( NICE , LOVING LAUGH ) > $
GOOD . $
GOOD . $
GOOD . $
02 < ( TO HIM . $
FEROCIOUS AND LOVING ) > $
YOU CAN GO TO HELL ! $
< ( SHE PICKS UP HER BAG AND WALKS STRAIGHT OUT THE DOOR . $
THE OTHERS STAND STILL FOR A MOMENT ) > $
01 SHE 'S LEFT THE DOOR OPEN . $
< ( LOOKS AT DAVID ) > $
AREN'T YOU GOING AFTER HER , DEAR ? $
04 YES . $
01 THAT 'S RIGHT . $
THAT 'S RIGHT , ISN'T IT TADDY ? $
03 YES . $
< CURTAIN > $