Pause.
I have been your doctor for many years. This is your sister. Your father is blind. Estelle looks after him. She never married. Your mother is dead.
Pause.
It was I who took the vase from your hands. I lifted you onto this bed, like a corpse. Some wanted to bury you. I forbade it. I have nourished you, watched over you, for all this time.
Pause.
I injected you and woke you up. You will ask why I did not inject you twenty-nine years ago. I’ll tell you. I did not possess the appropriate fluid.
Pause.
You see, you have been nowhere, absent, indifferent. It is we who have suffered.
Pause.
You do see that, I’m sure. You were an extremely intelligent young girl. All opinions confirm this. Your mind has not been damaged. It was merely suspended, it took up a temporary habitation … in a kind of Alaska. But it was not entirely static, was it? You ventured into quite remote … utterly foreign … territories. You kept on the move. And I charted your itinerary. Or did my best to do so. I have never let you go.
Silence.
I have never let you go.
Silence.
I have lived with you.
Pause.
Your sister Pauline was twelve when you were left for dead. When she was twenty I married her. She is a widow. I have lived with you.
Silence.
DEBORAH
I want to go home.
Pause.
I’m cold.
She takes PAULINE’s hand.
Is it my birthday soon? Will I have a birthday party? Will everyone be there? Will they all come? All our friends? How old will I be?
PAULINE
You will. You will have a birthday party. And everyone will be there. All your family will be there. All your old friends. And we’ll have presents for you. All wrapped up … wrapped up in such beautiful paper.
DEBORAH
What presents?
PAULINE
Ah, we’re not going to tell you. We’re not going to tell you that. Because they’re a secret.
Pause.
Think of it. Think of the thrill … of opening them, of unwrapping them, of taking out your presents and looking at them.
DEBORAH
Can I keep them?
PAULINE
Of course you can keep them. They’re your presents. They’re for you … only.
DEBORAH
I might lose them.
PAULINE
No, no. We’ll put them all around you in your bedroom. We’ll see that nobody else touches them. Nobody will touch them. And we’ll kiss you good night. And when you wake up in the morning your presents …
Pause.
DEBORAH
I don’t want to lose them.
PAULINE
They’ll never be lost. Ever.
Pause.
And we’ll sing to you. What will we sing?
DEBORAH
What?
PAULINE
We’ll sing ‘Happy Birthday’ to you.
Pause.
DEBORAH
Now what was I going to say?
She begins to flick her cheek, as if brushing something from it.
Now what –? Oh dear, oh no. Oh dear.
Pause.
Oh dear.
The flicking of her cheek grows faster.
Yes, I think they’re closing in. They’re closing in. They’re closing the walls in. Yes.
She bows her head, flicking faster, her fingers now moving about over her face.
Oh … well … oooohhhhh … oh no … oh no …
During the course of this speech her body becomes hunchbacked.
Let me out. Stop it. Let me out. Stop it. Stop it. Stop it. Shutting the walls on me. Shutting them down on me. So tight, so tight. Something panting, something panting. Can’t see. Oh, the light is going. The light is going. They’re shutting up shop. They’re closing my face. Chains and padlocks. Bolting me up. Stinking. The smell. Oh my goodness, oh dear, oh my goodness, oh dear, I’m so young. It’s a vice. I’m in a vice. It’s at the back of my neck. Ah. Eyes stuck. Only see the shadow of the tip of my nose. Shadow of the tip of my nose. Eyes stuck.
She stops flicking abruptly, sits still. Her body straightens. She looks up. She looks at her fingers, examines them.
Nothing.
Silence.
She speaks calmly, is quite still.
Do you hear a drip?
Pause.
I hear a drip. Someone’s left the tap on.
Pause.
I’ll tell you what it is. It’s a vast series of halls. With enormous interior windows masquerading as walls. The windows are mirrors, you see. And so glass reflects glass. For ever and ever.
Pause.
You can’t imagine how still it is. So silent I hear my eyes move.
Silence.
I’m lying in bed. People bend over me, speak to me. I want to say hullo, to have a chat, to make some inquiries. But you can’t do that if you’re in a vast hall of glass with a tap dripping.
Silence.
She looks at PAULINE.
I must be quite old. I wonder what I look like. But it’s of no consequence. I certainly have no intention of looking into a mirror.
Pause.
No.
She looks at HORNBY.
You say I have been asleep. You say I am now awake. You say I have not awoken from the dead. You say I was not dreaming then and am not dreaming now. You say I have always been alive and am alive now. You say I am a woman.
She looks at PAULINE, then back at HORNBY.
She is a widow. She doesn’t go to her ballet classes any more. Mummy and Daddy and Estelle are on a world cruise. They’ve stopped off in Bangkok. It’ll be my birthday soon. I think I have the matter in proportion.
Pause.
Thank you.
VICTORIA STATION
Victoria Station was presented as part of a triple bill, Other Places, first performed at the National Theatre, London, on 14 October 1982 with the following cast:
CONTROLLER Paul Rogers
DRIVER Martin Jarvis
Directed by Peter Hall
It was subsequently presented with A Kind of Alaska and One for the Road at the Duchess Theatre, London, on 7 March 1985 with the following cast:
CONTROLLER Colin Blakely
DRIVER Roger Davidson
Directed by Kenneth Ives
Lights up on office. CONTROLLER sitting at microphone.
CONTROLLER
274? Where are you?
Lights up on DRIVER in car.
CONTROLLER
274? Where are you?
Pause.
DRIVER
Hullo?
CONTROLLER
274?
DRIVER
Hullo?
CONTROLLER
Is that 274?
DRIVER
That’s me.
CONTROLLER
Where are you?
DRIVER
What?
Pause.
CONTROLLER
I’m talking to 274? Right?
DRIVER
Yes. That’s me. I’m 274. Who are you?
Pause.
CONTROLLER
Who am I?
DRIVER
Yes.
CONTROLLER
Who do you think I am? I’m your office.
DRIVER
Oh yes.
CONTROLLER
Where are you?
DRIVER
I’m cruising.
CONTROLLER
What do you mean?
Pause.
Listen son. I’ve got a job for you. If you’re in the area I think you’re in. Where are you?
DRIVER
I’m just cruising about.
CONTROLLER
Don’t cruise. Stop cruising. Nobody’s asking you to cruise about. What the fuck are you cruising about for?
&nbs
p; Pause.
274?
DRIVER
Hullo. Yes. That’s me.
CONTROLLER
I want you to go to Victoria Station. I want you to pick up a customer coming from Boulogne. That is what I want you to do. Do you follow me? Now the question I want to ask you is this. Where are you? And don’t say you’re just cruising about. Just tell me if you’re anywhere near Victoria Station.
DRIVER
Victoria what?
Pause.
CONTROLLER
Station.
Pause.
Can you help me on this?
DRIVER
Sorry?
CONTROLLER
Can you help me on this? Can you come to my aid on this?
Pause.
You see, 274, I’ve got no one else in the area, you see. I’ve only got you in the area. I think. Do you follow me?
DRIVER
I follow you, yes.
CONTROLLER
And this is a good job, 274. He wants you to take him to Cuckfield.
DRIVER
Eh?
CONTROLLER
He wants you to take him to Cuckfield. You’re meeting the 10.22 from Boulogne. The European Special. His name’s MacRooney. He’s a little bloke with a limp. I’ve known him for years. You pick him up under the clock. You’ll know him by his hat. He’ll have a hat on with a feather in it. He’ll be carrying fishing tackle. 274?
DRIVER
Hullo?
CONTROLLER
Are you hearing me?
DRIVER
Yes.
Pause.
CONTROLLER
What are you doing?
DRIVER
I’m not doing anything.
CONTROLLER
How’s your motor? Is your motor working?
DRIVER
Oh yes.
CONTROLLER
Your ignition’s not on the blink?
DRIVER
No.
CONTROLLER
So you’re sitting in a capable car?
DRIVER
I’m sitting in it, yes.
CONTROLLER
Are you in the driving seat?
Pause.
Do you understand what I mean?
Pause.
Do you have a driving wheel in front of you?
Pause.
Because I haven’t, 274. I’m just talking into this machine, trying to make some sense out of our lives. That’s my function. God gave me this job. He asked me to do this job, personally. I’m your local monk, 274. I’m a monk. You follow? I lead a restricted life. I haven’t got a choke and a gear lever in front of me. I haven’t got a cooling system and four wheels. I’m not sitting here with wing mirrors and a jack in the boot. And if I did have a jack in the boot I’d stick it right up your arse.
Pause.
Listen, 274. I’ve got every reason to believe that you’re driving a Ford Cortina. I would very much like you to go to Victoria Station. In it. That means I don’t want you to walk down there. I want you to drive down there. Right?
DRIVER
Everything you say is correct. This is a Ford Cortina.
CONTROLLER
Good. That’s right. And you’re sitting in it while we’re having this conversation, aren’t you?
DRIVER
That’s right.
CONTROLLER
Where?
DRIVER
By the side of a park.
CONTROLLER
By the side of a park?
DRIVER
Yes.
CONTROLLER
What park?
DRIVER
A dark park.
CONTROLLER
Why is it dark?
Pause.
DRIVER
That’s not an easy question.
Pause.
CONTROLLER
Isn’t it?
DRIVER
No.
Pause.
CONTROLLER
You remember this customer I was talking to you about? The one who’s coming in to Victoria Station? Well, he’s very keen for you to take him down to Cuckfield. He’s got an old aunt down there. I’ve got a funny feeling she’s going to leave him all her plunder. He’s going down to pay his respects. He’ll be in a good mood. If you play your cards right you might come out in front. Get me?
Pause.
274?
DRIVER
Yes? I’m here.
CONTROLLER
Go to Victoria Station.
DRIVER
I don’t know it.
CONTROLLER
You don’t know it?
DRIVER
No. What is it?
Silence.
CONTROLLER
It’s a station, 274.
Pause.
Haven’t you heard of it?
DRIVER
No. Never. What kind of place is it?
Pause.
CONTROLLER
You’ve never heard of Victoria Station?
DRIVER
Never. No.
CONTROLLER
It’s a famous station.
DRIVER
Well, I honestly don’t know what I’ve been doing all these years.
CONTROLLER
What have you been doing all these years?
DRIVER
Well, I honestly don’t know.
Pause.
CONTROLLER
All right 274. Report to the office in the morning. 135? Where are you? 135? Where are you?
DRIVER
Don’t leave me.
CONTROLLER
What? Who’s that?
DRIVER
It’s me. 274. Please. Don’t leave me.
CONTROLLER
135? Where are you?
DRIVER
Don’t have anything to do with 135. He’s not your man. He’ll lead you into blind alleys by the dozen. They all will. Don’t leave me. I’m your man. I’m the only one you can trust.
Pause.
CONTROLLER
Do I know you, 274? Have we met?
Pause.
Well, it’ll be nice to meet you in the morning. I’m really looking forward to it. I’ll be sitting here with my cat o’nine tails, son. And you know what I’m going to do with it? I’m going to tie you up bollock naked to a butcher’s table and I’m going to flog you to death all the way to Crystal Palace.
DRIVER
That’s where I am! I knew I knew the place.
Pause.
I’m sitting by a little dark park underneath Crystal Palace. I can see the Palace. It’s silhouetted against the sky. It’s a wonderful edifice, isn’t it?
Pause.
My wife’s in bed. Probably asleep. And I’ve got a little daughter.
CONTROLLER
Oh, you’ve got a little daughter?
Pause.
DRIVER
Yes, I think that’s what she is.
CONTROLLER
Report to the office at 9 a.m. 135? Where are you? Where the fuck is 135? 246? 178? 101? Will somebody help me? Where’s everyone gone? I’ve got a good job going down to Cuckfield. Can anyone hear me?
DRIVER
I can hear you.
CONTROLLER
Who’s that?
DRIVER
274. Here. Waiting. What do you want me to do?
CONTROLLER
You want to know what I want you to do?
DRIVER
Oh by the way, there’s something I forgot to tell you.
CONTROLLER
What is it?
DRIVER
I’ve got a P.O.B.
CONTROLLER
You’ve got a P.O.B.?
DRIVER
Yes. That means passenger on board.
CONTROLLER
I know what it means, 274. It means you’ve got a passenger on board.
DRIVER
That’s right.
CONTR
OLLER
You’ve got a passenger on board sitting by the side of a park?
DRIVER
That’s right.
CONTROLLER
Did I book this job?
DRIVER
No, I don’t think you came into it.
CONTROLLER
Well, where does he want to go?
DRIVER
He doesn’t want to go anywhere. We just cruised about for a bit and then we came to rest.
CONTROLLER
In Crystal Palace?
DRIVER
Not in the Palace.
CONTROLLER
Oh, you’re not in the Palace?
DRIVER
No. I’m not right inside it.
CONTROLLER
I think you’ll find the Crystal Palace burnt down years ago, old son. It burnt down in the Great Fire of London.
Pause.
DRIVER
Did it?
CONTROLLER
274?
DRIVER
Yes. I’m here.
CONTROLLER
Drop your passenger. Drop your passenger at his chosen destination and proceed to Victoria Station. Otherwise I’ll destroy you bone by bone. I’ll suck you in and blow you out in little bubbles. I’ll chew your stomach out with my own teeth. I’ll eat all the hair off your body. You’ll end up looking like a pipe cleaner. Get me?
Pause.
274?
Pause.
You’re beginning to obsess me. I think I’m going to die. I’m alone in this miserable freezing fucking office and nobody loves me. Listen, pukeface –
DRIVER
Yes?
Pause.
CONTROLLER
135? 135? Where are you?
DRIVER
Don’t have anything to do with 135. They’re all bloodsuckers. I’m the only one you can trust.
Pause.
CONTROLLER
You know what I’ve always dreamed of doing? I’ve always had this dream of having a holiday in sunny Barbados. I’m thinking of taking this holiday at the end of this year, 274. I’d like you to come with me. To Barbados. Just the two of us. I’ll take you snorkelling. We can swim together in the blue Caribbean.
Pause.
In the meantime, though, why don’t you just pop back to the office now and I’ll make you a nice cup of tea? You can tell me something about your background, about your ambitions and aspirations. You can tell me all about your little hobbies and pastimes. Come over and have a nice cup of tea, 274.
DRIVER
I’d love to but I’ve got a passenger on board.
CONTROLLER
Put your passenger on to me. Let me have a word with him.
DRIVER
I can’t. She’s asleep on the back seat.
CONTROLLER
She?
DRIVER
Can I tell you a secret?
CONTROLLER
Please do.
Harold Pinter Page 9