NAURIE RowDow-
BoY SEES RED


Mauricel Rowdon BOY SEES RED
BOY SEES RED
A Play
MAURICE ROWDON 2006


Maurice Rowdon BOY SEES RED
CHARACTERS
May Bright, schoolgirl
Sid Somers, her boyfriend
Jack Bright, May's father
Lydia Bright, May's mother
Emily Howard, social worker


Maurice Rowdon BOY SEES RED
One
Bedroom. A double bed down left. A
window in the left wall. The door to
the staircase is facing us. Down right
are a sofa and coffee table.
On the facing wall are small unframed
paintings, mostly lines and shadow, but
each has a touch ofr red, a brush-mark
ofvarying thickness and form.
SID is on top ofl MAY, on the tussled
double bed. His clothes are on the
floor. They are sixteen,They are naked
below the waist. They are quite still,
she looking up, he with his face buried
in the bedclothes.
MAY:
I want it again!
SID:
I haven't got it in me!
MAY:
You haven' 't got it in me either!
They cackle with laughter. Silence. He
raises himself up with burlesque slow
effort to look at her.
SID:
May!
MAY (expecting a spoof) What?
SID:
I wish to do it again and I feel it coming on me!
MAY:
You're not coming on me!
Again the cackles. He throws himself
on her once more and go through the
same antics.
MAY (cont.)
Quick! My dad might come in.
He jumps off her, covering his genitals


Maurice Rowdon BOY SEES RED
with a pillow and runs to the sofa.
SID:
Could youCand me my trucks? V
MAY:
What do you mean, trucks?
my trauh L
SID:
That's S what granddad calls 'em.
MAY (grabbing his pants from the floor and throwing them at him) They're
pants.
SID (as he tries to pull them on) Pants are what you put on first.
MAY:
That's underpants and you never wear 'em (cackling)!
SID (stopping) May, I feel it churnin' in me again and I will do it only I
cannot but I will and here goes!
With an extraordinary dash he runs to
the bed and throws himself on her and
with a thrust ofhis buttocks,
accompanied by her cackles, he starts
the same rhythmic movement that
shakes the bed thunderously.
Suddenly the front door downstairs
open and closes with a slam. There are
swift footsteps on the stairs. The door
is flung open and JACK BRIGHT,
MAY's father, appears red with fury.
JACK (rushing across to SID) What are you doing for God's sake? You bloody
fool! (Giving him an almighty slap on his naked arse and
then round his face, a real heavy blow this second one) Now
get up you nasty little bugger, get off my girl, they can hear
you all down the street!
With a tremendous tug he pulls SID off
the bed and again SID rushes to the
sofa, pillow over balls again. He begins
to dress frantically.
JACK (cont., without looking at him, quietly) Now just you get back to your
mum and dad. And keep away from this house in future, do
you hear me?
SID (holding the side ofhis face) That 'urt Mr. Bright.


Maurice Rowdon BOY SEES RED
JACK (turning to him) I'm sorry Sid but I'm her dad and I'm not standing for
it. I didn't mean to hurt you--Agot.bévondmyseff, You
shouldn't be coming over here at all. Not without permission
you shouldn't. Youknow-thatas-wllashdo
Zet
Snilip Li clothes
Still holding his faceSID leaves the
room and walks down the stairs like
a ton ofbricks.
JACK (cont., to MAY) As for you I can't believe you're my daughter. There
isn'ta house on this estate would open their door to Sid
Somers and you go and bring him home! and ify you get a
baby you'll look after it my girl, your mum and me won't, we
had enough bringing you up.
MAY:
But we haven't done anythink!
JACK:
Then what was all that bloody racket about? You haven't
been at your prayers have you? Kids hardly turned sixteen
(his face puckering up)! I don't know, your mum and me
must have done something wrong!
MAY:
But dad all we do is lark about!
JACK (holding up the sheet) This bed's soaked! I heard you telling him---I
want it again!
MAY:
Look the bed's as dry as a bone!
JACK (confirming this carefully) So what do you get up to then?
MAY:
Sex.
JACK:
Are you trying to pull my bloody leg?
MAY:
Dad---it's not what you and mum do, where you get
babies.
JACK:
So what the hell is it?
MAY:
We're jest larking about. (As JACK riles up again)
Dad---he can't even squirt!
HACK:
How's that?


Maurice Rowdon BOY SEES RED
MAY:
The other kids showed him how to do it when he was fifteen
but his winkle didn't get it.
JACK:
Didn't get what?
MAY:
It didn't get big like the other winkles did.
JACK:
So what' S all this 'I want to do it again' about?
MAY:
It's just for a laugh, that' S all. His winkle won't stand to
attention dad.
JACK:
You know what? (Studying her) You two are scats.
MAY:
What's that?
JACK:
Crackers. (Getting up with a sigh, then turning to her) What
work are you going to do May? You've been finished with
school nigh on a year and I don't see anything in sight.
MAY:
No more do I dad.
JACK:
Well you'd better shape up, that' 's all I can say.
He goes to the door.
JACK (cont.)
Don't forget the kippers.
MAY:
No Iwon't dad.
He leaves and we hardly hear his steps
on the staircase. The moment he has
gone she heaves the bedclothes over
her and promptly falls asleep.
There is a ring at the downstairs door,
which doesn't disturb her. There is a
murmur ofvoices below, then we hear
light slow footsteps on the stairs. The
door opens slowly. It is her mother,
LYDIA. She gazes at MAY and walks
over to the bed.
LYDIA (hushed) May.
She shakes her and with a startled


Maurice Rowdon BOY SEES RED
snore MAY wakes, leans up.
MAY:
'allo mum.
LYDIA:
What's been going on? Every time I leave this house there's
trouble. I told you before, ifyou want to do it go to his place,
you know what your father's like.
MAY (pouting) Dad did it with you.
LYDIA:
Not when he was sixteen! He wasn't brought up that way!
He says it's not right doing it before you're married, and
that's that.
MAY:
Nobody's married round here.
LYDIA:
We are. And your dad brings in the money. And ifyou don't
show him more respect you' 11 have to find a room elsewhere.
(Gazing at her) I thought you'd understand that (getting up)-0
MAY:
Mum?
LYDIA:
Yes?
MAY:
Was dad your first, mum?
LYDIA (on her way to the door) Mind your own business. And next time you
two want to play around do it when your dad's out. I've told
you that umpteen times haven'tI?
MAY:
Mum?
LYDIA:
Yes?
MAY:
Dad don' 't want Sid coming round any more.
LYDIA:
I'll have a word with your dad but next time do it before he
gets home for God' S sake. All right?
MAY:
Yes mum.
She leaves and once more MAY
sweeps the bedclothes over her and
sleeps at once.


Maurice Rowdon BOY SEES RED
Two
The same, only the bed is no longer
there. It has been replaced by two
armchairs, which now face the sofa.
The scene is empty.
We hear soft steps on the staircase. The
door leading to the stairs opens very
slowly. SID peeps round the door
as if afraid of what he is going to see.
He stares. MAY is behind him.
SID:
The bed's gone!
MAY (laughing) Of course it has! You've just been sittin' on it downstairs! I
told you, I sleep downstairs now, next to the kitchen!
SID:
'o0 took it away then?
MAY:
My dad. (Calling down the stairs) Mum?
LYDIA (off)
What' S wrong now?
MAY:
Where should we sit?
LYDIA (appearing) On that sofa.
MAY:
What does she want to see me for?
LYDIA:
I told you before duck, she looks after Sid, he's on her list.
SID:
shelan Mrs. oward. I been on her list since I was ten.
MAY:
What list?
LYDIA:
Listen May, you'd better stop being silly, Mrs.Howard's
from the borough council and she wants to talk to you as
well, don't ask me why but that's the law.
She goes downstairs again.
MAY (hushed) Is this the woman from the Counsil then?
SID:
Yuss. My mum and dad told her where I was every day SO
she's come 'ere to see ifit's all right.


Maurice Rowdon BOY SEES RED
MAY:
What do you mean, all right?
SID:
All right with your mum and dad.
MAY:
SID:
My granddad says she's a bloody fool.
Mag!
who?
MAY
What,Mrsoward?
SID:
Yuss. MrOwar.
He settles down and looks round the
room.
SID (cont., with something like awe) My pikchurs are still 'ere, look.
MAY:
Dad likes 'em.
grubn
SID:
Mine don't. My granddad-does. My mum and dad say they
don't like the red, they say it's blood.
MAY:
It's not really is it?
SID:
What?
MAY:
Your blood?
SID:
It's paint. It started like with blood.
MAY:
Whose blood?
SUD:
My blood. (As she stares at him) I put a needle in my finger
and then I smear it on the paper and then I mix my red
colours and that's what's on the pikchurs.
MAY:
What do you mean you mix your colours?
SID:
I'm trying to tell you, that colour is the same colour as my
blood. Only it's paint.
MAY:
They are silent. So is the house.


Maurice Rowdon BOY SEES RED
MAY (cont.)
I'm scared.
SID:
So am I.
MAY:
What are you talking about? You said she's always round
your house!
SID:
So she is, I'm on her list. I know her first name.
MAY:
What is it?
SID:
Emily.
MAY:
Is she nice?
gruupe
SID:
Yuss. My granddad says she's a bloody fool.
MAY:
You always say that! hes luri Isay Mbuot V Jery
ury smucdad says,
They cackle in a very subdued manner.
She goes to the sofa and sits at his side
as if cold.
SID (cont.)
It's because ofyour dad she's comin'.
MAY:
Why?
Came
SID:
He went round and talked to my mum. He told 'er what we
was doin'.
MAY:
I bet she wopped you one.
SID:
Nah.
Silence for stares in front.
SID (cont.)
My granpa says your dad's all right, I don't think sO.
MAY:
Your granpa didn't get a smack round 'is clock did he---not
like you did!
Cackles that are bolder. The front-door
bell interrupts them. It is a prolonged
ring.
SID (cont.)
That's her. You can tell be the way she rings. My granddad


Maurice Rowdon BOY SEES RED
says she always leans on the bell.
The front door below opens
and we hear a murmur of voices
MAY (hushed) You're frightened of her aren'tyou?
SID:
Nah.
MAY:
So why are you frightened?
SID:
Because your dad come over.
MAY:
What's that got to do with it?
SID:
Well she never knew I was comin ere did she? Nor did my
mum and dad.
MAY:
Why don'tyou tell 'er to mind 'er own business?
SID:
HbetshetEstart,creatin'newl
MAY:
My mum don't mind what we do.
SID:
Iknow.
MAY:
It's more dad. 'E's afraid of me getting a baby.
SID (dreamily) I wouldn't mind a baby.
MAY:
Nor would I.
We hear footsteps in the stairs.
SID makes a gesture to keep quiet.
EMILY HOWARD appears in the
doorway. She is a round well-filled
woman smooth in walk and gesture.
She carries a handbag large enough to
accommodate reports, documents,
mini medical kits. She goes in for large
bracelets and necklace and tends to
clink.
She closes the door carefully. With
sure movements she goes to one ofthe
armchairs that face the sofa. She sits


Maurice Rowdon BOY SEES RED
down comfortably, then she takes out
her notes and studies them in a
leisurely manner.
HOWARD (lifting her eyes to MAY for the first time) So you're May are you?
MAY:
Yes.
HOWARD:
May Bright?
MAY:
Yes.
HOWARD (returning to her notes) You're a nice-looking girl, no wonder your
mother's proud of you.
SID:
We haven't done anythin' wrong.
HOWARD (without lifting her eyes) Who said you had? May's father didn't
like you being in bed together, that's all. Hermother-perhapsr
more sensibly, says she doesn'tmind. (Looking at SID) You
know your mum and dad wouldn't stand for it in their house.
MAY:
Everybody does it, why shouldn't we?
HOWARD:
It all depends on whether what you're doing is what your
mother and father did to get; you, doesn'tit?
MAY:
Iwouldn't mind ifI had a baby!
HOWARD (studying her notes again, then addressing SID) The bruise. On
your face. Did you take the pain killer?
SID (putting his hand involuntarily to the left side ofhis face) Yuss.
HOWARD:
Did you take it today?
SID:
HOWARD:
You must take it for a week. Is the swelling down?
SID:
Yuss.
HOWARD:
I want to ask you both a question. (They gaze at her
attentively) Do you love each other?
They look at her blankly.


Maurice Rowdon BOY SEES RED
HOWARD (cont.) Very well (making a note). Do you always want to be
together?
MAY:
Yes.
SID:
Yuss.
HOWARD: Suppose you were separated, sent miles away from each other?
SID:
Mymum-and-dad-liveround.the-corneround.the.corner!
HOWARD-(te-MAY)What-would-you-doifhis.parents.movedaloong.way
away?
Y m
MAY (with alarm) Are they going to movethen?
Kux jall 1/
64 Cr
not ! (stidyy Le no lc gai) Now itre. hel
HOWARD: I-den'tthinkse,nel May, I've been visiting Sid for ten years or
igln Stemag) more, so I naturally take an interest in the friends he keeps.
MAY:
You want to stop him comin' round here don'tyou?
Nolatel. i Ca Ckae Lue lads
ibe heer Ip
S, à
HOWARD: /Im-here to see you my dear. Iflhadto keep/an eye on him for
ten years I must now keep it on you.
MAY:
Why?
y aol Sd 21 v VI clo.
HOWARD: Astexplainedt toyour mother.you're-very-closetogether,you
and-Sid. So I need to know you as well my dear, there's nothing
scary about it.
She looks round the room.
HOWARD (cont., to SID) Are these your pictures?
SID:
Yuss.
HOWARD (after making a long note) All right. You can both go downstairs
now. (To MAY) Would you,sending your mother up please dear?
She's waiting.
hind
They leave without a further word.
HOWARD rises and studies the
pictures at closer quarters. We hear
soft steps on the stairs and LYDIA
comes in. She stares at HOWARD.


Maurice Rowdon BOY SEES RED
LYDIA:
What's S been going on? My daughter' s in tears.
HOWARD: Please sit down Mrs.Bright, let's have a quiet chat.
LYDIA:
I'll sit down when I want to, my daughter' S upset, she says you're
going to send her away!
HOWARD: Inever said any such thing. (Holding up her recorder) I can play
the conversation back to you ifyou wish. Would you like me to?
LYDIA:
She can't be in tears for nothing!
HOWARD I needed to ask them a few very harmless questions. That's all.
I'm here to help them as a couple. Your daughter is part of that
couple---my supervisor instructed me to make sure she's happy
in the relationship, that's all.
LYDIA (without sitting) Listen Mrs Howard my husband': S coming in in a
minute and he'll expect his tea, he's a hardworking man. It's not
my daughter's fault if young Sid's on your list.
HOWARD: Of course it isn't! And of course my questions trouble everyone--
they trouble me to ask them---but I'd lose my job ifl didn't. So
you see I need your cooperation desperately. Your daughter's not
on my list and you and I must make sure that she never is.
LYDIA:
Everybody scared she's going to have a baby but I don't mind if
she does and I don't care who knows it. A lot of children are born
out ofwedlock nowadays.
HOWARD: But your husband doesn't apparently agree with you.
She is interrupted by riotous sounds
from the downstairs bedroom.
HOWARD (cont.) What on earth is that?
LYDIA:
It's them!
HOWARD: Well goodness gracious me!
MAY (off) I want it againl
SID (off) Ihaven't got it in me!


Maurice Rowdon BOY SEES RED
MAY (off) You 'aven't got it in me either! (cackles of laughter).
HOWARD (above the noise) What' s happening?
LYDIA (shouting) They're making love! It's what I've always said---they
should be married and live in a place oftheir own and look
forward to a baby, it's bound to arrive!
The cackling and crying out below
continue, the bed down there makes a
thunderous noise to the rhythm of their
passion.
HOWARD listens with astonished
alarm and fascination. They wait for
the final cackles of laughter to subside.
HOWARD (still hushed with astonishment and speaking with care) But
Mrs.Bright what they're doing has nothing to do with babies!
They might just as well be throwing pillows at each other. By the
sound of what's going on downstairs we shall certainly have to
treat them as a couple---but, oh dear, what a strange one!
LYDIA:
As for myselfI don' 't care ifthey are strange. It's what I keep
telling my husband, if they want a baby they should be allowed to
get one in their own way, after all we had some say in the matter
when we were younger.
HOWARD (collecting herself with difficulty) Of course Mrs. Bright. Now that
I have a clear view ofthe matter I can work, like you, to keep
them together!
LYDIA:
My husband Jack won't hear ofit. So there isn't much I can say
is there?
HOWARD: Evidently not!
LYDIA:
It's lucky he's a very fair man, he always listens to me in the end!
HOWARD (as they leave) A definite bonus, that!


Maurice Rowdon BOY SEES RED
Three
SID is sitting on the sofa working on a
small canvas. He clearly knows what
he is doing and works with great
concentration, his mouth and tongue
active, in rhythm with it. By his feet is
a box containing his brushes and
powders, for he mixes his own colours.
The front door opens downstairs and
we hear JACK BRIGHT calling.
JACK (off) May?
SID:
She's gorn out for the kippers Mr. Bright.
JACK (off) Thank you son!
We hear his footsteps on the stairs. He
enters in his working kit.
JACK (after watching him with interest) You enjoy doing that don'tyou?
SID:
Oh yuss.
JACK (sitting by him) Where do you get those canvasses then?
SID:
Mrs. Oward.
JACK:
And what does the red mean?
SID:
That's s blood.
JACK:
SID:
It's moin.
JACK:
You mean you prick your finger and wipe it on, like May says?
SID:
Nah. Ifyou look at them pikchers you can see the brush.


Maurice Rowdon BOY SEES RED
JACK:
You dip your brush in your own blood?
SID:
Nah. That's paint. Blood don't dry like that.
JACK:
Ah! You mean you match up your paint to the colour ofyour
blood.
SID (with great finality) Yuss.
JACK:
And what made Mrs. Howard give you all this?
SID:
She got a school to send me canvussis.
JACK:
So she's been visiting you quite a long time?
SID:
Oh yuss. Since I was a kid.
JACK:
Do you like her?
SID:
Yuss. My granddad says she's a bloody fool.
JACK:
And do you think SO too?
SID:
Nah. She says she's coming at six.
JACK:
What, here?
SID:
Yuss. That's why I come.
JACK:
It's already turned six.
SID:
She's always late.
JACK (cautiously) Sid, don'tyou think it makes it a bit difficult for our May
having this woman prowling round all the time?
SID:
I tell her don't listen.
JACK:
Tell who?
SID:
May.
JACK:
You mean just let the woman talk like.


Maurice Rowdon BOY SEES RED
SID (continuing with his work) She gave my granddad the glad eye and he
choked her off about it, he said he'd report her if she wasn't
careful.
JACK:
Mrs.Howard gave your granddad the glad eye?
SID:
Yuss. He told 'er he knows people on the counsil SO she'd better
watch it.
JACK:
Ah. That makes a difference, doesn't it?
SID:
'E says she eats men for breakfast.
JACK:
Do you understand what that means?
SID nods and there is a silence.
JACK (cont.) Do you think you'll ever have a job Sid?
SID:
Nah.
JACK:
Why not?
SID:
Dunno.
JACK:
Ifyou and May stay together how are you going to live then?
SID:
My grandad says he's got some money put aside for me.
JACK:
Do your mum and dad like these pictures?
SID:
Nah.
JACK:
Why not?
SID:
They don' 't like the blood.
JACK:
But you say it isn't blood.
SID:
Nor is it.
A prolonged ring on the front-door
bell.
SID:
That's s 'er. She always rings like that. My granddad says she
leans on the bell to put the wind up everybody.


Maurice Rowdon BOY SEES RED
JACK (gazing at him for a moment with a smile) I wonder if she knows you as
well as you know her? Eh, mate?
He goes downstairs. The front door
opens and closes. SID immediately
stows his paints away and hides his
canvas.
We hear HOWARD coming up.
HOWARD (appearing in the doorway) Ah there you are. How are you today
Sid?
SID (not looking at her as he packs up) All roit Mrs. Oward.
HOWARD (watching him for a moment) There's a good boy. You've always
been a tidy one haven'tyou?
She goes to the same armchair as
before and settles herself, taking out
her notebook, with her jewellery
rattling away.
HOWARD (cont.) When you've finished that would you mind going
downstairs for a few minutes? No, you don't have to hurry, take
your time, we can all wait. (As he returns to her former
methodical packing). I need a word with May's father you see.
SID:
Can I stow it under 'ere?
HOWARD: Ofcourse you can.
He slides his box under the sofa and
then goes downstairs with his usual
heavy steps. We hear him calling
*Mr.Bright' and there is the murmur of
their voices. HOWARD continues to
study her notes.
JACK (appearing in the doorway) You wanted to see me?
HOWARD (looking up only in the middle ofher words) Ah, Mr. Bright, I
thought we should have word or two together. I've already
spoken to your wife but I like to approach the whole family, if
you see what I mean.


Maurice Rowdon BOY SEES RED
JACK:
Ofcourse.
He goes to the sofa and sits, at its edge.
HOWARD: Mr.Bright, I wonder ifyou know what Borderline Personality
Disorder is?
JACK:
Ihaven't got the foggiest, no.
HOWARD: This is how we could classify Sid, and I'm afraid, because of
their unusual association together, that involves your daughter as
well. I'm not suggesting for a moment that she is also borderline
but we have to use that kind ofl language. Borderline Personality
disorder means people who while they genuinely seek to find the
right life, often succeed, they always have to be helped. This is
why I've been with Sid since he was ten. I think we're very lucky
that Sid has his little pictures. I don' 't know if an art dealer would
spend much time on them but that's beside the point.
JACK:
As for me I think they're wonderful.
HOWARD: Good. A deserved smack in the eye for me, Mr.Bright---I confess
I'm not one to haunt the picture galleries. What troubles me is
that in the case of Borderline Personality Disorder one has to be
very careful that it never turns over to violence of any kind.
That's why we've always kept Sid away from violent films. His
parents are very strict about it though I can't vouch for his
grandfather. (Decisively) Now: I'm suggesting to you that Sid is
a very docile boy, he hasn't got a violent pore in his body.
JACK:
Oh I agree there.
HOWARD: Sofar he's been very sweet and docile and even punctilious---
look at the way he packs up his picture box. But I've always felt
that violence could get to him eventually---I mean there's SO
much of it around, isn't there?
JACK:
There certainly is.
HOWARD: Sometimes I even feel that in his case it's lying in wait. That's
probably just an anxiety of mine but you know how we are with
our nearest and dearest---we feel frightened for them.
JACK:
Yes we do, we can'tl help it.


Maurice Rowdon BOY SEES RED
HOWARD: So could I ask you, Mr. Bright, now that Sid seems to have joined
your household, to be especially careful about television?
JACK:
Oh we are already, like any decent family. That set's locked.
HOWARD: You agree with my concern?
JACK:
Well, obviously!
HOWARD (sitting back with sudden decision) Then why did you show Sid
violence for the first time in his life Mr. Bright?
JACK:
What are you talking about?
HOWARD: His face was examined and the hospital made its report. This
report said that the blow was considerable but there was luckily
no concussion, which was our chief medical concern. But the
bruising was enough to show that the shock to the boy's nervous
system must have been enormous. It was the first shock ofthat
kind he had ever sustained! He nursed the side ofhis face for
days afterwards. A painkiller was advised and he took it for about
a week.
JACK:
I was angry, I was thinking of my daughter, they were shouting
their heads off, he was asking for more sex and my girl's only
sixteen and my job as her dad is to protect her, what kind oflife
is she going to have if she stays with somebody like that for
God's sake?
HOWARD (quietly) I'm sure you're right, I'm sure you did lose your head.
JACK:
Because I'm a father!
HOWARD: Losing your head says it all. Violence has been introduced to
him! Violence in the case of Borderline Personality Disorder
means that he could easily find violence interesting from now on,
it could take possession ofhim! It happens frequently and that's
when the police have to take over and my job's finished for
good, I no longer have the right to see Sid, he becomes a memory
for me! The prisons take over Mr.Howard!
JACK:
So what are you trying to say?
HOWARD: Let me put it another way. Mr. Bright, you have long experience
of disturbed people. Your fist wife is under psychiatric care is she
not, and she has been for the last five years.


Maurice Rowdon BOY SEES RED
JACK (staggered) Have you been investigating me?
HOWARD: What else would you expect in the case ofviolence? It always
has a background.
JACK:
You'd better keep our Nelly out ofit! She always suffered from
nerves. When she was my wife I never knew what she might do.
She was quite capable of walking out oft the house when I was at
work, she could walk out ofthe door naked! set fire to herself!
lose the key to get back in, roam the streets all night, I stayed
with her all the way through and she knows, she knows I looked
after her and we loved each other and we still do!
HOWARD: She was your first wife was she?
JACK:
Yes she was, everybody knows that! Me and my wife go and see
her once a week, we take her all she needs, she gets on with May,
they rap away like kids together, just ask her yourself, go down to
Witherton hospital and ask Nelly herself!
HOWARD: That's exactly what I did Mr. Bright. And she doesn't have a nice
word for you!
JACK:
A nice---(losing himself) we all laugh together, we hug and kiss
each other, my wife and her can talk and laugh with her for
hours, I tell you we go there all the time, we take May, she loves
May, you ask May (jumping up), Nellie says a lot of funny
things, especially when she smiles, she's playing a game, she'll
say things you wouldn't believe and we all have a laugh, was she
smiling when she said all this, if she said it?
HOWARD: I don'tt think her carers are there to observe her smiles.
JACK:
Listen! You're trying to corner me and I don't want to hear any
more!
HOWARD: And I don't want any more roughneck behaviour where Sid is
concerned!
JACK:
Did you say roughneck? (A menacing pause) Did you know I
used to be a roughneck, a real one? on the oil rigs?
HOWARD: It was one of the things we learned about you yes.


Maurice Rowdon BOY SEES RED
JACK:
But you mean roughneck like a ruffian don't you? You're calling
me a ruffian aren't tyou? (Jumping up) Now just you get out of
my house and stay out ofit! Do you hear what I say? Don'tyou
dare come near us again! (With a massive yell, as she remains
sitting) GET OUT!
This moves her at speed. We hear her
go down the stairs and the front door
slams.
JACK slumps back on the sofa and
hides his face in his hands, giving way
not to tears, since tears for a former
true roughneck are virtually
impossible, but to a strange groaning
from the depth ofthe stomach, and
shivering.
SID appears silently in the doorway,
watching him.
SID:
Mr. Bright (no reply). Don't let Mrs. 'Oward get you dahn!
Mr.Bright!
JACK remains there, seeming not to
hear.
SID (cont.) My granpa knows people on the Counsil Mr.Bright. Why don't
you come over and see my granddad?
JACK (in a shaky undertone) Thank you mate, I think I will. Let's go
downstairs and make a cup of tea shall we? Then we'll go and
see your granddad. (Jumping up) That's a good idea son---see
your granddad!
He takes SID's hand as they go
downstairs.
The staircase door is ajar. SID's
painting material is everywhere---on
the sofa, the coffee table, the floor,


Maurice Rowdon BOY SEES RED
though it is an ordered, SO to speak
working, mess.
LYDIA (off) And make your bed---quick!
MAY (off) Sid's doin' it mum.
LYDIA (off) What a bloody silly idea, having the bed downstairs! Trust men
to think up something daft! Where's my sitting room gone---he
didn't think of that did he?
She appears in the doorway.
LYDIA (cont., staring aghast at the mess) And what's all this? SID!
SID (off) Yes Mrs. Bright?
LYDIA:
This bloody mess ofyours, who's going to clear it up?
SID (off) Me Mrs.Bright!
LYDIA:
You'll bloodiwell go downstairs!
She applies herselfto the task.
LYDIA (cont.) Turning my sitting room into a bedroom! It's all right for him,
he's at work all day.
MAY (off)
Mum?
LYDIA:
What is it now?
MAY (off)
Shall I get the kippers?
LYDIA:
What do you mean the kippers, this is MORNING! We got
kippers coming out of the bloody walls. That's another one
his fads isn't it? Well today we're going to have fish and
chips!
MAY (appearing at the door) I thought I'd get 'em now mum.
LYDIA:
Now? Have you gone mad? Listen I want that bedroom spick
and span, and the kitchen, we've got that mad coW coming, I
told you that umpteen times already!


Mauricel Rowdon BOY SEES RED
SID with MAY behind her appear in
the doorway.
SID:
My granddad went up the counsil yesterday Mrs. Bright.
LYDIA (moved to pity and peace) Listen Sid, you shouldn't be here mornings
and you know it as well as I do!
SID:
My granddad sent me roun' to tell you---!
LYDIA:
I know Sid and when you've finished clearing up downstairs
go back and tell your granpa thank you very much. (As he
stands gaping at his paints) Go on! You can do your painting
this evening.
MAY (pulling at him to back down the stairs) Come on! Mum don't want you
up here!
They leave and with reliefLYDIA
slams the door shut after them.
Finally she is finished and throws
herself down on the sofa with a great
gasp. She has hardly finished gasping
when there comes a prolonged ring at
the bell downstairs!
LYDIA:
You would wouldn'tyou? (Remaining where she is) Oh well
(with a sigh) no rest for the wicked.
We hear the door open and close
downstairs.
MAY (off)
Mum! Mum! Its Mrs. Oward!
SID:
Mrs.Bright!
LYDIA (to herself, remaining where she is) You've got legs haven'ty you, why
don't you bloodily well come up?
After a murmur of voices below this is
what happens. MRS.HOWARD opens
the door in a gingerly manner, peeping
HOWARD:
Ah Mrs.Bright.


Maurice Rowdon BOY SEES RED
LYDIA (without looking at her) Good morning (without getting up), come in.
HOWARD goes to her now
proprietary armchair.
LYDIA (cont.) I used to have a nice sitting room downstairs but my husband
decided otherwise.
HOWARD:
Well that makes two of us in stress. So we'd better settle
down and have a nice chat. Don't you think so?
LYDIA doesn't acknowledge it with SO
much as a glance.
HOWARD (cont.) I'm sorry to burst into your morning like this but I have to
speak to you urgently, please believe me Mrs. Bright, I
need to say a few things while your husband is at work. I'm
afraid someone went to the council and spoke to one ofthe
councillors about the way I handled your husband. The
council is obliged to take the case up whether it likes it or
not. I can'ttell you who the person who raised the human
rights question was---
LYDIA (snapping it out with tremendous energy) It was Sid's granpa! As you
very well know! And he told them how you talked to my
husband and SO he should 'ave!
HOWARD:
Do you know why I've come to you Mrs.Bright? It's because
I agree with Sid's grandpa. I called your husband a
redneck- -of course I knew he once worked on the oil-rig---
but I meant it in a vulgar way and SO I got my come-
uppance. I went too far. That was the council's view. My love
of men isn't great Mrs. Bright. Another ofmy weaknesses.
Perhaps I need men too badly.
LYDIA (tired, mollified) Listen Mrs. Howard I'm looking after a house and
I'm sick and tired of all this palaver, I know you're doing
your job and you mean well but it's too much all of a sudden.
HOWARD:
Your husband screamed at me to get out of this house, he
terrified me out of my wits and that too was silly of me
because I provoked him and I shouldn't have. I think his
hitting young Sid SO hard made me angry, and also jealous
because I knew he was becoming a kind of father to Sid, a
better father than I have been a carer.


Maurice Rowdon BOY SEES RED
LYDIA:
He shouldn' I't have hit the boy, he knows that.
HOWARD:
You see my worry was that this case would get into the hands
ofthe police---they are both registered as suffering from
Borderline Personality Disorder---
LYDIA:
Both? Both who?
HOWARD:
Sid and May, Mrs. Bright.
LYDIA (riled up again at once) What, my daughter? You've registered her as
disordered? It must have been you, it was wasn'tit? Or do
kids come with these damned silly labels hanging
round their necks when they're born?
HOWARD:
It only means they can't work, never will work, and more
important it means they will never look after themselves.
LYDIA:
May can look after herself. She can work all right if she puts
her mind to it, she got good grades at school. We look after
our girl, don'tyou worry about that, we know she made a big
mistake letting that boy in this house, and now we can't
separate them, and it's us takes the can back not you---and it's
all because you let the boy roam, but I'm glad you did
because we'll never separate them now! For me and my
husband he's like a son!
HOWARD:
And that's why I'm here. Mrs. Bright, you have influence
on your husband. Get him to accept my visits please. Don't
drive me away. We've got to think ofMay and Sid now.
(Rising) Will you speak to your husband please?
LYDIA nods.
HOWARD (cont., looking round) Your home's SO peaceful. And here I come
barging in, I really think I almost broke it up! I'm SO clumsy
you see. Because I never experienced a home. Never had it.
It's no good when your mother hates you.
LYDIA:
Your mother hated you?
HOWARD:
But I had my revenge I suppose. I vowed to myself, every
time she stared at me, that I'd spend my life looking after
children. So at least she got me a job.


Maurice Rowdon BOY SEES RED
LYDIA:
I'm sorry to see you crying Mr. Howard. Things'll be all
right, don'tyou worry about that. I'll talk to Jack.
HOWARD (hushed, getting up) Thank you. I'll see myself out.
She leaves, closing the door carefully,
silently, behind her. LYDIA sits
thoughtfully.
The scene is empty. the door is open to
the staircase. MAY comes up the stairs
silently and creeps to HOWARD's
armchair, where she sits, bolt upright.
She waits. There is a stirring below.
SID (off, downstairs) May, where you gone?
Silence.
SID (cont., off) May?
She doesn't speak. We hear him
coming up. He appears in the doorway.
He stares at her.
SID (cont.)
I bin asleep.
MAY:
Sit down young man.
SID:
What for?
MAY:
I'm bein' Mrs. 'Oward.
SID (sitting on the sofa) Oh.
MAY:
Now listen young man just keep your mouth shut while I ask
you a few questions. Do you ever see red?
SID:
Dunno. My granddad---
MAY:
Bugger your granddad!


Maurice Rowdon BOY SEES RED
They fall about.
MAY (cont., resuming the role) Do you know what seeing red is young man?
SID:
MAY:
Seein' red is getting' in a temper and shouting about, young
man. Is this what you do?
SID:
MAY:
Do you love me?
SID:
MAY:
Why not?
SID:
Because you're a silly coW Mrs. Oward.
MAY:
Let me give you one more chance. Do you hate me?
SID:
Nah.
MAY:
My mum and dad says we've got to git married.
SID:
Are you still being Mrs. Oward?
MAY:
Of course not! My mum and dad say we should get married.
SID:
My mum and dad got married.
MAY:
Yes well my mum and dad want us to marry.
SID:
What for?
MAY:
They say Mrs. Oward won't come 'ere after that.
SID:
Mrs. 'Oward's all right.
MAY:
No she isn't, she says you put red in your pikchurs which is
because you're angry.
SID:
My granddad says--
MAY (with him joining in) She's a bloody fool!


Maurice Rowdon BOY SEES RED
They cackle.
MAY:
My dad says to ask you if you love me. Do you?
SID:
Dunno.
MAY:
That' S what I said when he asked me.
SID:
Asked you what?
MAY:
Do you love Sid? Then he asked me said do you always want
to be with Sid and I said yes. He said to ask you ifyou
always want to be with me.
SID:
Yuss.
MAY:
What, you always went to be with me?
SID:
Yuss.
MAY:
Then he said if both of us want to be with us we should get
engaged.
SID:
What's that?
MAY:
It means we're going to get married later.
SID:
MAY:
I bet I know the real reason they want us to marry, it's in case
I have a baby.
SID (dreamily) I'd like to 'ave a baby.
MAY:
So would I. My dad says ifwe get married and live on our
own your winkle would get bigger.
SID:
Why's that?
MAY:
He says once it got used to being married it would start
standing up proper. He said like a puppy when you train it to
jump up for food---
The front door below opens and closes
with great haste.


Maurice Rowdon BOY SEES RED
JACK (off, puffing) Are you upstairs you two?
MAY:
Yes dad!
JACK (off)
You'd better get your skates on then--Mrs.Howard'll be
here any minute, she wants another talk with me, come down
quick and hide in your bedroom! The holocaust is on its
way!
MAY:
OK dad! (To SID) Quick, Mrs. 'Oward' S comin'. -the real
one!
At once we hear her long ring at the
bell. It produces panic stations---he
scrambles to get his brushes etc.
together. He quickly pushes his work
box under the sofa.
They rush down the stairs, leaving the
door open. A pause as with urgent
whispers they get to their bedroom.
Then, and only then, do we hear the
front door open and, after a pause,
close.
JACK (off, to MRS.HOWARD) Shall we go up?
HOWARD (off) Thank you.
She appears first and makes at
once for her---by now--proprietary
armchair. JACK goes to the sofa, its
very edge.
HOWARD (getting her notes together in the usual way, clinking and page-
turning in a less convincing way than usual) My supervisor
suggested yesterday evening that I come and see you. Do you
know what he said Mr. Bright?
JACK:
HOWARD: He said go and make peace with him.
JACK:
Were we at war?


Maurice Rowdon BOY SEES RED
HOWARD: I told him what I'd called you. And he said, that's making war
Mrs. Howard. I told him you'd thrown me out ofyour house and
tried to look pathetic but it didn't wash. So I had my
comeuppance as you might say. I told your wife, I'm a clumsy
woman.
JACK
We all make mistakes Mrs. Howard.
HOWARD: So your wife had a little talk with you?
JACK:
Oh yes.
HOWARD: She knows you're a fair man. Anyway, back to my supervisor.
He said you've touched Mr.Bright on a raw nerve. He meant
about me calling you a roughneck. He said people who work on
oil rigs know what hard work is, the hardest work a man can
have.
JACK:
Oh I don't mind names but you said it in my own home and I
suppose that got to me.
HOWARD: Also I think your wife doesn't feel well towards me.
JACK:
How's that?
HOWARD: She thinks I've been an interfering nuisance, she thinks she could
have handled those two young people better than I can. And she's
right.
JACK:
Look Mrs Howard, you're here for those two, and SO are we, SO
what's the argument about?
HOWARD: There is none!
She puts down the paraphernalia of her
notes.
JACK:
I'd like to ask you a question Mrs.Howard, I'm not trying to be
funny or rude or anything--
HOWARD: Ofcourse not.
JACK:
Did you ever run a home or family yourself?
Her eyes brighten and she collects
herself for an answer it gives her great


Maurice Rowdon BOY SEES RED
relief to make.
HOWARD: I was brought up. And that's all I can say about it. My mother
hated every step I took, she compared everything I did with the
behaviour of my brothers and sisters and there were no brothers
and sisters, I was a lone child and had to imagine them, how
better they were to me in the way they walked and talked and
looked. I always had these ghosts round me, unfriendly ones--
brothers and sisters who were better than me in everything but
never existed. And of course I loved my mother! We have to
don't we?
He nods.
HOWARD (cont.) Because they lead us to our destiny! However much they
hate us or say they do! She asked me sometimes what use are you
to anybody, what are you going to do in life? And that led me
straight to the work I'm doing! I saw it as clear as a bell---you're
going to look after children---the sad and lonely ones! (As he is
about to interrupt) You're going to say young Sid was given a lot,
his mum and dad doted on him---!
JACK:
Yes!
HOWARD: Ofcourse I recognised that.
JACK:
But you said he must have a lot of rage inside him, you said he
saw red like in his pictures, the red ofhis pictures was his own
rage!
HOWARD (quietly) And it was all theory, wasn'tit? And you and Lydia---
may I call your wife Lydia?
JACK:
Of course you can.
HOWARD: It was my rage I was talking about---at least that's how it seems
to me now. I have a lot ofit, you know, deep down.
She is silent and it is some time before
we see that she is crying, in total
silence, with great control, her face
puckered up and the tears flowing as if
the face wasn'tl her own.
HOWARD (cont.) I'm attracted to you Mr.Bright.


Mauricel Rowdon BOY SEES RED
JACK:
What?
HOWARD: How could it have escaped you?
He is watching her, waiting for her to
speak, which she doesn'td do.
JACK:
Don't you think you should have kept that to yourself?
HOWARD: You really don't understand do you? With all I see around me in
my work, the grief and pain and substitute living, and then I see
people like you and Lydia hitting on a happy way of life and
clinging to it for dear God---
JACK:
That's all very well but you you're telling this to somebody
who's married, you're saying in my home!
HOWARD: Oh ifyou knew about most marriages you'd wonder the thing
should still exist. That's why people are giving it up, they can
love somebody at a distance but not in the same house, oh no, not
that for dear mercy! The words husband and wife belong to times
when people believed in God and such foolery!
JACK:
I think you're going a bit too far. And I've known a lot of people
who believe in God, and they've never been fools!
HOWARD (with a smile) I'm being thrown out again am I? Well I know one
thing, you'll never mention this conversation to a living soul.
JACK:
And why is that?
HOWARD: A woman sits before you and declares her love for you and this is
all you can say! You should be telling me to keep my mouth shut
and every other woman on this planet would agree with me!
JACK:
I'll you what I think about that love-talk, it sounded a bit too
easy.
HOWARD: Every woman including Lydia would tell you you shouldn't have
let that talk go on! Come to your senses Mr. Bright! I've hired
gigolos! They did their work! They made all the right noises at
the right time! They were usually muscular but never rough! Sex
for me is a quick snatched thing between people who feel
nothing! But the chances of ever getting this dumb selfless
exchange is very remote, a chance in a lottery! (Looking at him) I
see I've rung a chord---you're listening intently. That's what


Maurice Rowdon BOY SEES RED
every woman would ask you---why did you listen intently instead
ofthrowing me out?
We hear the front door below open
and close.
HOWARD (cont., rising, cool) There's the adored wife. And you can't tell her
a word about this conversation can you? For one thing she would
make war on me, to the knife. But, much worse than that, the
knife would enter your two lives too.
She goes downstairs. The
door remains open behind her.
HOWARD (cont., off) Well hullo Mrs. Bright, another visit I'm afraid! But I
think we can say your husband and I agree at last---a sort of
armistice!
The front door opens and closes.
LYDIA (off, calling up) Jack?
JACK:
Yes?
LYDIA:
What was all that about?
JACK:
She tried to put the make on me! That's what it was all about!
You should have heard her carrying on, about how she had sex
with gigolos and whatnot!
LYDIA (laughing) She's crackers! That's what she is!
JACK:
You're telling me! (Jumping up) Make a cup oftea duck and I'll
tell you all about it!
LYDIA:
Now don't get me too sexy, not before we've had our fish and
chips!
JACK (hastening down) I wouldn't sweat on it!
The scene is empty. But what a scene it
is. Everything is festive, the lights, the


Mauricel Rowdon BOY SEES RED
bunting, the way the table is set---the
coffee table has been replaced with a
proper table. It is in the middle ofthe
room, covered with a gaudy but not
vulgar table cloth, and set with four
places. A great plum cake is in the
middle with a white sugar coating, its
surface featuring clay hobgoblins and a
tiny silver fairy in the centre. The cake
has an old-fashioned paper doily round
it, a gay blue colour. There are glasses
at each place and a decanter full of a
dark ginger wine. Straight-back chairs
have been brought up from the kitchen.
The door to the stairs is closed and we
hear movement below. Several people
come up with a clatter of feet. SID
peers in first, his face a mixture of
alarm, interest and awe as he surveys
the table.
SID (to MAY behind him, as ifto back out) Look!
She too peers in and there is laughter
behind them from LYDIA and JACK.
Then they all crowd in together.
LYDIA at once goes to the table to
make last-minute adjustments.
JACK:
All right Sid, you go and sit over there, don't forget you're the
honoured guest mate. And May you sit at his side like, all right?
Make yourselves comfortable. You didn't think you'd see all this
did you?
MAY:
JACK:
Now I put something in your pocket downstairs didn't, have you
still got it?
SID (still gazing at the table) Yuss.
JACK:
Are you sure, because it cost a penny or two.
SID (feeling in his pocket) Yuss.


Maurice Rowdon BOY SEES RED
JACK (to MA Y) Now what what' s he got in his pocket?
MAY:
I don't know dad.
JACK:
And you're not going to tell her are you Sid?
SID:
Nah.
JACK:
And now for the old lady---you sit there!
LYDIA (going to her place with a wink at MAY)I like that!
JACK (himself sitting, and taking the bottle) Well here goes, I don't want yiou
people getting tiddly, especially the lady on my right, she tends to
overdo the boose don't she May?
MAY (with a conniving smile at her mother) No she doesn't!
LYDIA:
It's more likely on the other foot isn'ti it duck?
JACK pours all round and they all take
sips. SID is the last to raise his glass,
having been signalled by MAY to do
LYDIA (cont.) Mm!
JACK:
Not bad is it? Ginger wine gingered up a bit. Still got that little
thing in your pocket Sid?
LYDIA:
Leave the blessed boy alone.
SID (searching his pocket again) I got it Mr.Bright.
JACK:
So who's going to cut the cake?
MAY:
Mum.
LYDIA cuts the cake.
JACK:
Look at that! Turned out nice hasn'ti it?
LYDIA:
It was all your daughter's stirring.
They start eating.


Maurice Rowdon BOY SEES RED
JACK (to SID) You took me to see your granddad yesterday didn't you son?
MAY (getting it in before SID) Yuss.
This causes a mutual cackle.
LYDIA:
You're not tiddly you two are you?
MAY:
No mum.
JACK (to LYDIA) You know how old his granpa is---52!
LYDIA:
JACK:
And I reckon he looks younger than me. He said I don't mind
being called granddad as long as I get my laughs. He's certainly
got it in for Mrs.Howard.
LYDIA:
I don't blame him! So do I! I wish she'd sling her bloody hook
and leave us in peace.
JACK:
That's asking for a lot.
LYDIA:
Oh well, I suppose we just have to grin and bear it.
JACK:
Yeah. (To MA Y) So why are we all sitting here May?
MAY:
For Sunday tea.
JACK:
Sunday tea this---you'll be bloody lucky to get a repeat in five
years mate! All right Sid you can take it out ofyour pocket now.
Very carefully, and with great
deliberation, SID takes out his
handkerchief and withdraws a tiny
ring.
LYDIA:
Fit it on her finger nicely Sid, you know which one don'tyou?
SID (concentrating as he takes MAY's hand) Yuss.
JACK:
Do you know what that ring is May?
MAY:
LYDIA:
It's your engagement ring May.


Maurice Rowdon BOY SEES RED
MAY:
My what?
JACK (the ring having been fitted) She's tickled pink, you can see it! And now
what do you do Sid?
SID:
I kiss 'er.
JACK:
Then do SO my lad.
SID kisses MAY on the cheek.
JACK (cont., to LYDIA) Didn't have trouble there did he?
LYDIA (winking at MAY) I'll say he didn't!
JACK:
There, that's all over! Now we can tuck into the food.
LYDIA:
What about some music?
MAY (jumping up) I'll do it!
She slips downstairs and while the
others tuck in we hear a joyful
rollicking melody that is neither jazz
nor pop but has drawn something from
both.
As MAY returns to her place JACK
raises his glass.
JACK:
Here's to the future bride and bridegroom!
He and LYDIA raise their glasses and
SID follows suit but MAY takes his
hand down and shakes her head. They
sit watching the parents.
MAY (as JACK and LYDIA lower their glasses) Thank you mum and dad.
There is a prolonged ring at the bell.
They freeze. Not a glass chinks, not a
jaw moves. The bell rings in the same
manner again.


Maurice Rowdon BOY SEES RED
LYDIA (in a whisper) Talk ofthe devil eh? She's got a bloody cheek I must
say, after her last exhibition!
JACK (also whispering) And she knows when too, right on the second, like a
bloody witch!
SID:
Mrs. 'Oward's all right Mr. Bright.
JACK:
I know she is mate. But we don' 't want her up here, not just at this
moment, all right?
The bell rings a third time.
SID:
She'll be down there all night.
LYDIA:
My mum always said never turn a guest away even ift they're a
rotten penny.
JACK (with a shrug) You stay here Lyd. Why don'tyou go down and talk to
her May? Just see what she wants, all right?
MAY:
She goes down and the music is
abruptly switched off. The front door
opens and there is the murmur of
voices. LYDIA and JACK wait
listening. Then HOWARD
appears with MAY behind her.
HOWARD (seeing the festive table and drawing back) Oh how beautiful---
beautiful! (Genuinely captured, almost crying) I chose the time
very badly---yet not for me!
JACK (already on his feet, with resignation) Come in, Mrs. Howard.
He draws up a chair for her.
JACK (cont.) There, make yourself comfortable!
HOWARD (still entranced) It makes my old flat look like a furniture sale.
LYDIA
Would you like a little drink, just to celebrate? Slip down and get
another glass May.
MAY goes downstairs.


Maurice Rowdon BOY SEES RED
HOWARD: Iknew something was going on here, I didn't know in my head,
Ijust felt myselfwalking here. I thought as it's Sunday, I may as
well walk over you and see if you could to save mel---stop me
throwing my life away please!
JACK (quietly) And how could we do that?
HOWARD: Just by being yourselves. And calling me Emily. I wish May and
Sid to call me Emily too.
JACK:
Can you do that Sid? say hullo Emily?
MAY:
Hullo Emily!
HOWARD: Hullo darling!
MAY reappears with the wine glass.
JACK:
There we are. (As he pours the wine) And what about you May,
how would you like to say hullo Emily instead of Mrs. Howard?
MAY looks blank.
LYDIA:
Mrs. Howard doesn't want you to call her that any more, she
wants you to call her Emily, she wants to be one of us now, can
you just do that, say hullo Emily?
MAY:
Hullo Emily!
HOWARD: You see how nicely she said it!
JACK (placing the wine before her) Now just you enjoy that!
LYDIA (as if suddenly coming to her senses) And what about some cake?
She cuts a piece for her.
LYDIA (cont.) Do you mind May's plate?
HOWARD (with her first laugh in this house) Of course not (holding it out).
She takes a bite as they all sit watching
her.
HOWARD (eating) Mm! I bet the whole family joined in this!


Maurice Rowdon BOY SEES RED
LYDIA:
May did all the stirring, didn' 't you May?
MAY:
Yes.
HOWARD: They're engaged now aren' 't they?
LYDIA (flabbergasted) How did you know that?
HOWARD: I saw May's ring. You do everything with a kind of fairy wand
don'ty you? (With another laugh) And my talk, what's it worth?
Not a tuppenny damn!
LYDIA:
I wouldn't say that! Would you like a piece of cake? it isn't very
nice drinking without something, not in the morning.
HOWARD: Just a morsel.
LYDIA cuts the cake.
LYDIA:
Do you mind May's plate, just to save her going down again?
HOWARD (taking MAY's plate) No more ceremony please! (Taking a bite)
Mm! Did the whole family join in making it?
LYDIA:
Oh yes, you ought to have seen May stirring! And my husband
likes to scrape the bowl like he did when he was a kid.
HOWARD: I've got a question and I'm frightened to ask it.
LYDIA:
Don't be silly.
HOWARD: Would you both let me come over sometimes and just sit with
you sometimes, if only for a few moments? I'm pulling out you
see.
JACK:
What do you mean?
HOWARD: I'm not going to be a social worker in this house any more. But I
have to get your permission to lie! Will you cover me? Just in
case an inspector came over---they never do---but just in case
would you tell him yes I'm still looking after Sid and he's getting
on fine?
JACK:
Ifthat's what you want, of course.


Maurice Rowdon BOY: SEES RED
HOWARD: And when Said and May marry and start a lovely home of their
own I can go there too---!
JACK:
Oh they'll never do that! To my mind they'll always be with us.
LYDIA:
Oh yes.
HOWARD: You see how you understand things better than I do? I'm SO
frightened ofintruding on you both! I'm frightened I won't come
up to scratch! But, you know, I'm quite intelligent, as my mother
used to say, grudgingly. Mothers always know don't they?
JACK:
Oh, you're right there. (To LYDIA) You always know better than
I do don' 't you duck?
LYDIA:
Of course I do!
They enjoy this.
JACK:
Well that's all settled then, you're one ofthe family. And now I
think we should all go down stairs and wash up! What do you say
Sid?
SID:
Yuss.
They start clearing up the plates, with
MRS. HOWARD joining in.
LYDIA (to MRS. HOWARD) You needn't do that!
HOWARD: Not ifl enjoy it?
LYDIA:
Oh in that case all the more the merrier!
JACK and LYDIA and HOWARD
bear plates and glasses downstairs. SID
and MAY remain clearing up the rest.
MAY (in a whisper) What's S 'appening? Is she comin' to live 'ere then?
SID:
Nah. She'sj just gone balmy, that's all. Like in that film we wasn't
supposed to see---the lady that gets into somebody else's'ouse
and she murders the 'hole lot.
MAY (seriously shaken) Cor! We'd better tell mum!


Maurice Rowdon BOY SEES RED
SID (with a quick movement of the head to denote 'follow me') Sssh!
They bear the plates down with careful,
gingerly steps.