GIRL [almost inaudible]: What you been doing?
ALBERT: I’ve got as many qualifications as the next man. Let’s get that quite … straight. And I got the answer to her. I got the answer to her, you see, tonight…. I finished the conversation … I finished it … I finished her …
She squirms. He raises the clock.
With this clock! [Trembling.] One … crack … with … this … clock … finished! [Thoughtfully.] Of course, I loved her, really. [He suddenly sees the photograph on the mantelpiece, puts the clock down and takes it. The GIRL half rises and gasps, watching him. He looks at the photo curiously.] Uhhh? … Your daughter? … This a photo of your daughter? … Uuuh? [He breaks the frame and takes out the photo.]
GIRL [rushes at him]. Leave that!
ALBERT [dropping the frame and holding the photo]: Is it?
The GIRL grabs at it. ALBERT clutches her wrist. He holds her at arm’s length.
GIRL: Leave that! [Writhing.] What? Don’t—it’s mine!
ALBERT [turns the photo over and reads back]: ‘Class Three Classical, Third Prize, Bronze Medal, Twickenham Competition, nineteen thirty-three.’ [He stares at her. The GIRL stands, shivering and whimpering.] You liar. That’s you.
GIRL: It’s not!
ALBERT: That’s not your daughter. It’s you! You’re just a fake, you’re just all lies!
GIRL: Scum! Filthy scum!
ALBERT, twisting her wrist, moves suddenly to her. The GIRL cringing, falls back into her chair.
ALBERT [warningly]: Mind how you talk to me. [He crumples the photo.]
GIRL [moans]: My daughter. My little girl. My little baby girl.
ALBERT: Get up.
GIRL: No …
ALBERT: Get up! Up!
She stands.
Walk over there, to the wall. Go on! Get over there. Do as you’re told. Do as I’m telling you. I’m giving the orders here.
She walks to the wall.
Stop!
GIRL [whimpering]: What … do you want me to do?
ALBERT: Just keep your big mouth closed, for a start.
He frowns uncertainly.
Cover your face!
She does so. He looks about, blinking.
Yes. That’s right. [He sees his shoes.] Come on, come on, pick up those shoes. Those shoes! Pick them up!
She looks for the shoes and picks them up.
That’s right. [He sits.] Bring them over here. Come on. That’s right. Put them on.
He extends his foot.
GIRL: You’re …
ALBERT: On! Right on. That’s it. That’s it. That’s more like it. That’s … more like it! Good. Lace them! Good.
He stands. She crouches.
Silence.
He shivers and murmurs with the cold. He looks about the room.
ALBERT: It’s cold.
[Pause.]
Ooh, it’s freezing.
GIRL [whispering]: The fire’s gone.
ALBERT [looking at the window]: What’s that? Looks like light. Ooh, it’s perishing. [Looks about, muttering.] What a dump. Not staying here. Getting out of this place.
He shivers and drops the clock. He looks down at it. She too. He kicks it across the room.
[With a smile, softly.] So you … bear that in mind. Mind how you talk to me.
He goes to door, then turns.
[Flipping half a crown to her.] Buy yourself a seat … buy yourself a seat at a circus.
He opens the door and goes.
SCENE THREE
The house.
The front door opens. ALBERT comes in, a slight smile on his face. He saunters across the hall into the kitchen, takes off his jacket and throws it across the room. The same with his tie. He sits heavily, loosely, in a chair, his legs stretched out. Stretching his arms, he yawns luxuriously, scratches his head with both hands and stares ruminatively at the ceiling, a smile on his face. His mother’s voice calls his name.
MOTHER [from the stairs]: Albert!
His body freezes. His gaze comes down. His legs slowly come together. He looks in front of him.
His MOTHER comes into the room, in her dressing gown. She stands, looking at him.
Do you know what the time is?
[Pause.]
Where have you been?
[Pause.]
[Reproachfully, near to tears.] I don’t know what to say to you, Albert. To raise your hand to your own mother. You’ve never done that before in your life. To threaten your own mother.
[Pause.]
That clock would have hurt me, Albert. And you’d have been … I know you’d have been very sorry. Aren’t I a good mother to you? Everything I do is … is for your own good. You should know that. You’re all I’ve got.
She looks at his slumped figure. Her reproach turns to solicitude.
[Gently.] Look at you. You look washed out. Oh, you look … I don’t understand what could have come over you.
She takes a chair and sits close to him.
Listen, Albert, I’ll tell you what I’m going to do. I’m going to forget it. You see? I’m going to forget all about it. We’ll have your holiday in a fortnight. We can go away.
She strokes his hand.
We’ll go away … together.
[Pause.]
It’s not as if you’re a bad boy … you’re a good boy … I know you are … it’s not as if you’re really bad, Albert, you’re not … you’re not bad, you’re good … you’re not a bad boy, Albert, I know you’re not …
[Pause.]
You’re good, you’re not bad, you’re a good boy … I know you are … you are, aren’t you?
THE BLACK AND WHITE
I always catch the all-night bus, six days out of the week. I walk to Marble Arch and get the two-nine-four, that takes me to Fleet Street. I never speak to the men on the all-night buses. Then I go into the Black and White at Fleet Street and sometimes my friend comes. I have a cup of tea. She is taller than me but thinner. Sometimes she comes and we sit at the top table. I always keep her place but you can’t always keep it. I never speak to them when they take it. Some remarks I never listen to. A man slips me the morning paper sometimes, the first one. He told me what he was once. I never go down to the place near the Embankment. I did go down there once. You can see what goes on from the window by the top table if you look. Mostly it’s vans. They’re always rushing. Mostly they’re the same van-drivers, sometimes they’re different. My brother was the same. He used to be in on it. But I can do better without the night, when it’s dark, it’s always light in the Black and White, sometimes it’s blue, I can’t see much. But I can do better without the cold when it’s cold. It’s always warm in the Black and White, sometimes it’s draughty, I don’t kip. Five o’clock they close down to give it a scrub round. I always wear my grey skirt and my red scarf, you never see me without lipstick. Sometimes my friend comes, she always brings over two teas. If there’s someone taken her place she tells him. She’s older than me but thinner. If it’s cold I might have soup. You get a good bowl. They give you the slice of bread. They won’t do that with tea but they do it with soup. So I might have soup, if it’s cold. Now and again you can see the all-night buses going down. They all run down there. I’ve never been the other way, not the way some of them go. I’ve been down to Liverpool Street. That’s where some of them end up. She’s greyer than me. The lights get you down a bit. Once a man stood up and made a speech. A copper came in. They got him out. Then the copper came over to us. We soon told him off, my friend did. I never seen him since, either of them. They don’t get many coppers. I’m a bit old for that, my friend told him. Are you, he said. Too old for you, she said. He went. I don’t mind, there’s not too much noise, there’s always a bit of noise. Young people in cabs come in once. She didn’t like the coffee. I’ve never had the coffee. I had coffee up at Euston, a time or two, going back. I like the vegetable soup better than the tomato. I was having a bowl then and this man was leaning from across the table, dead asleep, but
sitting on his elbows, scratching his head. He was pulling the hairs out of his head into my soup, dead asleep. I pulled my bowl away. But at five o’clock they close down to give it a scrub round. They don’t let you stay. My friend never stays, if she’s there. You can’t buy a cup of tea. I’ve asked but they won’t let you sit, not even with your feet up. Still, you can get about four hours out of it. They only shut hour and a half. You could go down to that one near the Embankment, but I’ve only been down there once. I’ve always got my red scarf. I’m never without lipstick. I give them a look. They never pick me up. They took my friend away in the wagon once. They didn’t keep her. She said they took a fancy to her. I’ve never gone in for that. You keep yourself clean. Still, she won’t stand for any of it in the Black and White. But they don’t try much. I see them look. Mostly nobody looks. I don’t know many, some I’ve seen about. One woman in a big black hat and big black boots comes in. I never make out what she has. He slips her the morning paper. It’s not long. You can go along, then come back. When it’s light I go. My friend won’t wait. She goes. I don’t mind. One got me sick. Came in a fur coat once. They give you injections, she said, it’s all Whitehall, they got it all worked out, she said, they can tap your breath, they inject you in the ears. My friend came later. She was a bit nervy. I got her quiet. They’d take her in. When it’s light I walk up to the Aldwych. They’re selling the papers. I’ve read it. One morning I went a bit over Waterloo Bridge. I saw the last two-nine-six. It must have been the last. It didn’t look like an all-night bus, in daylight.
THE EXAMINATION
When we began, I allowed him intervals. He expressed no desire for these, nor any objection. And so I took it upon myself to adjudge their allotment and duration. They were not consistent, but took alteration with what I must call the progress of our talks. With the chalk I kept I marked the proposed times upon the blackboard, before the beginning of a session, for him to examine, and to offer any criticism if he felt so moved. But he made no objection, nor, during our talks, expressed any desire for a break in the proceedings. However, as I suspected they might benefit both of us, I allowed him intervals.
The intervals themselves, when they occurred, at whatever juncture, at whatever crucial point, preceded by whatever deadlock, were passed, naturally, in silence. It was not uncommon for them to be both preceded and followed by an equal silence, but this is not to say that on such occasions their purpose was offended. Frequently his disposition would be such that little could be achieved by insistence, or by persuasion. When Kullus was disposed to silence I invariably acquiesced, and prided myself on those occasions with tactical acumen. But I did not regard these silences as intervals, for they were not, and neither, I think, did Kullus so regard them. For if Kullus fell silent, he did not cease to participate in our examination. Never, at any time, had I reason to doubt his active participation, through word and through silence, between interval and interval, and I recognized what I took to be his devotion as actual and unequivocal, besides, as it seemed to me, obligatory. And so the nature of our silence within the frame of our examination, and the nature of our silence outside the frame of our examination, were entirely opposed.
Upon my announcement of an interval Kullus would change, or act in such a manner as would suggest change. His behaviour, on these occasions, was not consistent, nor, I am convinced, was it initiated by motives of resentment or enmity, although I suspect Kullus was aware of my watchfulness. Not that I made any pretence to be otherwise. I was obliged to remark, and, if possible, to verify, any ostensible change in his manner, whether it was outside the frame of our examination or not. And it is upon this point that I could be accused of error. For gradually it appeared that these intervals proceeded according to his terms. And where both allotment and duration had rested with me, and had become my imposition, they now proceeded according to his dictates, and became his imposition.
For he journeyed from silence to silence, and I had no course but to follow. Kullus’s silence, where he was entitled to silence, was compounded of numerous characteristics, the which I duly noted. But I could not always follow his courses, and where I could not follow, I was no longer his dominant.
Kullus’s predilection for windows was not assumed. At every interval, he retired to the window, and began from its vantage, as from a source. On approaching initially when the break was stated, he paid no attention to the aspect beyond, either in day-time or in night-time. And only in his automatic course to the window, and his lack of interest in the aspect beyond, did he prove consistent.
Neither was Kullus’s predilection for windows a deviation from former times. I had myself suffered under his preoccupation upon previous occasions, when the order of his room had been maintained by particular arrangement of window and curtain, according to day and to night, and seldom to my taste or my comfort. But now he maintained no such order and did not determine their opening or closing. For we were no longer in Kullus’s room.
And the window was always open, and the curtains were always open.
Not that Kullus displayed any interest in this constant arrangement, in the intervals, when he might note it. But as I suspect he was aware of my watchfulness, so I suspect he was aware of my arrangement. Dependent on the intensity of his silence I could suspect and conclude, but where his silence was too deep for echo, I could neither suspect nor conclude. And so gradually, where this occurred, I began to take the only course open to me, and terminated the intervals arbitrarily, cutting short the proposed duration, when I could no longer follow him, and was no longer his dominant.
But this was not until later.
When the door opened. When Kullus, unattended, entered, and the interim ended. I turned from all light in the window, to pay him due regard and welcome. Whereupon without reserve or hesitation, he moved from the door as from shelter, and stood in the light from the window. So I watched the entrance become vacant, which had been his shelter. And observed the man I had welcomed, he having crossed my border.
Equally, now, I observed the selected properties, each in their place; the blackboard, the window, the stool. And the door had closed and was absent, and of no moment. Imminent upon opening and welcoming it had possessed moment. Now only one area was to witness activity and to suffer procedure, and that only was necessary and valid. For the door was closed and so closed.
Whereupon I offered Kullus the stool, the which I placed for him. He showed, at this early juncture, no disregard for my directions; if he did not so much obey, he extended his voluntary co-operation. This was sufficient for my requirements. That I detected in him a desire for a summation of our efforts spoke well for the progress of our examination. It was my aim to avoid the appearance of subjection; a common policy, I understand, in like examinations. Yet I was naturally dominant, by virtue of my owning the room; he having entered through the door I now closed. To be confronted with the especial properties of my abode, bearing the seal and arrangement of their tenant, allowed only for recognition on the part of my visitor, and through recognition to acknowledgement and through acknowledgement to appreciation, and through appreciation to subservience. At least, I trusted that such a development would take place, and initially believed it to have done so. It must be said, however, that his manner, from time to time, seemed to border upon indifference, yet I was not deluded by this, or offended. I viewed it as a utility he was compelled, and entitled, to fall back on, and equally as a tribute to my own incisiveness and patience. And if then I viewed it as a tactical measure, it caused me little concern. For it seemed, at this time, that the advantage was mine. Had not Kullus been obliged to attend this examination? And was not his attendance an admission of that obligation? And was not his admission an acknowledgement of my position? And my position therefore a position of dominance? I calculated this to be so, and no early event caused me to re-assess this calculation. Indeed, so confident was I in the outcome of our talks, that I decided to allow him intervals.
To institute these
periods seemed to me both charitable and politic. For I hoped he might benefit from a period of no demand, so be better equipped for the periods of increased demand which would follow. And, for a time, I had no reason to doubt the wisdom of this arrangement. Also, the context of the room in which Kullus moved during the intervals was familiar and sympathetic to me, and not so to him. For Kullus had known it, and now knew it no longer, and took his place in it as a stranger, and when each break was stated, was compelled to pursue a particular convention and habit in his course, so as not to become hopelessly estranged within its boundaries. But gradually it became apparent that only in his automatic course to the window, and his lack of interest in the aspect beyond, did he prove consistent.
Prior to his arrival, I had omitted to establish one property in the room, which I knew to be familiar to him, and so liable to bring him ease. And never once did he remark the absence of a flame in the grate. I concluded he did not recognize this absence. To balance this, I emphasized the presence of the stool, indeed, placed it for him, but as he never once remarked this presence, I concluded his concern did not embrace it. Not that it was at any time simple to determine by what particular his concern might be engaged. However, in the intervals, when I was able to observe him with possibly a finer detachment, I hoped to determine this.
Until his inconsistency began to cause me alarm, and his silence to confound me.
I can only assume Kullus was aware, on these occasions, of the scrutiny of which he was the object, and was persuaded to resist it, and to act against it. He did so by deepening the intensity of his silence, and by taking courses I could by no means follow, so that I remained isolated, and outside his silence, and thus of negligible influence. And so I took the only course open to me, and terminated the intervals arbitrarily, cutting short the proposed duration, when I could no longer follow him, and was no longer his dominant.
Harold Pinter Plays 1 Page 26