Shot including DISSON.
The gathering in a close group, the PARENTS sitting.
LOIS. I'd go like a shot.
WENDY. What, me? Come to Spain?
DIANA. Yes, why not?
WILLY leans across DISLEY.
WILLY. Yes, of course you must come. Of course you must come.
WENDY. How wonderful.
DISSON’S point of view.
WILLY approaches DISSON. With a smile, he takes a ping-pong ball from his pocket, and puts it into DISSON’S hand.
DISSON clutches it.
DISSON’S point of view.
WILLY returns to WENDY and DIANA, whispers to them.
DIANA laughs (silently), head thrown back, gasps with laughter.
WENDY smiles.
WILLY puts one arm round WENDY, the other round DIANA.
He leads them to WENDY’S desk.
WILLY places cushions on the desk.
DIANA and WENDY, giggling silently, hoist themselves up onto the desk. They lie head to toe.
DISSON’S point of view. Close-up.
WENDY’S face. WILLY’S fingers caressing it. DIANA’S shoes in background.
DISSON’S point of view. Close-up.
DIANA’S face. WILLY’S fingers caressing it. WENDY’S shoes in background.
DISSON’S point of view.
LOIS powdering her nose.
DISSON’S point of view.
The ELDERLY LADIES drinking tea, at the table.
DISSON’S point of view.
DISLEY talking to the boys by the window. THE TWINS listening intently.
DISSON’S point of view.
DISSON’S PARENTS sitting, dozing.
DISSON’S point of view.
The base of WENDY’S desk.
A shoe drops to the floor.
Shot including DISSON.
DISSON falls to the floor in his chair with a crack. His teacup drops and spills.
The gathering is grouped by the table, turns.
DISLEY and WILLY go to him.
They try to lift him from the chair, are unable to do so.
DISLEY cuts the bandage and takes it off.
DISSON’S eyes are open.
DISLEY feels his pulse.
DISLEY. He's all right. Get him up.
DISLEY and WILLY try to pull him up from the chair, are unable to do so.
JOHN and TOM join them.
Get it up.
The four of them, with great effort, manage to set the chair on its feet.
DISSON is still seated.
He must lie down. Now, two hold the chair, and two pull him.
JOHN and WILLY hold the chair.
DISLEY and TOM pull.
The chair.
The chair scrapes, moves no farther.
The group around the chair.
They pull, with great effort.
The chair.
The chair scrapes, moves no farther.
The room.
WILLY. Anyone would think he was chained to it!
DISLEY (pulling). Come out!
MOTHER. Bobbie!
They stop pulling.
DISSON in the chair, still, his eyes open.
DIANA comes to him.
She kneels by him.
DIANA. This is . . . Diana.
Pause.
Can you hear me?
Pause.
Can he see me?
Pause.
Robert.
Pause.
Can you hear me?
Pause.
Robert, can you see me?
Pause.
It's me. It's me, darling.
Slight pause.
It's your wife.
DISSON’S face in close-up.
DISSON’S eyes. Open.
The Basement
THE BASEMENT was first presented by B.B.C. Television on 20 February 1967 with the following cast:
STOTT Harold Pinter
JANE Kika Markham
LAW Derek Godfrey
Directed by Charles Jarrott
A stage version of THE BASEMENT, in double-bill with TEA PARTY, opened at the Duchess Theatre, London, on 17 September 1970, directed by James Hammerstein and produced by Eddie Kulukundis for Knightsbridge Theatrical Productions Ltd, with the following cast:
LAW Donald Pleasence
STOTT Barry Foster
JANE Stephanie Beacham
Exterior. Front area of a basement flat.
Winter. Night.
Rain falling.
Short stone flight of steps from street.
Light shining through the basement door.
The upper part of the house is dark.
The back of a man, STOTT. He stands in the centre of the area, looking towards the door.
He wears a raincoat, his head is bare.
Exterior. Front area.
STOTT’S face. Behind him, by the wall, a girl, JANE. She is huddled by the wall. She wears a rainhat, clasps her raincoat to her.
Interior. Room.
The room is large and long. A window at one end looks out to a small concrete yard. There are doors to bathroom and kitchen. The room is comfortable, relaxed, heavily furnished. Numerous side tables, plants, arm-chairs, book-cabinets, bookshelves, velvet cloths, a desk, paintings, a large double bed. There is a large fire in the grate.
The room is lit by a number of table and standard lamps. LAW is lying low in an arm-chair, reading, by the fireside. Silence.
Exterior. Front area.
STOTT still.
Interior. Room.
LAW in arm-chair. He is smiling at his book.
He giggles. He is reading a Persian love manual, with illustrations.
Exterior. Front area.
JANE huddled by the wall.
STOTT moves to the door.
Interior. Room.
Doorbell. LAW looks up from his book. He closes it, puts it on a side table, goes into the hall.
Interior. Small hall.
LAW approaches the front door. He opens it.
Silence.
He stares at STOTT. From his position in the doorway LAW cannot see the girl.
LAW (with great pleasure). Stott!
STOTT (smiling). Hullo, Tim.
LAW. Good God. Come in!
LAW laughs.
Come in!
STOTT enters.
I can't believe it!
Interior. Room.
LAW and STOTT enter.
LAW. Give me your coat. You're soaking. Come on. That's it. I'm absolutely flabbergasted. You must be freezing.
STOTT. I am a bit.
LAW. Go on, warm yourself! Warm yourself by the fire.
STOTT. Thanks.
LAW. Sit down by the fire. Go on.
STOTT moves to the fire.
LAW takes the coat into hall.
Interior. Hall.
LAW comes into the hall, shaking the raincoat. He looks inside it, at the label, smiles. He hangs it on a hook.
Interior. Room.
STOTT warming his hands at the fire. LAW comes in.
LAW. You haven't changed at all. You haven't changed . . . at all!
STOTT laughs.
You've got a new raincoat though. Oh yes, I noticed. Hold on, I'll get you a towel.
LAW goes to the bathroom.
STOTT, alone, looks up and about him at the room.
Interior. Room.
The room.
Interior. Bathroom.
LAW in bathroom, at the airing cupboard. He swiftly throws aside a number of towels, chooses a soft one with a floral pattern.
Interior. Room.
LAW comes in with a towel.
LAW. Here's a towel. Go on, give it a good wipe. That's it. You didn't walk here, did you? You're soaking. What happened to your car? You could have driven here. Why didn't you give me a ring? But how did you know my address? My God, it's years. If you'd have rung I would have picked you up. I would have picked you up in my car. What happe
ned to your car?
STOTT finishes drying his hair, puts the towel on the arm of a chair.
STOTT. I got rid of it.
LAW. But how are you? Are you well? You look well.
STOTT. How are you?
LAW. Oh, I'm well. Just a minute, I'll get you some slippers.
LAW goes to the cupboard, bends.
You're going to stay the night, aren't you? You'll have to, look at the time. I wondered if you'd ever turn up again. Really. For years. Here you are. Here's some slippers.
STOTT. Thanks.
STOTT takes the slippers, changes his shoes.
LAW. I'll find some pyjamas in a minute. Still, we'll have a cup of coffee first, or some . . . Or a drink? What about a drink?
STOTT. Ah.
LAW pours drinks, brings the drinks to the sofa and sits down by STOTT.
LAW. You're not living at Chatsworth Road any more, are you? I know that. I've passed by there, numbers of times. You've moved. Where are you living now?
STOTT. I'm looking for a place.
LAW. Stay here! Stay here as long as you like. I've got another bed I can fit up. I've got a camp bed I can fit up.
STOTT. I don't want to impose upon you.
LAW. Not a bit, not a bit.
Pause.
STOTT. Oh, by the way, I've got a friend outside. Can she come in?
LAW. A friend?
STOTT. Outside.
LAW. A friend? Outside?
STOTT. Can she come in?
LAW. Come in? Yes . . . yes . . . of course . . .
STOTT goes towards the door.
What's she doing outside?
Exterior. Front door.
JANE is standing in the narrow porch outside the door.
The door opens.
Interior. Room.
STOTT brings the girl in.
STOTT. This is Jane. This is Tim Law.
She smiles.
JANE. It's kind of you.
LAW. How do you do? I . . . must get you a towel.
JANE. No, thank you. My hair was covered.
LAW. But your face?
STOTT comes forward.
STOTT. It's very kind of you, Tim. It really is. Here's a towel. (He gives it to her.) Here.
LAW. But that's your towel.
JANE. I don't mind, really.
LAW. I have clean ones, dry ones.
JANE (patting her face). This is clean.
LAW. But it's not dry.
JANE. It's very soft.
LAW. I have others.
JANE. There. I'm dry.
LAW. You can't be.
JANE. What a splendid room.
STOTT. Isn't it? A little bright, perhaps.
LAW. Too much light?
STOTT turns a lamp off.
STOTT. Do you mind?
LAW. No.
JANE begins to take her clothes off.
In the background STOTT moves about the room, turning off the lamps.
LAW stands still.
STOTT turns off all the lamps but one, by the fireside.
JANE, naked, gets into the bed.
Can I get you some cocoa? Some hot chocolate?
STOTT takes his clothes off and, naked, gets into the bed.
I was feeling quite lonely, actually. It is lonely sitting here, night after night. Mind you, I'm very happy here. Remember that place we shared? That awful place in Chatsworth Road? I’ve come a long way since then. I bought this flat cash down. It's mine. I don't suppose you've noticed the hi-fi stereo? There's all sorts of things I can show you.
LAW unbuttons his cardigan.
He places it over the one lit lamp, so shading the light. He sits by the fire.
The lamp covered by the cardigan.
Patch of light on the ceiling.
Patch of light at LAW’S feet.
LAW’S hands on the chair arms.
A gasp from JANE.
LAW’S hands do not move.
LAW’S legs. Beyond them, the fire almost dead.
LAW puts on his glasses.
LAW reaches for The Persian Manual of Love.
LAW peers to read.
A long sigh from JANE.
LAW reads.
Exterior. Cliff-top. Day. Summer.
Long-shot of STOTT standing on a cliff-top.
Exterior. Beach.
The beach is long and deserted. LAW and JANE, in swimming costumes. JANE building a sandcastle. LAW watches her.
LAW. How old are you?
JANE. I’m very young.
LAW. You are young.
He watches her work.
You're a child.
He watches her.
Have you known him long?
JANE. No.
LAW. I have. Charming man. Man of great gifts. Very old friend of mine, as a matter of fact. Has he told you?
JANE. No.
LAW. You don't know him very well?
JANE. No.
LAW. He has a connexion with the French aristocracy. He was educated in France. Speaks French fluently, of course. Have you read his French translations?
JANE. No.
LAW. Ah. They're immaculate. Great distinction. Formidable scholar, Stott. Do you know what he got at Oxford? He got a First in Sanskrit at Oxford. A First in Sanskrit!
JANE. How wonderful.
LAW. You never knew?
JANE. Never.
LAW. I know for a fact he owns three chateâux. Three superb châteaux. Have you ever ridden in his Alvis? His Facel Vega? What an immaculate driver. Have you seen his yachts? Huh! What yachts. What yachts.
JANE completes her sandcastle.
How pleased I was to see him. After so long. One loses touch . . . so easily.
Interior. Cave. Day.
STOTT’S body lying in the sand, asleep.
LAW and JANE appear at the mouth of the cave. They arrive at the body, look down.
LAW. What repose he has.
STOTT’S body in the sand.
Their shadows across him.
Interior. Room. Night.
LAW lying on the floor, a cushion at his head, covered by a blanket.
His eyes are closed.
Silence.
A long gasp from JANE.
LAW’S eyes open.
STOTT and JANE in bed.
STOTT turning to wall.
JANE turns to the edge of the bed.
She leans over the edge of the bed and smiles at LAW.
LAW looks at her.
JANE smiles.
Interior. Room. Day.
STOTT lifts a painting from the wall, looks at it.
STOTT. No.
LAW. No, you're quite right. I've never liked it.
STOTT walks across room to a second picture, looks at it. He turns to look at LAW.
No.
STOTT takes it down and turns to look at the other paintings.
All of them. All of them. You're right. They're terrible. Take them down.
The paintings are all similar watercolours.
STOTT begins to take them from the walls.
Interior. Kitchen. Day.
JANE in the kitchen, cooking at the stove, humming.
Exterior. Backyard. Winter. Day.
The yard is surrounded by high blank walls.
STOTT and LAW sitting at an iron table, with a pole for an umbrella.
They are drinking lager.
LAW. Who is she? Where did you meet her?
STOTT. She's charming, isn't she?
LAW. Charming. A little young.
STOTT. She comes from a rather splendid family, actually.
LAW. Really?
STOTT. Rather splendid.
Pause.
LAW. Very helpful, of course, around the house.
STOTT. Plays the harp, you know.
LAW. Well?
STOTT. Remarkably well.
LAW. What a pity I don't possess one. You don't possess a harp, do you?
STOTT. Of course I possess a har
p.
LAW. A recent acquisition?
STOTT. No, I've had it for years.
Pause.
LAW. You don't find she's lacking in maturity?
Exterior. Beach. Summer. Day.
LAW and JANE lying in the sand. JANE caressing him.
JANE (whispering). Yes, yes, yes, oh you are, oh you are, oh you are . . .
LAW. We can be seen.
JANE. Why do you resist? How can you resist?
LAW. We can be seen! Damn you!
Exterior. Backyard. Winter. Day.
STOTT and LAW at the table with lager.
JANE comes to the back door.
JANE. Lunch is up!
Interior. Hall. Day.
LAW and JANE come in at the front door with towels over their shoulders.
Interior. Room. Day. Summer.
LAW and JANE at the entrance of the room, towels over their shoulders, staring at the room.
The room is unrecognizable. The furnishing has changed. There are Scandinavian tables and desks. Large bowls of Swedish glass. Tubular chairs. An Indian rug. Parquet floors, shining. A new hi-fi cabinet, etc. Fireplace blocked. The bed is the same.
STOTT is at the window, closing the curtains. He turns.
STOTT. Have a good swim?
Interior. Room. Night. Winter. (Second furnishing.)
STOTT and JANE in bed, smoking. LAW sitting.
STOTT. Let's have some music. We haven't heard your hi-fi for ages. Let's hear your stereo. What are you going to play?
Interior. Bar. Evening.
Large empty bar. All the tables unoccupied.
STOTT, LAW and JANE at one table.
STOTT. This was one of our old haunts, wasn't it, Tim? This was one of our haunts. Tim was always my greatest friend, you know. Always. It’s marvellous. I've found my old friend again –
Complete Works, Volume III Page 11