Betrayal was first presented by the National Theatre, London, on 15 November 1978 with the following cast:
EMMA Penelope Wilton
JERRY Michael Gambon
ROBERT Daniel Massey
Directed by Peter Hall
Designed by John Bury
In 1977 Emma is 38, Jerry and Robert are 40.
Betrayal can be performed without an interval, or with an interval after Scene Four.
H.P.
1977
SCENE ONE
Pub. 1977. Spring.
Noon.
EMMA is sitting at a corner table. JERRY approaches with drinks, a pint of bitter for him, a glass of wine for her.
He sits. They smile, toast each other silently, drink.
He sits back and looks at her.
JERRY
Well …
EMMA
How are you?
JERRY
All right.
EMMA
You look well.
JERRY
Well, I'm not all that well, really.
EMMA
Why? What's the matter?
JERRY
Hangover.
He raises his glass.
Cheers.
He drinks.
How are you?
EMMA
I'm fine.
She looks round the bar, back at him.
Just like old times.
JERRY
Mmm. It's been a long time.
EMMA
Yes.
Pause.
I thought of you the other day.
JERRY
Good God. Why?
She laughs.
JERRY
Why?
EMMA
Well, it's nice, sometimes, to think back. Isn't it?
JERRY
Absolutely.
Pause.
How's everything?
EMMA
Oh, not too bad.
Pause.
Do you know how long it is since we met?
JERRY
Well I came to that private view, when was it –?
EMMA
No, I don't mean that.
JERRY
Oh you mean alone?
EMMA
Yes.
JERRY
Uuh …
EMMA
Two years.
JERRY
Yes, I thought it must be. Mmnn.
Pause.
EMMA
Long time.
JERRY
Yes. It is.
Pause.
How's it going? The Gallery?
EMMA
How do you think it's going?
JERRY
Well. Very well, I would say.
EMMA
I'm glad you think so. Well, it is actually. I enjoy it.
JERRY
Funny lot, painters, aren't they?
EMMA
They're not at all funny.
JERRY
Aren't they? What a pity.
Pause.
How's Robert?
EMMA
When did you last see him?
JERRY
I haven't seen him for months. Don't know why. Why?
EMMA
Why what?
JERRY
Why did you ask when I last saw him?
EMMA
I just wondered. How's Sam?
JERRY
You mean Judith.
EMMA
Do I?
JERRY
You remember the form. I ask about your husband, you ask about my wife.
EMMA
Yes, of course. How is your wife?
JERRY
All right.
Pause.
EMMA
Sam must be … tall.
JERRY
He is tall. Quite tall. Does a lot of running. He's a long distance runner. He wants to be a zoologist.
EMMA
No, really? Good. And Sarah?
JERRY
She's ten.
EMMA
God. I suppose she must be.
JERRY
Yes, she must be.
Pause.
Ned's five, isn't he?
EMMA
You remember.
JERRY
Well, I would remember that.
Pause.
EMMA
Yes.
Pause.
You're all right, though?
JERRY
Oh … yes, sure.
Pause.
EMMA
Ever think of me?
JERRY
I don't need to think of you.
EMMA
Oh?
JERRY
I don't need to think of you.
Pause.
Anyway I'm all right. How are you?
EMMA
Fine, really. All right.
JERRY
You're looking very pretty.
EMMA
Really? Thank you. I'm glad to see yo
JERRY
So am I. I mean to see you.
EMMA
You think of me sometimes?
JERRY
I think of you sometimes.
Pause.
I saw Charlotte the other day.
EMMA
No? Where? She didn't mention it.
JERRY
She didn't see me. In the street.
EMMA
But you haven't seen her for years.
JERRY
I recognised her.
EMMA
How could you? How could you know?
JERRY
I did.
EMMA
What did she look like?
JERRY
You.
EMMA
No, what did you think of her, really?
JERRY
I thought she was lovely.
EMMA
Yes. She's very … She's smashing. She's thirteen.
Pause.
Do you remember that time … oh God it was … when you picked her up and threw her up and caught her?
JERRY
She was very light.
EMMA
She remembers that, you know.
JERRY
Really?
EMMA
Mmnn. Being thrown up.
JERRY
What a memory.
Pause.
She doesn't know … about us, does she?
EMMA
Of course not. She just remembers you, as an old friend.
JERRY
That's right.
Pause.
Yes, everyone was there that day, standing around, your husband, my wife, all the kids, I remember.
EMMA
What day?
JERRY
When I threw her up. It was in your kitchen.
EMMA
It was in your kitchen.
Silence.
JERRY
Darling.
EMMA
Don't say that.
Pause.
It all …
JERRY
Seems such a long time ago.
EMMA
Does it?
JERRY
Same again?
He takes the glasses, goes to the bar. She sits still. He returns, with the drinks, sits.
EMMA
I thought of you the other day.
Pause.
I was driving through Kilburn. Suddenly I saw where I was. I just stopped, and then I turned down Kinsale Drive and drove into Wessex Grove. I drove past the house and then stopped about fifty yards further on, like we used to do, do you remember?
JERRY
Yes.
EMMA
People were coming out of the house. They walked up the road.
JERRY
What sort of people?
EMMA
Oh … young people. Then I got out of the car and went up the steps. I looked at the bells, you know, the names on the bells. I looked for our name.
Pause.
JERRY
Green.
Pause.
Couldn't see it, eh?
EMMA
No.
JERRY
That's because we're not there any more. We haven't been there for years.
EMMA
No we haven't.
Pause.
JERRY
I hear you're seeing a bit of Casey.
EMMA
What?
JERRY
Casey. I just heard you were … seeing a bit of him.
EMMA
Where did you hear that?
JERRY
Oh … people … talking.
EMMA
Christ.
JERRY
The funny thing was that the only thing I really felt was irritation, I mean irritation that nobody gossiped about us like that, in the old days. I nearly said, now look, she may be having the occasional drink with Casey, who cares, but she and I had an affair for seven years and none of you bastards had the faintest idea it was happening.
Pause.
EMMA
I wonder. I wonder if everyone knew, all the time.
JERRY
Don't be silly. We were brilliant. Nobody knew. Who ever went to Kilburn in those days? Just you and me.
Pause.
Anyway, what's all this about you and Casey?
EMMA
What do you mean?
JERRY
What's going on?
EMMA
We have the occasional drink.
JERRY
I thought you didn't admire his work.
EMMA
I've changed. Or his work has changed. Are you jealous?
JERRY
Of what?
Pause.
I couldn't be jealous of Casey. I'm his agent. I advised him about his divorce. I read all his first drafts. I persuaded your husband to publish his first novel. I escort him to Oxford to speak at the Union. He's my … he's my boy. I discovered him when he was a poet, and that's a bloody long time ago now.
Pause.
He's even taken me down to Southampton to meet his Mum and Dad. I couldn't be jealous of Casey. Anyway it's not as if we're having an affair now, is it? We haven't seen each other for years. Really, I'm very happy if you're happy.
Pause.
What about Robert?
Pause.
EMMA
Well … I think we're going to separate.
JERRY
Oh?
EMMA
We had a long talk … last night.
JERRY
Last night?
EMMA
You know what I found out … last night? He's betrayed me for years. He's had … other women for years.
JERRY
No? Good Lord.
Pause.
But we betrayed him for years.
EMMA
And he betrayed me for years.
JERRY
Well I never knew that.
EMMA
Nor did I.
Pause.
JERRY
Does Casey know about this?
EMMA
I wish you wouldn't keep calling him Casey. His name is Roger.
JERRY
Yes. Roger.
EMMA
I phoned you. I don't know why.
JERRY
What a funny thing. We were such close friends, weren't we? Robert and me, even though I haven't seem him for a few months, but through all those years, all the drinks, all the lunches … we had together, I never even gleaned … I never suspected … that there was anyone else … in his life but you. Never. For example, when you're with a fellow in a pub, or a restaurant, for example, from time to time he pops out for a piss, you see, who doesn't, but what I mean is, if he's making a crafty telephone call, you can sort of sense it. Well, I never did that with Robert. He never made any crafty telephone calls in any pub I was ever with him in. The funny thing is that it was me who made the calls – to you, when I left him boozing at the bar. That's the funny thing.
Pause.
When did he tell you all this?
EMMA
Last night. I think we were up all night.
Pause.
JERRY
You talked all night?
EMMA
Yes. Oh yes.
Pause.
JERRY
I didn't come into it, did I?
EMMA
What?
JERRY
I just –
EMMA
I just phoned you this morning, you know, that's all, because I … because we're old friends … I've been up all night … the whole thing's finished … I suddenly felt I wanted to see you.
JERRY
Well, look, I'm happy to see you. I am. I'm sorry … about …
EMMA
Do you remember? I mean, you do remember?
JERRY
I remember.
Pause.
EMMA
You couldn't really afford Wessex Grove when we took it, could you?
JERRY
Oh, love finds a way.
EMMA
I bought the curtains.
JERRY
You found a way.
EMMA
Listen, I didn't want to see you for nostalgia, I mean what's the point? I just wanted to see how you were. Truly. How are you?
JERRY
Oh what does it matter?
Pause.
You didn't tell Robert about me last night, did you?
EMMA
I had to.
Pause.
He told me everything. I told him everything. We were up … all night. At one point Ned came down. I had to take him up to bed, had to put him back to bed. Then I went down again. I think it was the voices woke him up. You know …
JERRY
You told him everything?
EMMA
I had to.
JERRY
You told him everything … about us?
EMMA
I had to.
Pause.
JERRY
But he's my oldest friend. I mean, I picked his own daughter up in my own arms and threw her up and caught her, in my kitchen. He watched me do it.
EMMA
It doesn't matter. It's all gone.
JERRY
Is it? What has?
EMMA
It's all all over.
She drinks.
1977 Later
SCENE TWO
Jerry's House. Study. 1977. Spring.
JERRY sitting. ROBERT standing, with glass.
JERRY
It's good of you to come.
ROBERT
Not at all.
JERRY
Yes, yes, I know it was difficult … I know … the kids …
ROBERT
It's all right. It sounded urgent.
JERRY
Well … You found someone, did you?
ROBERT
What?
JERRY
For the kids.
ROBERT
Yes, yes. Honestly. Everything's in order. Anyway, Charlotte's not a baby.
JERRY
No.
Pause.
Are you going to sit down?
ROBERT
Well, I might, yes, in a minute.
Pause.
JERRY
Judith's at the hospital … on night duty. The kids are … here … upstairs.
ROBERT
Uh – huh.
JERRY
I must speak to you. It's important.
ROBERT
Speak.
JERRY
Yes.
Pause.
ROBERT
You look quite rough.
Pause.
What's the trouble?
Pause.
It's not about you and Emma, is it?
Pause.
I know all about that.
JERRY
Yes. So I've … been told.
ROBERT
Ah.
Pause.
Well, it's not very important, is it? Been over for years, hasn't it?
JERRY
It is important.
ROBERT
Really? Why?
JERRY stands, walks about.
JERRY
I thought I was going to go mad.
ROBERT
When?
JERRY
This evening. Just now. Wondering whether to phone you. I had to phone you. It took me … two hours to phone you. And then you were with the kids … I thought I wasn't going to be able to see you … I thought I'd go mad. I'm very grateful to you … for coming.
ROBERT
Oh for God's sake! Look, what exactly do you want to say?
Pause.
JERRY sits.
JERRY
I don't know why she told you. I don't know how she could tell you. I just don't understand. Listen, I know you've got … look, I saw her today … we had a drink … I haven't seen her for … she told me, you know, that you're in trouble, both of you … and so on. I know that. I mean I'm sorry.
ROBERT
Don't be sorry.
JERRY
Why not?
Pause.
The fact is I can't understand … why she thought it necessary … after all these years … to tell you … so suddenly … last night …
ROBERT
Last night?
JERRY
Without consulting me. Without even warning me. After all, you and me …
ROBERT
She didn't tell me last night.
JERRY
What do you mean?
Pause.
I know about last night. She told me about it. You were up all night, weren't you?
ROBERT
That's correct.
JERRY
And she told you … last night … about her and me. Did she not?
ROBERT
No, she didn't. She didn't tell me about you and her last night. She told me about you and her four years ago.
Pause.
So she didn't have to tell me again last night. Because I knew. And she knew I knew because she told me herself four years ago.
Silence.
JERRY
What?
ROBERT
I think I will sit down.
He sits.
I thought you knew.
JERRY
Knew what?
ROBERT
That I knew. That I've known for years. I thought you knew that.
JERRY
You thought I knew?
ROBERT
She said you didn't. But I didn't believe that.
Pause.
Anyway I think I thought you knew. But you say you didn't?
JERRY
She told you … when?
ROBERT
Well, I found out. That's what happened. I told her I'd found out and then she … confirmed … the facts.
JERRY
When?
ROBERT
Oh, a long time ago, Jerry.
Pause.
JERRY
But we've seen each other … a great deal … over the last four years. We've had lunch.
ROBERT
Never played squash though.
JERRY
I was your best friend.
ROBERT
Well, yes, sure.
JERRY stares at him and then holds his head in his hands.
Oh, don't get upset. There's no point.
Silence.
JERRY sits up.
JERRY
Why didn't she tell me?
ROBERT
Well, I'm not her, old boy.
JERRY
Why didn't you tell me?
Pause.
ROBERT
I thought you might know.
JERRY
But you didn't know for certain, did you? You didn't know!
ROBERT
No.
JERRY
Then why didn't you tell me?
Pause.
ROBERT
Tell you what?
JERRY
That you knew. You bastard.
ROBERT
Oh, don't call me a bastard, Jerry.
Pause.
JERRY
What are we going to do?
ROBERT
You and I are not going to do anything. My marriage is finished. I've just got to make proper arrangements, that's all. About the children.
Pause.
JERRY
You hadn't thought of telling Judith?
ROBERT
Telling Judith what? Oh, about you and Emma. You mean she never knew? Are you quite sure?
Pause.
No, I hadn't thought of telling Judith, actually. You don't seem to understand. You don't seem to understand that I don't give a shit about any of this. It's true I've hit Emma once or twice. But that wasn't to defend a principle. I wasn't inspired to do it from any kind of moral standpoint. I just felt like giving her a good bashing. The old itch … you understand.
Pause.
JERRY
But you betrayed her for years, didn't you?
ROBERT
Oh yes.
JERRY
And she never knew about it. Did she?
ROBERT
Didn't she?
Pause.
JERRY
I didn't.
ROBERT
No, you didn't know very much about anything, really, did you?
Pause.
JERRY
No.
ROBERT
Yes you did.
JERRY
Yes I did. I lived with her.
ROBERT
Yes. In the afternoons.
JERRY
Sometimes very long ones. For seven years.
ROBERT
Yes, you certainly knew all there was to know about that. About the seven years of afternoons. I don't know anything about that.
Pause.
I hope she looked after you all right.
Silence.
JERRY
We used to like each other.
ROBERT
We still do.
Pause.
I bumped into old Casey the other day. I believe he's having an affair with my wife. We haven't played squash for years, Casey and me. We used to have a damn good game.
JERRY
He's put on weight.
ROBERT
Yes, I thought that.
JERRY
He's over the hill.
ROBERT
Is he?
JERRY
Don't you think so?
ROBERT
In what respect?
JERRY
His work. His books.
ROBERT
Oh his books. His art. Yes his art does seem to be falling away, doesn't it?
JERRY
Still sells.
ROBERT
Oh, sells very well. Sells very well indeed. Very good for us. For you and me.
JERRY
Yes.
ROBERT
Someone was telling me – who was it – must have been someone in the publicity department – the other day – that when Casey went up to York to sign his latest book, in a bookshop, you know, with Barbara Spring, you know, the populace queued for hours to get his signature on his book, while one old lady and a dog queued to get Barbara Spring's signature, on her book. I happen to think that Barbara Spring … is good, don't you?
JERRY
Yes.
Pause.
ROBERT
Still, we both do very well out of Casey, don't we?
JERRY
Very well.
Pause.
ROBERT
Have you read any good books lately?
JERRY
I've been reading Yeats.
ROBERT
Ah. Yeats. Yes.
Pause.
JERRY
You read Yeats on Torcello once.
ROBERT
On Torcello?
JERRY
Don't you remember? Years ago. You went over to Torcello in the dawn, alone. And read Yeats.
ROBERT
So I did. I told you that, yes.
Pause.
Yes.
Pause.
Where are you going this summer, you and the family?
JERRY
The Lake District.
1975
SCENE THREE
Flat. 1975. Winter.
JERRY and EMMA. They are sitting.
Silence.
JERRY
What do you want to do then?
Pause.
EMMA
I don't quite know what we're doing, any more, that's all.
JERRY
Mmnn.
Pause.
EMMA
I mean, this flat …
JERRY
Yes.
EMMA
Can you actually remember when we were last here?
JERRY
In the summer, was it?
EMMA
Well, was it?
JERRY
I know it seems –
EMMA
It was the beginning of September.
JERRY
Well, that's summer, isn't it?
EMMA
It was actually extremely cold. It was early autumn.
JERRY
It's pretty cold now.
EMMA
We were going to get another electric fire.
JERRY
Yes, I never got that.
EMMA
Not much point in getting it if we're never here.
JERRY
We're here now.
EMMA
Not really.
Silence.
JERRY
Well, things have changed. You've been so busy, your job, and everything.
EMMA
Well, I know. But I mean, I like it. I want to do it.
JERRY
No, it's great. It's marvellous for you. But you're not –
EMMA
If you're running a gallery you've got to run it, you've got to be there.
JERRY
But you're not free in the afternoons. Are you?
EMMA
No.
JERRY
So how can we meet?
EMMA
But look at the times you're out of the country. You're never here.
JERRY
But when I am here you're not free in the afternoons. So we can never meet.
EMMA
We can meet for lunch.
JERRY
We can meet for lunch but we can't come all the way out here for a quick lunch. I'm too old for that.
EMMA
I didn't suggest that.
Pause.
You see, in the past … we were inventive, we were determined, it was … it seemed impossible to meet … impossible … and yet we did. We met here, we took this flat and we met in this flat because we wanted to.
JERRY
It would not matter how much we wanted to if you're not free in the afternoons and I'm in America.
Silence.
Nights have always been out of the question and you know it. I have a family.
EMMA
I have a family too.
JERRY
I know that perfectly well. I might remind you that your husband is my oldest friend.
EMMA
What do you mean by that?
JERRY
I don't mean anything by it.
EMMA
But what are you trying to say by saying that?
JERRY
Jesus. I'm not trying to say anything. I've said precisely what I wanted to say.
EMMA
I see.
Pause.
The fact is that in the old days we used our imagination and we'd take a night and make an arrangement and go to an hotel.
JERRY
Yes. We did.
Pause.
But that was … in the main … before we got this flat.
EMMA
We haven't spent many nights … in this flat.
JERRY
No.
Pause.
Not many nights anywhere, really.
Silence.
EMMA
Can you afford … to keep it going, month after month?
JERRY
Oh …
EMMA
It's a waste. Nobody comes here. I just can't bear to think about it, actually. Just … empty. All day and night. Day after day and night after night. I mean the crockery and the curtains and the bedspread and everything. And the tablecloth I brought from Venice. (Laughs.) It's ridiculous.
Pause.
It's just … an empty home.
JERRY
It's not a home.
Pause.
I know … I know what you wanted … but it could never … actually be a home. You have a home. I have a home. With curtains, et cetera. And children. Two children in two homes. There are no children here, so it's not the same kind of home.
EMMA
It was never intended to be the same kind of home. Was it?
Pause.
You didn't ever see it as a home, in any sense, did you?
JERRY
No, I saw it as a flat … you know.
EMMA
For fucking.
JERRY
No, for loving.
EMMA
Well, there's not much of that left, is there?
Silence.
JERRY
I don't think we don't love each other.
Pause.
EMMA
Ah well.
Pause.
What will you do about all the … furniture?
JERRY
What?
EMMA
The contents.
Silence.
JERRY
You know we can do something very simple, if we want to do it.
EMMA
You mean sell it to Mrs Banks for a small sum and … and she can let it as a furnished flat?
JERRY
That's right. Wasn't the bed here?
EMMA
What?
JERRY
Wasn't it?
EMMA
We bought the bed. We bought everything. We bought the bed together.
JERRY
Ah. Yes.
EMMA stands.
EMMA
You'll make all the arrangements, then? With Mrs Banks?
Pause.
I don't want anything. Nowhere I can put it, you see. I have a home, with tablecloths and all the rest of it.
JERRY
I'll go into it, with Mrs Banks. There'll be a few quid, you know, so …
EMMA
No, I don't want any cash, thank you very much.
Silence. She puts coat on.
I'm going now.
He turns, looks at her.
Oh here's my key.
Takes out keyring, tries to take key from ring.
Oh Christ.
Struggles to take key from ring.
Throws him the ring.
You take it off.
He catches it, looks at her.
Can you just do it please? I'm picking up Charlotte from school. I'm taking her shopping.
He takes key off.
Do you realise this is an afternoon? It's the Gallery's afternoon off. That's why I'm here. We close every Thursday afternoon. Can I have my keyring?
He gives it to her.
Thanks. Listen. I think we've made absolutely the right decision.
She goes.
He stands.
1974
SCENE FOUR
Robert and Emma's House. Living room. 1974. Autumn.
ROBERT pouring a drink for JERRY. He goes to the door.
ROBERT
Emma! Jerry's here!
EMMA (off)
Who?
ROBERT
Jerry.
EMMA
I'll be down.
ROBERT gives the drink to JERRY.
JERRY
Cheers.
ROBERT
Cheers. She's just putting Ned to bed. I should think he'll be off in a minute.
JERRY
Off where?
ROBERT
Dreamland.
JERRY
Ah. Yes, how is your sleep these days?
ROBERT
What?
JERRY
Do you still have bad nights? With Ned, I mean?
ROBERT
Oh, I see. Well, no. No, it's getting better. But you know what they say?
JERRY
What?
ROBERT
They say boys are worse than girls.
JERRY
Worse?
ROBERT
Babies. They say boy babies cry more than girl babies.
JERRY
Do they?
ROBERT
You didn't find that to be the case?
JERRY
Uh … yes, I think we did. Did you?
ROBERT
Yes. What do you make of it? Why do you think that is?
JERRY
Well, I suppose … boys are more anxious.
ROBERT
Boy babies?
JERRY
Yes.
ROBERT
What the hell are they anxious about … at their age? Do you think?
JERRY
Well … facing the world, I suppose, leaving the womb, all that.
ROBERT
But what about girl babies? They leave the womb too.
JERRY
That's true. It's also true that nobody talks much about girl babies leaving the womb. Do they?
ROBERT
I am prepared to do so.
JERRY
I see. Well, what have you got to say?
ROBERT
I was asking you a question.
JERRY
What was it?
ROBERT
Why do you assert that boy babies find leaving the womb more of a problem than girl babies?
JERRY
Have I made such an assertion?
ROBERT
You went on to make a further assertion, to the effect that boy babies are more anxious about facing the world than girl babies.
JERRY
Do you yourself believe that to be the case?
ROBERT
I do, yes.
Pause.
JERRY
Why do you think it is?
ROBERT
I have no answer.
Pause.
JERRY
Do you think it might have something to do with the difference between the sexes?
Pause.
ROBERT
Good God, you're right. That must be it.
EMMA comes in.
EMMA
Hullo. Surprise.
JERRY
I was having tea with Casey.
EMMA
Where?
JERRY
Just around the corner.
EMMA
I thought he lived in … Hampstead or somewhere.
ROBERT
You're out of date.
EMMA
Am I?
JERRY
He's left Susannah. He's living alone round the corner.
EMMA
Oh.
ROBERT
Writing a novel about a man who leaves his wife and three children and goes to live alone on the other side of London to write a novel about a man who leaves his wife and three children –
EMMA
I hope it's better than the last one.
ROBERT
The last one? Ah, the last one. Wasn't that the one about the man who lived in a big house in Hampstead with his wife and three children and is writing a novel about –?
JERRY (to EMMA)
Why didn't you like it?
EMMA
I've told you actually.
JERRY
I think it's the best thing he's written.
EMMA
It may be the best thing he's written but it's still bloody dishonest.
JERRY
Dishonest? In what way dishonest?
EMMA
I've told you, actually.
JERRY
Have you?
ROBERT
Yes, she has. Once when we were all having dinner, I remember, you, me, Emma and Judith, where was it, Emma gave a dissertation over the pudding about dishonesty in Casey with reference to his last novel. 'Drying Out.' It was most stimulating. Judith had to leave unfortunately in the middle of it for her night shift at the hospital. How is Judith, by the way?
JERRY
Very well.
Pause.
ROBERT
When are we going to play squash?
JERRY
You're too good.
ROBERT
Not at all. I'm not good at all. I'm just fitter than you.
JERRY
But why? Why are you fitter than me?
ROBERT
Because I play squash.
JERRY
Oh, you're playing? Regularly?
ROBERT
Mmnn.
JERRY
With whom?
ROBERT
Casey, actually.
JERRY
Casey? Good Lord. What's he like?
ROBERT
He's a brutally honest squash player. No, really, we haven't played for years. We must play. You were rather good.
JERRY
Yes, I was quite good. All right. I'll give you a ring.
ROBERT
Why don't you?
JERRY
We'll make a date.
ROBERT
Right.
JERRY
Yes. We must do that.
ROBERT
And then I'll take you to lunch.
JERRY
No, no. I'll take you to lunch.
ROBERT
The man who wins buys the lunch.
EMMA
Can I watch?
Pause.
ROBERT
What?
EMMA
Why can't I watch and then take you both to lunch?
ROBERT
Well, to be brutally honest, we wouldn't actually want a woman around, would we, Jerry? I mean a game of squash isn't simply a game of squash, it's rather more than that. You see, first there's the game. And then there's the shower. And then there's the pint. And then there's lunch. After all, you've been at it. You've had your battle. What you want is your pint and your lunch. You really don't want a woman buying you lunch. You don't actually want a woman within a mile of the place, any of the places, really. You don't want her in the squash court, you don't want her in the shower, or the pub, or the restaurant. You see, at lunch you want to talk about squash, or cricket, or books, or even women, with your friend, and be able to warm to your theme without fear of improper interruption. That's what it's all about. What do you think, Jerry?
JERRY
I haven't played squash for years.
Pause.
ROBERT
Well, let's play next week.
JERRY
I can't next week. I'm in New York.
EMMA
Are you?
JERRY
I'm going over with one of my more celebrated writers, actually.
EMMA
Who?
JERRY
Casey. Someone wants to film that novel of his you didn't like. We're going over to discuss it. It was a question of them coming over here or us going over there. Casey thought he deserved the trip.
EMMA
What about you?
JERRY
What?
EMMA
Do you deserve the trip?
ROBERT
Judith going?
JERRY
No. He can't go alone. We'll have that game of squash when I get back. A week, or at the most ten days.
ROBERT
Lovely.
JERRY (to EMMA)
Bye.
ROBERT and JERRY leave.
She remains still.
ROBERT returns. He kisses her. She responds. She breaks away, puts her head on his shoulder, cries quietly. He holds her.
1973
SCENE FIVE
Hotel Room. Venice. 1973. Summer.
EMMA on bed reading. ROBERT at window looking out. She looks up at him, then back at the book.
EMMA
It's Torcello tomorrow, isn't it?
ROBERT
What?
EMMA
We're going to Torcello tomorrow, aren't we?
ROBERT
Yes. That's right.
EMMA
That'll be lovely.
ROBERT
Mmn.
EMMA
I can't wait.
Pause.
ROBERT
Book good?
EMMA
Mmn. Yes.
ROBERT
What is it?
EMMA
This new book. This man Spinks.
ROBERT
Oh that. Jerry was telling me about it.
EMMA
Jerry? Was he?
ROBERT
He was telling me about it at lunch last week.
EMMA
Really? Does he like it?
ROBERT
Spinks is his boy. He discovered him.
EMMA
Oh. I didn't know that.
ROBERT
Unsolicited manuscript.
Pause.
You think it's good, do you?
EMMA
Yes, I do. I'm enjoying it.
ROBERT
Jerry thinks it's good too. You should have lunch with us one day and chat about it.
EMMA
Is that absolutely necessary?
Pause.
It's not as good as all that.
ROBERT
You mean it's not good enough for you to have lunch with Jerry and me and chat about it?
EMMA
What the hell are you talking about?
ROBERT
I must read it again myself, now it's in hard covers.
EMMA
Again?
ROBERT
Jerry wanted us to publish it.
EMMA
Oh, really?
ROBERT
Well, naturally. Anyway, I turned it down.
EMMA
Why?
ROBERT
Oh … not much more to say on that subject, really, is there?
EMMA
What do you consider the subject to be?
ROBERT
Betrayal.
EMMA
No, it isn't.
ROBERT
Isn't it? What is it then?
EMMA
I haven't finished it yet. I'll let you know.
ROBERT
Well, do let me know.
Pause.
Of course, I could be thinking of the wrong book.
Silence.
By the way, I went into American Express yesterday.
She looks up.
EMMA
Oh?
ROBERT
Yes. I went to cash some travellers cheques. You get a much better rate there, you see, than you do in an hotel.
EMMA
Oh, do you?
ROBERT
Oh yes. Anyway, there was a letter there for you. They asked me if you were any relation and I said yes. So they asked me if I wanted to take it. I mean, they gave it to me. But I said no, I would leave it. Did you get it?
EMMA
Yes.
ROBERT
I suppose you popped in when you were out shopping yesterday evening?
EMMA
That's right.
ROBERT
Oh well, I'm glad you got it.
Pause.
To be honest, I was amazed that they suggested I take it. It could never happen in England. But these Italians … so free and easy. I mean, just because my name is Downs and your name is Downs doesn't mean that we're the Mr and Mrs Downs that they, in their laughing Mediterranean way, assume we are. We could be, and in fact are vastly more likely to be, total strangers. So let's say I, whom they laughingly assume to be your husband, had taken the letter, having declared myself to be your husband but in truth being a total stranger, and opened it, and read it, out of nothing more than idle curiosity, and then thrown it in a canal, you would never have received it and would have been deprived of your legal right to open your own mail, and all this because of Venetian je m'en foutisme. I've a good mind to write to the Doge of Venice about it.
Pause.
That's what stopped me taking it, by the way, and bringing it to you, the thought that I could very easily be a total stranger.
Pause.
What they of course did not know, and had no way of knowing, was that I am your husband.
EMMA
Pretty inefficient bunch.
ROBERT
Only in a laughing Mediterranean way.
Pause.
EMMA
It was from Jerry.
ROBERT
Yes, I recognised the handwriting.
Pause.
How is he?
EMMA
Okay.
ROBERT
Good. And Judith?
EMMA
Fine.
Pause.
ROBERT
What about the kids?
EMMA
I don't think he mentioned them.
ROBERT
They're probably all right, then. If they were ill or something he'd have probably mentioned it.
Pause.
Any other news?
EMMA
No.
Silence.
ROBERT
Are you looking forward to Torcello?
Pause.
How many times have we been to Torcello? Twice. I remember how you loved it, the first time I took you there. You fell in love with it. That was about ten years ago, wasn't it? About … six months after we were married. Yes. Do you remember? I wonder if you'll like it as much tomorrow.
Pause.
What do you think of Jerry as a letter writer?
She laughs shortly.
You're trembling. Are you cold?
EMMA
No.
ROBERT
He used to write to me at one time. Long letters about Ford Madox Ford. I used to write to him too, come to think of it. Long letters about … oh, W. B. Yeats, I suppose. That was the time when we were both editors of poetry magazines. Him at Cambridge, me at Oxford. Did you know that? We were bright young men. And close friends. Well, we still are close friends. All that was long before I met you. Long before he met you. I've been trying to remember when I introduced him to you. I simply can't remember. I take it I did introduce him to you? Yes. But when? Can you remember?
EMMA
No.
ROBERT
You can't?
EMMA
No.
ROBERT
How odd.
Pause.
He wasn't best man at our wedding, was he?
EMMA
You know he was.
ROBERT
Ah yes. Well, that's probably when I introduced him to you.
Pause.
Was there any message for me, in his letter?
Pause.
I mean in the line of business, to do with the world of publishing. Has he discovered any new and original talent? He's quite talented at uncovering talent, old Jerry.
EMMA
No message.
ROBERT
No message. Not even his love?
Silence.
EMMA
We're lovers.
ROBERT
Ah. Yes. I thought it might be something like that, something along those lines.
EMMA
When?
ROBERT
What?
EMMA
When did you think?
ROBERT
Yesterday. Only yesterday. When I saw his handwriting on the letter. Before yesterday I was quite ignorant.
EMMA
Ah.
Pause.
I'm sorry.
ROBERT
Sorry?
Silence.
Where does it … take place? Must be a bit awkward. I mean we've got two kids, he's got two kids, not to mention a wife …
EMMA
We have a flat.
ROBERT
Ah. I see.
Pause.
Nice?
Pause.
A flat. It's quite well established then, your … uh … affair?
EMMA
Yes.
ROBERT
How long?
EMMA
Some time.
ROBERT
Yes, but how long exactly?
EMMA
Five years.
ROBERT
Five years?
Pause.
Ned is one year old.
Pause.
Did you hear what I said?
EMMA
Yes. He's your son. Jerry was in America. For two months.
Silence.
ROBERT
Did he write to you from America?
EMMA
Of course. And I wrote to him.
ROBERT
Did you tell him that Ned had been conceived?
EMMA
Not by letter.
ROBERT
But when you did tell him, was he happy to know I was to be a father?
Pause.
I've always liked Jerry. To be honest, I've always liked him rather more than I've liked you. Maybe I should have had an affair with him myself.
Silence.
Tell me, are you looking forward to our trip to Torcello?
1973 Later
SCENE SIX
Flat. 1973. Summer.
EMMA and JERRY standing, kissing. She is holding a basket and a parcel.
EMMA
Darling.
JERRY
Darling.
He continues to hold her. She laughs.
EMMA
I must put this down.
She puts basket on table.
JERRY
What's in it?
EMMA
Lunch.
JERRY
What?
EMMA
Things you like.
He pours wine.
How do I look?
JERRY
Beautiful.
EMMA
Do I look well?
JERRY
You do.
He gives her wine.
EMMA (sipping)
Mmmnn.
JERRY
How was it?
EMMA
It was lovely.
JERRY
Did you go to Torcello?
EMMA
No.
JERRY
Why not?
EMMA
Oh, I don't know. The speedboats were on strike, or something.
JERRY
On strike?
EMMA
Yes. On the day we were going.
JERRY
Ah. What about the gondolas?
EMMA
You can't take a gondola to Torcello.
JERRY
Well, they used to in the old days, didn't they? Before they had speedboats. How do you think they got over there?
EMMA
It would take hours.
JERRY
Yes. I suppose so.
Pause.
I got your letter.
EMMA
Good.
JERRY
Get mine?
EMMA
Of course. Miss me?
JERRY
Yes. Actually, I haven't been well.
EMMA
What?
JERRY
Oh nothing. A bug.
She kisses him.
EMMA
I missed you.
She turns away, looks about.
You haven't been here … at all?
JERRY
No.
EMMA
Needs hoovering.
JERRY
Later.
Pause.
I spoke to Robert this morning.
EMMA
Oh?
JERRY
I'm taking him to lunch on Thursday.
EMMA
Thursday? Why?
JERRY
Well, it's my turn.
EMMA
No, I meant why are you taking him to lunch?
JERRY
Because it's my turn. Last time he took me to lunch.
EMMA
You know what I mean.
JERRY
No. What?
EMMA
What is the subject or point of your lunch?
JERRY
No subject or point. We've just been doing it for years. His turn, followed by my turn.
EMMA
You've misunderstood me.
JERRY
Have I? How?
EMMA
Well, quite simply, you often do meet, or have lunch, to discuss a particular writer or a particular book, don't you? So to those meetings, or lunches, there is a point or a subject.
JERRY
Well, there isn't to this one.
Pause.
EMMA
You haven't discovered any new writers, while I've been away?
JERRY
No. Sam fell off his bike.
EMMA
No.
JERRY
He was knocked out. He was out for about a minute.
EMMA
Were you with him?
JERRY
No. Judith. He's all right. And then I got this bug.
EMMA
Oh dear.
JERRY
So I've had time for nothing.
EMMA
Everything will be better, now I'm back.
JERRY
Yes.
EMMA
Oh, I read that Spinks, the book you gave me.
JERRY
What do you think?
EMMA
Excellent.
JERRY
Robert hated it. He wouldn't publish it.
EMMA
What's he like?
JERRY
Who?
EMMA
Spinks.
JERRY
Spinks? He's a very thin bloke. About fifty. Wears dark glasses day and night. He lives alone, in a furnished room. Quite like this one, actually. He's … unfussed.
EMMA
Furnished rooms suit him?
JERRY
Yes.
EMMA
They suit me too. And you? Do you still like it? Our home?
JERRY
It's marvellous not to have a telephone.
EMMA
And marvellous to have me?
JERRY
You're all right.
EMMA
I cook and slave for you.
JERRY
You do.
EMMA
I bought something in Venice – for the house.
She opens the parcel, takes out a tablecloth. Puts it on the table.
Do you like it?
JERRY
It's lovely.
Pause.
EMMA
Do you think we'll ever go to Venice together?
Pause.
No. Probably not.
Pause.
JERRY
You don't think I should see Robert for lunch on Thursday, or on Friday, for that matter?
EMMA
Why do you say that?
JERRY
You don't think I should see him at all?
EMMA
I didn't say that. How can you not see him? Don't be silly.
Pause.
JERRY
I had a terrible panic when you were away. I was sorting out a contract, in my office, with some lawyers. I suddenly couldn't remember what I'd done with your letter. I couldn't remember putting it in the safe. I said I had to look for something in the safe. I opened the safe. It wasn't there. I had to go on with the damn contract … I kept seeing it lying somewhere in the house, being picked up …
EMMA
Did you find it?
JERRY
It was in the pocket of a jacket – in my wardrobe – at home.
EMMA
God.
JERRY
Something else happened a few months ago – I didn't tell you. We had a drink one evening. Well, we had our drink, and I got home about eight, walked in the door, Judith said, hello, you're a bit late. Sorry, I said, I was having a drink with Spinks. Spinks? she said, how odd, he's just phoned, five minutes ago, wanted to speak to you, he didn't mention he'd just seen you. You know old Spinks, I said, not exactly forthcoming, is he? He'd probably remembered something he'd meant to say but hadn't. I'll ring him later. I went up to see the kids and then we all had dinner.
Pause.
Listen. Do you remember, when was it, a few years ago, we were all in your kitchen, must have been Christmas or something, do you remember, all the kids were running about and suddenly I picked Charlotte up and lifted her high up, high up, and then down and up. Do you remember how she laughed?
EMMA
Everyone laughed.
JERRY
She was so light. And there was your husband and my wife and all the kids, all standing and laughing in your kitchen. I can't get rid of it.
EMMA
It was your kitchen, actually.
He takes her hand. They stand. They go to the bed and lie down.
Why shouldn't you throw her up?
She caresses him. They embrace.
1973 Later
SCENE SEVEN
Restaurant. 1973. Summer.
ROBERT at table drinking white wine. The WAITER brings JERRY to the table. JERRY sits.
JERRY
Hullo, Robert.
ROBERT
Hullo.
JERRY (to the WAITER)
I'd like a Scotch on the rocks.
WAITER
With water?
JERRY
What?
WAITER
You want it with water?
JERRY
No. No water. Just on the rocks.
WAITER
Certainly signore.
ROBERT
Scotch? You don't usually drink Scotch at lunchtime.
JERRY
I've had a bug, actually.
ROBERT
Ah.
JERRY
And the only thing to get rid of this bug was Scotch – at lunchtime as well as at night. So I'm still drinking Scotch at lunchtime in case it comes back.
ROBERT
Like an apple a day.
JERRY
Precisely.
WAITER brings Scotch on rocks.
Cheers.
ROBERT
Cheers.
WAITER
The menus, signori.
He passes the menus, goes.
ROBERT
How are you? Apart from the bug?
JERRY
Fine.
ROBERT
Ready for some squash?
JERRY
When I've got rid of the bug, yes.
ROBERT
I thought you had got rid of it.
JERRY
Why do you think I'm still drinking Scotch at lunchtime?
ROBERT
Oh yes. We really must play. We haven't played for years.
JERRY
How old are you now, then?
ROBERT
Thirty-six.
JERRY
That means I'm thirty-six as well.
ROBERT
If you're a day.
JERRY
Bit violent, squash.
ROBERT
Ring me. We'll have a game.
JERRY
How was Venice?
WAITER
Ready to order, signori?
ROBERT
What'll you have?
JERRY looks at him, briefly, then back to the menu.
JERRY
I'll have melone. And Piccata al limone with a green salad.
WAITER
Insalate verde. Prosciutto e melone?
JERRY
No. Just melone. On the rocks.
ROBERT
I'll have prosciutto and melone. Fried scampi. And spinach.
WAITER
E spinaci. Grazie, signore.
ROBERT
And a bottle of Corvo Bianco straight away.
WAITER
Si, signore. Molte grazies. (He goes.)
JERRY
Is he the one who's always been here or is it his son?
ROBERT
You mean has his son always been here?
JERRY
No, is he his son? I mean, is he the son of the one who's always been here?
ROBERT
No, he's his father.
JERRY
Ah. Is he?
ROBERT
He's the one who speaks wonderful Italian.
JERRY
Yes. Your Italian's pretty good, isn't it?
ROBERT
No. Not at all.
JERRY
Yes it is.
ROBERT
No, it's Emma's Italian which is very good. Emma's Italian is very good.
JERRY
Is it? I didn't know that.
WAITER with bottle.
WAITER
Corvo Bianco, signore.
ROBERT
Thank you.
JERRY
How was it, anyway? Venice.
WAITER
Venice, signore? Beautiful. A most beautiful place of Italy. You see that painting on the wall? Is Venice.
ROBERT
So it is.
WAITER
You know what is none of in Venice?
JERRY
What?
WAITER
Traffico.
He goes, smiling.
ROBERT
Cheers.
JERRY
Cheers.
ROBERT
When were you last there?
JERRY
Oh, years.
ROBERT
How's Judith?
JERRY
What? Oh, you know, okay. Busy.
ROBERT
And the kids?
JERRY
All right. Sam fell off –
ROBERT
What?
JERRY
No, no, nothing. So how was it?
ROBERT
You used to go there with Judith, didn't you?
JERRY
Yes, but we haven't been there for years.
Pause.
How about Charlotte? Did she enjoy it?
ROBERT
I think she did.
Pause.
I did.
JERRY
Good.
ROBERT
I went for a trip to Torcello.
JERRY
Oh, really? Lovely place.
ROBERT
Incredible day. I got up very early and – whoomp – right across the lagoon – to Torcello. Not a soul stirring.
JERRY
What's the 'whoomp'?
ROBERT
Speedboat.
JERRY
Ah. I thought –
ROBERT
What?
JERRY
It's so long ago, I'm obviously wrong. I thought one went to Torcello by gondola.
ROBERT
It would take hours. No, no, – whoomp – across the lagoon in the dawn.
JERRY
Sounds good.
ROBERT
I was quite alone.
JERRY
Where was Emma?
ROBERT
I think asleep.
JERRY
Ah.
ROBERT
I was alone for hours, as a matter of fact, on the island. Highpoint, actually, of the whole trip.
JERRY
Was it? Well, it sounds marvellous.
ROBERT
Yes. I sat on the grass and read Yeats.
JERRY
Yeats on Torcello?
ROBERT
They went well together.
WAITER with food.
WAITER
One melone. One prosciutto e melone.
ROBERT
Prosciutto for me.
WAITER
Buon appetito.
ROBERT
Emma read that novel of that chum of yours – what's his name?
JERRY
I don't know. What?
ROBERT
Spinks.
JERRY
Oh Spinks. Yes. The one you didn't like.
ROBERT
The one I wouldn't publish.
JERRY
I remember. Did Emma like it?
ROBERT
She seemed to be madly in love with it.
JERRY
Good.
ROBERT
You like it yourself, do you?
JERRY
I do.
ROBERT
And it's very successful?
JERRY
It is.
ROBERT
Tell me, do you think that makes me a publisher of unique critical judgement or a foolish publisher?
JERRY
A foolish publisher.
ROBERT
I agree with you. I am a very foolish publisher.
JERRY
No you're not. What are you talking about? You're a good publisher. What are you talking about?
ROBERT
I'm a bad publisher because I hate books. Or to be more precise, prose. Or to be even more precise, modern prose, I mean modern novels, first novels and second novels, all that promise and sensibility it falls upon me to judge, to put the firm's money on, and then to push for the third novel, see it done, see the dust jacket done, see the dinner for the national literary editors done, see the signing in Hatchards done, see the lucky author cook himself to death, all in the name of literature. You know what you and Emma have in common? You love literature. I mean you love modern prose literature, I mean you love the new novel by the new Casey or Spinks. It gives you both a thrill.
JERRY
You must be pissed.
ROBERT
Really? You mean you don't think it gives Emma a thrill?
JERRY
How do I know? She's your wife.
Pause.
ROBERT
Yes. Yes. You're quite right. I shouldn't have to consult you. I shouldn't have to consult anyone.
JERRY
I'd like some more wine.
ROBERT
Yes, yes. Waiter! Another bottle of Corvo Bianco. And where's our lunch? This place is going to pot. Mind you, it's worse in Venice. They really don't give a fuck there. I'm not drunk. You can't get drunk on Corvo Bianco. Mind you … last night … I was up late … I hate brandy … it stinks of modern literature. No, look, I'm sorry …
WAITER with bottle.
WAITER
Corvo Bianco.
ROBERT
Same glass. Where's our lunch?
WAITER
It comes.
ROBERT
I'll pour.
WAITER goes, with melon plates.
No, look, I'm sorry, have another drink. I'll tell you what it is, it's just that I can't bear being back in London. I was happy, such a rare thing, not in Venice, I don't mean that, I mean on Torcello, when I walked about Torcello in the early morning, alone, I was happy, I wanted to stay there for ever.
JERRY
We all …
ROBERT
Yes, we all … feel that sometimes. Oh you do yourself, do you?
Pause.
I mean there's nothing really wrong, you see. I've got the family. Emma and I are very good together. I think the world of her. And I actually consider Casey to be a first-rate writer.
JERRY
Do you really?
ROBERT
First rate. I'm proud to publish him and you discovered him and that was very clever of you.
JERRY
Thanks.
ROBERT
You've got a good nose and you care and I respect that in you. So does Emma. We often talk about it.
JERRY
How is Emma?
ROBERT
Very well. You must come and have a drink sometime. She'd love to see you.
1971
SCENE EIGHT
Flat. 1971. Summer.
Flat empty. Kitchen door open. Table set; crockery, glasses, bottle of wine.
JERRY comes in through front door, with key.
JERRY
Hullo.
EMMA's voice from kitchen.
EMMA
Hullo.
EMMA comes out of kitchen. She is wearing an apron.
EMMA
I've only just got here. I meant to be here ages ago. I'm making this stew. It'll be hours.
He kisses her.
Are you starving?
JERRY
Yes.
He kisses her.
EMMA
No really. I'll never do it. You sit down. I'll get it on.
JERRY
What a lovely apron.
EMMA
Good.
She kisses him, goes into kitchen.
She calls. He pours wine.
EMMA
What have you been doing?
JERRY
Just walked through the park.
EMMA
What was it like?
JERRY
Beautiful. Empty. A slight mist.
Pause.
I sat down for a bit, under a tree. It was very quiet. I just looked at the Serpentine.
Pause.
EMMA
And then?
JERRY
Then I got a taxi to Wessex Grove. Number 31. And I climbed the steps and opened the front door and then climbed the stairs and opened this door and found you in a new apron cooking a stew.
EMMA comes out of the kitchen.
EMMA
It's on.
JERRY
Which is now on.
EMMA pours herself a vodka.
JERRY
Vodka? At lunchtime?
EMMA
Just feel like one.
She drinks.
I ran into Judith yesterday. Did she tell you?
JERRY
No, she didn't.
Pause.
Where?
EMMA
Lunch.
JERRY
Lunch?
EMMA
She didn't tell you?
JERRY
No.
EMMA
That's funny.
JERRY
What do you mean, lunch? Where?
EMMA
At Gino's.
JERRY
Gino's? What the hell was she doing at Gino's?
EMMA
Having lunch. With a woman.
JERRY
A woman?
EMMA
Yes.
Pause.
JERRY
Gino's is a long way from the hospital.
EMMA
Of course it isn't.
JERRY
Well … I suppose not.
Pause.
And you?
EMMA
Me?
JERRY
What were you doing at Gino's?
EMMA
Having lunch with my sister.
JERRY
Ah.
Pause.
EMMA
Judith … didn't tell you?
JERRY
I haven't really seen her. I was out late last night, with Casey. And she was out early this morning.
Pause.
EMMA
Do you think she knows?
JERRY
Knows?
EMMA
Does she know? About us?
JERRY
No.
EMMA
Are you sure?
JERRY
She's too busy. At the hospital. And then the kids. She doesn't go in for … speculation.
EMMA
But what about clues? Isn't she interested … to follow clues?
JERRY
What clues?
EMMA
Well, there must be some … available to her … to pick up.
JERRY
There are none … available to her.
EMMA
Oh. Well … good.
JERRY
She has an admirer.
EMMA
Really?
JERRY
Another doctor. He takes her for drinks. It's … irritating. I mean, she says that's all there is to it. He likes her, she's fond of him, et cetera, et cetera … perhaps that's what I find irritating. I don't know exactly what's going on.
EMMA
Oh, why shouldn't she have an admirer? I have an admirer.
JERRY
Who?
EMMA
Uuh … you, I think.
JERRY
Ah. Yes.
He takes her hand.
I'm more than that.
Pause.
EMMA
Tell me … have you ever thought … of changing your life?
JERRY
Changing?
EMMA
Mmnn.
Pause.
JERRY
It's impossible.
Pause.
EMMA
Do you think she's being unfaithful to you?
JERRY
No. I don't know.
EMMA
When you were in America, just now, for instance?
JERRY
No.
EMMA
Have you ever been unfaithful?
JERRY
To whom?
EMMA
To me, of course.
JERRY
No.
Pause.
Have you … to me?
EMMA
No.
Pause.
If she was, what would you do?
JERRY
She isn't. She's busy. She's got lots to do. She's a very good doctor. She likes her life. She loves the kids.
EMMA
Ah.
JERRY
She loves me.
Pause.
EMMA
Ah.
Silence.
JERRY
All that means something.
EMMA
It certainly does.
JERRY
But I adore you.
Pause.
I adore you.
EMMA takes his hand.
EMMA
Yes.
Pause.
Listen. There's something I have to tell you.
JERRY
What?
EMMA
I'm pregnant. It was when you were in America.
Pause.
It wasn't anyone else. It was my husband.
Pause.
JERRY
Yes. Yes, of course.
Pause.
I'm very happy for you.
1968
SCENE NINE
Robert and Emma's House. Bedroom. 1968. Winter.
The room is dimly lit. JERRY is sitting in the shadows. Faint music through the door.
The door opens. Light. Music. EMMA comes in, closes the door. She goes towards the mirror, sees JERRY.
EMMA
Good God.
JERRY
I've been waiting for you.
EMMA
What do you mean?
JERRY
I knew you'd come.
He drinks.
EMMA
I've just come in to comb my hair.
He stands.
JERRY
I knew you'd have to. I knew you'd have to comb your hair. I knew you'd have to get away from the party.
She goes to the mirror, combs her hair.
He watches her.
You're a beautiful hostess.
EMMA
Aren't you enjoying the party?
JERRY
You're beautiful.
He goes to her.
Listen. I've been watching you all night. I must tell you, I want to tell you, I have to tell you –
EMMA
Please –
JERRY
You're incredible.
EMMA
You're drunk.
JERRY
Nevertheless.
He holds her.
EMMA
Jerry.
JERRY
I was best man at your wedding. I saw you in white. I watched you glide by in white.
EMMA
I wasn't in white.
JERRY
You know what should have happened?
EMMA
What?
JERRY
I should have had you, in your white, before the wedding. I should have blackened you, in your white wedding dress, blackened you in your bridal dress, before ushering you into your wedding, as your best man.
EMMA
My husband's best man. Your best friend's best man.
JERRY
No. Your best man.
EMMA
I must get back.
JERRY
You're lovely. I'm crazy about you. All these words I'm using, don't you see, they've never been said before. Can't you see? I'm crazy about you. It's a whirlwind. Have you ever been to the Sahara Desert? Listen to me. It's true. Listen. You overwhelm me. You're so lovely.
EMMA
I'm not.
JERRY
You're so beautiful. Look at the way you look at me.
EMMA
I'm not … looking at you.
JERRY
Look at the way you're looking at me. I can't wait for you, I'm bowled over, I'm totally knocked out, you dazzle me, you jewel, my jewel, I can't ever sleep again, no, listen, it's the truth, I won't walk, I'll be a cripple, I'll descend, I'll diminish, into total paralysis, my life is in your hands, that's what you're banishing me to, a state of catatonia, do you know the state of catatonia? do you? do you? the state of … where the reigning prince is the prince of emptiness, the prince of absence, the prince of desolation. I love you.
EMMA
My husband is at the other side of that door.
JERRY
Everyone knows. The world knows. It knows. But they'll never know, they'll never know, they're in a different world. I adore you. I'm madly in love with you. I can't believe that what anyone is at this moment saying has ever happened has ever happened. Nothing has ever happened. Nothing. This is the only thing that has ever happened. Your eyes kill me. I'm lost. You're wonderful.
EMMA
No.
JERRY
Yes.
He kisses her.
She breaks away.
He kisses her.
Laughter off.
She breaks away.
Door opens. ROBERT.
EMMA
Your best friend is drunk.
JERRY
As you are my best and oldest friend and, in the present instance, my host, I decided to take this opportunity to tell your wife how beautiful she was.
ROBERT
Quite right.
JERRY
It is quite right, to … to face up to the facts … and to offer a token, without blush, a token of one's unalloyed appreciation, no holds barred.
ROBERT
Absolutely.
JERRY
And how wonderful for you that this is so, that this is the case, that her beauty is the case.
ROBERT
Quite right.
JERRY moves to ROBERT and take hold of his elbow.
JERRY
I speak as your oldest friend. Your best man.
ROBERT
You are, actually.
He clasps JERRY's shoulder, briefly, turns, leaves the room.
EMMA moves towards the door. JERRY grasps her arm. She stops still.
They stand still, looking at each other.
