Directed by Harold Pinter
The Room was subsequently presented at the Royal Court Theatre on 8th March, 1960, with four changes in the cast:
BERT HUDD Michael Brennan
MR KIDD John Cater
MR SANDS Michael Caine
MRS SANDS Anne Bishop
Directed by Anthony Page
THE ROOM
Scene: A room in a large house. A door dawn right. A gas-fire down left. A gas-stove and sink, up left. A window up centre. A table and chairs, centre. A rocking-chair, left centre. The foot of a double-bed protrudes from alcove, up right.
BERT is at the table, wearing a cap, a magazine propped in front of him. ROSE is at the stove.
ROSE. Here you are. This'll keep the cold out.
She places bacon and eggs on a plate, turns off the gas and takes the plate to the table.
It's very cold out, I can tell you. It's murder.
She returns to the stove and pours water from the kettle into the teapot, turns off the gas and brings the teapot to the table, pours salt and sauce on the plate and cuts two slices of bread. BERT begins to eat.
That's right. You eat that. You'll need it. You can feel it in here. Still, the room keeps warm. It's better than the basement, anyway.
She butters the bread.
I don't know how they live down there. It's asking for trouble. Go on. Eat it up. It'll do you good.
She goes to the sink, wipes a cup and saucer and brings them to the table.
If you want to go out you might as well have something inside you. Because you'll feel it when you get out.
She pours milk into the cup.
Just now I looked out of the window. It was enough for me. There wasn't a soul about. Can you hear the wind?
She sits in the rocking-chair.
I've never seen who it is. Who is it? Who lives down there? I'll have to ask. I mean, you might as well know, Bert. But whoever it is, it can't be too cosy.
Pause.
I think it's changed hands since I was last there. I didn't see who moved in then. I mean the first time it was taken.
Pause.
Anyway, I think they've gone now.
Pause.
But I think someone else has gone in now. I wouldn't like to live in that basement. Did you ever see the walls? They were running. This is all right for me. Go on, Bert. Have a bit more bread.
She goes to the table and cuts a slice of bread.
I'll have some cocoa on when you come back.
She goes to the window and settles the curtain.
No, this room's all right for me. I mean, you know where you are. When it's cold, for instance.
She goes to the table.
What about the rasher? Was it all right? It was a good one, I know, but not as good as the last lot I got in. It's the weather.
She goes to the rocking-chair, and sits.
Anyway, I haven't been out. I haven't been so well. I didn't feel up to it. Still, I'm much better today. I don't know about you though. I don't know whether you ought to go out. I mean, you shouldn't, straight after you've been laid up. Still. Don't worry, Bert. You go. You won't be long.
She rocks.
It's good you were up here, I can tell you. It's good you weren't down there, in the basement. That's no joke. Oh, I've left the tea. I've left the tea standing.
She goes to the table and pours tea into the cup.
No, it's not bad. Nice weak tea. Lovely weak tea. Here you are. Drink it down. I'll wait for mine. Anyway, I'll have it a bit stronger.
She takes a plate to the sink and leaves it.
Those walls would have finished you off. I don't know who lives down there now. Whoever it is, they're taking a big chance. Maybe they're foreigners.
She goes to the rocking-chair and sits.
I'd have pulled you through.
Pause.
There isn't room for two down there, anyway. I think there was one first, before he moved out. Maybe they've got two now.
She rocks.
If they ever ask you, Bert, I'm quite happy where I am. We're quiet, we're all right. You're happy up here. It's not far up either, when you come in from outside. And we're not bothered. And nobody bothers us.
Pause.
I don't know why you have to go out. Couldn't you run it down tomorrow? I could put the fire in later. You could sit by the fire. That's what you like, Bert, of an evening. It'll be dark in a minute as well, soon.
She rocks.
It gets dark now.
She rises and pours out tea at the table.
I made plenty. Go on.
She sits at table.
You looked out today? It's got ice on the roads. Oh, I know you can drive. I'm not saying you can't drive. I mentioned to Mr Kidd this morning that you'd be doing a run today. I told him you hadn't been too grand, but I said, still, he's a marvellous driver. I wouldn't mind what time, where, nothing, Bert. You know how to drive. I told him.
She wraps her cardigan about her.
But it's cold. It's really cold today, chilly. I'll have you some nice cocoa on for when you get back.
She rises, goes to the window, and looks out.
It's quiet. Be coming on for dark. There's no one about.
She stands, looking.
Wait a minute.
Pause.
I wonder who that is.
Pause.
No. I thought I saw someone.
Pause.
No.
She drops the curtain.
You know what though? It looks a bit better. It's not so windy. You'd better put on your thick jersey.
She goes to the rocking-chair, sits and rocks.
This is a good room. You've got a chance in a place like this. I look after you, don't I, Bert? Like when they offered us the basement here I said no straight off. I knew that'd be no good. The ceiling right on top of you. No, you've got a window here, you can move yourself, you can come home at night, if you have to go out, you can do your job, you can come home, you're all right. And I'm here. You stand a chance.
Pause.
I wonder who has got it now. I've never seen them, or heard of them. But I think someone's down there. Whoever's got it can keep it. That looked a good rasher, Bert. I'll have a cup of tea later. I like mine a bit stronger. You like yours weak.
A knock at the door. She stands.
Who is it?
Pause.
Hallo!
Knock repeated.
Come in then.
Knock repeated.
Who is it?
Pause. The door opens and MR KIDD comes in.
MR KIDD. I knocked.
ROSE. I heard you.
MR KIDD. Eh?
ROSE. We heard you.
MR KIDD. Hallo, Mr Hudd, how are you, all right? I've been looking at the pipes.
ROSE. Are they all right?
MR KIDD. Eh?
ROSE. Sit down, Mr Kidd.
MR KIDD. No, that's all right. I just popped in, like, to see how things were going. Well, it's cosy in here, isn't it?
ROSE. Oh, thank you, Mr Kidd.
MR KIDD. You going out today, Mr Hudd? I went out. I came straight in again. Only to the corner, of course.
ROSE. Not many people about today, Mr Kidd.
MR KIDD. So I thought to myself, I'd better have a look at those pipes. In the circumstances. I only went to the corner, for a few necessary items. It's likely to snow. Very likely, in my opinion.
ROSE. Why don't you sit down, Mr Kidd?
MR KIDD. No, no, that's all right.
ROSE. Well, it's a shame you have to go out in this weather, Mr Kidd. Don't you have a help?
MR KIDD. Eh?
ROSE. I thought you had a woman to help.
MR KIDD. I haven't got any woman.
ROSE. I thought you had one when we first came.
MR KIDD. No women here.
ROSE. Maybe I was thinking of somewhere else.
MR KIDD. Plenty of women round the corner. Not here though. Oh no. Eh, have I seen that before?
ROSE. What?
MR KIDD. That.
ROSE. I don't know. Have you?
MR KIDD. I seem to have some remembrance.
ROSE. It's just an old rocking-chair.
MR KIDD. Was it here when you came?
ROSE. No, I brought it myself.
MR KIDD. I could swear blind I've seen that before.
ROSE. Perhaps you have.
MR KIDD. What?
ROSE. I say, perhaps you have.
MR KIDD. Yes, maybe I have.
ROSE. Take a seat, Mr Kidd.
MR KIDD. I wouldn't take an oath on it though.
BERT yawns and stretches, and continues looking at his magazine.
No, I won't sit down, with Mr Hudd just having a bit of a rest after his tea. I've got to go and get mine going in a minute. You're going out then, Mr Hudd? I was just looking at your van. She's a very nice little van, that. I notice you wrap her up well for the cold. I don't blame you. Yes, I was hearing you go off, when was it, the other morning, yes. Very smooth. I can tell a good gear-change.
ROSE. I thought your bedroom was at the back, Mr Kidd.
MR KIDD. My bedroom?
ROSE. Wasn't it at the back? Not that I ever knew.
MR KIDD. I wasn't in my bedroom.
ROSE. Oh, well.
MR KIDD. I was up and about.
ROSE. I don't get up early in this weather. I can take my time. I take my time.
Pause.
MR KIDD. This was my bedroom.
ROSE. This? When?
MR KIDD. When I lived here.
ROSE. I didn't know that.
MR KIDD. I will sit down for a few ticks. (He sits in the armchair.)
ROSE. Well, I never knew that.
MR KIDD. Was this chair here when you came?
ROSE. Yes.
MR KIDD. I can't recollect this one.
Pause.
ROSE. When was that then?
MR KIDD. Eh?
ROSE. When was this your bedroom?
MR KIDD. A good while back.
Pause.
ROSE. I was telling Bert I was telling you how he could drive.
MR KIDD. Mr Hudd? Oh, Mr Hudd can drive all right. I've seen him bowl down the road all right. Oh yes.
ROSE. Well, Mr Kidd, I must say this is a very nice room. It's a very comfortable room.
MR KIDD. Best room in the house.
ROSE. It must get a bit damp downstairs.
MR KIDD. Not as bad as upstairs.
ROSE. What about downstairs?
MR KIDD. Eh?
ROSE. What about downstairs?
MR KIDD. What about it?
ROSE. Must get a bit damp.
MR KIDD. A bit. Not as bad as upstairs though.
ROSE. Why's that?
MR KIDD. The rain comes in.
Pause.
ROSE. Anyone live up there?
MR KIDD. Up there? There was. Gone now.
ROSE. How many floors you got in this house?
MR KIDD. Floors. (He laughs.) Ah, we had a good few of them in the old days.
ROSE. How many have you got now?
MR KIDD. Well, to tell you the truth, I don't count them now.
ROSE. Oh.
MR KIDD. No, not now.
ROSE. It must be a bit of a job.
MR KIDD. Oh, I used to count them, once. Never got tired of it. I used to keep a tack on everything in this house. I had a lot to keep my eye on, then. I was able for it too. That was when my sister was alive. But I lost track a bit, after she died. She's been dead some time now, my sister. It was a good house then. She was a capable woman. Yes. Fine size of a woman too. I think she took after my mum. Yes, I think she took after my old mum, from what I can recollect. I think my mum was a Jewess. Yes, I wouldn't be surprised to learn that she was a Jewess. She didn't have many babies.
ROSE. What about your sister, Mr Kidd?
MR KIDD. What about her?
ROSE. Did she have any babies?
MR KIDD. Yes, she had a resemblance to my old mum, I think. Taller, of course.
ROSE. When did she die then, your sister?
MR KIDD. Yes, that's right, it was after she died that I must have stopped counting. She used to keep things in very good trim. And I gave her a helping hand. She was very grateful, right until her last. She always used to tell me how much she appreciated all the – little things – that I used to do for her. Then she copped it. I was her senior. Yes, I was her senior. She had a lovely boudoir. A beautiful boudoir.
ROSE. What did she die of?
MR KIDD. Who?
ROSE. Your sister.
Pause.
MR KIDD. I've made ends meet.
Pause.
ROSE. You full at the moment, Mr Kidd?
MR KIDD. Packed out.
ROSE. All sorts, I suppose?
MR KIDD. Oh yes, I make ends meet.
ROSE. We do, too, don't we, Bert?
Pause.
Where's your bedroom now then, Mr Kidd?
MR KIDD. Me? I can take my pick. (Rising.) You'll be going out soon then, Mr Hudd? Well, be careful how you go. Those roads'll be no joke. Still, you know how to manipulate your van all right, don't you? Where you going? Far? Be long?
ROSE. He won't be long.
MR KIDD. No, of course not. Shouldn't take him long.
ROSE. No.
MR KIDD. Well then, I'll pop off. Have a good run, Mr Hudd. Mind how you go. It'll be dark soon too. But not for a good while yet. Arivederci.
He exits.
ROSE. I don't believe he had a sister, ever.
She takes the plate and cup to the sink. BERT pushes his chair back and rises.
All right. Wait a minute. Where's your jersey?
She brings the jersey from the bed.
Here you are. Take your coat off. Get into it.
She helps him into his jersey.
Right. Where's your muffler?
She brings a muffler from the bed.
Here you are. Wrap it round. That's it. Don't go too fest, Bert, will you? I'll have some cocoa on when you get back. You won't be long. Wait a minute. Where's your overcoat? You'd better put on your overcoat.
He fixes his muffler, goes to the door and exits. She stands, watching the door, then turns slowly to the table, picks up the magazine, and puts it down. She stands and listens, goes to the fire, bends, lights the fire and warms her hands. She stands and looks about the room. She looks at the window and listens, goes quickly to the window, stops and straightens the curtain. She comes to the centre of the room, and looks towards the door. She goes to the bed, puts on a shawl, goes to the sink, takes a bin from under the sink, goes to the door and opens it.
ROSE. Oh!
MR and MRS SANDS are disclosed on the landing.
MRS SANDS. So sorry. We didn't mean to be standing here, like. Didn't mean to give you a fright. We've just come up the stairs.
ROSE. That's all right.
MRS SANDS. This is Mr Sands. I'm Mrs Sands.
ROSE. How do you do?
MR SANDS grunts acknowledgement.
MRS SANDS. We were just going up the stairs. But you can't see a thing in this place. Can you, Toddy?
MR SANDS. Not a thing.
ROSE. What were you looking for?
MRS SANDS. The man who runs the house.
MR SANDS. The landlord. We're trying to get hold of the landlord.
MRS SANDS. What's his name, Toddy?
ROSE. His name's Mr Kidd.
MRS SANDS. Kidd, Was that the name, Toddy?
MR SANDS. Kidd? No, that's not it.
ROSE. Mr Kidd. That's his name.
MR SANDS. Well, that's not the bloke we're looking for.
ROSE. Well, you must be looking for someone else.
Pause.
MR SANDS. I suppose we must be.
ROSE. You look cold.
MRS SANDS. It's murder out. Have you been out?
ROSE. No.
MRS SANDS. We've not long come in.
ROSE. Well, come inside, if you like, and have a warm.
They come into the centre of the room.
(Bringing the chair from the table to the fire). Sit down here. You can get a good warm.
MRS SANDS. Thanks. (She sits.)
ROSE. Come over by the fire, Mr. Sands.
MR SANDS. No, it's all right. I'll just stretch my legs.
MRS SANDS. Why? You haven't been sitting down.
MR SANDS. What about it?
MRS SANDS. Well, why don't you sit down?
MR SANDS. Why should I?
MRS SANDS. You must be cold.
MR SANDS. I'm not.
MRS SANDS. You must be. Bring over a chair and sit down.
MR SANDS. I'm all right standing up, thanks.
MRS SANDS. You don't look one thing or the other standing up.
MR SANDS. I'm quite all right, Clarissa.
ROSE. Clarissa? What a pretty name.
MRS SANDS. Yes, it is nice, isn't it? My father and mother gave it to me.
Pause.
You know, this is a room you can sit down and feel cosy in.
MR SANDS (looking at the room). It's a fair size, all right.
MRS SANDS. Why don't you sit down, Mrs –
ROSE. Hudd. No thanks.
MR SANDS. What did you say?
ROSE. When?
MR SANDS. What did you say the name was?
ROSE. Hudd.
MR SANDS. That's it. You're the wife of the bloke you mentioned then?
MRS SANDS. No, she isn't. That was Mr Kidd.
MR SANDS. Was it? I thought it was Hudd.
MRS SANDS. No, it was Kidd. Wasn't it, Mrs Hudd?
ROSE. That's right. The landlord.
MRS SANDS. No, not the landlord. The other man.
ROSE. Well, that's his name. He's the landlord.
MR SANDS. Who?
ROSE. Mr Kidd.
Pause.
MR SANDS. Is he?
MRS SANDS. Maybe there are two landlords.
Pause.
MR SANDS. That'll be the day.
MRS SANDS. What did you say?
MR SANDS. I said that'll be the day.
Pause.
ROSE. What's it like out?
MRS SANDS. It's very dark out.
MR SANDS. No darker than in.
MRS SANDS. He's right there.
MR SANDS. It's darker in than out, for my money.
MRS SANDS. There's not much light in this place, is there, Mrs Hudd? Do you know, this is the first bit of light we've seen since we came in?
MR SANDS. The first crack.
ROSE. I never go out at night. We stay in.
MRS SANDS. Now I come to think of it, I saw a star.
MR SANDS. You saw what?
MRS SANDS. Well, I think I did.
MR SANDS. You think you saw what?
MRS SANDS. A star.
MR SANDS. Where?
MRS SANDS. In the sky.
MR SANDS. When?
MRS SANDS. As we were coming along.
MR SANDS. Go home.
MRS SANDS. What do you mean?
MR SANDS. You didn't see a star.
MRS SANDS. Why not?
MR SANDS. Because I'm telling you. I'm telling you you didn't see a star.
Pause.
ROSE. I hope it's not too dark out. I hope it's not too icy. My husband's in his van. He doesn't drive slow either. He never drives slow.
MR SANDS (guffawing). Well, he's taking a big chance tonight then.
ROSE. What?
MR SANDS. No – I mean, it'd be a bit dodgy driving tonight.
ROSE. He's a very good driver.
Pause.
How long have you been here?
MRS SANDS. I don't know. How long have we been here, Toddy?
MR SANDS. About half an hour.
MRS SANDS. Longer than that, much longer.
MRS SANDS. About thirty-five minutes.
ROSE. Well, I think you'll find Mr Kidd about somewhere. He's not long gone to make his tea.
MR SANDS. He lives here, does he?
ROSE. Of course he lives here.
MR SANDS. And you say he's the landlord, is he?
ROSE. Of course he is.
MR SANDS. Well, say I wanted to get hold of him, where would I find him?
ROSE. Well – I'm not sure.
MR SANDS. He lives here, does he?
ROSE. Yes, but I don't know –
MR SANDS. You don't know exactly where he hangs out?
ROSE. No, not exactly.
MR SANDS. But he does live here, doesn't he?
Pause.
MRS SANDS. This is a very big house, Toddy.
MR SANDS. Yes, I know it is. But Mrs Hudd seems to know Mr Kidd very well.
ROSE. No, I wouldn't say that. As a matter of fact, I don't know him at all. We're very quiet. We keep ourselves to ourselves. I never interfere. I mean, why should I? We've got our room. We don't bother anyone else. That's the way it should be.
MRS SANDS. It's a nice house, isn't it? Roomy.
ROSE. I don't know about the house. We're all right, but I wouldn't mind betting there's a lot wrong with this house. (She sits in the rocking-chair.) I think there's a lot of damp.
MRS SANDS. Yes, I felt a bit of damp when we were in the basement just now.
ROSE. You were in the basement?
MRS SANDS. Yes, we went down there when we came in.
ROSE. Why?
MRS SANDS. We were looking for the landlord.
ROSE. What was it like down there?
MR SANDS. Couldn't see a thing.
ROSE. Why not?
MR SANDS. There wasn't any light.
ROSE. But what was – you said it was damp?
MRS SANDS. I felt a bit, didn't you, Tod?
MR SANDS. Why? Haven't you ever been down there, Mrs Hudd?
ROSE. Oh yes, once, a long time ago.
MR SANDS. Well, you know what it's like then, don't you?
ROSE. It was a long time ago
MR SANDS. You haven't been here all that long, have you?
ROSE. I was just wondering whether anyone was living down there now.
MRS SANDS. Yes. A man.
ROSE. A man?
MRS SANDS. Yes.
ROSE. One man?
MR SANDS. Yes, there was a bloke down there, all right.
He perches on the table.
MRS SANDS. You're sitting down!
MR SANDS (jumping up). Who is?
MRS SANDS. You were.
MR SANDS. Don't be silly. I perched.
MRS SANDS. I saw you sit down.
MR SANDS. You did not see me sit down because I did not sit bloody well down. I perched!
MRS SANDS. Do you think I can't perceive when someone's sitting down?
MR SANDS. Perceive! That's all you do. Perceive.
MRS SANDS. You could do with a bit more of that instead of all that tripe you get up to.
MR SANDS. You don't mind some of that tripe!
MRS SANDS. You take after your uncle, that's who you take after!
MR SANDS. And who do you take after?
MRS SANDS (rising). I didn't bring you into the world.
MR SANDS. You didn't what?
MRS SANDS. I said, I didn't bring you into the world.
MR SANDS. Well, who did then? That's what I want to know. Who did? Who did bring me into the world?
She sits, muttering. He stands, muttering.
ROSE. You say you saw a man downstairs, in the basement?
MRS SANDS. Yes, Mrs Hudd, you see, the thing is, Mrs Hudd, we'd heard they'd got a room to let here, so we thought we'd come along and have a look. Because we're looking for a place, you see, somewhere quiet, and we knew this district was quiet, and we passed the house a few months ago and we thought it looked very nice, but we thought we'd call of an evening, to catch the landlord, so we came along this evening. Well, when we got here we walked in the front door and it was very dark in the hall and there wasn't anyone about. So we went down to the basement. Well, we got down there only due to Toddy having such good eyesight really. Between you and me, I didn't like the look of it much, I mean the feel, we couldn't make much out, it smelt damp to me. Anyway, we went through a kind of partition, then there was another partition, and we couldn't see where we were going, well, it seemed to me it got darker the more we went, the further we went in, I thought we must have come to the wrong house. So I stopped. And Toddy stopped. And then this voice said, this voice came – it said – well, it gave me a bit of a fright, I don't know about Tod, but someone asked if he could do anything for us. So Tod said we were looking for the landlord and this man said the landlord would be upstairs. Then Tod asked was there a room vacant. And this man, this voice really, I think he was behind the partition, said yes there was a room vacant. He was very polite, I thought, but we never saw him, I don't know why they never put a light on. Anyway, we got out then and we came up and we went to the top of the house. I don't know whether it was the top. There was a door locked on the stairs, so there might have been another floor, but we didn't see anyone, and it was dark, and we were just coming down again when you opened your door.
ROSE. You said you were going up.
MRS SANDS. What?
ROSE. You said you were going up before.
MRS SANDS. No, we were coming down.
ROSE. You didn't say that before.
MRS SANDS. We'd been up.
MR SANDS. We'd been up. We were coming down.
Pause.
ROSE. This man, what was he like, was he old?
MRS SANDS. We didn't see him.
ROSE. Was he old?
Pause.
MR SANDS. Well, we'd better try to get hold of this landlord, if he's about.
ROSE. You won't find any rooms vacant in this house.
MR SANDS. Why not?
ROSE. Mr Kidd told me. He told me.
MR SANDS. Mr Kidd?
ROSE. He told me he was full up.
MR SANDS. The man in the basement said there was one. One room. Number seven he said.
Pause.
ROSE. That's this room.
MR SANDS. We'd better go and get hold of the landlord.
MRS SANDS (rising). Well, thank you for the warm-up, Mrs Hudd. I feel better now.
ROSE. This room is occupied.
MR SANDS. Come on.
MRS SANDS. Goodnight, Mrs Hudd. I hope your husband won't be too long. Must be lonely for you, being all alone here.
MR SANDS. Come on.
They go out. ROSE watches the door close, starts towards it, and stops. She takes the chair back to the table, picks up the magazine, looks at it, and puts it down. She goes to the rocking-chair, sits, rocks, stops, and sits still. There is a sharp knock at the door, which opens. Enter MR KIDD.
MR KIDD. I came straight in.
ROSE (rising). Mr Kidd! I was just going to find you. I've got to speak to you.
MR KIDD. Look here, Mrs Hudd, I've got to speak to you. I came up specially.
ROSE. There were two people in here just now. They said this room was going vacant. What were they talking about?
MR KIDD. As soon as I heard the van go I got ready to come and see you. I'm knocked out.
ROSE. What was it all about? Did you see those people? How can this room be going? It's occupied. Did they get hold of you, Mr Kidd?
MR KIDD. Get hold of me? Who?
ROSE. I told you. Two people. They were looking for the landlord.
MR KIDD. I'm just telling you. I've been getting ready to come and see you, as soon as I heard the van go.
ROSE. Well then, who were they?
MR KIDD. That's why I came up before. But he hadn't gone yet. I've been waiting for him to go the whole week-end.
ROSE. Mr Kidd, what did they mean about this room?
MR KIDD. What room?
ROSE. Is this room vacant?
MR KIDD. Vacant?
ROSE. They were looking for the landlord.
MR KIDD. Who were?
ROSE. Listen, Mr Kidd, you are the landlord, aren't you? There isn't any other landlord?
MR KIDD. What? What's that got to do with it? I don't know what you're talking about. I've got to tell you, that's all. I've got to tell you. I've had a terrible week-end. You'll have to see him. I can't take it any more. You've got to see him.
Pause.
ROSE. Who?
MR KIDD. The man. He's been waiting to see you. He wants to see you. I can't get rid of him. I'm not a young man, Mrs Hudd, that's apparent. It's apparent. You've got to see him.
ROSE. See who?
MR KIDD. The man. He's downstairs now. He's been there the whole week-end. He said that when Mr Hudd went out I was to tell him. That's why I came up before. But he hadn't gone yet. So I told him. I said he hasn't gone yet. I said, well when he goes, I said, you can go up, go up, have done with it. No, he says, you must ask her if she'll see me. So I came up again, to ask you if you'll see him.
ROSE. Who is he?
MR KIDD. How do I know who he is? All I know is he won't say a word, he won't indulge in any conversation, just – has he gone? that and nothing else. He wouldn't even play a game of chess. All right, I said, the other night, while we're waiting I'll play you a game of chess. You play chess, don't you? I tell you, Mrs Hudd, I don't know if he even heard what I was saying. He just lies there. It's not good for me. He just lies there, that's all, waiting.
ROSE. He lies there, in the basement?
MR KIDD. Shall I tell him it's all right, Mrs Hudd?
ROSE. But it's damp down there.
MR KIDD. Shall I tell him it's all right?
ROSE. That what's all right?
MR KIDD. That you'll see him.
ROSE. See him? I beg your pardon, Mr Kidd. I don't know him. Why should I see him?
MR KIDD. You won't see him?
ROSE. Do you expect me to see someone I don't know? With my husband not here too?
MR KIDD. But he knows you, Mrs Hudd, he knows you.
ROSE. How could he, Mr Kidd, when I don't know him?
MR KIDD. You must know him.
ROSE. But I don't know anybody. We're quiet here. We've just moved into this district.
MR KIDD. But he doesn't come from this district. Perhaps you knew him in another district.
ROSE. Mr Kidd, do you think I go around knowing men in one district after another? What do you think I am?
MR KIDD. I don't know what I think.
He sits.
I think I'm going off my squiff.
ROSE. You need rest. An old man like you. What you need is rest.
MR KIDD. He hasn't given me any rest. Just lying there. In the black dark. Hour after hour. Why don't you leave me be, both of you? Mrs Hudd, have a bit of pity. Please see him. Why don't you see him?
ROSE. I don't know him.
MR KIDD. You can never tell. You might know him.
ROSE. I don't know him.
MR KIDD (rising). I don't know what'll happen if you don't see him.
ROSE. I've told you I don't know this man!
MR KIDD. I know what he'll do. I know what he'll do. If you don't see him now, there'll be nothing else for it, he'll come up on his own bat, when your husband's here, that's what he'll do. He'll come up when Mr Hudd's here, when your husband's here.
ROSE. He'd never do that.
MR KIDD. He would do that. That's exactly what he'll do. You don't think he's going to go away without seeing you, after he's come all this way, do you? You don't think that, do you?
ROSE. All this way?
MR KIDD. You don't think he's going to do that, do you?
Pause.
ROSE. He wouldn't do that.
MR KIDD. Oh yes. I know it.
Pause.
ROSE. What's the time?
MR KIDD. I don't know.
Pause.
ROSE. Fetch him. Quick. Quick!
MR KIDD goes out. She sits in the rocking-chair.
After a few moments the door opens. Enter a blind Negro. He closes the door behind him, walks further, and feels with a stick till he reaches the armchair. He stops.
RILEY. Mrs Hudd?
ROSE. You just touched a chair. Why don't you sit in it?
He sits.
RILEY. Thank you.
ROSE. Don't thank me for anything. I don't want you up here. I don't know who you are. And the sooner you get out the better.
Pause.
(Rising.) Well, come on. Enough's enough. You can take a liberty too far, you know. What do you want? You force your way up here. You disturb my evening. You come in and sit down here. What do you want?
He looks about the room.
What are you looking at? You're blind, aren't you? So what are you looking at? What do you think you've got here, a little girl? I can keep up with you. I'm one ahead of people like you. Tell me what you want and get out.
RILEY. My name is Riley.
ROSE. I don't care if it's – What? That's not your name. That's not your name. You've got a grown-up woman in this room, do you hear? Or are you deaf too? You're not deaf too, are you? You're all deaf and dumb and blind, the lot of you. A bunch of cripples.
Pause.
RILEY. This is a large room.
ROSE. Never mind about the room. What do you know about this room? You know nothing about it. And you won't be staying in it long either. My luck. I get these creeps come in, smelling up my room. What do you want?
RILEY. I want to see you.
ROSE. Well you can't see me, can you? You're a blind man. An old, poor blind man. Aren't you? Can't see a dickeybird.
Pause.
They say I know you. That's an insult, for a start. Because I can tell you, I wouldn't know you to spit on, not from a mile off.
Pause.
Oh, these customers. They come in here and stink the place out. After a handout. I know all about it. And as for you saying you know me, what liberty is that? Telling my landlord too. Upsetting my landlord. What do you think you're up to? We're settled down here, cosy, quiet, and our landlord thinks the world of us, we're his favourite tenants, and you come in and drive him up the wall, and drag my name into it! What did you mean by dragging my name into it, and my husband's name? How did you know what our name was?
Pause.
You've led him a dance, have you, this week-end? You've got him going, have you? A poor, weak old man, who lets a respectable house. Finished. Done for. You push your way in and shove him about. And you drag my name into it.
Pause.
Come on, then. You say you wanted to see me. Well, I'm here. Spit it out or out you go. What do you want?
RILEY. I have a message for you.
ROSE. You've got what? How could you have a message for me, Mister Riley, when I don't know you and nobody knows I'm here and I don't know anybody anyway. You think I'm an easy touch, don't you? Well, why don't you give it up as a bad job? Get off out of it. I've had enough of this. You're not only a nut, you're a blind nut and you can get out the way you came.
Pause.
What message? Who have you got a message from? Who?
RILEY. Your father wants you to come home.
Pause.
ROSE. Home?
RILEY. Yes.
ROSE. Home? Go now. Come on. It's late. It's late.
RILEY. To come home.
ROSE. Stop it. I can't take it. What do you want? What do you want?
RILEY. Come home, Sal.
Pause.
ROSE. What did you call me?
RILEY. Come home, Sal.
ROSE. Don't call me that.
RILEY. Come, now.
ROSE. Don't call me that.
RILEY. So now you're here.
ROSE. Not Sal.
RILEY. Now I touch you.
ROSE. Don't touch me.
RILEY. Sal.
ROSE. I can't.
RILEY. I want you to come home.
ROSE. No.
RILEY. With me.
ROSE. I can't.
RILEY. I waited to see you.
ROSE. Yes.
RILEY. Now I see you.
ROSE. Yes.
RILEY. Sal.
ROSE. Not that.
RILEY. So, now.
Pause.
So, now.
ROSE. I've been here.
RILEY. Yes.
ROSE. Long.
RILEY. Yes.
ROSE. The day is a hump. I never go out.
RILEY. No.
ROSE. I've been here.
RILEY. Come home now, Sal.
She touches his eyes, the back of his head and his temples with her hands. Enter BERT.
He stops at the door, then goes to the window and draws the curtains. It is dark. He comes to the centre of the room and regards the woman.
BERT. I got back all right.
ROSE (going towards him). Yes.
BERT. I got back all right.
Pause.
ROSE. Is it late?
BERT. I had a good bowl down there.
Pause.
I drove her down, hard. They got it dark out.
ROSE. Yes.
BERT. Then I drove her back, hard. They got it very icy out.
ROSE. Yes.
BERT. But I drove her.
Pause.
I sped her.
Pause.
I caned her along. She was good. Then I got back. I could see the road all right. There was no cars. One there was. He wouldn't move. I bumped him. I got my road. I had all my way. There again and back. They shoved out of it. I kept on the straight. There was no mixing it. Not with her. She was good. She went with me. She don't mix it with me. I use my hand. Like that. I get hold of her. I go where I go. She took me there. She brought me back.
Pause.
I got back all right.
He takes the chair from the table and sits to the left of the NEGRO'S chair, close to it. He regards the NEGRO for some moments. Then with his foot he lifts the armchair up. The NEGRO falls on to the floor. He rises slowly.
RILEY. Mr Hudd, your wife –
BERT. Lice!
He strikes the NEGRO, knocking him down, and then kicks his head against the gas-stove several times. The NEGRO lies still. BERT walks away.
Silence.
ROSE stands clutching her eyes.
ROSE. Can't see. I can't see. I can't see.
Blackout
Curtain
聚合中文网 阅读好时光 www.juhezwn.com
小提示:漏章、缺章、错字过多试试导航栏右上角的源