*****
Opening
The curtain opens on the cast, less Pat, waiting around in attitudes of irritated boredom, studying scripts or chatting inconsequentially, apart from Gail who is busily writing on an A4 pad. One or two may be setting items on the stage. Pat enters hastily, taking off his coat as he comes.
PAT Sorry, folks. Got here as soon as I could.
ANNE And about time too. Where the devil is everyone? We can't wait around all night.
PAT Hadn't you heard? There's a crisis about the Spring production, and they've had to go to a special meeting. Just escaped from it myself.
JOHN Oh, marvellous. The festival's only a week off, and we lose half the cast. Not to mention the time we've been kept waiting.
PAT It's only for the one night.
ANNE It really isn't good enough. We all have other commitments, you know, but we turn up religiously. And then have to hang about for people who don't.
PAT Well, I tried to ring you, but the line was always busy.
GAIL Look, does all this bickering really help? Can't we get on with something useful now we're here?
ANNE All very well for you. You don't have two children and an impatient husband to deal with.
GAIL No, but I'm getting behind with my course work. And I don't have anyone to help with the chores.
ANNE If you suppose ...
PAT Ladies, please! Gail's quite right, we aren't helping matters. And Anne, I understand about your difficulties, and I'm sorry. I'm sorry for all the problems. Now, can we get down to business? Try and do something constructive. OK? (General murmur of assent.) Right. We're minus - let's see - three principal members of the cast. But there's plenty we can do without them, with a bit of doubling up, and I can read in the minor parts where necessary.
ANNE Well, don't blame us if it puts us off our stroke.
PAT All right, I'll make some allowance - but not much. Don't forget, for the actual performance, you'll be playing on an unfamiliar stage, where there's always something that could put you off your stroke - if you let it. So don't let it. And for goodness' sake try to manage without your scripts tonight. As John said, we've only another week, we've got to get the mood right as well as the dialogue, and you can't develop the effect if you're still looking at the text instead of each other. Right. Let's get started. John, I'm not too happy about the opening sequence - remember, keep it light. Just casual banter between friends who are easy enough with each other for some fairly robust chaffing to cause no offence. I know Harry and Bill aren't here, so will Brinsley read in for Bill and I'll do Harry? (Registering signs of objection) Yes, of course we'll have to use the script for that. Thanks. OK? (Out front, to an invisible lighting technician) Lights, please, Tim. Thanks. Right, let's go.
John seats himself at whatever table serves to represent his office desk and busies himself with some paperwork. Bill and Harry saunter across to him.
HARRY Don't stay all night.
JOHN Just finishing off. Otherwise I'll never pick it up when I get back.
BILL Oh, you're off on holiday, aren't you? Where to this time?
JOHN Usual place.
BILL You ought to try somewhere else for a change.
JOHN I'm a creature of habit.
HARRY Do you ever get odd looks, booking in as John Smith?
BILL He might if he took some glamorous bimbo with him.
HARRY How do you know he doesn't?
JOHN (amused) The chance'd be a fine thing!
BILL Well, enjoy yourself, bimbo or no.
JOHN I shall. Cheerio!
HARRY Cheers!
BILL See you.
Harry and Bill depart. John finishes his task, tidies the desk, locks it, picks up his briefcase, sets his chair neatly against the desk, checks the area, and exits.
PAT That's better. Right, we'll move to the hotel. Take it that John's got his meal, his pint and his newspaper and is sitting in the bar. I'll do McLeod this time. Tim, light on John's table, please. That's it.
John sits at the illuminated table and mimes eating, while reading from a newspaper overlapping the table edge. Brinsley and McLeod enter, crossing the lit area, deep in an evidently technical conversation.
BRINSLEY We've got to get that extract fixed before anything else.
McLEOD But the secondary fan should cope, barring accidents.
BRINSLEY No, we're not taking any chances. I've given my word, and I intend to keep it - if only because there's too much risk of being found out if I don't. (He accidentally knocks John's paper off the table, stops and picks it up.) Sorry, that was very clumsy of me.
JOHN Nothing to worry about.
BRINSLEY (to McLeod) How long to fix the primary?
McLEOD Depends whether it's the motor itself or the control gear. We could ...
They pass out of the pool of light. Anne approaches John's table.
ANNE Is everything all right?
JOHN Of course - as always. Care for a drink?
ANNE No, thanks. Too tired.
JOHN Well, sit down for a moment. (After hesitating a second, she does so.) Not like you to admit fatigue. Busy time?
ANNE Actually it's a bit slack this year. Perhaps as well.
JOHN Oh? Why?
ANNE Well, with Daddy's death in January -
JOHN What? I'd no idea. I'm terribly sorry ...
ANNE Yes, it was a blow. No sign of anything wrong, then just went out like a light one day. Heart, of course.
JOHN Well, that's the way to go. Dreadful for you, though.
ANNE Yes, it was a pretty awful shock. Hit Mummy badly.
JOHN Naturally. They always struck me as a fond couple.
ANNE They were. But not just that. You see, Daddy had always looked after the business side of things, and Mummy gets dreadfully flustered over it. In the end I just had to tell her to forget about it and leave everything to me.
JOHN Good job you've your head firmly screwed on.
ANNE It sometimes doesn't feel it.
JOHN Couldn't you get a manager in, or something?
ANNE Can't afford it. Daddy wasn't really all that good at running the show, and we found there were some outstanding bills that he hadn't mentioned - perhaps forgotten himself. We're only just keeping our heads above water. (Brightening) Still, we're not actually going under. And I shouldn't be bothering you with our troubles.
JOHN If an old friend can't share them, who can?
ANNE It's nice of you to take it like that.
John tentatively squeezes her hand. She smiles at him.
JOHN By the way, who are those two that just came in?
ANNE I didn't notice. Which two?
JOHN Over there at the bar. Big chap and a wiry Scot.
ANNE Oh, that'll be Dr. Brinsley and his assistant. Dr. B.'s staying here while his own place is done up. Mr. McLeod's lodging in the village, but often comes in for dinner.
JOHN Brinsley - now where have I come across that name recently? Oh yes, as I passed the Manor, I noticed some building work and a new sign at the gate. Brinsley something or other - I didn't catch the rest.
ANNE Oh, that's rather interesting. It's a biotechnology firm belonging to Dr. B. He's bought the place to convert into laboratories.
JOHN What on earth for?
ANNE Apparently they specialise in pest control, and want somewhere to work up production methods for a new system.
JOHN But why here, of all places?
ANNE The council wanted to get some light industry down here, and went out of their way to be helpful over things like planning permission. And rumour has it that Dr. Brinsley likes sea fishing.
JOHN What's that got to do with it?
ANNE Well, Ron Jenkins - no, it's just gossip. Rather scandalous gossip, too.
JOHN You intrigue me.
ANNE Just a bit of local politics. Better forget I mentioned it. Look, I really am whacked; will you please excuse
me?
JOHN Of course. Selfish of me to keep you.
ANNE Not at all. Good night.
Exit Anne. The light on John fades and he moves to the waiting area.
PAT Right, that's fine. You've got that suggestion of not-quite-intimacy very well. Now, lighting change for next morning, please, Tim.
John is seated in the lounge with a coffee and the day's newspaper. Anne enters briskly with a vase of flowers which she arranges on a side table.
ANNE Good morning, Mr. Smith. Did you have a good night?
JOHN Yes, thanks. Slept like a log - more tired than I realised after the journey. How are you now?
ANNE Oh, fine, thanks. I was just exhausted last night for some reason. Possibly with poring over some papers I have to take to the accountant this morning. Oh, damn!
JOHN What's the matter?
ANNE Just remembered - I forgot to tax the car. And the police are having a purge at the moment. I'll have to catch the bus.
JOHN Where to?
ANNE Taunton. I can get the tax disc while I'm at it.
JOHN Can I run you over there? I'm going that way.
ANNE You're not just saying that?
JOHN "Just" or not, I'm saying it. And I mean it.
ANNE I don't like imposing ...
JOHN No imposition. I'll be glad of the company.
Connie, Anne's mother, enters rather vaguely carrying a music record, but becomes more purposeful on seeing John.
CONNIE Oh, good morning, Mr. Smith. I'm sorry I wasn't around to greet you yesterday.
JOHN Good morning, Mrs. Anderson. Don't worry, Anne did the honours perfectly well.
CONNIE I'm so glad. Anne, did you say you were going into Taunton this morning?
ANNE Yes, Mr. Smith has very kindly offered me a lift.
CONNIE But why ...?
ANNE The tax disc. I forgot to renew it. Remember?
CONNIE Oh yes. You really shouldn't put yourself out, Mr. Smith.
JOHN I've already explained that I'm going that way in any case.
ANNE Will you excuse me while I get the papers? Er - when were you planning to leave?
JOHN When it suits you.
ANNE Ten minutes?
JOHN Fine.
Exit Anne.
CONNIE It's very good of you to take Anne into town. (Accusingly) You weren't really planning to go there today, were you?
JOHN (amused) You wouldn't call a guest a liar, would you?
CONNIE (relaxing) No, of course not. But thanks, anyway.
JOHN It's a pleasure. Anne's a grand girl.
CONNIE Yes, she is. And I don't know what I'd have done without her since Arthur died.
JOHN Oh, yes. I was shattered to hear about that. It's a bit late to offer condolences, but -
CONNIE Thank you. It comes to us all, of course, but that makes it no less a shock when it does come. And Arthur always looked after the business side of things. I've no head for it at all.
JOHN Anne seems very capable.
CONNIE Yes, she is. But it wears her down, poor girl.
JOHN She was exhausted last night.
CONNIE I'm not surprised. Things have been difficult.
JOHN Oh?
CONNIE Yes. Bookings have been down this year, and we've had to economise on help. If it weren't for the new lot up at the Manor we might have been in real trouble.
JOHN Good customers?
CONNIE Yes. They've brought quite a lot of business. But even that's a bit worrying.
JOHN How?
CONNIE This biotechnology they're on about. I don't know much about it, but it sounds rather alarming. A lot of people are rather scared. (In broad Mummerset) Meddlin' wi' Nature - b'aint right, y'know.
JOHN I can understand that. But one way or another, we've been meddling with Nature since the first man threw a stone at a woolly rhinoceros or whatever.
CONNIE I dare say, but this is different.
JOHN Just what are they doing?
CONNIE I don't really understand it. That's what's worrying people. Perhaps Anne can explain it to you - she did study biology.
JOHN Did she? I didn't know that.
CONNIE Oh, yes, she took a degree in it. Couldn't get a job, though. Luckily for me. (Anne enters.) Oh, Anne, Mr. Smith was asking about the Brinsley firm. It's Greek to me - can you explain it?
ANNE I'll try - as far as I know myself. But I mustn't delay you.
JOHN Tell me on the way, if you like.
ANNE Right. Was there something you wanted, Mum?
CONNIE Er - oh, yes. This record - the label says it's Chausson, but it can't be. It sounds like Stravinsky. Could you take it back and change it for me?
ANNE Right-oh. Anything else?
CONNIE I don't think so, thanks.
ANNE Well, if anything occurs to you after we've gone, write it down. 'Bye.
John escorts Anne to some representation of a car.
JOHN Is it my imagination, or is your mother a bit vaguer than usual?
ANNE I've been wondering that myself. It's difficult to be sure when you're with someone all the time, but I'm afraid you may be right.
JOHN She said something about being worried by this Brinsley fellow's set-up. Well, actually, she tried to make light of it and say it was other people who were bothered, but I got the impression she was none too happy herself.
ANNE You're definitely right there.
JOHN Why?
ANNE Partly, I suppose, because it simply isn't the sort of thing we're used to in these parts.
JOHN And the rest? Connie had something on her mind about "meddling with nature," but couldn't explain what. She thought you would. By the way, I never knew you were a biologist yourself.
ANNE Not the sort of thing to brag about down here. Most of the men still think that woman's place is at the sink - except on a Saturday night - and the women are inclined to agree, at least where other women are concerned.
JOHN But how do you feel yourself about giving up a career?
ANNE Career? What sort of career?
JOHN Well, I'd have thought something scientific -
ANNE Huh! The nearest I was offered was deputy sub-assistant dogsbody in a library - a dreary industrial hole in the midlands. No thank you. I'd rather do something useful in a place I like.
JOHN I see. Well, what about this Brinsley Biotechnics, then? You said something about pest control.
ANNE Oh, yes. I think for a start they're working on aphids - a genetically-engineered microbe of some kind, specially bred to attack the pests and leave everything else alone.
JOHN I'd have thought everyone was in favour of that.
ANNE Yes, but then they ask, if it's been altered once to attack pests, what happens if at alters again and becomes dangerous to humans?
JOHN Could that happen?
ANNE I suppose in theory; I don't know how likely in practice. Not my field - and things have developed enormously since my student days. Anyway, I'm only too glad of the extra business. We'd be in a sorry state without it.
JOHN Talking of business - how long are you likely to be with the accountant?
ANNE Half an hour, perhaps - why?
JOHN I wondered if you'd like to go on somewhere afterwards - have lunch perhaps ...
ANNE It's really very sweet of you, but no, I must get straight back. Mother will be panicking otherwise.
JOHN We could ring and tell her ...
ANNE It isn't just that; there are things to be organised, and she tends either to forget them or get into a flap. Thank you, all the same.
JOHN Another time, then?
ANNE I'll see. If I can.
The lights come off the car; Anne and John emerge from it.
ANNE Pat, we really must do something about that car. It looks like a left-over from some shoddy production of "Toad of Toad Hall." And if I ladder my tights again on the splinters ...
PAT Yes, I take
your point. You may be right about where it comes from, too; I'll see Fred about it tomorrow. Now, the pub scene. Brinsley, we'll be Bill and Harry again. Ready, Gail? Gail! Leave that essay, please, you're on in a moment.
GAIL Sorry, Pat. It's due in tomorrow. Just let me finish the sentence -
ANNE Oh, really!
GAIL There.
John and Bill sit at a bar table. Harry and Gail enter and work their way towards the same table.
BILL No bimbo, then?
JOHN Now where would I find one? One that would look twice at me, that is.
HARRY I reckon he's got a bit of fluff set up down there.
JOHN Harry! I didn't see you come in. What's all this then?
HARRY Gail, meet my friends John and Bill. We work together - at least, for the same firm.
BILL Pleased to meet you. What'll you have?
HARRY No, this is on me.
BILL Sure?
HARRY Sure. John, your glass is nearly empty.
JOHN Well, if you insist, I dare say I could use another pint.
BILL Me too.
HARRY So I assumed. Gail?
GAIL G and T, please. Excuse me - back in a moment.
She disappears loo-wards.
HARRY Keep the places.
He heads for the bar.
BILL (Gazing after Gail) Now where did he pick that up, I wonder?
JOHN Bit above his usual class, isn't she?
BILL What is his usual class? Anything from a bar-maid to a company secretary, from what I've seen. So long as it's female and more or less human.
JOHN Did I tell you about the absolute fright I saw him with three weeks ago?
BILL No?
JOHN Hair waist-length, a tangled mess - make-up half an inch thick - plum-coloured tights on legs that looked as though they'd been ten times over-inflated - behind like a cart-horse - dress so short it didn't quite reach the seat when she sat down, at least if she leaned forward -
BILL Sounds ghastly. But she may have had a very sweet nature - you just can't tell from appearances. What was she like to talk to?
JOHN I didn't risk that. Fortunately he didn't spot me. And then he turns up with one that wouldn't disgrace Vogue.
BILL I never knew you read it.
JOHN I've seen the cover on magazine stands. And Gail would fit quite happily.
BILL How does she compare with your holiday piece?
JOHN (laughing) You don't catch me that way!
BILL Come on, you can tell Uncle William.
JOHN Nothing to tell.
BILL "When cautioned, the accused declined to make a statement."
JOHN Some caution!
Harry returns with the beers, deposits them, collects Gail's drink, puts it on the table and seats himself. The other two shuffle round to make room.
HARRY What was that about precautions? Don't worry, I'm well prepared.
BILL You've got a one-track mind.
HARRY I deny it! (Lifting his glass) Who suggested this round?
JOHN Come on, Harry, where did you find her?
HARRY Gail? She's just moved into the flat opposite mine. I gave her a hand with her luggage.
BILL And are now cashing in.
HARRY Strike while the iron is hot, say I.
JOHN But who is she? What's she doing here?
HARRY Well, I don't know all that much about her. But I follow that old children's motto.
BILL Which one?
HARRY It's fun finding out. Meanwhile I'm quite happy admiring her figure.
BILL That, I admit, gives her a ten-mile start on anything else I've seen you with. Far too good for you. It won't last, you know.
HARRY Don't expect it to. "Sufficient unto the day," and all that.
Gail returns to the table and seats herself.
GAIL Is this mine? Thanks.
HARRY The boys were asking what you're doing here.
GAIL Just transferred from Sheffield.
BILL As what?
GAIL Oh, sorry, didn't I explain? I'm a TV reporter.
BILL Don't remember seeing you on the box. And I doubt if I should forget it.
GAIL It was only local stuff. And I don't do the actual presenting. At least, not yet - just ferret out the background. But I live in hope.
JOHN You're not the only one, I gather. Ouch!
HARRY Sorry, did I kick you?
JOHN Yes, you damn well did. Sorry, Gail.
BILL Your own fault. You should be more careful where you're putting your feet.
JOHN What sort of background?
GAIL Oh, just little things. Misleading advertisements. Confidence tricksters and the like.
HARRY Found anything interesting?
GAIL Mildly. More depressing than interesting.
BILL In what way?
GAIL To see how gullible people can be. You'd think they'd smell a rat straight away.
JOHN How do you mean?
GAIL Well, suppose you saw an advertisement that offered a useful income for a few hundred quid invested and a little easy work, wouldn't you be suspicious?
JOHN Suspicious? I wouldn't touch it with a barge-pole.
GAIL Exactly. But it's amazing how many people fall for it.
BILL You'll always find people who believe that the big boys have only got there through luck.
GAIL I don't say that isn't important. I could do with a bit of luck myself.
HARRY Oh, how?
GAIL Just to find some interesting stories.
BILL Don't tell me there's a shortage of con-men here!
GAIL I'd like to get my teeth into something a bit meatier. One of these environmental issues, for instance.
JOHN Ah!
BILL Something in mind, John?
JOHN It's probably nothing.
HARRY What is?
JOHN Something I came across on holiday. A new biotechnology lab.
GAIL What sort?
JOHN I'm not quite sure what's going on there, but the local people are worried. Some of them, at any rate.
BILL Some folks worry about anything. There are always precautions. For a start, that sort of thing would need to satisfy the planning committee, wouldn't it?
JOHN There's a suggestion of a bit of fiddling there.
GAIL (interested) Anything tangible?
JOHN A few curious coincidences -
BILL I'd be damned careful about that. One slip and the libel lawyers will have a field-day.
GAIL Yes, that's something we do have to watch. But the technical characters are easier game.
HARRY How's that?
BILL Out!
HARRY Be serious.
GAIL Well, the dodgy councillors - I presume that's what you're on about?
JOHN Something like that.
GAIL They know they're on thin ice, so they watch their step very carefully. Anything that would stand up against them in court is well hidden. But the technical types, who think everything they do is wonderful, expect only applause. So they're only too glad to give us everything we want.
BILL Sounds a bit unsporting.
GAIL Don't waste your sympathy. There's nothing sporting about the things they get up to.
BILL Isn't that rather a wide generalisation?
GAIL Maybe. A fairly valid one, though. Now, what's this business you were talking about?
JOHN It's called Brinsley Biotechnics -
GAIL Mind if I make a note of this?
JOHN Not at all. It's down near Taunton - I'll give you the address - and it's developing a new strain of bacteria to use in pest control.
GAIL Aha!
JOHN And the locals are worried in case the bugs get loose and prove nasty.
GAIL Sounds just the sort of thing I wanted. Probably worth going down to take a look. Know anywhere reasonably priced to stay near there?
HARRY I thought you were on expenses on these trips.
&
nbsp; GAIL So we are. But I'm very new in this post and I don't want to start by getting a reputation as an expenses shark.
JOHN Try the place I stay. It's -
HARRY Hey, look at the time. We'll miss the start if we're not careful.
GAIL Sorry - John, isn't it? Can I get the details another time?
JOHN Of course -
HARRY I'll give you his office number. Come on. Excuse us, chaps.
GAIL Cheers!
JOHN Enjoy yourselves!
HARRY We shall.
Gail and Harry exit. Bill looks after them thoughtfully, John admiringly.
JOHN Some girl!
BILL Mmm.
JOHN What?
BILL That's a very dangerous young woman.
JOHN Dangerous? How?
BILL You're quite friendly with these hotel folk in Somerset, aren't you?
JOHN Yes, I've been staying there for years, but what -
BILL Are you sure they'd welcome a stranger sniffing around their local concerns?
JOHN I imagine so. And they could do with the custom at the hotel.
BILL Will a room occupied for a couple of nights and a few meals really make all that difference to them?
JOHN It'll help. And after all, it'll give them a chance to air their worries.
BILL In front of several million people if the idea comes to anything. And not just their worries - a few other things they'd rather keep to themselves, more than likely. You thought all that out before you started splashing information about?
JOHN Well, not exactly ...
BILL See what I mean? I'm not blaming you. Any normal man likes to make an impression on a pretty girl. And not all pretty girls take advantage of it. But that one will. Now, your round, I think ...
Lighting change. John moves to a telephone and calls Anne.
JOHN Anne - about that Brinsley Biotechnics business.
ANNE Yes?
JOHN Is your mother still worried over it?
ANNE I think so. Why?
JOHN The other day I met a journalist who works on that kind of thing, and would like to see if there's anything interesting in it.
ANNE Interesting? In what way?
JOHN A hidden threat to the public, or malpractice of some kind, that would make a good story.
ANNE I don't like the sound of that.
JOHN Why? Isn't that what Connie's worried about? If there really is malpractice, it ought to be exposed.
ANNE Maybe. But even if there isn't anything worth mentioning - particularly if there isn't anything worth mentioning - this journalist may still blow it up out of all proportion, just for the sake of a story.
JOHN Isn't that rather cynical?
ANNE Don't tell me it never happens. And some of these types - when they get a bee in their bonnet ...
JOHN Well, won't you at least talk to this girl?
ANNE Oh, it's a girl, is it?
JOHN Does that make any difference?
ANNE I don't know. She may be out to prove something, just because she is a woman in a man's world.
JOHN She didn't strike me as that kind.
ANNE Just how well do you know her?
JOHN Hardly at all. I've only met her once. One of my colleagues introduced her.
ANNE So you can't really be sure of anything about her.
JOHN I suppose that's true. But why not meet her and form your own opinion?
ANNE I can't get away from the hotel just like that.
JOHN But she's quite willing to come down, I gather, just on spec. At least you'd have her custom for a night or two.
ANNE Why are you pushing this so hard?
JOHN I'm not - I just thought it would help you, and help her at the same time.
ANNE And which of those is the more important? I'm sorry, I've no right to ask you that.
JOHN Yes, you have. It's a perfectly reasonable question. I'm mostly anxious for you and Connie.
ANNE Well, it's very kind of you ...
JOHN Not at all.
ANNE All right, let her come. Though I don't promise any co-operation until I've formed my own opinion.
JOHN Fair enough. Let me know how it goes.
ANNE I shall. 'Bye.
PAT Good. You got that hint of jealousy just right, Anne. Very nicely done. Now, the laboratory interview. All set, Tim?
Exeunt. Complete lighting change. A translucent panel that had previously appeared blank is back-lit to show the laboratory scene painted on the reverse. Brinsley and Gail enter.
GAIL So the actual work is done in these boxes?
BRINSLEY That's right. The gloves are arranged so that the operator can reach any part without physical contact.
GAIL Isn't that rather awkward?
BRINSLEY A little. But people soon get used to working in them. It isn't really necessary with organisms as harmless as these, of course, but I promised to take every possible precaution, and the facility could be useful if ever we have to deal with anything more dangerous.
GAIL But how can you guarantee that nothing will get out?
BRINSLEY The boxes are always kept slightly below atmospheric pressure - you see how the gloves tend to be sucked in - so that if there is any leak it can only be inwards.
GAIL Fascinating. Well, Dr. Brinsley, you've shown us the mechanics; would you like to tell us something of what is behind the work going on here?
BRINSLEY Certainly. You probably know that with concern about pesticide residues in crops, and the effect on beneficial creatures as well as the pests they are intended to kill, biological control is becoming increasingly important.
GAIL Perhaps you would explain that.
BRINSLEY Well, if you use a poison to wipe out, say, the greenfly on your roses, you're just as likely to kill the ladybirds that would otherwise keep down other people's greenfly. If, on the other hand, you encourage the ladybirds, everyone benefits and there are no residues of poison to harm the bees.
GAIL But you aren't working on ladybirds.
BRINSLEY No, because by the time the ladybirds have caught up, the greenfly have done their damage. In any case, it isn't so much greenfly that we're concerned about. In commercial greenhouses, whitefly are more important. And natural predators have less chance to get at them.
GAIL So what are you planning to feed on those?
BRINSLEY It isn't exactly a matter of eating them. But there's a certain kind of bacterium that infects them.
GAIL I see. Then you're going to breed these bacteria for sale?
BRINSLEY Not exactly. You see, the original bacteria are quite benign; they don't actually do much harm to the fly. We've gone one better than that, and developed a variant that kills them.
GAIL May it then kill other creatures besides whitefly? Other insects, or birds that eat the insects, or even human beings?
BRINSLEY I don't think so.
GAIL Is "not thinking so" really enough? Have you checked?
BRINSLEY Oh yes, we've tested it. And there are good grounds for believing that it can't harm anything but whitefly. In any case, as an added precaution, we've made sure that it can't survive in the natural environment. Not for long, anyway.
GAIL And how long is "long?"
BRINSLEY A few days, perhaps. Certainly no more than a week.
GAIL A lot can happen in a week.
BRINSLEY I wish that were true of the development programme! But to be serious, the bacteria are harmless to anything but the whitefly even if they do get loose - I've already told you that.
GAIL Yes. Would you describe your precautions again, for the viewers?
BRINSLEY Certainly. These bacteria are basically of a kind that are already common in the soil. But they've been modified in two ways. Firstly, they've been infected with a virus that causes them to produce a particular kind of molecule in large quantities. That molecule can enter the cells of the whitefly, bind to a sequence of its genetic material during c
ell division, and stop it from replicating properly. That means that the cells can't reproduce themselves, the flies are sterile, and once enough cells are affected, the flies themselves can't survive.
GAIL That's how your pest control works.
BRINSLEY Yes.
GAIL But how is that a protection for the public?
BRINSLEY Well, I told you that the special molecule binds to a sequence of the fly's genetic material. That sequence is peculiar to the whitefly - no other creature can be affected. That's the first precaution.
GAIL And the second?
BRINSLEY By a quirk of metabolism, the modified bacteria depend on an unusually high concentration of vanadium. They'll be distributed in a culture laced with vanadyl sulphate - once released, they'll survive for a few days on what they carry with them, but after that, they need fresh supplies. Which they won't find in the normal environment.
GAIL So the bacteria as you supply them will be harmless except to whitefly, and would themselves be doomed outside the greenhouse.
BRINSLEY Exactly.
GAIL But bacteria can mutate, can't they?
BRINSLEY Certainly. But to make them dangerous, they'd need at least two independent and highly specific mutations - one to transform the virus into something nasty, and another to overcome the vanadium dependency. The chances of either happening at all are slim, and for them to happen together - well, it's practically unimaginable. After all, most mutations with any significant effect are lethal.
GAIL Lethal?
BRINSLEY Yes. Any living cell is a very finely balanced mechanism; all sorts of things have to happen in the right way and in the right order. Change one step at random - which is the essence of mutation - and by far the most likely effect is to wreck the whole sequence.
GAIL Then how do people survive when mutations can happen at any time?
BRINSLEY It's only the mutated cell itself that dies. You can afford to lose an awful lot without much harm - scrape your finger, it heals in a matter of days. It's only when a mutated cell doesn't die but turns hostile that there's any ill effect.
GAIL What about radiation sickness?
BRINSLEY That's another matter. It only happens with such massive doses that cells are killed off wholesale, and there aren't enough left to perform their necessary functions. Even then, if the patient survives, the chances are that the remaining cells will be normal and healthy.
GAIL Really? That's fascinating. Well, thank you, Dr. Brinsley, for a very interesting description of your project.
BRINSLEY You're welcome.
GAIL But there's one other thing.
BRINSLEY Oh?
GAIL I'm told you were overheard saying that you'd given your word about something and intended to keep it.
BRINSLEY Well, what's so remarkable about that?
GAIL "If only because there was too much risk of being found out otherwise," or words to that effect.
BRINSLEY Maybe. It's a good, practical reason, isn't it? In any case, honesty is the best policy. I've never been a very convincing liar.
GAIL What did you fear might be found out?
BRINSLEY That I hadn't kept my word, of course.
GAIL Are you sure it was just that? Not that there was some aspect of your operation that you had to keep secret?
BRINSLEY Look, Miss Fletcher, from the very start I've made it absolutely clear that we had nothing to hide.
GAIL Nothing?
BRINSLEY Well, apart from specific details of the process. Naturally there are commercial secrets - that's standard practice. And I shouldn't be discussing those in a public place where they might be overheard.
GAIL So everything that concerns the public is open for examination and discussion?
BRINSLEY Just so.
GAIL I'm sure our viewers will be greatly reassured. Well, thank you again, Dr. Brinsley, and goodbye.
PAT Good, that's coming along nicely. Just one thing, Brinsley - can you show more surprise when Gail brings up the overheard conversation? Take it that the rest of the interview had been planned beforehand with her, but that's something she's sprung on you out of the blue. We don't need to do it again just now, though. On to the beach scene.
The "laboratory" panel fades and another, similarly representing the hotel as seen from the beach, lights up. Gail directs a couple of stage hands setting up "BEACH CLOSED" signs. Anne accosts her.
GAIL Just over there, Bert. Sign in the foreground - deserted beach in middle distance - hotel behind, a little off centre -
ANNE What the devil's going on?
GAIL Oh, hello. Just getting a few background sequences.
ANNE But these signs - why's the beach closed?
GAIL We want a clear shot - not too many people getting in the way.
ANNE Is that all? How did you get the beach closed just for that?
GAIL There was a mine washed up in the West Bay - I borrowed a couple of the signs after it was cleared.
ANNE But surely, that's not allowed?
GAIL Who's to bother about it? Don't worry, we'll return them in half an hour or so.
The stage is darkened and a box representing a television set, back to the audience, lights up. Gail is heard introducing a heavily-edited version of the Brinsley interview (pre-recorded).
GAIL So we go from this once-popular beach to the laboratories of Brinsley Biotechnics to find out just what is happening. Dr. Brinsley is himself our guide and explains the nature of his operations. (To Brinsley) So the actual work is done in these boxes?
BRINSLEY That's right. The gloves are arranged so that the operator can reach any part without physical contact.
GAIL Isn't that rather awkward?
BRINSLEY A little. But people soon get used to working in them.
GAIL But how can you guarantee that nothing will get out?
BRINSLEY The boxes are always kept slightly below atmospheric pressure - you see how the gloves tend to be sucked in - so that if there is any leak it can only be inwards.
GAIL Fascinating. Now perhaps you'd explain why biological control is so important.
BRINSLEY Well, if you use a poison to wipe out, say, the greenfly on your roses, you're just as likely to kill the ladybirds that would otherwise keep down other people's greenfly. In commercial greenhouses, whitefly are more important. And natural predators have less chance to get at them. But there's a certain kind of bacterium that infects them.
GAIL I see. Then you're going to breed these bacteria for sale?
BRINSLEY Not exactly. You see, the original bacteria are quite benign; they don't actually do much harm to the fly. We've gone one better than that, and developed a variant that kills them. Most mutations with any significant effect are lethal. (End of quotation).
GAIL So we have the prospect of bacteria with lethal mutations being produced in large quantities close to this apparently idyllic spot. Is it any wonder that the local people are worried?
Recorded conversation, played in darkness.
MOTHER Are you there, Fred? Did you hear all that?
FATHER All what?
MOTHER About bacteria with lethal mutations being produced near our hotel.
CHILD What are lethal mutations?
MOTHER Changes that will kill you.
FATHER Sounds like a load of nonsense to me.
MOTHER What's nonsense about it?
FATHER Well, you know how these people blow things up - making a mountain out of a molehill.
MOTHER Bloody big molehill!
FATHER I don't suppose there's anything in it at all.
MOTHER Well, maybe not. But I think we should find somewhere else for our holiday, at least this year.
FATHER But we've paid the deposit!
MOTHER What does that matter? It's too big a risk.
Lights come up on Connie, opening a letter, and Anne.
CONNIE Another cancellation. That's fifteen so far, isn't it?
AN
NE Sixteen. Just about wipes out our operating profit. Let alone the bank charges.
CONNIE What are we going to do?
ANNE What can we do? We can't compel people to come. And with Brinsley shifting his whole operation to Russia -
CONNIE Yes, why did he do that? My memory's a bit confused.
ANNE Well, with all the stink that lying TV programme kicked up, the council revoked his planning permission. And he's supposed to have decided nowhere else in Britain would be any healthier for him.
CONNIE But if the programme was all lies, couldn't he challenge it?
ANNE I gather he did, but it didn't get him anywhere. He told me they'd very cleverly taken some of his own words and rearranged them to mean the exact opposite of what he actually said, so however he protested afterwards, he was damned out of his own mouth.
CONNIE But they can't do that sort of thing, can they?
ANNE Evidently they can.
CONNIE I mean legally. Couldn't he sue for libel or something?
ANNE Apparently he was going to, but the solicitor told him it was too risky. A jury would never understand the technicalities, and however the case turned out, it would simply give more publicity to the original lie. Remember that front-page headline - "Killer bugs on holiday beach" - and the retraction in small print buried somewhere inside. Which made the greater impression?
CONNIE I didn't know there'd been a retraction.
ANNE Exactly. Anyway, whatever the ins and outs of it, we've lost Brinsley's custom, and a lot more besides. Which we couldn't afford to lose.
CONNIE Look, all this will blow over - it's bound to.
ANNE Some time, maybe. Not soon. Not this year, even. Meanwhile we have to find the interest on the bank loan.
CONNIE I suppose we could get on to the manager, explain the situation and ask him to - what's the word? - re-schedule the loan.
ANNE It might work. Though it's clutching at a straw.
CONNIE It's worth a try. Will you do it, dear? I really can't face it.
ANNE All right, I'll try. But I'm none too hopeful.
A brief darkening, with a change in positions, indicates the passage of some time.
ANNE No good. All the hotels in the area have been hit. Other businesses, too. The bank decided to cut its losses. No extensions of loans - it was only as a special favour that he didn't call in the capital straight away.
CONNIE But there's no way we can even keep up the payments with all the cancellations we've had. He might just as well have called in the loan. It means bankruptcy anyway.
ANNE I know, but apparently he doesn't have any choice. Specific instructions from Head Office. (Connie starts with pain) What's the matter?
CONNIE I don't feel too well. I think I'll go and lie down for a bit.
ANNE Shall I call the doctor?
CONNIE No, it's probably nothing. Just let me rest a while.
ANNE Are you sure?
CONNIE I'll see how I feel in an hour or so.
ANNE Right. I'll see what I can save from the wreckage.
Anne works through sheaves of paper. She is startled by a sound from off stage, and goes to investigate.
After a lighting change, Anne enters with a letter, which she opens and reads.
JOHN (off stage) Dear Anne, I was more sorry than I can say to hear about your mother's death, on top of all your other troubles. What more can I add? Only that if there's anything I can do, please don't hesitate to ask.
ANNE Do! As if he hadn't done enough damage already! Bringing that blasted woman here ...
She crumples the letter and flings it impatiently into the waste basket, mooches around for a while, then listlessly switches on a radio.
RADIO VOICE ... award for the best documentary goes to Gail Fletcher for her programme, "Germ of an Idea," about the dangers of certain innovations in biotechnology. After the ceremony, Miss Fletcher spoke to our reporter and said ...
Anne listens in astonishment, then angrily switches off the radio.
ANNE Damn the woman! Damn her ... damn her ... damn her ...
She collapses into a chair and bursts into uncontrollable sobbing, which continues as the lighting dims down to a single spot on her, and gradually subsides as this too slowly fades out.
CURTAIN.
**********
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