Act I, Scene 1

LIVING TOGETHER
ALAN AYCKBOURN

ACT I
SCENE 1
The sitting-room. Saturday, 6.30 p.m.
It is a high-ceilinged Victorian room in need of redecoration. A French window leads to
the garden, and a door to the rest of the house. Furnishings include a settee, easy
chair, pouffe, a small table, a coffee-table, and a fireplace in front of which is a
brown fur rug
As the CURTAIN rises, Sarah, in a light summer coat and dress, is in the process of
lifting a suitcase from the floor on to the table to open it. Reg enters from the garden
in cap and sports jacket, carrying another bag and a large pile of magazines tied
with string. He is followed by Norman, bearded in woolly hat and raincoat, carrying
his own battered suitcase. Norman flings himself into the easy chair and sits
grumpily. Reg puts the magazines on the table behind the settee
REG. That's the lot. Well, come on. Where is she then? Where is she? Where's

my little sister?

SARAH. Ssh. Mother's resting.

REG. Oh. (Wandering back to the window) We ought to cut down the vegetation
in the tennis court and have a game, Norman. Fancy a game?
NORMAN. I hate tennis.
SARAH. I thought you were in a hurry to go somewhere, Norman.
NORMAN. Not at all.
REG. Yes, I thought you said you had alibrarians' conference.
NORMAN. It's been cancelled.
REG. When?
NORMAN. About ten seconds ago. Due to lack of interest.
REG. Funny lot these librarians. Now, where's Annie, do you know?
SARAH. She's in there.
REG. Ah. (He moves to the door)
SARAH. Wait.
REG. Why?
SARAH. She's busy. Tom's in there with her, having a talk.
REG. Well, she can talk to Tom any time. I've come all the way to see her.
SARAH. Wait.
REG. What made her change her mind? About going? I mean, I thought the
idea was, we came down here, nursed Mother for the weekend and Annie
went off somewhere and had a good time. No point in us being here now, is
there? Might as well not have come. Not that I mind. Nice to see the country.
Beautiful evening. No kids . . .

Living Together

SARAH. Where did you pack that present for Mother?

REG. What present?
SARAH. The bed-jacket. The blue bed-jacket, it was wrapped in tissue. Where
is it?
REG. Never set eyes on it.
SARAH. (removing a large playing board, bits of cardboard, etc. from the case)
What's all this you've packed?
REG. My game.
SARAH. Why did you want to bring it down here?
REG. I thought there might be someone around, we could try it out. I've
invented it, I want to try it out. I mean, the kids won't play it with me, you
won't play it with mehow do I know if it works if no-one'll play it? Norman
can play.
NORMAN. Eh?
SARAH. I should think Norman's had enough of games, haven't you,
NORMAN. ?
REG. Eh?
SARAH. Anyway, Norman's going in a minute, aren't you, Norman?
REG. What's all this? What's going on between you two?
SARAH. I'll tell you later.
REG. (putting the game on the coffee-table) Oh, yes . . . ? If you're planning an
affair, let me know and I'll book my holiday.
SARAH. (giving up her search) Oh well, that's that. No present for Mother.
You've forgotten to pack it. Oh well, I'll give her these magazines and tell her
we'll send the bed jacket on to her. It took me ages to make that. If you knew
how I hated knitting.
REG. We do. We know. We sat round all winter watching her with bated
breath. One dropped stitch and you could say good-bye to your supper ...Hey,
one of my little men is missing.
SARAH. Oh, my God.
REG. I've lost my Chief Superintendent. Is he at the bottom of the suitcase?
(He goes to look in the suitcase)

SARAH. I have no idea. Our house is littered with little men.

REG. And she's complaining. (He chuckles)
SARAH. You're very pensive, Norman.
NORMAN. I'm wondering which is the cleanest and quickest way to finish
myself off.
REG. Well, don't get married. That's long and messy. Ah-ha, here he is. (He

holds up a small cardboard figure on a base which he has rescued from the suitcase)

The Chief Superintendent in person. Nearly had a nasty accident. Got himself
tangled up in a nasty web of blue woolly . . . oh.
SARAH. Give that to me. (She retrieves her bed jacket from Reg)
REG. (putting the figure with the game) It was there all the time. Just needed a
good copper to find it.
SARAH. Would you mind taking these upstairs.
REG. (taking the suitcases) My pleasure. (He moves to the door whistling)
SARAH. And don't wake Mother if she's dozing.

Act I, Scene 1

REG. I'll go and say hallo to Annie first.

Living Together

SARAH. I've told you, she's . . .

REG. I haven't seen her for three months. She's my sister. I want to say hallo.
SARAH. She and Tom are . . .
REG. Oh, to blazes with Tom.
Reg goes out to the house, whistling

SARAH. (turning her attention to Norman) It's no good sitting there looking sorry
for yourself. I'm appalled at you, I really am.
NORMAN. (jeering) Jealous?
SARAH. Don't be disgusting. Annie of all people. How could you? What on
earth made you do it?
NORMAN. I haven't done anything.
SARAH. Annie has told me everything.
NORMAN. Has she? And what could she possibly tell you?
SARAH. About you twolast Christmas. In this house. With your wife ill
upstairsrolling about with her sister on this very rug.
NORMAN. Ohthatthat was just festive fun.
SARAH. And if that isn't enough, planning to sneak off with her for some
sordid week-end.
NORMAN. There's nothing sordid about East Grinstead. She wanted to come.
I wanted to go. Don't you see? It would have been something different for her
exciting. And for me. She's stuck here, all on her own, day after day looking
after that old sabre-toothed bat upstairs . . .
SARAH. Will you not refer to Mother like that.
NORMAN. Oh, come on. She's not your mother, she's not my mother. She's a
mother-in-law. Fair game. I'll call her what I like. You ought to hear what Annie
calls her sometimes. Anyway, we happen to love each other. Me and Annie,
that is, not me and mother-in-law.
SARAH. Don't be ridiculous. You're married to Ruth.
NORMAN. What's that got to do with it?
SARAH. And Annie, I may remind you, has her fianc to consider.
NORMAN. (scornfully) Her who?
SARAH. Herwellher whatever she calls himTom.
NORMAN. Tom.
SARAH. Yes. He may not be ideal in many ways but beggars can't be
choosers . . .
NORMAN. She's not a beggar.
SARAH. Maybe not But it would be stupid to make out she had a very wide
choice as regards a possible husband. She's notwell . . .
NORMAN. She's beautiful.
SARAH. I'm not going to argue. Certainly no-one could describe her as
beautiful. I'll admit she has a great deal of . . .
NORMAN. Anybody I love is automatically beautiful.
SARAH. Oh, Norman, don't be ridiculous.
NORMAN. Have you never felt that way? Perhaps you've never been in love.
Maybe that's your trouble. Was Reg never beautiful in your eyes?

Act I, Scene 1

SARAH. I'm not discussing my private life . . .

NORMAN. You're being free enough with mine, aren't you?
SARAH. Yours doesn't happen to be particularly private, does it? It happens
to involve about half a dozen people. You, Annie, Ruth, Tom, Reg, me and
Mother.
NORMAN. I've never asked Mother for a week-end anywhere. (Moving to the
window) Look at that cat up there. He's still up that tree. Tom was trying to get
it down. He can't be much of a vet. What sort of a vet are you, when you
terrify your patients into climbing trees? Something wrong with his basketside manner, I'd say. What do you say, Sarah? Would you say you were a
fulfilled person?
SARAH. I don't know what you mean.
NORMAN. Are you happy then?
SARAH. Yesmostly. Occasionally. Now and then. I don't know. I don't have
time to think about it. When you've a family like mine you're too busy . . .
NORMAN. You're very lucky. I can't say Ruth and I are happy.
SARAH. Well, I'm not surprised if you . . . (Checking herself) She's not the
easiest person I admit.
NORMAN. No.
SARAH. Then neither are you.
NORMAN. I'm very warm and affectionate, you know.
SARAH. Yes. So are dogs. But they don't make particularly good husbands.
NORMAN. Ah well, like me, they invariably marrylady dogs. Perhaps I
should leave her.
SARAH. Yes, do. Please do. I think it would be better for both of you. But for
heaven's sake, clear off completely and whatever you do, stop pestering
Annie. She doesn't want you, not really.
NORMAN. I supposed you talked her out of going away with me.
SARAH. I didn't need to. She'd already made up her own mind. I certainly
didn't encourage her ... I must go up and see Mother.
NORMAN. It was going to be a lovely time. We were going to meet behind
the post office in the village at seven o'clock and steal away on the bus to
our hotel. Forget everything, everybody, just lie anonymously in each other's
arms. Just for a day.
SARAH. We'd still be here when you came back.
NORMAN. I feel terribly depressed.
SARAH. Serve you right.
NORMAN. You haven't told Tom, have you?
SARAH. That's up to Annie. Nothing to do with me.
NORMAN. Nothing? You only talked her out of going.
SARAH. I have already said, I did no such thing. It was Annie's decision.
NORMAN. I hope she doesn't tell Tom.
SARAH. Why?
NORMAN. It'd upset him.
SARAH. It's a bit late to consider his feelings now, isn't it? Having tried to
steal Annie from under his nose.
NORMAN. I wasn't stealing her I was borrowing her. For the week-end.

Living Together

SARAH. Make her sound like one of your library books.

NORMAN. She was borrowing me, too. It was mutual. It was a friendly loan.
We never intended to upset anybody. We both agreed. That was the joy of it,
don't you see? Nobody need ever have known. If Annie hadn't gone and told
younobody.
SARAH. Oh, well. It's up to Annie if she wants to tell Tom. Nothing to do with
me. (She tries to lift the magazine pile) Oh, these are far too heavy. I'll get Reg
to take them up later. Now, for goodness' sake, Norman, pull yourself
together and go home to Ruth.
NORMAN. Why did you stop her going, Sarah? Be honest. Why?
SARAH. I've told you why . . .
Sarah goes out to the house with the bed-jacket

NORMAN. (mournfully) I really am very depressed. (He mooches about. He pulls

a magazine from the pile and flips through it. Something catches his eye and he
starts reading. After a moment, he starts to laugh. He finds the article increasingly
hysterical)

Annie comes in. She stares at him

ANNIE. Norman. (She closes the door)

NORMAN. (springing up guiltily) Oh. Hallo, Annie.
ANNIE. You all right?
NORMAN. Yes, I was just trying to cheer myself up.
ANNIE. . Looks like you've succeeded.
NORMAN. No.
ANNIE. Norman, I'm awfully sorry. Really. I expect Sarah's told you.
NORMAN. She said you'd thought better of it.
ANNIE. Yes. I feel dreadful after all the trouble you've taken. Booking East
Grinstead and things. It's just . . .
NORMAN. It's all right. (Pause) Oh, why did you let her talk you out of it.
ANNIE. I didn't.
NORMAN. Don't tell me you'd have changed your mind if she hadn't . . .
ANNIE. Things were getting very complicated, you see. I mean, when we
were planning it, last Christmas and on the phone and thingswell-it was
simple then, wasn't it? It was easy just to forget about Ruth andTom and so
on. Not that Tom's all that important but after all, you are married to Ruth
and she is my sister, even if I'm not all that fond of her, but I don't think I'm
very good at pretending for very long. Sarah got it out of me in no time.
NORMAN. Yes. She would.
ANNIE. And I don't think I'd have been much fun to be with, anyway. I'd have
been worrying all the time. Are you furious with me?
NORMAN. No.
ANNIE. Oh, Norman, you look so miserable. (Kneeling on the rug) I am sorry.
NORMAN. Don't . . .

Act I, Scene 1

ANNIE. What?
NORMAN. Don't kneel on that rug if you don't mind. It reminds me.
ANNIE. Oh, yes. Our rug. (She gives a short giggle) I got the fire-tongs mended.
NORMAN. Oh, yes.
ANNIE. Tom fixed them.
NORMAN. Oh. What does he have to say about all this?
ANNIE. Tom? I don't think he knows.
NORMAN. He doesn't?
ANNIE. I haven't told him.
NORMAN. Oh:
ANNIE. Sarah might.
NORMAN. I bet she will. She said she won't. But she will. She'll be dropping
big circular hints. She's never kept a secret in her life.
ANNIE. She'll have to chalk it up in huge letters. You know, I'm really very
fond of Tom but he really is terribly heavy going. Like running uphill in roller
skates. Not like you. "Beautiful sunset, isn't it, Tom?" "Um." Everything's um.
Probably works a treat when he's stamping out swine fever but it's pretty
boring over dinner. "Do you like the wine, Tom?" "Um." Honestly. Norman?
NORMAN. Mmm? I mean, yes.
ANNIE. What are you going to tell Ruth?
NORMAN. What I was going to tell her anyway. I've been on a conference.
ANNIE. Which finished early?
NORMAN. Something like that. We ran out of things to talk about. What does
it matter. She won't care. She probably thinks I'm in the attic mending the
roof.
ANNIE. I didn't know assistant librarians had conferences.
NORMAN. Everybody has conferences.
ANNIE. You'll be able to get back all right?
NORMAN. Yes.
ANNIE. Oh dear . . .
NORMAN. What?
ANNIE. You look so limp. Like an old tea towel.
Annie impulsively leans forward to kiss him on the cheek
Reg enters
Annie jumps away and straightens the corner of the rug

REG. (standing awkwardly) Erhallo again. Excuse me, just came in for
something. (He stands uncertainly)
NORMAN. What?
REG. What? Yeswhat? Er . . . (He picks up the waste-paper basket from behind
the settee table) Ah. This is it. This is it. Thank you. Carry on.
Reg goes out

Living Together

NORMAN. Do you ever get the feeling you're being watched? Sarah's secret
agent. Our days together are numbered.
ANNIE. So are our minutes.
NORMAN. (rising and going to the window) Come on then.
ANNIE. What?
NORMAN. It's now or never. What do you say?
ANNIE. What is?
NORMAN. We can be through the gap in the hedge and half-way down the
lane before they realize we've gone.
ANNIE. (drawing back) Oh, Norman . . .
NORMAN. What's to stop us? I love youyou love mewe're in love. We
should be together. It's right. Believe me, it's right. We have right on our side.
ANNIE. (doubtfully) Well . . .
NORMAN. Don't you see, we're not alone? We've got the whole tradition of
history behind us. We're not the first lovers who've ever done thisstood up
to the whole establishment and said to hell with the status quo, we don't care
what's meant to be, we mean this to be. Us. And there's nothing can stand in
our way, you know. Not if you think about it. What is there to stop us?
ANNIE. Mother's pills . . .
NORMAN. Eh?
ANNIE. I can't just rush away. I have to explain to them about Mother's pills.
NORMAN. (passionately) My God! The course of true love shattered not by the
furies, not by the fates but by Mother's bleeding pills.
ANNIE. Not only that.
NORMAN. It's all right. That's enough to be getting on with. Don't swamp me
with any more overwhelming arguments. Dear Juliet, my shoelace has come
undone, I cannot join you in the tomb. Love, Romeo. Dear Tristan, owing to a
sudden tax demand . . .
ANNIE. All right, Norman, all right.
Pause. Norman simmers down

NORMAN. That's it then. Annie Yes. That's it. Norman Oh.

A pause
Tom enters from the house

TOM. Ah.
NORMAN. Gone. All gone.
TOM. Glad I've caught you.
NORMAN. Oh, it's Tom. Hallo, Tom. (He shakes Tom's hand) Haven't seen you
for ages. How are you?
TOM. Fine. Just been talking to you in the garden, haven't I?

Act I, Scene 1

NORMAN. Oh, yes. I forgot. I think it was me.

TOM. Don't quite follow you.
NORMAN. It was probably me. On the other hand it could have been you.
TOM. Me what?
NORMAN. Talking to yourself.
ANNIE. Norman . . .
TOM. Hang on, I'm getting confused here.
NORMAN. How unusual.
ANNIE. Norman . . .
NORMAN. Anyway, my mistake.
TOM. (doubtful) Yes. Iwanted a word with you.
ANNIE. (moving to the door) I'll get on out there.
TOM. No. Hang on. Hang on a second, Annie. Would you mind?
ANNIE. sits on the settee
NORMAN. Recriminations. Here they come. (He sits in the easy chair)
TOM. Um?
NORMAN. Nothing.
TOM. The point is . . . (He pauses uncertainly and wanders to the window) Is that
cat still up that tree, by the way?
NORMAN. Hanging on grimly. As we all are.
TOM. I suppose he'll come down eventually . . . The point is, something
seems to be going on which I've not been let into.
NORMAN. Has it?
TOM. Apparently. Sarah was talking about something.
NORMAN. (to Annie) What did I tell you?
TOM. What?
NORMAN. Come on, let's have it. What did she say?
TOM. That's it, you see. I couldn't make it out.
NORMAN. You couldn't?
TOM. Not really.
NORMAN. Ohgood.
ANNIE. Would you both like something to drink?
TOM. Thought perhaps you could enlighten me.
NORMAN. Yes, please. A great deal.
ANNIE. I'll see what we've got.
Annie goes out

TOM. Annie's a bit angry with me.

NORMAN. Is she?
TOM. Yes. You know she was planning to go away this week-end?
NORMAN. Yes.
TOM. Well, reading between the lines, I think she was rather hoping that old
you-know-who would go with her.
NORMAN. Who?
TOM. Me.
NORMAN. You?

10

Living Together

TOM. Yes.
NORMAN. She asked you?
TOM. Very obliquely.
NORMAN. Must have been.
TOM. Now she's not going. And it seems to be my fault.
NORMAN. It is.
TOM. You think so?
NORMAN. Definitely. If she's not going away, it's entirely due to you.
TOM. Yes, I was afraid of that. The question is, how do I get myself out of the
dog's kennel and back in the pantry.
NORMAN. I beg your pardon?
TOM. Back in her good books.
NORMAN. Very difficult.
TOM. Is it?
NORMAN. Want my opinion?
TOM. I'd welcome it.
NORMAN. I think you've given her too much. I think she's in danger of being
spoilt. She's taking you for granted.
TOM. Really?
NORMAN. She's taking everyone for granted. What she needs is a bit of the
old boot.
TOM. Boot?
NORMAN. Bit of the rough stuff.
TOM. Oh, come on. Boot? Come on . . .
NORMAN. Metaphorical.
TOM. Oh, metaphorical boot. What's that exactly?
NORMAN. Tell her she's damned, lucky to have you around. And the next
time she's planning holidays for two, she can come and ask you politely if
you'd like to come. If you don't watch it, she'll walk all over you. Couple of
sharp words, she'll jump. Tell her she looks a mess. If she wants to be seen
around with you in future, she'd better smarten up her ideas. She looks like
something that's fallen off a post van. I mean, what the hell right has she to
promise something and then let you down at the last minute? It would serve
her right if you belted her one and gave her rabies. That's my opinion. (He
pauses breathless)

TOM. (very bewildered) Is it?

NORMAN. She'd respect you for that.
TOM. Well, I'll bear it in mind but . . .
Annie enters with three wineglasses, three bottles of wine tucked under her arms,
and a corkscrew. She is having difficulty

ANNIE. It'll have to be the home-made stuff.

TOM. (leaping up) Oh, let me . . . (He takes a bottle which appears to be slipping
from under her arm)

ANNIE. Thanks.

Act I, Scene 1
Tom catches Norman's eye. Norman shakes his head disapprovingly. Tom stares at
the bottle he

12

Living Together

is holding. Annie stands waiting for Tom to take the other bottles from her. Instead,
Tom puts his bottle back in her arms and sits on the settee

Oh, thank you so much. That's a great help. Don't put yourselves out will you.
NORMAN. No.
TOM. No.
ANNIE. (putting the things on the settee table) What's got into you two?
NORMAN. Nothing.
TOM. No.
ANNIE. Well, if you want a drink, you can damn well open them. (She sits on
the settee)

Tom hesitates and finally gets up. Norman clucks disapprovingly

TOM. Wellparsnip or dandelion?

NORMAN. We have a choice?
TOM. Both last year's. I think I'd recommend the parsnip. It's slightly
mellower. The dandelion's rather lethal. Oh, and there's some carrot.
ANNIE. Don't touch the dandelionit's a killer. I didn't mean to bring it in.
TOM. Parsnip then?
NORMAN. Dandelion.
TOM. You sure?
NORMAN. Positive.
TOM. Oh well . . . (He starts to open the bottles)
ANNIE. I have a feeling there's trouble brewing in the dining-room. I passed
the door just now and Reg and Sarah seemed to be limbering up.
NORMAN. That should set the seal on the week-end.
ANNIE. As long as Mother doesn't hear them.
TOM. No, we don't want her upset.
ANNIE. It won't upset her. She'll insist on being carried downstairs to be in at
the kill. There's nothing she likes better than a good row.
NORMAN. In the old days she used to start them all.
ANNIE. She and Sarah. She really loathed Sarah.
NORMAN. Even Mother-in-law has her good side.
ANNIE. Tom's frightened to go up there, aren't you?
TOM. Well . . .
ANNIE. She thinks he's a doctor.
TOM. Can't get it through to her I'm a vet. She insists I take her pulse, listen
to herchest and other things. Very embarrassing.
NORMAN. She's mad for the feel of manly hands. She knows what she's
doing, don't worry.
TOM. Yes, I think she does. (Examining a glassful of wine) Better just try this
first. (He samples it)
ANNIE. (loudly in Norman's direction) What's it like, Tom?
TOM. Um . . . (He ponders)

Act I, Scene 1
ANNIE. (raising her eyebrows to heaven, softly) Um . . .

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Living Together

TOM. (bringing a glass to Annie) Not bad, not bad, hereparsnip.

ANNIE. Thanks.
TOM. (to Norman) Dandelion.
NORMAN. Ta.
ANNIE. (examining her glass) It's clearer than usual.
TOM. Yes,
ANNIE. Its usually like soup. You have to filter it through your front teeth.
NORMAN. (raising his glass by way of a toast) Well. Um . . .
ANNIE. (giggling) Um . . .
TOM. Yes. Cheers. (Pause) Um--You know, I've been thinking. (He sits on the settee)
What would have been rather nice. Too late nowbut another year. Supposing
there is another year that is . . .
NORMAN. Why? Are you planning to bring the world to an end shortly?
TOM. No, no.
NORMAN. This is very potent.
ANNIE. Very. Brewed by Mother. Last thing she did before she was ill.
NORMAN. She knows her spells.
TOM. What would have been rather nice . . .
NORMAN. (finding a bit in his glass) Ah.
ANNIE. What is it?
NORMAN. Bit of cork. Or a toad's leg.
TOM. What would have been awfully nice is if we'd all three gone. Don't you
think?
Annie and Norman stare at him

I mean, we all get on well. It would have been rather fun . . .

NORMAN. I beg your pardon?
TOM. If Annie and you and I had all gone way together on her week-end.
NORMAN. (highly amused) Oh, my God. (Rising and crossing to the wine) More wine .
..
TOM. Single rooms, of course.
NORMAN. (taking up the bottle of dandelion wine and returning to his chair) Oh yes,
single rooms.
TOM. I didn't mean anything like that.
NORMAN. (laughing openly) No. Nothing like that.
TOM. What's funny?
NORMAN. (helplessly) Nothing.
ANNIE. (angry) Oh, Tom, honestly.
TOM. Eh?
ANNIE. You're so dim. You're so completely and utterly dismally dim.
TOM. What?
ANNIE. You make me mad, you're so stupid. You're boring, slow-witted, dull and
utterly stupid.
TOM. (slightly injured, no more) What have I said now? What have I said now?
NORMAN. Now's the time to knock her down.
ANNIE. I'm fed up with both of you. You've ruined my week-end.

Act I, Scene 1
TOM. All I said was . . .

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Living Together

ANNIE. (yelling) I heard what you said. Thank you very much. I heard what
you said.
Norman is still laughing, highly amused by this

And, Norman, just shut up.

Norman does so. A silence

TOM. Well . . .
ANNIE. (muttering) Stupid men . . .
A crash and a scream from Sarah is heard from the dining-room

NORMAN. Meanwhile, in the dining-room, the first shots are being fired in
anger.
ANNIE. (leaping up) Oh, no . . . (Hurrying to the door) I wish you'd all go away,
all of you, and leave me in peace.
Annie goes out leaving her glass on the table

TOM. She's like a tiger when she's roused, isn't she?

NORMAN. I've never met a tiger socially, I wouldn't know.
TOM. Something's got into her, you know. I think that holiday meant more to
her than she's letting on.
NORMAN. Yes, I'm beginning to think that. (Proffering the bottle) Plus de vin?
TOM. No, no. Spoil my dinner. You'd better be careful or you'll finish up here
for the night.
NORMAN. That's a point. (He pours himself another)
Tom moves to the window

TOM. (calling) Pussy, pussy. Down, puss. Come down, puss. Pussy, pussy. I
wish they'd given the animal a name. I really do.
Norman pours another glass

I should go easy on that. I had a very unpleasant side reaction.

NORMAN. It doesn't show.
TOM. Well, I think I'll go and see if I can pour oil on things. Not going
immediately, are you?
NORMAN. Not immediately.
TOM. Right.
Tom goes out
Norman rises to his feet and finds already he is a bit unsteady. He goes to the window

NORMAN. (French pronunciation) Dan-de-lion. (At the window; calling) You stay
up there, mate. If you come down, he'll only want paying.
Tom returns with his glass

Act I, Scene 1

TOM. Oh, Lord . . .

NORMAN. Back again?
TOM. I think keep out of there for a second. The room's positively knee deep
in home truthsif you know what I mean.
NORMAN. Splendid.
TOM. That and biscuits.
NORMAN. Biscuits?
TOM. Yes, they seem to have been throwing biscuits around. Water biscuits.
NORMAN. You can do someone a nasty injury with a water biscuit . . .
Annie appears fleetingly in the doorway with a dustpan and brush

ANNIE. All hell's been let loose in there.

Annie goes

TOM. Do you need a . . . (He realizes she has gone)

Pause. Tom wanders to the table and discovers Reg's game

TOM. (examining it) What's all this? Looks like another of Reg's homemade
games. Looks even more complicated than usual. I better keep out of the way
if he decides to play it. Reg gets rather irritated with me. Always very slow on
getting the hang of the rules. (Slight pause) Norman. Franklyanswer me
something.
NORMAN. Mmm?
TOM. Do you think I'm dim and dismal? I think that's what she said. Yes, that
was it. Dim and dismal and stupid. Do I come across as that?
NORMAN. Umno. I'd sayyou had the good fortune to be born without a
single suspicious or malicious thought in your head.
TOM. Oh, I don't know.
NORMAN. Yes. Yes, true. And that can get you in a lot of trouble. Because
you're more or less on your own, you see. And whenever people feel like
taking a really good swing at something, to relieve their feelings, you come in
extremely handy. No come back, you see.
TOM. I haven't noticed people doing that. You've got the wrong chap.
NORMAN. (waving a fist in the air) You've got to develop a come-back.
(Studying Tom) I mean, looking at you standing there, I don't think there's
anyone in there at all. You're somewhere else. That's remote control, all that
lot.
TOM. That stuff's beginning to tell. I warned you about the dandelion.
NORMAN. Don't worry about a thing.
TOM. Well, I'd better go and see if the dining-room's cooled off a bit. I'll take
them in a bottle. (He takes one)
NORMAN. Want a tip?
TOM. What?
NORMAN. Go in there laughing.
TOM. Laughing?

18

Living Together

NORMAN. There's nothing they like better in this family than a good laugh.
Go on. Bring an atmosphere of merriment into the room. (He gives a false
laugh)

TOM. (copying Norman) All right. I'll try it. You're a good chap, Norman, you
know. A very good chap.
NORMAN. Thank you.
TOM. I'm sorry you're having to dash away. To yourconference. Pity you're
not staying. You brighten the place up a bit. Cheerio.
NORMAN. Cheerio.
Tom goes out
Norman laughs
Tom appears at the door laughs and goes
Norman goes to the door and laughs. Tom is heard laughing, off. Norman closes the
door, laughing. He finds the gramophone under the occasional table, puts it on the
table, opens it, takes the record off the turntable and reads the label, hums a line
from "Girls were made to Love and Kiss". He replaces the record. Winds the
gramophone up and starts the record. He does a dance to the music and sings as the
vocal starts. At one point he opens the door and "sings out" to the corridor. He
returns, singing, puts his glass on the floor below the rug, and finally collapses on
the rug

Here's to you, Tom, old buddy. Here's to the lot of you.

He sings louder, as
the CURTAIN falls

SCENE 2
The same. Saturday, 8 p.m.
Norman is asleep on the rug, with bottles and a glass beside him. Reg and Tom enter
from the house without seeing him

REG. . . . no, no. You say to me, who's there, you see . . .
TOM. Oh, it's me who says that. I see. All right. Who's there?
REG. Start again. Knock, knock.
TOM. Come inI mean, who's there?
REG. Vet.
TOM. Vet?
REG. No. You say, vet who?
TOM. Vet who, sorry. Come inwho's therevet who.
REG. There's no "come in". Start again.
TOM. Right-ho. Knock, knock.

Act I, Scene 2
REG. Who's thereno. I should have started it. Knock, knock.
TOM. Who's there?
REG. Vet.
TOM. Vet who?
REG. Vet kind of door is this, you can't afford a bell. (He laughs)
TOM. Yes, I think I've got it nowtry it again.
REG. That's it.
TOM. Oh, is it? Quite simple, really.
REG. Yes . . . (Seeing Norman) Good God! Look at that.
TOM. Oh. It's Norman. (They move to him) Is he all right?
REG. Norman! Norman! (No response) He's out like a light.
TOM. I thought he'd gone.
REG. So did everybody. When he finally stopped singing and peace
descended over the fruit and cream, I thought we'd lost him. Sarah's going to
be pleased.
TOM. Ought we to move him?
REG. Well, he's not in anybody's way. Oy . . . (He kicks Norman)
Norman grunts
(Moving away) Leave him, I think. Oh, I'm starving after that meal. Salad. I

can't bear salad. It grows while you're eating it, you know. Have you noticed?
You start one side of your plate and by the time you've got to the other,
there's a fresh crop of lettuce taken root and sprouted up. You have to start
again. And it still doesn't fill you. You finish up exhausted and hungry. The
only thing that keeps me going when I'm eating a salad is the hope that
somebody might have thought it was my birthday and hidden something to
eat under all the vegetation. But they never do. A sardine if you're lucky.
TOM. (still with Norman) He's still breathing.
REG. I should hope so. He's enough trouble as he is without dying on us. The
problem with this house is there's no television.
TOM. It's very shallow breathing. Do you think I should take his hat off?
REG. He doesn't breathe through the top of his head, does he? Oh I don't
know, he might do knowing Norman. (Bending over him) If I were you, I'd pull it
down over his facelike this. (He does so) There you are, great improvement.
TOM. It's the dandelion, you see. Look at that, he's had nearly a bottle.
Drowning his sorrows, I suspect.
REG. Sorrows?
TOM. Well, I was talking to him earlier. He was obviously very disturbed.
Depressed . . .
REG. Was he? Well
TOM. Don't know why, I'm sure. You know something, though, I've got a
theory there's probably a woman at the back of it. Man gets drunk like this,
it's generally a woman. Ruth, do you think?
REG. Possibly. Possibly . . .
TOM. Perhaps. Sarah would know. She usually keeps her ear close to the
ground. Better ask her.

20

Living Together

REG. (hastily) No, I wouldn't, Tom, really.

TOM. No?
REG. No. The point is, Sarah did whisper something to me, as a matter of
fact. Norman mentioned something to her. Confidentially.
TOM. Oh. Did he? Anything we can do to help? I mean, he's a good chap. Pity
to see him like this.
REG. Well apparently, he had something lined up for tonight, you see.
TOM. Yes, his Annual Librarians' Conference. He told me. He'll have missed
that now, won't he?
REG. No, it was something else, you see. He'd apparently lined up a bit on
the side.
TOM. A bit on the side?
REG. Oh, you know Norman. Any pretty girlhe's away.
TOM. Oh, I see. And she's let him down?
REG. Apparently.
TOM. I see. Any idea who she is?
REG. No. No. None at all.
TOM. Oh. Pity. I mean, it might have been worth almost trying to contact her.
Seeing if we couldn't patch things up. Mind you, if she could see him now,
she'd probably feel she'd made the right decision.
Annie comes in from the house

ANNIE. I have never known a house where you can have a blazing row over
who's going to make the coffee . . . (Seeing Norman) Oh, no! Norman! What's
the matter with him?
REG. He's taken an overdose.
ANNIE. An overdose? Of what? (Trying to revive Norman) Norman Norman.
TOM. Of dandelion wine.
ANNIE. What?
TOM. He's had too much of it, that's all.
ANNIE. You mean, he's just drunk?
REG. Give her a prize.
ANNIE. Norman, you idiotget up. (She kicks him)
NORMAN. (sleepily) Hallo.
ANNIE. Oh, look at him, he's disgusting. Sarah'll be delighted to see him. I
thought he'd gone home.
TOM. No, wellactuallywe were just saying, he's probably like this because
of his bit on the side.
ANNIE. Bit on the side?
REG. Yes, well, we don't want to go into all that now, Tom.
ANNIE. What bit on the side?
TOM. Oh, you know Norman. Any pretty girl. He'd got some bit on the side
lined up for the week-end. She went and ditched him.
ANNIE. Norman told you that?
REG. No.

Act I, Scene 2
TOM. You've just said he did.

22

REG. Yes, well he did, but . . .

TOM. Yes, he did.
ANNIE. He did. (Kicking Norman) Get up, you drunken slob.
NORMAN. (Without waking up) Hallo.
REG. (sitting on the pouffe) I wouldn't do too much of that, Annie.
ANNIE. Wouldn't you? I would. (She kicks him again)
TOM. Sorry. I didn't mean to shock you. Did I shock you, telling you
that?
ANNIE. Yes.
TOM. Oh. Sorry. Anyway, that's why he's drunk. He's been let down by
...
ANNIE. By his bit on the side? Well, lucky him.
Tom wanders to the window. Annie glares at Reg who whistles nonchalantly.
Annie wanders to sit, passing Reg who moves his leg out of her way as she
passes

TOM. He's still up there. The cat. Think he's staging some sort of
protest.
ANNIE. Oh, forget the damn cat.
TOM. Think I'll switch on the outside lights, if you don't mind. Might
encourage him down when it gets dark.
Tom goes out to the garden for a second, and an exterior light comes on

REG. Sarah making the coffee, is she?

ANNIE. She was fighting for the privilege. Literally. Tom returns
TOM. Lovely evening. Going to be quite a sunset. Really quite
something. You know, I don't think I altogether got the point of that
vet joke.
REG. Never mind, never mind.
ANNIE. You haven't been telling him jokes again?
REG. I tried my best.
ANNIE. You never learn, do you? And no more rows between you and
Sarah, please.
REG. I didn't do anything. Just standing there, she flung this tin of
biscuits at meoh, don't talk about biscuits, I'm starving. (He takes two
magazines from the pile)

ANNIE. She probably had good cause.

REG. Nonsense.
ANNIE. Must remember to give Mother her medicine in fifteen
minutes.
TOM. It's on a night like this, you know, one could really fancy going
out and sleeping under the stars. Used to do that when I was at
college.
REG. Didn't it have a roof then? (He sits in the easy chair with his
magazines)

TOM. Yes. I meant, in the vacations. I used to take my tent and bicycle
off somewhere.

Living Together

Act I, Scene 2
REG. Yes, great that. Get a group of you together . . .
TOM. No, no, mostly on my own. Preferred it. I did take someone one
year but we didn't really hit it off. He was veryebullientI think
that's the word. I don't honestly think you can possibly share a small
tent for any length of time with someone who's

24

Living Together

ebullient. I remember he used to lie there in his sleeping-bag, night

after night, whistling under his breath. Maddening. It was no good
saying anything to him because he had this frightful temper. He
couldn't bear it if you criticized him. He'd take it very personally.
Practically go berserk. I remember, he once threw my canvas bath on
the camp fire. Just because I said something he didn't care for. So I
mostly went on my own. Watched for badgers. Impossible to watch
badgers with a man like that. Anyway, he failed his finals . .
Norman snores

ANNIE. Oh, no, we're not going to have to put up with that all evening, are
we?
TOM. Yes. A whole canvas washstand. On the fire. Ruined it.
REG. If she hadn't flung those biscuits at me we could have had those.
Norman snores

ANNIE. Norman, shut up.

Sarah comes in with the tray of coffee, etc., which she puts on the settee table

SARAH. Here we are. Sorry I took so long. I had to rinse the cups again.
Someone who shall be nameless had put them away without . . .
Norman snores

Oh, my God, what's that?

ANNIE. Guess who.
SARAH. Oh, no, this is too much. I'm not having this. Norman, get up this
minute. Norman . . .
REG. Save your breath, he can't hear you. He's bubbling over with dandelion
wine.
SARAH. Revolting. Well, we can't leave him there, for heaven's sake.
REG. He's all right.
SARAH. He is not all right.
REG. He isn't in anybody's way. Leave him alone.
SARAH. I am not sitting down to have coffee with that all over the floor.
REG. (irritated) Well, what are we supposed to do with him?
ANNIE. (swiftly) All right. All right. We'll move him. That's enough. We'll move
him. Tom . . .
TOM. Um?
ANNIE. Give me a hand.
REG. No. I'll do it. It's all right.
Reg and Tom heave Norman half up by his arms
(To Sarah) Now then, madam, would you like him wrapped or will you take him

as he is.

ANNIE. (indicating the window seat) Put him here.

Act I, Scene 2

Annie replaces the bottles and glass on the settee table

SARAH. (watching them deposit Norman) Absolutely revolting behaviour.

REG. There you go . . .
ANNIE. (at the coffee) What's everybody want? White or black?
SARAH. No, I'll do it . . .
ANNIE. It's all right.
SARAH. No. I'm doing this . . .
ANNIE. I'm already doing it.
SARAH. You're not already doing it, I'm doing it.
ANNIE. Oh, don't be so ridiculous, Sarah.
SARAH. I'm not being ridiculous. This is your week-end to rest.
ANNIE. Oh, forget that.
SARAH. Will you please give me that coffee-pot.
ANNIE. What's the use of . . .
SARAH. Annie, will you give me that coffee-pot at once or I shall lose my temper.
ANNIE. (thrusting the pot at Sarah) Oh, go on have the damn thing then. (She sits
sulkily on the settee)

SARAH. Thank you. (Recovering her composure) Now then, everyone. Black or
white?
REG. I should heat it up first. It'll be cold by now.
SARAH. (ignoring him) Tom?
TOM. Um?
SARAH. Coffee?
TOM. Oh, thanks very much.
SARAH. Thank you, Tom. Black or white?
TOM. Um . . . (He considers)
A pause

SARAH. Annie?
ANNIE. No, thank you.
SARAH. Oh, don't be so silly.
ANNIE. None for me, I couldn't drink it.
SARAH. Reg?
TOM. Black, I think.
SARAH. (shrilly) I'm asking Reg.
TOM. Oh. Sorry.
REG. White.
SARAH. Please.
REG. Please.
SARAH. At last. White for Reg. Black for Tom. None for Annie.
TOM. I think I'll change mine to white on second thoughts.
Sarah gives him a glare. Norman snores

SARAH. Is there any way of stopping that noise? (Holding out two cups to Tom) Would
you mind, Tom?

26

Living Together

Tom takes two cups, gives one to Annie. Annie takes the cup to Reg who sits on the
settee. Sarah brings her cup to the settee. Tom gets up, Sarah sits down. Tom tries to,
but cannot, so wanders to the settee table and puts sugar in his coffee. He takes two
magazines, goes to the low chair and sits. He stirs his coffee noisily and at length.
Sarah waits for him to sit before she speaks

SARAH. Well now, how would we all like to spend this evening?
A silence

It's not often we're all gathered together like this. I'm sure we can.
Norman snores

think of something.
A silence

REG. Well, I thought it might be quite fun if we were to have a go at my game,

perhaps.
SARAH. I'm sure nobody wants to do that.
REG. It'd be quite fun.
SARAH. We don't want to waste our evening doing that.
REG. You may not but . . .
SARAH. No-one does, don't be so boring.
REG. (muttering) I just thought if . . .
SARAH. We hardly see each other at all. One of the few occasions we all
manage to be together, away from that blessed television and without the
children to worry aboutwouldn't it be rather nice if for once we could just sit
and have a pleasant civilized conversation?
REG. Civilized conversation?
SARAH. Yes, why not?
REG. We couldn't have a civilized conversation if we tried. Hark at you just
now. You were only pouring the coffee out, there was practically a bloody civil
war.
SARAH. Well, I'm not wasting my time playing your silly games and that's
final.
Silence

ANNIE. I think I'd quite enjoy a game.

REG. Ah!
SARAH. What?
ANNIE. And I'm sure Tom would. Wouldn't you, Tom?
TOM. Um?
ANNIE. You'd like to play Reg's game, wouldn't you?
TOM. (doubtfully) Oh . . .
SARAH. Of course he doesn't, do you, Tom?
ANNIE. Of course he does, don't you, Tom?
TOM. Er . . . (Looking from woman to woman) Well . . .
ANNIE. Super. Come on then, Reg.
REG. (already unpacking the board) If you're sure you'd like to . . .
ANNIE. Tom . . .
TOM. Yes. All right. (He gets up)

Act II, Scene 1

REG. You going to play, Sarah?

SARAH. Well, I suppose if it's a choice between that and sitting on my own . . .
REG. Grand. Get me a chair, Tom.
Tom brings the low chair to Reg, who sits. Tom hovers behind him. Annie pulls the
pouffe towards the coffee-table, then sits on the settee. Sarah stands and watches

SARAH. I'm not playing for long. I think I'll have an early night.
REG. It's all right, it's quite a quick game.
SARAH. I've heard that before.
TOM. That one of yours we played before was very complicated.
REG. Ah, you mean my Mountaineering one.
TOM. Yes. I seem to remember I kept running out of sherpas.
REG. Ah well, you didn't buy enough Sherpa cards to start with. You need the
sherpas to carry your oxygen.
TOM. Yes, I ran out of that as well. My whole expedition was a total write-off.
SARAH. Well, let's play this game, shall we, if we're going to.
REG. Yes, right. Well, sit where you like. Sarah, you go there. And Annie. Tom.
Tom sits on the settee

SARAH. (sitting on the pouffe) I can't sit here. The board's upside down. I can't
read it.
TOM. Sit here.
ANNIE. No, she can sit here.
REG. No, it's all right, I'll turn the board round, it's very simple.
SARAH. Now you can't read it.
REG. I don't need to read it. I know.
TOM. I think I can read it sideways all right.
Sarah now sits opposite Reg, Annie next to Tom

ANNIE. It looks very exciting. (Picking up a pile of cards) What are these?
REG. (anxiously) No. Don't touch anything.
ANNIE. Sorry. Reg I'll explain.
SARAH. Well, I hope it doesn't take all night.
REG. Right now.
SARAH. Don't forget Mother's medicine, will you, Annie?
ANNIE. Five minutes yet.
REG. Right, now. This is the board.
TOM. Go slowly, won't you? I'm not awfully quick on these sort of things.
SARAH. Hah!
ANNIE. You don't say.
TOM. (a bit nettled for him) I do my best, I do my best.
REG. Well, just listen, listen carefully. This board represents the street map of
a city. Each of these areas marked brown are buildings.

28

Living Together

TOM. Buildings.
REG. Now, as you see, they are all marked very clearly what they are. These
are shops, you see. Greengrocer'soutfitterbank and then along here
jewelers dress shop.
TOM. What's this here? Coop. What's a coop?
REG. Co-op.
TOM. Oh, co-op. I see. Sorryreading sideways, you see.
ANNIE. Oh, Tom, for goodness' sake.
TOM. All right ... don't keep on at me, don't keep on at me, there's a good girl.
ANNIE. Well, honestly, you're so slow!
REG. And all these grey areas are the roads.
SARAH. Oh, this is far too complicated to learn in one evening.
REG. It's not complicated if you'll listen. Now the object of the game is as
follows.
SARAH. I mean, it takes an hour just to read the . . .
REG. (yelling) Listen!
NORMAN. (rolling off the window-seat; waking up with a jerk, loudly) Wah! Wah!
Everyone reacts

SARAH. Oh, my God.

NORMAN. (getting up) I was having a terrible dream. It was a terrible dream,
you've no idea.
ANNIE. You all right, Norman?
NORMAN. Hallo. There was this great big black shape and it was coming after
melike a cloudonly it was making this buzzing noise, (He demonstrates with
a buzzing noise)

REG. (over this) We're having a game at the moment, Norman.

NORMAN. And I was trying to run away from it. But you know how it is in a
dream, your feet won't move . . .
TOM. I've had that.
REG. Yes, terrible. Now, the object of the game . . .
NORMAN. (threshing his feet about) You're running, running, but you're still in
the same place. You know you're dreaming but you can't wake up. Terrifying.
You came into it, Sarah . . .
SARAH. Yes, I think you'd better lie down.
ANNIE. You can use my bed, if you like. I'll make up the spare one later.
Norman stumbles to the window-seat and sits

SARAH. No, Norman can sleep on the spare one.

ANNIE. No, it isn't made up.
SARAH. Then I'll make it up. (She rises)
REG. Oh, come on we're playing a game.
TOM. Is this blue thing a road?
REG. No, that's a river.
TOM. Ah.
SARAH. Are the sheets in the linen cupboard?

Act II, Scene 1

Norman rises

ANNIE. Sarah, if you don't mind, I'll deal with it.

SARAH. (going to the door) There is no need for you to, you're supposed to be
having a rest
Norman blunders into Sarah in the doorway

Where are you going?

NORMAN. Phone. I've got to phone.
ANNIE. (indicating the phone) Well, use this one.
NORMAN. Oh, yes.
SARAH. Who are you phoning?
NORMAN. My wife. Ruth. I need to speak to my wife. I demand to speak to my
wife . . .
Tom fiddles with the cardboard pieces
REG. Well, phone in another room, there's a good chap. (Knocking Tom's hand
from the board) And don't fiddle with those.

TOM. Sorry.
ANNIE. (rising) He'll have to phone in here. The other one's in Mother's room.
God, it's nearly time for her medicine.
NORMAN. I want to speak to Ruth.
ANNIE. (soothingly, guiding him to the phone) All right, Normanhere. Sit here.
You can phone from here. (She sits Norman in the easy chair)
NORMAN. Thank you very much.

ANNIE. Can you manage?

NORMAN. God bless you and keep you.
SARAH. Do you think it's wise, him speaking to Ruth?
ANNIE. No idea.
SARAH. Probably upset her more than ever.
ANNIE. (returning to the table) Probably. (She sits as before)
REG. Sarah, are you playing or not?
SARAH. (sitting) Yes, all right, all right. Let's get it over and done with.
REG. We haven't even started. Now then, the object of the game is as follows.
With four players, two of us represent the police, and two of us, the criminals.
NORMAN. (on the phone) Hallo.
REG. Now, the aim of the criminalsNORMAN. Ruth? It's me . . .
REG. is to plan a successful raid-NORMAN. Me. Norman. I'm at Mother's.
REG. (with a glare at Norman) on any shop they choose. The aim of the
police . . .
NORMAN. Your mother's. Of course, your mother's . . .
REG. The aim of the police, obviously, is to stop them.
NORMAN. How the hell can I be at my mother's? She's been dead for ten
years . . .
REG. Norman . . .

30

Living Together

NORMAN. Well, don't say it in that tone.

REG. Norman . . .
NORMAN. God, can't we even have aexcuse me a minute. (Covering the
mouthpiece, to Reg) What's that?
REG. Could you keep it down a bit?
NORMAN. Beg your pardon. (He kneels on the floor and covers his head, then
speaks into the phone softly) Yes?
REG. Thank you. The aim of the police is to stop the raid and capture the
crooks red-handed.
NORMAN. (softly into the phone) Yes, yes. I know . . .
REG. Is that clear so far?
SARAH. Perfectly clear, do get on with it.
TOM. Um . . .
REG. I don't think Tom's got it. You followed it so far, Tom?
TOM. I think so. Police and crooks, yes. The bit that still worries me is this
river. It seems to be running straight through the Co-op. Is that right?
REG. It runs underneath it. Underneath.
TOM. Oh, I see. Better not shop in the basement.
REG. (vastly irritated) Oh, for heaven's sake . . .
ANNIE. Oh, Tom, do shut up.
TOM. (irritably) All right. All right . . .
NORMAN. (loudly, into the phone) I said, you're a selfish bitch . . . (As the others
turn, covering mouthpiece) Sorrysorry. (Into the phone, softly) What? Yesyes.
SARAH. Come on, Reg, get on with it.
REG. I am trying to get on with it. Now. The police can spot the criminals as
follows. They have three police cars--(holding up a model car)--which are these.
Police cars can run on the roads but not in the buildings . . .
SARAH. That's a relief.
REG. Look, do you mind, do you mind. The police cars can see up to twenty
spaces ahead of them and up to four spaces each side. They can't see behind
them and they can't see round corners.
SARAH. Why can't they see behind them?
REG. Because they can't, that's why.
TOM. Motto: don't drive behind a police car.
NORMAN. (loudly for a second) Love? What do you know about love . . . (With an
apologetic look at the others, continuing in a lower tone) Have you ever felt love for
a single human being in your life?
REG. The police also have the Chief Superintendent. (Holding him up) This chap
he can see up to three spaces ahead of him and three spaces round a
corner . . .
TOM. Useful chap in a crisis.
SARAH. Oh, this is absurd.
REG. What's absurd?
SARAH. How can you have a man see three spaces ahead and three round a
corner?
REG. Because he's got a very long neck. I don't know, it's a game, woman.

Act II, Scene 1

SARAH. It's not even realistic.

REG. What's that got to do-with it?
SARAH. It's not much of a game if it's not even realistic.
REG. What are you talking about? Realistic? (Leaping up) What about chess?
That's not realistic, is it? What's wrong with chess?
SARAH. Oh well, chess . . .
REG. In chess, you've got horses jumping sideways. That's not realistic, is it?
Have you ever seen a horse jumping sideways?
SARAH. Yes. All right . . .
REG. (leaping about) Like this. (Imitating a "knight's move") Jumping like this.
Jump, jump-jump. Jump, jump-jump. That's very realistic, I must say.
SARAH. You've made your point.
ANNIE. Reg . . .
REG. And bishops walking diagonally. (Demonstrating again) You ever seen a
bishop walking like this? Well, have you? I'm asking you, have you ever seen a
flaming bishop walking like this?
SARAH. Reg, will you please sit down and get on with it.
REG. (sitting, triumphantly) Well then.
NORMAN. Don't you hang up on me . . . Ruth! Ruth! (He jangles the receiver up
and down) Hallo? Hallo? What? Who's this? Motherwhat are you doing on the
line, get off.
SARAH. Who's he talking to?
NORMAN. Ruth! Hallo . . . Mother, will you please get off this line.
ANNIE. (rising) Oh, my God. He jiggled the receiver . . .
NORMAN. Mother!
ANNIE. He rang the extension bell in Mother's bedroom.
NORMAN. (into the phone) Lookwould you shut up, both of you, for a minute
and let me get a word in . . . Mother, if you don't hang up, I'll come and sort
you out personally.
ANNIE. (moving to Norman) Norman . . . (She tries to take the receiver)
NORMAN. (into the phone) What did you say? (To Annie) Go away.
ANNIE. Normanplease . . .
NORMAN. All right, Mother, I've warned you. (Rising) I'll come up and wrap it
round your neck . . .
Norman bangs the receiver down on the table and strides out

SARAH. Norman . . . (She rises)

ANNIE. Norman!
SARAH. Stop him . . .
ANNIE. Norman!
ANNIE. goes out after Norman
SARAH. (following her) Well, don't just sit there . . .
Sarah goes out after Annie

32

Living Together

REG. I wonder if the bloke who invented Monopoly had this trouble . . .
TOM. Very difficult to concentrate. (He rises, wanders to the phone, picks up the
receiver and listens) Good grief . .
REG. What's happening?
TOM. There's a heck of a rumpus on the extensionyelling their heads off . . .
Hallo? Who's that? . . . Ruth? Oh, hallo, Ruth, it's Tom. Yes, Tom . . . Fine . . .
How are you? . . . Oh . . . Oh . . . Oh, I see . . . Oh, I'm sorry, yes . . . Oh dear.
Oh dear . . . (He pulls a face at Reg) Oh, yes . . . How dreadful ... Yes . . .
Annie returns, breathless

ANNIE. Tom, Reg, for goodness' sake. Leaving us to cope with Norman. He's
practically attacked Mother. He's out of control.
REG. Well, I don't see that . . .
ANNIE. Tom!
TOM. What? . . . Just hang on a second, Ruth . . . (To Annie) What?
ANNIE. Tom, would you stop standing there looking so useless and do
something for once in your life.
TOM. What?
ANNIE. I've never met anyone so useless . . .
TOM. Now look here. I wish you'd stop going on at me like this. You're damned
lucky to have me around, you know.
ANNIE. Oh, really?
TOM. Yes, really. Every time anything goes wrong, you seem to take it out on
me. First of all, it's your holiday, then it's Norman--well, it's just not on, it really
isn't . . .
ANNIE. Um?
REG. Won't somebody play with me, please . . .
TOM. The next time you're planning holidays for two, if you want me along,
perhaps you'd be good enough to be polite enough to ask me.
ANNIE. You've got a hell of a nerve.
TOM. (pushing Annie aside as he moves to the settee table) And, anyway, if you
want to be seen with me, you'd better smarten yourself up a bit. You're a
mess, you know. You look like something that's fallen off a post van.
ANNIE. I beg your pardon?
Norman returns

NORMAN. (moving straight to the phone, pushing Annie out of his way) That's
settled that.
ANNIE. Norman . . .
NORMAN. (into the phone) Ruth? Hallo? . . . She's hung up. Would you believe
it, she's hung up on me. (He replaces the receiver)
TOM. I'm going home, I'm fed up. Just count yourself lucky, I don't belt you
one and give you rabies.

Act II, Scene 1

Tom strides out to the garden.

Sarah enters with the blue bed jacket, which now has two large holes in it

SARAH. Look what you've done. Look what you've done to my bed-jacket.
NORMAN. (collapsing) Nobody loves me. Nobody loves me anymore.
ANNIE. Norman . . .
SARAH. Look at this. Will somebody look at this.
REG. Won't anybody play with me? Please . . .
CURTAIN

34

Living Together

ACT II
SCENE I

The same. Sunday, 9 p.m.

Ruth is standing by the window. Reg sits on the settee making notes about his game

RUTH. I shouldn't have wasted my time coming down here. Norman makes
these gestures regularly. And every time I fall for them. We've been married
for five years, I really ought to know better. As a result of his hysterical phone
call last night, I have not been able to do a stroke of work at home today and
will probably lose my job tomorrow. When I finally turn up. I almost wish to
heavens he'd gone to East Grinstead with Annie, had his week-end and got it
over with. Instead of involving everyone else. Mind you, that would be much
too simple for Norman. No point in making a gesture unless he has an
appreciative crowd to applaud him. (Looking at her watch) Too late to drive back
now. I think I'll go to bed in a minute.
REG. I'm amazed you two are still together.
RUTH. Well. I think other people's marriages are invariably a source of
amazement. They usually are to me. I mean, you and Sarah . . . You know, I
have found quite often it's the people you look at and say, well, they won't
last long who cling on grimly till death. Maybe they're so aware of public
opinion, they're determined to prove it wrong. You and Sarahme and
Normanand Annie and thatTom man. Though I think Norman's successfully
knocked that on the head.
REG. Tom's gone home, then?
RUTH. (looking through the magazines) I saw him stamping off into the night.
Probably the most constructive thing Norman's done for some time. Saved
Annie from a fate worse than marriage. A sort of eternal engagement.
REG. I don't know. He's nice enough, Tom.
RUTH. Not nice enough for her. Ohthis house! I feel like getting a paintbrush and going over it with red and orange and bright blue. It's like a brown
museum. A very dirty brown museum.
REG. Well, you can't expect Annie to . . .
RUTH. No, I don't expect Annie to do anything. (She sits in the easy chair with a
magazine) She's got enough to cope with, with thatevil woman upstairs.
REG. Never got on with Mother either, did you.
RUTH. No. She never liked me, I never liked her. Mutual.

Act II, Scene 1

REG. We were saying earlier, you and Mother were rather alike.
RUTH. (laughing) Maybe . . .
REG. I wouldn't say Sarah and I were altogether incompatible. We have
differences. I won't try and hide that. We certainly have differences. But you
know, six of one . . . She's pretty good with the children. On her good days.
Runs the house very well. Better than you or Annie would. Or Mother.
RUTH. Of course, she does have the advantage of you running round in circles
for her.
REG. That's all right, I don't mind. I prefer being told what to do really. I often
think if nobody told me what to do I'd never do anything at all. I remember
she went away once for a fortnight. When her father was ill. Took the children
with her. Left me on my own in the house. Do you know I felt myself gradually
slowing down. At the end of ten days I was hardly moving at all. Extraordinary.
It was as if she'd wound me up before she left and now I was running down. I
hadn't even got the energy to take the milk in. Sarah reckons I've got some
rare tropical disease. Burmese inertia, or something. Anyway, it's better to be
calm with Sarah. She's like those toy animals you see in the back windows of
cars. Any violent movement from me and she's nodding her head
reproachfully for days.
Ruth leaves the magazines by the chair, rises, goes to the settee table and looks at
another one

It works all right. Most days.

ANNIE. enters and sits in the easy chair, taking off her shoes
RUTH. Who's washing up?
ANNIE. Nobody. I'm not so nobody is. I've done quite enough this week-end.
I'm not doing any more.
RUTH. Good for you. (She sits on the settee with the magazine)
REG. I'll do it in a minute.
ANNIE. No, don't. You did it last night. Somebody else can do it.
RUTH. You looking at me?
ANNIE. Or Norman. Or Sarah.
RUTH. Ha!
REG. Huh!
ANNIE. I don't know who ever does anything in your house. You and Norman
are both as bad as each other.
Ruth continues to read her magazine, holding it a few inches from her nose

ANNIE. What are you doing?

RUTH. Trying to read.
ANNIE. You can't read like that. It's resting on your nose.
RUTH. I like the smell of newsprint.
ANNIE. Why don't you wear your glasses?
RUTH. I can manage, thank you.

36

Living Together

ANNIE. If you don't like glasses, you could get contact lenses.
RUTH. I tried them. They don't work.
ANNIE. Of course they do.
RUTH. They weren't designed for people who share a house with Norman. Life
with him is full of sudden, unexpected eye movements. They kept falling out.
Where the hell did you get all these dreadful magazines?
REG. They're Sarah's.
RUTH. Oh. I do beg your pardon.
(A pause)

REG. Tom's gone home.

ANNIE. Yes.
REG. Ah.
(A pause)

He'll be back tomorrow, I expect.

ANNIE. I doubt it. Even he has a limit.
REG. Oh, he'll be back.
RUTH. It's not altogether our fault if he doesn't come back.
ANNIE. What, after the way everyone's treated him? All right, I know I haven't
been particularly nice eitherbut that was different. I don't know why I'm so
mean to him sometimes. It's just when you're fond of someoneyou care
enough to worry what other people think of them. You want them to be
something they're not capable of being. Which is very unfair on them really. I
mean, he's Tom, isn't he? That's one of the best things about him. He's always
Tom. He never pretends. He never puts on an act for anybody.
RUTH. No, he's always Tom. You're right there.
ANNIE. Well, it's better than living with an emotional big-dipper like Norman.
RUTH. Depends on your tastes, doesn't it?
ANNIE. I know which I'd prefer.
RUTH. Then I should stick to it then, if I were you.
ANNIE. All right. I'm sorry. We have been through that. Norman caught me
when I was very depressed. The tail end of that awful Christmas. He asked me
at a time when I hardly knew what I was doing.
RUTH. There's no need to explain. He's always been an expert at timing
whatever else. He proposed to me in a crowded lift. It was total blackmail. He
sounded so appealing he won the sympathy of everyone round us. Had I been
heartless enough to refuse him, they'd have probably dropped me down the
lift shaft. I managed to stall him for three floors and then the lift man said,
"Sorry, folks, nobody gets out till the little lady says yes". I remember that was
the first time I really felt like throttling Norman.
REG. Very romantic. I proposed to Sarah just out there in the garden, you
know.
ANNIE. Yes, we know. Ruth and I watched you through the window.
REG. You didn't, did you?

Act II, Scene 1

RUTH. We weren't going to tell him.

ANNIE. Oh, what's it matter now. Sarah was all wobbly and quivering, trying
to make up her mind and Ruth kept saying say no, say no.
REG. Thank you.
ANNIE. I must see to Mother in a minute.
RUTH. If it's not too tactless a question, how long is she going to remain like
that?
ANNIE. Oh, forever. Well, till she dies.
RUTH. Is that what Dr Whatsisname says?
ANNIE. Wickham says there's no reason why she shouldn't last for years.
Most of it's psychosomatic. Well, we knew that anyway. She just has no desire
to get up. No reason to. So she doesn't. Sad, really. Her whole life was
centered round men, wasn't it? When they lost interest in her, she lost interest
in herself. I hope I never get like that.
RUTH. No danger. Don't worry.
ANNIE. Oh well, yes, I know I'm not quite the femme fatale figure but . . .
RUTH. (rising to take another magazine) I mean that, thank God, you can see a
bit further than she ever could. That woman never had a thought in her head
in her life. Look at her, lying up there reading those dreadful books.
ANNIE. I'm afraid if I'm here alone with her much longer, I might start to get
like her. You know, when I went up to her this afternoon, I had this dress on
and a bit of make-upshe was so gleeful. She thought at last her propaganda
was beginning to have an effect.
RUTH. Well, well try and come down more often. If we can. But I've got
Norman and Reg has got Mrs. Reg and all the little Reggies. You do see.
ANNIE. If you could try.
RUTH. Yes, we'll try. Won't we, Reg? (She sits on the window-seat)
REG. What? Oh, yes. Bit of a job getting away but I'll see what Sarah can
arrange.
Sarah comes in

SARAH. Well. (She sits on the settee) Nice and quiet for once.
ANNIE. Yes . . .
SARAH. What are you doing, Reg?
REG. I'm just . . .
SARAH. Oh. Haven't you got anything to do?
REG. I'm doing something.
SARAH. Yeswell, don't be too anti-social, will you?
A pause

I've got Norman doing the washing up.

RUTH. You've what?
ANNIE. You've really been working the charm.
SARAH. No, I just had to ask him. I said would he be very kind since I wasn't
feeling really up to it andhe was perfectly agreeable.

38

Living Together

RUTH. You must pass on the secret. Everything that can fall to bits in our
house has done so. All the doorknobs come off in your hand. None of the
cupboards open, three of the windows are stuck, the fridge needs a plug and
on wet days, we have to climb out of the front-room window to go to work
because the front door warps when it rains. I could probably do it myself but
I'm damned if I'm going to.
SARAH. If you don't mind my saying so, I think you just handle Norman
wrongly. If you ask him nicely, he's very willing and helpful.
ANNIE. That's good coming from you. You always say he's impossible.
SARAH. I think we underestimate Norman.
ANNIE. What have you been up to out there?
SARAH. What do you mean?
RUTH. Better change the subject.
SARAH. I don't know what you mean,
Norman enters with the salad basket

NORMAN. Excuse me.

REG. Hey, hey. The domestic man.
NORMAN. Liberated to the kitchen.
ANNIE. Just sling it on top of the cupboard.
NORMAN. Sling it, right.
ANNIE. Just gently, Norman, don't get carried away.
NORMAN. Right-ho, Chief.
Norman salutes and goes

RUTH. What a revolting sight. What have you done with the slob I married.
ANNIE. She's house-trained him at last.
RUTH. That I doubt. (Rising) Well, on that awful picture I'm going to bed. Which
room was Norman untidying last night?
ANNIE. The spare room. Reg's old one.
RUTH. Right. Tell Norman, if he wants to join me he may. But I'd prefer it if he
came on his own. (Waving her magazine at Sarah) May I borrow this to read?
SARAH. Of course.
RUTH. It's so gruesome, it should frighten me to sleep. Good night, all.
ANNIE. Do you want a call in the morning?
RUTH. If you sleep with Norman, you wake at dawn. Be warned.
Ruth goes out

SARAH. Good night.

REG. 'Night.
ANNIE. 'Night. (She looks at one of the magazines)
SARAH. Personally, I think if she showed Norman a little more kindness and
encouragement she might find him a little less difficult . . .
ANNIE. Well, don't let one success go to your head.

Act II, Scene 1

SARAH. Let's face it, Ruth's always had difficulty getting on with anybody.
Most of the time she doesn't try.
Unseen by Sarah, Ruth returns for her handbag

I'm sure Norman's difficult to live with. I've no doubt. But any man who had to
live with Ruth for any length of time . . .
Reg clears his throat

No, I mean honestly I . . . (She tails off as she sees Ruth)

RUTH. Good night.
Ruth goes out

SARAH. (in an undertone) She did that deliberately.

REG. (rising) Well, I think I'll follow on. Do you mind if I go in the bathroom
first?
SARAH. No.
REG. Got to drive in the morning. Get an early night.
SARAH. Would you switch on the blanket, dear?
REG. Right. Do you want a bottle?
SARAH. No, it's too mild for a bottle. I just want the chill off the sheets. They
seemed a little damp last night.
REG. Right. (He goes to peck Sarah on the cheek. They bump noses) See you up
there then.
SARAH. All right.
ANNIE. 'Night, Reg.
Reg goes out

SARAH. I don't know when we'll get down here again. I think we're very
booked up between now and Christmas.
ANNIE. Oh well, if you can. You know . . .
SARAH. It would be so much easier if we could bring the children.
ANNIE. Well, do, there's room for them.
SARAH. Oh, no. They'd disturb Mother.
ANNIE. She wouldn't mind. She'd like to see them.
SARAH. No. I don't think so, really. They're very noisy. We'll all come down
again at Christmas, if Mother's any better. (Pause) I hope Tom isn't too upset.
ANNIE. Don't know.
SARAH. I expect he'll be back.
ANNIE. Expect so.
SARAH. I mean, he must realize it wasn't anything serious between you and
Norman.
ANNIE. Maybe, maybe.
SARAH. I mean, as Norman says, it was just an idiotic idea of his.
ANNIE. Did he say that?
SARAH. Yes, he was saying in the kitchen, it was nothing in the least serious.
He just thought you looked a bit tired and fed up and needed a change. Act of
charity, really.

40

Living Together

ANNIE. Oh. Is that what he said?

SARAH. Nothing for Tom to get jealous about.
ANNIE. No.
SARAH. Why don't you go up to bed, too. You're looking very washed out.
ANNIE. I have to see to Mother first.
SARAH. Ill tell you what, I'll see to Mother. You get an early night for once.
ANNIE. All right. You may have to read to her, I warn you.
SARAH. I don't mind. I'll read to her.
ANNIE. You wait till you see what she reads.
SARAH. (hustling her along) All right then, come on, up you go.
ANNIE. Yes, I'm going. (She remains sitting, looking at the magazine)
SARAH. What's Mother due for now?
ANNIE. (consulting her watch) Ernine-thirty. Two green ones and one pink if
she'll swallow it. Try and persuade her to. She's got a thing about the pink
ones for some reason. She says they make her giddy.
SARAH. (hurrying to the door) Two green, one pink. (Turning) Coming?
ANNIE. Yes. All right. I'm coming . . .
SARAH. (hovers for a second, then reluctantly gives up) Well. Don't stay down too
long. (She switches out the pendant, depriving Annie of most of her reading light)
Good night.
ANNIE. 'Night. (She stands indeterminate. She wanders to the window and looks out
unhappily) Oh Hell. . . (She goes to the bookcase) Read itread itread itread it
. . . (She goes to the pile of magazines and starts to select one)
Norman comes in with a saucepan

NORMAN. Eroh.
ANNIE. On the wall. Over the draining-board, there's a hook.
NORMAN. A hook. Right. Everyone gone to bed?
ANNIE. Yes.
NORMAN. It's too bad, you know, I'm slaving away out there. Ruth gone to
bed?
ANNIE. Yes. She said you're welcome to join her.
NORMAN. Oh.
ANNIE. Which I think is very reasonable of her, really. I'm not sure I'd be as
generous.
NORMAN. You've really gone off me, haven't you?
ANNIE. Just a bit, Norman, yes.
NORMAN. What can I do?
ANNIE. I think we don't talk about it. I think we just keep out of each other's
way. You'll be going home tomorrow morning then we can forget all about it.
NORMAN. I was going to take you away, you know.
ANNIE. I don't want to talk about it, Norman.

Act II, Scene 1

NORMAN. I would have done. I was ready. I had it all planned. It was you. You
said . . .
ANNIE. (going to pick up her shoes) Good night, Norman. (She goes to the door)
NORMAN. Annie. Just a second, please . . .
ANNIE. (turning) Good night.
NORMAN. I didn't mean to mess it up for you and Tom, I really didn't.
ANNIE. That's all right. You didn't.
NORMAN. But he's gone off.
ANNIE. I did that myself.
NORMAN. Then why are you blaming me for it?
ANNIE. Because as I say, Norman, I feel like I've been taking part in one of
Reg's games. Only in this case, you and Ruth are making up all the rules as
you go along.
NORMAN. What's Ruth got to do with it? She would never have known.
ANNIE. Until you phoned her.
NORMAN. I only phoned her when you changed your mind. I got drunk. I was
unhappy. Oh, Annie, I wanted this week-end for you. I wanted it to be . . .
ANNIE. An act of charity.
NORMAN. What?
ANNIE. Nor do I like you discussing me in the kitchen with Sarah. Making out
you'd taken pity on me, for God's sake.
NORMAN. Who told you that?
ANNIE. Sarah told me. If you want a secret kept don't tell Sarah in future.
NORMAN. I only said that to calm her down. You know what Sarah's like. Gets
all het up . . .
ANNIE. I'm going to have an early night, Norman, I'm off.
NORMAN. I was really looking forward to our week-end, you know.
ANNIE. So was I.
NORMAN. Sorry.
ANNIE. Not all your fault.
NORMAN. Another time, eh?
ANNIE. Not on your life.
NORMAN. (sitting on the settee arm) Oh. If I booked early enough, I could
perhaps get us into Hastings next year.
ANNIE. Oh, Norman,
NORMAN. I mean, not that there's anything wrong with East Grinstead
but . . .
ANNIE. Good night.
NORMAN. Annie. (He falls back on the settee, looking up at her)
ANNIE. (coming back into the room) What?
NORMAN. Can I kiss you good night?
ANNIE. No.
NORMAN. Can I kiss you good-bye then? Please.
ANNIE. Norman. You are definitely evil.
NORMAN. I love you.

42
ANNIE. No.

Living Together

Act II, Scene 1

NORMAN. Kiss?
ANNIE. Not until you take that back.
NORMAN. What?
ANNIE. That you love me. It's not true. Don't say it.
NORMAN. All right. I don't love you. Can I have a kiss, please?
ANNIE. Okay. Come on.
Norman hesitates

Come and get it if you want it.

NORMAN. Don't say it like that.
ANNIE. Well, how am I supposed to say it?
NORMAN. Well. Nicely. Like you did at Christmas,
ANNIE. All right. Kiss me, Norman.
NORMAN. No.
ANNIE. What?
NORMAN. Come over here, first. On our rug.
ANNIE. Now don't you start that. .
NORMAN. No, no. Just a kiss. Promise.
ANNIE. I don't trust you.
NORMAN. Look, I'm holding a saucepan.
ANNIE. What's that got to do with it?
NORMAN. I've only got one hand.
ANNIE. I seem to remember you can do a lot with one hand.
NORMAN. Promise.
ANNIE. Just one kiss.
NORMAN. Yes.
ANNIE. (moving to him) Good night and good-bye, Norman.
They kiss. A little longer than Annie had planned. Norman's saucepan flails in the air
Sarah enters. She carries a pill bottle. She sees Annie and Norman. She pauses for a
second and then, banging down the bottle, advances furiously and swiftly across the
room
Norman sees Sarah over Annie's shoulder and tries to pull out of the kiss, with a
muffled warning. He is too late. Sarah grabs Annie by the shoulder and shoves her
away from Norman

SARAH. You deceitful little whore. Get upstairs. Get up to bed this instant.
ANNIE. (amazed) Who do you think you're talking to?
SARAH. (shoving Annie again) Get upstairs! Go on . . .
ANNIE. And, please, I do not like being pushed around.
SARAH. I will push you around just as much as I . . .
ANNIE. You will not, you know.
SARAH. (pushing Annie again) Get upstairs, do you hear me? Get upstairs.
ANNIE. I warn you, Sarah, you push me once more, I'll slap your stupid face.
NORMAN. I say . . .

44

Living Together

ANNIE. And you can shut up, too, Norman

SARAH. You're a really nasty piece of work, aren't you? All that innocent little
girl act. You're just a tart like your Mother.
ANNIE. Sarah, I will not have you talking about my Mother like that.
SARAH. Dirty little slut.
ANNIE. If you call me any more names.
SARAH. Slut, slut.
ANNIE. (raising a rather impressive looking fist) You asked for it.
Annie advances menacingly on Sarah. Sarah retreats

SARAH. Don't you come near me. Don't you dare threaten me.
ANNIE. Then take it back.
Ruth enters. She is now dressed only in an old dressing-gown, Norman's
Ruth stands for a moment bemused, taking in the scene, Annie and Sarah about to
come to blows and Norman beginning to enjoy every minute of it

SARAH. I will not take it back. You're a tart and a slut.

ANNIE. Don't you call me that, you frustrated bitch.
SARAH. Keep away. Keep away. Annie I'll ring your stupid neck.
RUTH. (thundering) Annie! Sarah! That's enough.
A silence

All right, that's enough.

SARAH. (quite hysterical) She has no right to say that to me.
RUTH. (sharply) I said that's enough. Good night, Sarah.
SARAH. If you'd seen what she . . .
RUTH. Good night, Sarah.
Sarah goes to the door, gives a last indignant glare back into the room and goes out

Good night, Annie.

ANNIE. (taking her shoes and going slowly to the door) Good night.
NORMAN. (lamely) 'Night.
ANNIE. goes out
A very long silence. Ruth seems lost for words. She opens her mouth to speak to
Norman, then does not. She walks up and down. She opens her mouth to speak to
him again. She cannot. She walks about some more

RUTH. (finally) Do you ever realize, Norman, the number of times in a day I
could lose my temper with you and don't?
Norman continues to study his toes and the saucepan

I usually manage by some supreme effort of will to control it. Well, this time,
I'm sorry, I'm quite unable to. (Moving to him) You understand what I'm saying,
Norman? I am simply bloody livid. (She slaps his face)

Act II, Scene 1

NORMAN. Ow.
RUTH. How could you, Norman, how could you do it? Don't you think it was
bad enough for me at Christmas to lie there ill in bed? Knowing you were
down here playing around with not one woman, but two.
NORMAN. (muttering) I wasn't playing with two.
RUTH. Why do you do it? Don't you have any feeling for me?
NORMAN. I don't know, I'm just . . .
RUTH. Just what?
NORMAN. I'm just magnetic or something.
RUTH. You are not magnetic, Norman. Not at all. You are odious. You are
deceitful, odious, conceited, self-centered, selfish, inconsiderate and shallow.
NORMAN. I'm not shallow.
RUTH. Have you anything to say at all? Anything?
NORMAN. That's my dressing-gown, isn't it?
Ruth moves around agitatedly for a second

RUTH. I don't know what to say. I just don't know what to say ... And stop
looking like that, for heaven's sake.
NORMAN. Like what?
RUTH. Giving me that awful doggie look of yours. It may work wonders with
those two but it does nothing for me. I've seen it far too much.
Ruth sits away from him, on the settee. Norman wanders unhappily, and puts the
saucepan on the settee table

Well, I think this is it, don't you? I think this is where we say thank you very
much, good-bye. On top of everything else you've made me look a complete
fool . . . (Peering round) Where have you gone, I can't see you?
NORMAN. Over here.
RUTH. Oh. No, I think you're just contemptible.
NORMAN. (edging towards her and finally touching her hand) I'm sorry.
RUTH. Don't.
NORMAN. I am.
RUTH. Let go of my hand.
NORMAN. I am.
RUTH. Will you let go of my hand.
NORMAN. Why?
RUTH. Because I don't want you touching me.
NORMAN. Oh. (He wanders away) So you want me to go, do you?
RUTH. I think it's the only thing left.
NORMAN. For you.
RUTH. And for you. You're obviously not made to be married. You never were.
Stupid of me to try and make you behave like a husband in the first place.
You'd be much happier if you were perfectly free, flitting from woman to
woman as the mood takes you.

46

Living Together

NORMAN. I don't do that.

RUTH. You'd like to.
NORMAN. I know the real reason.
RUTH. Reason for what?
NORMAN. Why you want to get rid of me. Because I interfere with your work.
That's why you'd like to get rid of me.
RUTH. Talk about turning the conversation. You really are the limit.
NORMAN. Well . . .
RUTH. That isn't true, either.
NORMAN. Which comes first then? Which comes first? Work or me?
RUTH. You do. Did.
NORMAN. Work or me?
RUTH. I've said, you.
NORMAN. Work or me?
RUTH. I'm not going on with this.
NORMAN. You can't, can you? You know it's not true.
RUTH. We'll talk about this in the morning. You can sleep down here.
NORMAN. Where?
RUTH. I don't know. In a chair. You're certainly not coming up with me. I refuse
to be number three in a night.
NORMAN. Nothing happened, you know. They both just started fighting. I was
just saying good night to Annie and then Sarah attacked her.
RUTH. Oh, yes, really? How interesting. That sounds so terribly likely.
NORMAN. It's true. You're the only one, Ruth. You know that.
RUTH. I certainly don't.
NORMAN. Well, you should know that. You should know me by now. I mean,
this whole week-end wasfor you.
RUTH. For me? What do you mean it was for me?
NORMAN. It was a gesture for you.
RUTH. Really.
NORMAN. Of course it was. You know that.
RUTH. (studying him) I don't think you're any of those things I said you were.
You're just stupid.
NORMAN. Possibly.
RUTH. You just don't think. You want locking up. All right, then.
NORMAN. What?
RUTH. Come on. Come upstairs if you're coming. (Moving to the door) I must be
half-witted but still ... (She waits) Come on.
NORMAN. (moving to the rug and smiling) Here a minute.
RUTH. What?
NORMAN. Just come here a second.
RUTH. (moving in slightly) What for?
NORMAN. Please.
RUTH. (moving in further) Why?
NORMAN. (beckoning her in) Bit closer--closer--that's it.
RUTH. Now, I'm not in the mood for games, Norman.

Act II, Scene 1

NORMAN. No. That's it. (He draws her to him and kisses her) I love you.
RUTH. You really are the most . . .
Norman starts to pull her down on to the rug

What are you doing?

NORMAN. I suddenly had this wonderful idea.
RUTH. What?
NORMAN. On the rug. Come on, on the rug.
RUTH. What?
NORMAN. On the rug. Come on.
RUTH. Norman, no.
NORMAN. It's nice on the rugcome on, on the rug.
RUTH. Normanreally.
He kisses her

NORMAN. There. Isn't it nice on the rug?

RUTH. Norman . . .
NORMAN. Oh, Ruth . . . They kiss and roll over
RUTH. It's nice on the rug.
NORMAN. I told you it was. It can be our rug.
RUTH. Norman . . .
The lights fade as they enjoy the rug and each other

CURTAIN

SCENE 2
The same. Monday, 8 a.m.
Ruth and Norman are now rolled up in the rug asleep. Norman's jacket is a pillow. Reg
enters without seeing them. He carries two suitcases. He places one on the floor, puts
the other on the table and starts packing away his game. Ruth flings out her arm and
hits Reg's leg. Reg jumps. He turns and sees her

REG. Flipping heck!

RUTH. Reg... ? (Realizing where she is) Oh, my God. Norman. Norman, wake up,
you fool . . .
NORMAN. (instantly awake) Whatwhatwhatmorningwhat?
RUTH. Norman . . .
NORMAN. Ohoh, God. Hallo, Reg. Ruth, we've overslept. (He starts to try to
get up)

RUTH. (yelling) Don't unroll the rug yet. Wait a minute.

NORMAN. Sorry. Oh yes . . .

48

Living Together

Ruth and Norman wriggle about under the rug adjusting their dress

RUTH. (as they do so) You don't really have to stand there gaping, do you, Reg?
REG. Oh, no. Sorry, no. 'Morning. (He continues packing up the game)
RUTH. (satisfied that her dressing-gown is again covering her) All right.
NORMAN. Right.
They unroll from the rug

RUTH. Honestly. (She gets up) You fool, Norman. Why didn't you wake up?
Please, Reg, don't say anything to anyone, will you? I beg you. I'll never live it
down.
REG. Nono . . .
RUTH. Honestly, Norman, you fool. Why didn't you wake up?
Ruth goes out
Norman smiles amiably at Reg

REG. I take it you two have patched up your little differences?

NORMAN. My wife and I have come to an agreement.
REG. Good.
NORMAN. (getting up) Lovely morningoooh! She's been lying on my arm.
Oooh, oooh, oooh. (He finds his apron backwards and twists it round) Wouldn't tell
anybody about this. (He straightens the rug)
REG. No.
NORMAN. Otherwise they'll all want to do it.
REG. Don't think I fancy it. Prefer my bed. Despite the wife. (He laughs)
NORMAN. You're off then?
REG. She seems to be hurrying me along for some reason, yes. What was the
matter with her last night, do you know?
NORMAN. Who?
REG. Sarah. She came to bed shaking. I've never seen her so bad. I mean,
literally shaking. The whole bed was vibrating for hours. Like sleeping on top
of a spin dryer.
NORMAN. It must have been the over-excitement.
REG. What over-excitement?
NORMAN. No idea.
REG. Not much of that this week-end was there? Well, the old arguments but
that's usual. I must say, on the whole, I've enjoyed the rest.
NORMAN. Yes. Good to get out to the countryside occasionally.
REG. You're right there.
Sarah comes in with a bag

SARAH. Reg, have you brought those . . . ? Ah, yesoh. (She sees Norman)
NORMAN. 'Morning.
SARAH. (coolly) Good morning. (To Reg) What are you doing?
REG. Just packing. Just packing.

Act II, Scene 2

SARAH. (collecting up the magazines) Oh, we're not lugging that all the way
home with us again, are we?
REG. I'm not leaving it here. This took me months to make.
Norman wanders to the door

SARAH. We're never going to have time for it, Reg.

REG. It's all right, I think I've adapted it now so I can play on
my own.
SARAH. (piling the magazines on the settee table) And you
promised to take these magazines up to Mother.
REG. I will. I'm going to. I'll have my breakfast first.
SARAH. (picking up the saucepan) And we can't waste too much
time over that, either. (Coldly to Norman, who is blocking the way
out) Excuse me, please
Sarah goes out

REG. What's the hurry? We're in a hurry. I don't think she's

forgiven you yet, by the look of it.
NORMAN. No.
REG. No. Very cool. Got a long memory has Sarah. It'll be a few
months before you're back in favour.
NORMAN. Ah well. I'll try and win her round.
REG. No chance. You'll be told when you're forgiven and not
before. She doesn't talk to me for days on end sometimes.
Amazing how she remembers to keep it up. I mean, if I have a
row in the morning, when I come home in the evening I've
forgotten all about it. Until I open the front door. Then it hits
you straightaway. Atmosphere like a rolling-pin. Know what I
mean? She's got great emotional stamina, my wife.
NORMAN. So have I.
REG. You'll need it. Good luck.
Norman goes out
Reg, alone, whistles a tune, wanders to the centre of the room, looks
at the rug and laughs. He wanders to the window and stares out

REG. Oh, hallo. What are you doing out there?

Tom comes in from the garden rather tentatively

TOM. Ah . . .
REG. What were you doing hiding out there? Thought you were
a cat burglar. (He laughs)
TOM. No. Erthought I'd just look in, you know. I was on my
way to somewhereand I thought I'd look in.
REG. Come in. (He goes to the magazine pile and tidies it)
TOM. Thank you.
Tom picks up a magazine, Reg puts it back, several times

50

Living Together

REG. Nice day again.

TOM. Um?
REG. Lovely.
TOM. I'm afraid I flew off the handle last night.
REG. Oh, don't worry.
TOM. I shouldn't think I'll be very welcome here today.
REG. Why ever not? Don't worry . . .
TOM. I didn't sleep at all. Turning it over in my mind, you know. I mean, let's
face it. What claim have I got to Annie? None at all. Why should I kick up a
fussif somebody else . . .
REG. It's natural. Human nature.
TOM. I shouldn't have blown my top.
REG. I don't honestly think a lot of people noticed.
TOM. Really?
REG. No.
TOM. I was very boorish.
REG. Well . . .
Annie comes in dressed as in Act I, Scene 1

ANNIE. Oh. Hallo.

TOM. Hallo.
ANNIE. There's some tea and stuff in there, if you want it, Reg.
REG. Oh, right-ho. Wonderful.
ANNIE. Not a lot but . . .
REG. Right. (Pause) I think I'll take these up to Mother. Before I forget.
Otherwise Sarah'll be on to me again. Excuse me.
Reg picks up the pile of magazines and goes out

TOM. Yes. I must be getting along, I think. I was just . . .

ANNIE. Tom. Tom Yes.
ANNIE. Stay a minute.
TOM. All right. (He looks at his watch) Yes, fine. (He looks at his watch again) Fine.
I came to apologize really.
ANNIE. What for?
TOM. Well, foryesterdaylosing my temper andgeneral things.
ANNIE. No need to apologize.
TOM. No, I know there isn't. Everyone keeps telling me that. But I think an
apology's due. I came to give it. To you.
ANNIE. Thank you.
TOM. Well. (He looks at his watch) Well . . .
ANNIE. Do you want a cup of tea before you go?
TOM. Oh. If there's one going. Won't say no. Didn't feel like breakfast when I
got up. Felt a bit sick actually, buter . . .
ANNIE. Come on then.
TOM. You think they'llerwelcome me in there?

Act II, Scene 2

ANNIE. Why ever not? Come on. (She starts to lead Tom out)
Ruth enters as Tom and Annie reach the door. She is now dressed and is carrying
Norman's case, jacket, overcoat and woolly cap. The medals have been removed
from the jacket

TOM. Oh, Ruth, Ier . . .

RUTH. Oh hallo, Tom, good morning. You're bright and early. (She puts the case
by the easy chair)

TOM. Ruth, I . . .
RUTH. Mmm? (She puts the clothes over the back of the easy chair)
TOM. Iernothing.
RUTH. What's wrong?
ANNIE. Nothing's wrong. Come on.
TOM. Right.
Norman enters as Tom and Annie go out

NORMAN. Hallo. Good morning, Mr Vet. (He slaps Tom on the back)
Tom and Annie go out

You're dressed.
RUTH. (sitting on the settee) I wasn't going home in your dressing-gown. I've
come up in a rash. I think it was from that rug.
NORMAN. Really? That's unusual.
RUTH. What do you mean unusual? Do you make a habit of rolling people on
the rug?
NORMAN. No.
RUTH. No?
NORMAN. No. You look fabulous this morning.
RUTH. I look simply dreadful. I couldn't see my face. I haven't had a bath. I
feel terrible.
NORMAN. I love that dress. It's great.
RUTH. It's the same one I had on yesterday.
NORMAN. Is it?
RUTH. I only brought one with me. I didn't plan to spend the night in the
hearth. I suppose you want me to drive you home now?
NORMAN. Yes, please.
RUTH. I have to go to work.
NORMAN. You'll have to go home first, you can't go to work like that. You
look a dreadful mess.
RUTH. Yes. You're supposed to be at work, too.
NORMAN. I was taken ill, haven't you heard?
RUTH. I'm amazed they keep you on.
NORMAN. I'm a very good librarian, that's why. I know where all the dirty bits
are in all the books.

52

Living Together

RUTH. We'd better say good-bye.

NORMAN. No breakfast.
RUTH. You can get something at home. If there is anythingwhich I doubt.
NORMAN. What would you say--if I asked you a favour?
RUTH. What sort of favour?
NORMAN. Would you take the day off and stay at home?
RUTH. No.
NORMAN. Not even with me?
RUTH. Especially not with you.
NORMAN. Please.
RUTH. Norman, I am doing a full-time job. I just can't . . .
NORMAN. I could ring up for you. I could say you were ill.
RUTH. No.
NORMAN. Oh, why can't you be ill for once? Go on, be ill. I know. I'll pretend
I'm the doctor. I'll say, I am phoning up on behalf of Mrs. Norman Dewers. I
have just examined this woman on the rug. She has an ugly rash and in my
opinion, she's in great need of some attention. Attention from who, you may
ask. (He leaps to Ruth and sits on the settee)
RUTH. Norman . . .
NORMAN. Kiss.
RUTH. Norman. (She kisses him)
NORMAN. Are you happy?
RUTH. What?
NORMAN. Do I make you happy at all?
RUTH. Well . . .
NORMAN. Say you're happy.
RUTH. Why? Is it important?
NORMAN. Yes. I want you to be happy. I want everyone to be happy. I want
to make everyone happy. It's my mission in life
RUTH. Yes, all right, Norman. Well, let's not worry about other people too
much, just concentrate on making me happy, will you? The other people will
have to try to be happy without you, won't they?
NORMAN. But you are happy?
RUTH. Yes. I'm fairly happy.
NORMAN. And you might possiblyfeel illif you drove very fast all the way
home andsomebody made you a cup of tea andmade the bed andran
you a bath andput in the bath salts and . . .
RUTH. Yes. I might.
NORMAN. How are you feeling?
RUTH. Dreadful.
NORMAN. (with a great cry of joy) Ha-ha! (He grabs her)
Reg enters with a bunch of flowers in tissue. He puts them on the settee table

REG. Oh, blimey, they're at it again.

Act II, Scene 2

Sarah and Annie come in
Ruth breaks from Norman

SARAH. Well, I think we're ready to go.

REG. One piece of toast. One piece of toast. How can I drive on one piece of
toast?
Norman puts on his jacket

ANNIE. Have you got everything?

SARAH. I think so. Did you take our sponge bag out of the bathroom, Reg?
REG. Yes, yes, yes.
RUTH. Well, I'm going to see if I can start the car.
NORMAN. Right. (He starts to put on his mac and hat)
RUTH. Oh, Norman, you don't have to put all that on.
NORMAN. I prefer to travel incognito.
RUTH. You've still got that suit on. It isn't even yours.
NORMAN. Oh, yes. Can I borrow this, please?
ANNIE. Well, Father doesn't need it any more. You might as well.
RUTH. It doesn't even fit him.
NORMAN. I could do with a new executive suit.
RUTH. Come on. (To Sarah, Reg and Annie in turn) Good-bye. Good-bye. Goodbye.
ANNIE. 'Bye, Ruth.
REG. 'Bye, 'bye.
SARAH. Good-bye.
RUTH. (going) I'm in the car. I'm leaving in ten seconds.
Ruth exits to the garden

NORMAN. All right. All right. (To Annie) Good-bye, Annie. Thank you and . . .
ANNIE. (fairly cool) Good-bye, Norman.
NORMAN. Reg.
REG. So long.
NORMAN. Sarah. (He shakes Sarah's hand)
SARAH. (warmly) Good-bye, Norman. Have a good journey. See you at
Christmas, I hope.
NORMAN. Like the mistletoe, I shall be here.
RUTH. (off) Norman!
NORMAN. Bag. Where's my bag?
REG. (pointing) That it?
Norman goes for his case

RUTH. (off) Norman!

SARAH. (going to the door and calling) He's just coming, Ruth, he's just coming.

54

Living Together

REG. She's forgiven you very quickly, hasn't she?

NORMAN. You think so?
REG. What did you say to her?
NORMAN. Nothing. I just cheered her up a bit. 'Bye 'bye. Good-bye, Annie.
Good-bye, Sarah.
RUTH. (off) Norman, I have left.
NORMAN. All right, all right, I'm coming.
Norman goes, his hand brushing Sarah's as he passes her

REG. Well. Nice to see him, but I'm glad it's only twice a year.
SARAH. Yes, I think it's time we were . . . Good-bye, Annie. (She pecks Annie's
cheek) Take care, won't you?
ANNIE. And you. Have a good journey.
REG. Thank you.
ANNIE. You won't mind if I don't come and see you off, will you? I must get
back to Tom. He's sitting there waiting. He's decided he'd like breakfast after
all.
SARAH. Oh, yes, you go back to Tom.
REG. Annie, I told him not to worry about this week-end. I did right, did I? To
tell him that?
ANNIE. Yes.
REG. Hope everything works out.
ANNIE. Expect so.
SARAH. (at the window) Norman's having to push that car of theirs.
REG. (to Annie) Want a tip? Take Tom out there. Sit him under the tree. Good
place to make a proposal out there.
ANNIE. It worked for you.
REG. Yes.
ANNIE. I'll try it. One of these days. 'Bye 'bye.
SARAH. Good-bye, Annie dear. Reg 'Bye, love.
Annie goes out to the house

SARAH. Oh, I am fond of this garden. Even though it's overgrown. Oh, just
look at Norman. What does he think he's doing. (She laughs)
REG. Could do with a lot of work. I thought they were still paying someone to
look after it. That old man. He's worse than useless. No-one keeps an eye on
him. So he doesn't do a stroke.
SARAH. As long as the sun's shining, I'm happy.
REG. Are you? (He picks up the cases)
Sarah stands smiling serenely

You're very cheerful.

SARAH. Why shouldn't I be?
REG. No. No reason. Carry on.
SARAH. Can you manage those?

Act II, Scene 2

REG. Just about. Pause
SARAH. I wonder what Bournemouth would be like at this time of year?
REG. Bournemouth?
SARAH. Yes.
REG. What made you suddenly think of Bournemouth?
SARAH. It just occurred to me.
REG. You don't want to go to Bournemouth, do you?
SARAH. Not now . . .
REG. I thought we were going home.
SARAH. Not now. Sometime. I think I'd rather fancy it. Next yearperhaps.
REG. All right. I'll take you. If it'll make you happy.
SARAH. No, you don't need to bother. I could go on my own easily.
REG. On your own?
SARAH. Leave you in peace for a bit. Just for the week-end. Be rather nice to
get away. For a week-end . . .
REG. Don't know why you want to go to Bournemouth. Why Bournemouth?
Why not make it Brighton? Or Worthing? (Sarah goes out to the garden, taking
the bunch of flowers) Or Reigate, for that matter? Or East Grinst . . . (He pauses.
An awful thought) Oh, my God. Sarah! Wait for me, love. Sarah . . .
Reg hurries out with his cases

CURTAIN