The Short Plays of Harold Pinter
Page 1
HAROLD PINTER
The Short Plays
with a foreword by
Antonia Fraser
Contents
Title Page
Foreword
The Room
The Dumb Waiter
A Slight Ache
A Night Out
Night School
The Dwarfs
The Collection
The Lover
Tea Party
The Basement
Landscape
Silence
Monologue
Family Voices
A Kind of Alaska
Victoria Station
One for the Road
Mountain Language
The New World Order
Party Time
Moonlight
Ashes to Ashes
Celebration
About the Author
By the Same Author
Copyright
Foreword
The exciting project of publishing (and performing) the totality of Harold’s one-act plays is a most appropriate way of marking the tenth anniversary of his death on 24 December 2018.
The whole atmosphere around Harold changed when he was writing. The process, whether the subject was grim or humorous (or a mixture of both), filled him with happiness from the first sudden image to ignite his imagination to the exploration that then took place, often transforming that first image into something very different.
I shall never forget watching The Lover on television in 1963, ten years before we met. I was in bed, and the bedside television was a new treat. The plot, with its sudden amazing twist concerning the husband and the lover (which one critic failed to spot), held me in its spell from the challenging opening line. The Collection, which I saw on stage, was similarly both thrilling and mysterious: what really happened? As with many of Harold’s plays I change my mind …
The writing of Celebration (his last play) is a perfect example of the way Harold’s work altered during the writing process. A discomforting experience with raucous diners at the neighbouring table in a favourite restaurant started him off. When we were on holiday in Dorset, he began to write. Then Harold laid the play down for a moment, saying the original characters were too unpleasant, before grabbing it again, saying that fresh characters had ‘walked into his mind’ and demanded their place. From then on he wrote frantically, finished the play, as he thought, and got into bed – before getting out again, feeling the Waiter had more to say and that ‘I must listen’.
This is a project of which Harold himself would have heartily approved.
Antonia Fraser
June 2018
THE ROOM
The Room first published by
Methuen & Co. 1960
© FPinter Limited, 1959, 1960
The Room was first presented at the University of Bristol Department of Drama on 15 May 1957 with the following cast:
BERT HUDD Claude Jenkins
ROSE HUDD Susan Engel
MR KIDD Henry Woolf
MR SANDS David Davies
MRS SANDS Auriol Smith
RILEY George Odlum
Directed by Henry Woolf
The Room was subsequently presented at the Hampstead Theatre Club on 21 January, 1960, with the following cast:
BERT HUDD Howard Lang
ROSE Vivien Merchant
MR KIDD Henry Woolf
MR SANDS John Rees
MRS SANDS Auriol Smith
RILEY Thomas Baptiste
Directed by Harold Pinter
The Room was then presented at the Royal Court Theatre on 8 March 1960 with the following cast:
BERT HUDD Michael Brennan
ROSE HUDD Vivien Merchant
MR KIDD John Cater
MR SANDS Michael Caine
MRS SANDS Anne Bishop
RILEY Thomas Baptiste
Directed by Anthony Page
Characters
BERT HUDD
a man of fifty
ROSE
a woman of sixty
MR KIDD
an old man
MR SANDS
MRS SANDS
a young couple
RILEY
Scene: a room in a large house. A door down 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 ch
ance. 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 arm chair.
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?