by David Hare
Dodd You sound as if you want a reward. Life isn’t like that. Do it for its own sake or not at all.
Donald I came here to make contact. That’s why I came.
Dodd Contact your wife. She didn’t say anything, but I knew: that’s why. Ingrid’s a woman with standards, and those standards still mean something, whatever you say. Because in this life, I can tell you one thing, there aren’t any others.
Donald That’s what you believe.
He turns to go. His father does not move. Donald turns back at the door.
Just so you know: it’s taken me a whole lifetime but perhaps I’m beginning at last to understand myself.
Dodd That’s a foolish thing for anyone to say.
Donald Is it? Why?
Dodd Because it’s never true.
Donald In my case, I think it is. And I’m finally ready to do something about it.
Dodd If that means you’re going to go off and live with that woman, then maybe that’s the best thing for you.
Donald Yes. Maybe it is. It’s taken me a long time to reach this point, but whatever happens, I’m not backing down.
Dodd Fine.
They look at each other for a moment.
Donald Dad, I don’t need to live among people who disapprove of me.
Dodd In that case, you may end up decidedly short of company.
NINETEEN
A phone conversation, in the dark.
Donald (voice) Mona, you’re there.
Mona (voice) Yes.
Donald (voice) I called earlier.
Mona (voice) I was away for a few days on Long Island. I told you I was going.
Donald (voice) But you’re back?
Mona (voice) You’re going to be surprised. I swam, I got a tan, I played tennis. Amazing how quickly my game came back.
Donald (voice) Maybe I could come by tomorrow?
Mona (voice) Remind me what day that is.
Donald (voice) Tomorrow? Wednesday.
Mona (voice) Let’s do it then.
TWENTY
Sutton Place. It’s late in the day, darker than before. It’s also emptier, some of the furniture’s gone. Mona is going to the door in a light emerald-green suit. She opens it. Donald stands a moment.
Mona You’re taken aback.
Donald No. No, just not quite what I was expecting.
Mona I’m sorry.
Donald smiles. She kisses him for a few moments.
Donald You’re dressed.
Mona Are you disappointed?
Donald looks round.
Yes, I’ve sold some furniture since you last came.
Donald It seems empty.
Mona I won’t be here much longer.
Donald Do you want me to take you to dinner?
Mona Later. First I want to talk. Do you mind?
Donald Janet not around?
Mona I gave her the day off. So we could be alone.
Donald How was Long Island? You went riding?
Mona Got thrown off a couple of times but I picked myself up. There were a lot of people out there.
Donald A lot?
Mona At one point, twenty.
Donald Wow.
Mona has sat down and is looking at him.
Mona We’re old friends, you and I, aren’t we? You’re the best friend I ever had.
Donald has sat too. He doesn’t reply.
You know John Falk?
Donald I don’t think I do.
Mona Watch the best serials on CBS. He’s a producer. His name’s a hallmark of quality. His work is hugely influential. I’ve known him – since my father was alive. He’s a year older than me. He’s been divorced for three years. One child. A girl.
Again, nothing.
We’ve decided to get married.
Donald can’t think of anything to say.
Forgive me.
Donald What for?
Mona For hurting you.
Donald A little.
Mona I’ve been meaning to talk to you about him for some time. I didn’t know what was best. I was thinking of getting the two of you together, so I could take your advice. I wanted you to meet him and tell me what you thought of him.
Donald But you didn’t.
Mona I was going to.
Donald When is it going to happen?
Mona It’s some way off.
Donald Weeks? Months?
Mona Legal stuff. Again. And also, finding an apartment because Monique’s going to live with us. He has custody and he’s the most wonderful father. He adores his kid. I thought someone who really loves his child like that –
Donald says nothing.
I’m hoping you and I can still be friends.
Donald After you marry?
Mona That’s why I told John about you.
Donald You told him?
Mona Yes.
Donald Did you tell him everything?
Mona Donald, he hardly thinks I’m a virgin.
She has said it carelessly, in a tone which shocks Donald.
You didn’t guess? Sometimes, those lunches we had together, those dinners, they got a little awkward, didn’t they?
Donald Did they?
Mona Like we didn’t know what to say to one another. I was always happy with you. But even so.
Donald makes no response.
Donald I’d like to ask one question.
Mona Anything.
Donald The first day I came. I don’t know if you remember –
Mona I remember clearly.
Donald Just after you and I – when we came out of the bedroom for the first time, there were some flowers –
Mona Yes.
Donald Janet carried them across to you.
Mona Yes.
Donald Gave you a card. From a family friend.
Mona That was John.
Donald Even then.
Donald can find nothing more to say.
Mona I told him we were going to have this conversation.
Donald Today?
Mona Yes.
Donald He knows we’re meeting?
Mona Yes.
Donald Right now?
Mona I felt I owed him that.
Donald Is he waiting for you to call? To say everything’s gone fine?
Mona ignores this.
Mona Donald, I hope you’ll come and see us.
Donald I know Mona. I don’t know Mrs Falk.
He looks away, on the point of tears.
Mona And what I’m most happy about, I can act again.
Donald Act?
Mona Yes. That is what I do for a living. John’s always wanted me to go back to it. He’s got a good part for me. In a series. I mostly did stage, but now I feel ready to do television. It’s a different technique, but I’d like a go at it. I only didn’t act while I was with Ray.
Donald nods, thinking about it.
Donald Do you think about him?
Mona Who?
Donald Ray.
Mona Often. We were married for six years.
Donald You told me he thought about killing himself. He was lucky. He didn’t have to jump. He didn’t have to cut his throat. What a stroke of luck!
Mona is shocked, but level.
Mona I’m sorry, Donald, I know it’s hard. But it was you who said it wouldn’t work.
Donald Did I say that?
Mona You weren’t in love.
Donald I wasn’t. I am now.
Mona Oh men! You’re all so competitive.
She gets up.
I’m going to make you a scotch.
Donald Thank you.
Mona The way you like it.
Donald watches her move across.
I’m going to remember this apartment. Every detail of it. And everything that happened between us in these rooms.
For the rest of my life. This is where it all happened.
Donald does not react.
Donald When are you due to call him?
Mona come
s across to him with the scotch.
Mona Courage, Donald.
Donald To you, Mona.
Mona To you.
They both drink. Then Mona puts her glass down and returns to give Donald a long kiss.
Thank you, Donald. I’ve loved the time that we’ve had together.
Donald Aren’t you going to ask me what I’m going to do?
Mona smiles.
Mona But I know what you’ll do. You’ll go back to Ingrid.
TWENTY-ONE
Monatakes Donald to the door. Overlapping with this, Ingrid sits down to play patience at a small green-felt table. Mona says goodbye to Donald who does not reply. Donald goes. Mona, relieved, walks back into the room. For a moment the two women are on separate parts of the stage, then Mona walks off down the corridor. Ingrid, unperturbed, continues playing as the stage image changes around her.
The living room of Yellow Rock Farm. Donald is in a chair reading the paper at the other side of the room.
Ingrid Do you realise what you’re doing?
Donald No. No I don’t.
Ingrid You hadn’t noticed? You must have noticed.
Ingrid laughs. Donald has no idea what she’s asking.
It’s funny. Are you really reading that paper?
Donald Yes.
Ingrid Really? Those glasses.
Donald takes off the glasses he’s wearing.
Donald I hadn’t noticed. But they’re better than mine.
He holds them out to her as Ingrid gathers up her cards.
Here.
Ingrid I’m out. You’re not having a whisky?
Donald I’m not.
Ingrid You don’t seem to drink any more.
Donald I’ve lost interest. Also: I’m worried about the pills. Mixing drink and pills. I’ve been sleeping badly.
Ingrid I hear you. Every night.
Donald I know you do. I try to be quiet. I keep as quiet as I can.
The doorbell rings, absurdly loud.
Who’s that?
Ingrid Well, I should imagine it’s Dr Warren.
Donald Dr Warren? What’s he doing here?
Ingrid Surely you remember?
Donald No.
He goes to the door and opens it. Dr Warren has a dossier under his arm.
Dr Warren Ah good, Donald, excellent.
Ingrid Dr Warren.
Dr Warren Ingrid.
Ingrid Donald seems to have forgotten.
Donald Tell me what I’ve forgotten.
Dr Warren My taxes. We arranged that I’d come by and you’d look at my taxes.
Donald Is that right?
Dr Warren We made a plan.
Ingrid If you two are going to talk, then I’m going to bed. Donald, you’ll find me when you come up. You won’t forget to turn everything out?
Donald I won’t forget.
Ingrid Thank you. Excuse me, Doctor. Goodnight.
She goes out. Warren holds out the dossier.
Dr Warren Everything you need is in here.
Donald Do you think I believe you? Do you think I believe you for one minute?
Dr Warren I’m sorry?
Donald Are you observing me? How do you judge me? Did she call you?
Dr Warren Who?
Donald Ingrid.
Dr Warren My dear Donald – I’m here on business.
Donald Are you?
Dr Warren Yes. Look. My tax affairs.
Donald ignores the folder.
Donald You’ve spoken to her, haven’t you? When? Since her victory?
Dr Warren I don’t know what her victory is.
Donald waits. Warren is extremely uncomfortable.
Donald Did she tell you what happened? She knows, doesn’t she? Oh, she doesn’t say so, anything rather than let on, she’d die rather than say anything to me, she never admits anything to me, but she knows. She’s got what she wants. She wins. End of story. Didn’t she say?
Dr Warren Donald, I’m a professional. The first rule: I respect confidence. At all times.
Donald I take that as a yes.
Dr Warren Take it any way you want.
Donald She knows.
Dr Warren Knows what?
Donald And so do you.
He waits, but Warren can’t answer.
What do you want me to say? I’m beaten? I surrender?
Dr Warren Surrender what?
Donald has raised his voice, angry now.
Donald Are there any tests you can give me? Is there a pill? Can you open your bag and give me a pill? Do I seem odd to you because I’ve started telling people the truth? Have you seen enough? Can you go back to Ingrid tomorrow and say, ‘Yes, he’s angry but, don’t worry, he’ll be fine’? After all, you’re Ingrid’s friend much more than mine. Everyone is.
Dr Warren I don’t know why but you seem angry with me.
Donald No. Not you. I’m not angry with anyone. Not even Ingrid. I’m angry with myself. So long ago, I took a wrong path. So long ago. A lifetime. Everyone else knows their part. I don’t know mine.
Warren cannot think of anything to say.
I think about her hand.
Dr Warren Her hand?
Donald Mona’s hand. Lying beside me on the mattress. And why I didn’t dare take it. I wanted to. I wanted to take it. If I’d taken it, what would have happened then?
Warren looks, then gets up.
I’m going to come back another time.
Donald When I’m back to normal?
Warren stops at the door.
Dr Warren Whatever you do, please look after your wife. She’s very loved in the community.
Warren goes out. Donald stands a moment, as if listening.
TWENTY-TWO
The bedroom at Yellow Rock Farm. It’s the middle of the night. Donald and Ingrid are lying side by side. He is awake, she seems to be asleep. He reaches into the drawer in a table beside the bed and takes a pill. Then he takes another. Then another. He lies a moment, then he gets out of bed and goes to the bathroom. He turns the light on, so a shaft falls into the bedroom. Ingrid wakes and sits up. She waits a few moments.
Ingrid Donald.
No reply.
Donald. Aren’t you feeling well?
She waits, sitting up. After some moments, Donald comes back and opens the bedside drawer again. He takes out a revolver, and turns the barrel towards her. She looks at him, steady, saying nothing. He shoots her in the chest, but she remains still. Then he shoots at both her eyes. Her body barely moves but blood runs from her eyes. He throws the gun down on the bed. He stands a moment, then he goes to the bedside telephone. He dials. The stage darkens. The sound of a telephone conversation.
Olsen (voice) Olsen.
Donald Lieutenant Olsen?
Olsen (voice) Yes.
Donald This is Donald Dodd. I shot her in the eyes.
There is a silence. The stage is still darkening.
Olsen (voice) Mr Dodd, are you there? Are you there?
More silence.
I’m coming right over. Don’t do anything foolish.
Dark.
About the Author
David Hare is the author of thirty-two full-length plays for the stage, seventeen of which have been presented at the National Theatre. They include Slag, The Great Exhibition, Brassneck (with Howard Brenton), Knuckle, Fanshen, Teeth ’n’ Smiles, Plenty, A Map of the World, Pravda (with Howard Brenton), The Bay at Nice, The Secret Rapture, Racing Demon, Murmuring Judges, The Absence of War, Skylight, Amy’s View, The Blue Room (from Schnitzler), The Judas Kiss, Via Dolorosa, My Zinc Bed, The Breath of Life, The Permanent Way, Stuff Happens, The Vertical Hour, Gethsemane, Berlin/Wall, The Power of Yes, South Downs and Behind the Beautiful Forevers. His many screenplays for film and television include Licking Hitler, Wetherby, Damage, The Hours, The Reader, Page Eight, Turks & Caicos and Salting the Battlefield. He has also written English adaptations of plays by Brecht, Gorky, Chekhov, Pirandello, Ibsen and Lorca.
Georges
Simenon was born in Liège, Belgium, in 1903. He lived in France from 1922 until the end of the Second World War, then spent ten years in the United States, before settling in Lausanne, Switzerland, where he died in 1989. Of his prolific output of over four hundred novels and short stories, he is best known as author of the Maigret detective novels. La Main, on which The Red Barn is based, was originally published in 1968.
by the same author
PLAYS ONE
(Slag, Teeth ’n’ Smiles, Knuckle, Licking Hitler, Plenty)
PLAYS TWO
(Fanshen, A Map of the World, Saigon, The Bay at Nice, The Secret Rapture)
PLAYS THREE
(Skylight, Amy’s View, The Judas Kiss, My Zinc Bed)
RACING DEMON
MURMURING JUDGES
THE ABSENCE OF WAR
VIA DOLOROSA
THE BLUE ROOM
(from La Ronde by Schnitzler)
THE BREATH OF LIFE
THE PERMANENT WAY
STUFF HAPPENS
THE VERTICAL HOUR
GETHSEMANE
BERLIN/WALL
THE POWER OF YES
SOUTH DOWNS
BEHIND THE BEAUTIFUL FOREVERS
THE MODERATE SOPRANO
adaptations
PLATONOV by Chekhov
THE HOUSE OF BERNARDA ALBA by Lorca
ENEMIES by Gorky
YOUNG CHEKHOV
(Platonov, Ivanov, The Seagull)
screenplays
COLLECTED SCREENPLAYS
(Wetherby, Paris by Night, Strapless, Heading Home, Dreams of Leaving)
THE HOURS
prose
ACTING UP
ASKING AROUND: BACKGROUND TO THE DAVID HARE TRILOGY
WRITING LEFT-HANDED