l,
,l
SH E LAGH DE
LAN E Y
AThste of Honey Witb a Commentary and No tes by G
LENDA LEEMING
Debreceni Eggetem
Angol-Amerikai Int€zet K6ngvt6ra
Methuen Snrdent Editions
METHUEN.LONDON
This Methuen Student Edition first published in 1982 by Methuen London Ltd,11 New Fetter Lane, London EC4P 4EE. A Taste of Honey first published in January 1959 by Methuen & Co. Ltd. New edition April 1959. A Taste of Honey copyright @ 1959 by Theatre Workshop
Contents
(Pioneer Theatres Ltd.) Commentary and Notes copyright @ 1.982 by Methuen London Ltd. Printed in Great Britain by Richard Clay (The Chaucer Press) Ltd, Bungay, Suffolk
Page
Shelagh Delaney
rsBN 0 4r3 49250
8
v
Plot and structure
CAUTION This play is fully protected by copyright. All enquiries concerning performing rights, professional or amateur should be directed to Tessa Sayle, 11 Jubilee Place, Chelsea, London SW3 3TE.
vii
Commentary
x
Characters Themes
xv
Comedy How the play came to be written Dramatic effectiveness Social background: the fifties Suggestions for further reading
X
xvii
xix
xxiii xxiv
xxvlll
A TASTE OF HONEY
Notes Four pages of illustrations appear at the end of the commentary
Tbanks are due to Tessa Sayle and Non Worrall adaice in the preparation of this edition.
for tbeir belp and
5
88
This play was first presented by Theatre Workshop at the Theaue Royal, Stradord, London Er5, on z7 May 1958.
Act One
On ro February 1959 the play was presented by Donald Albery and Oscar Lewenstein Ltd, at Wyndham's Theatre, London, with the following cast:
SCENE ONE
Ayi5 lrrnnsge
HELEN
JosEPHINn, PETER, her
ha daughtn
Frances Cuka
Nigel Davenport Clifton Jones Murray Melvin
fiend
THE BOY GEOFFREY
THE APEX JAZZ TRIO
Johnny Vallbank (cornet) Barry Wright (guitar) Christopher Capon (double bass) John Bury
SETTING BY
Una Collins
COSTUMES BY
I'\rc stage relresents
a
cornfortless
flat in
Manchestn and
tlv
street outide, Jazz nusic. Enter HELEN, a semi-whore, and hn daughter, Jo. Thq are loadpd with baggage. rriLEN: \[ell! This is the place.
yo: And I don't like it. uriLEN: \[hen I find somewhere for us to live I have to consider something far more important than your feelings . .. the rent. It's all I can afford. yo: You can afford something better than this old ruin. ilriLEN: When you start €&rning you can start moaning. yo: Can't be soon enough for me. I'm cold and my shoes let water . .. what a place . . . and we're supposed to be
living off her immoral earnings.
I'm careful. Anyway, what's wrong with this place? in it's falling apart, it's true, and we've no heating - but there's a lovely view of the gasworks, we share
nriI.EN:
Everything
The
play is set in Salford, Lancashire, ttxlqy
a bathroom with the community and this wallpaper's con-
temporary. Vhat more do you want? Any*ay Directed by Joan Littlewood
it'll do for
us. Pass me a glass, Jo. J
A
[ecr
TASTE OF EONBY
r
HELEN: Children owe their parene these little atteotions.
1o:
I
don't owe you x thing.
HELEN: Except respect, and I don't seem to get any of that. yo: Drink, drink, drink, that's all you're fit for. You make me sick. HELEN: Others may pray for thEir daily bread,
;o: Is that the bedroom? HELEN: It is. Your health, Jo. ;o: 'IVe're sharing a bed agah, I HELEN: Of course, you know you.
I
I pray for . . .
see.
can't bear to be parted from
I wouldn't give for a room of my own! God! It's freezing! Isn't there any sort of fire anywherg Helen?
1o: What
HELEN: Yes, there's a gas-propelled thing somewhere.
;o: Where? HELEN: Vhere? What were you given eyes for? Do you want me to carry you about? Don't stand there shivering; have some of this if you're so cold.
1o: You know
f
don't like it"
HELEN: Have you tried it?
yo: No.
it down you! [Sfte wanders around tlu room for fire.l "\Xrhere!" she says. She can never see anything till she falls over it. Now, where's it got to? I know I saw it here somewhere . . . one of those shilling in the slot affairs; the landlady pointed it out to me as
HELEN: Then get searching
part of the furniture and fittiogp. I don't know. Oh! turn up. What's up with you now? yo: I don't like the smell of it. HELEN: You don't smell it, you drink it! It consoles you.
It'll
1o: What do you need consoling about? HELEN: Life! C-ome on, give it to me if you've done with it.
I'll
it in a safe place. [Drinks.] it back worse than ever. HELEN: Oh! Well, it's one way of passing time while I'm soon put
yo: You're knocking
scENE
rl
A TASTE OF IIONEY
waiting for something to nun up. And it usudly does if I ddnk hard enough. Oh my God! I've caught a shocking cold from somebody. Have you got a clean hanky, Jo? Mine's wringing wet with dabbing at my nose all day. ;o: Have this, i1's nearly clean. Isn't that light awful? I do hate to see an unshaded electric light bulb dangling from the ssiting like that. urjLEN: Well, don't look at it then. Jo: C,an I have that chair, Helen? I'll put my scarf round it. l1o takes chair from HELEN, stands on it and zwaps lur scarf round light fulb - burning herself in tlu process.l ilt:LEN: Wouldn't she get on your nerves? Just when I was going to take the weight of my feet for five minutes. Oh! my poor old nose.
lo: Christ! It's hot. Why can't you leave things alone? Oh! she gets me down. I'll buy a proper shade tomorrow. It's running like a tap. This is the third hanky today. yo: Tomorrow? What makes you think we're going to live that long? The roof's leaking! TTELEN: Is it? No, it's not, it's just condensation. Jo: Was it raining when you took the place? I(ELEN: It is a bit of a mess, isn't it. yo:You always have to rush offinto things. You never think. TIELEN: Oh well, we can always find something else. yo: But what are you looking for? Every place we find is the TTELEN:
same.
Oh! Every time I turn my head my eyeballs hurt. Can't we have a bit of peace for five minutes?
HELEN:
I'll make some coffee. I{ELEN: Do what you like. out of bed.
yo:
I
feel rotten. I've no business being
;o: Where's the kitchen? €IELEN: Where's the
bdore
I
-
through there.
can go to bed, though.
I have to be really bad
It's the only
redeeming
ro
a rAsrE oF
HoNEY
[ecr
r
feature in this entire lodging house. I've got it in my throat now too. I hope you're going to make full use of it. yo: There's a gas stove in here. HELEN: It hurts when I swallow. Of course there is! yo: It looks a bit ancient. How do I light it? HELEN: How do I - with a match. Wouldn't she drive you mad?
yo:
I
know that, but which knob do I trrrn? Turn 'em all, you're bound to find the right one in the end. She can't de s thing for henelf, that girl. Mind you don't gas yoruself, Every time I comb my hair it goes right through me. I think it's more than a cold, you know more likely it's 'flu! Did you find it? lLoud borg.l
HELEN:
yo: Yes. HELEN: The way she bangs about!
I tell you, my
head's coming
off.
;o: 'lVon't be long now. Who Any young people? HELEN: Eh? Oh! Yes, when
lives here besides us, Helen?
did
see a lad hanging around here
I called last week. Handsome, long-legged creanrre
-
have you? ;o: No. I used to like one of your fancy men though.
Oh! Which one? thought I was in love with him.
HELEN:
HELEN: Which one does she mean? I thought he was the only -an I'd ever love in my life and
1o:
then he ran off with that landlady's daughtcr. HELEN: Oh! Him.
1o: And
yo:
I
rl
I
cried myself to sleep for wccks. if evcr thcrc wln onc. Yorr should have seen her. Honcst to Godl Shc wiur r siglrt litr sore eyes. I'll have to tcll you ubout ltt'r ltxr ritttttt'lllttc.
HELEN: She was a silly cat
a TASTE OF HONEY
saw him
TTELEN:
rr
spii one day, on the street.
Did you?
I couidn't believe my eyes. He was thin, weak-chinnsd, with a funny turned-up nose. TTELEN: It wasn't his nose I was interested iu.
yo:
lTugboat heard.l
yo: C,an you smell that river? IIELEN: I can't smell a thing! I've got such a cold. ;o: What's that big place over there? IIELEN: The slaughterhouse. Vhere all the cows, sheep and pigs go in and all the beef, pork and mutton comes out. yo: I wonder what it'll be like here in the summer. I bet it'll smell. TIELEN: This whole clty smells. Eee, there's a terrible draught
in here. Where's it coming from? Look at that! What damn silly place to put
a
window. This place is cold enough, isn't it, without grving shelter to the four winds. ;o: Helen, stop sniffing. It sounds awful. IIELEN:
f
iust the way I like 'em. Perhaps he's one of the fixtures. He'd iust do for you, Jol you've never had a boy friend,
;o: I
scENB
I can't
a
help it. You'd sniffif you had a cold like this. in her. It's self all the
She's not got a bit of consideration
time. Jo: I'm going to unpack my bulbs.
I
wonder where
I
can put
them. TTELEN:
I
could tell you.
;o: They're supposed to be left in a cool, dark place. That's where we all end up sooner or later. Still, it's no use worrying, is it? yo: I hope they bloom. Always before when I've tried to fix up a window box nothin's ever grown in it. I{ELEN: Vhy do you bother? ;o: It's nice to see a few flowers, isn't it? TTELEN: Where did you get those bulbs? ;o: The Park. The gardener had just planted about two hundred. I didn't think he'd miss half a dozen. TIELEN:
TIELEN:
That's the way to do things.
If
you see something
t2
A TASTE OF HONBY
[ecr
you want, take it. That's my daughter for you.
r
scENE
rl
that kenle's boiling. See yourself. I've got to find somewhere for my bulbs. HELEN: See yourself! Do everything yourself. That's what happens. You bring 'em up and they turn round and talk to you like that. I would never have dared talk to my mother like that when I was her age. She'd have knocked me into the middle of next week. Oh! my head. Whenever
I walk, you know how it is! What a iourney! I never realized this city was so big. Have we got any aspirins left, Jo?
;o: No. I
dreamt about you last night, Helen. HELEN: You're going to have a shocking journey to school each day, aren't you? It must be milqs and miles. 1o: Not for much longer. HELEN: Why, are you still set on leaving school at Chrisunas?
yo: Yes. HELEN: vhat are you going to do? yo: Get out of your sight as soon as I can get a bit of money
io -y pocket. HELEN: Very wise too. But how are you going to get your money in the first place? After all, you'rc uot very fond of work, are you? yo: No. I take after you. HELEN llooking at thc aspidistral: That's nice, isn't it? Puts me
in mind of my first job, in a utty little pub down Whit
Lane. I thought it was wonderful ... You know, playing the piano and all that; a real get-together at weekends. Everybod! standing up and grving a song. I used to bring the house down with this one. [Sr4gs.]
I'd give the song birds to the wild I'd give the sr:nset to the blind
wood
r3
And to the old folks I'd give the memory of the baby upon their knee.
If you spent
half as much ti e on me as you do on them fiddling bits of greenery I'd be a damn sight better off. Go and see if yo:
A TASTE OF HONEY
[To orclrcsrra]: Come on, vamp it in with me. yo: You can't play to that. It's got no rhythmHELEN:
Oh! They'd tear
it up, wouldn't they? lSIu ings
anoths oerse.l It's nice though isn't it? yo: What would you say if I did something like that? HELEN: I should have taken up singing - everybody used to tell me. What did you say? yo: I said what would you say if I got a iob in a pub? HELEN: You can't sing, can you? Anyway, it's your life, ruin it your own way. It's a waste of time interfering with other people, don't you think so? It takes me all my time to look after myself, I know that. ;o: That's what you said, but really you think you could make a better job of it, don't you? HELEN: What?
yo: Ruining my life. After all, you've had plenty of practice. HELEN: Yes, give praise where praise is due, I always say' I ceftainly supervised my own downfall. oh! This chair's a bit low, isn't it? Could do with a cushion. ;o: Anyway I'm not getting married like you did. nnrrN: Oh! 1o: I'm too young and beautiful for that. HELEN: Listen to it! Still, we all have funny ideas at that age, don't we - makes no difference though, we all end up same way sooner or later. Aoywuy, tell me about this dream you had.
1o: What dream? HELEN: You said you had a dream about me. Jo: oh that! It was nothing much. r was standing in a garden and there were some policemen diggrng and guess what they found planted under a rosebush? nBtnN: You.
r4
A TAsrE oF
;o: No -
HoNBy
[ecr
r
you.
always said we should be used for manure when we're gone. Go and see to that cofee. I'm dyrng for a hot drink. This bloody cold! It's all over me. I,m sure it's 'flu - I suppose I'd better clear some of this snrff away. She wouldn't think. Well, they don't at that age, do they? Oh! It gets me right here when I try to do anything when I bend, you know. Have you ever had it? I was thinking of washing my hair tonight, but I don't think it's wise to . .. Christ! what the hell's she got in here . .. sooner her than me . . . what's this? [.lea4g drawirrys.) Hey, Jo, Jo, what's this? ;o: What's what? HELEN: Did you do this?
;o: Put it dowu. HELEN: I thought you said you weren't good at anything. 1o: It's only a drawing. HELEN: It's very good. Did you show them this at school? ;o: I'm never at one school long enough to show them anything. HELEN: That's my fault, I suppose. yo: You will wander about the country. HELEN: It's the grpsy in me. I didn't rcalize I had such a talented daughter. Look at rhat. It's good, isn't it? ;o: I'm not just talented, I'm geniused. HELEN: I think I'll hang this on the wall somewhcrc. Now, where will it be least noticeable? Don't snatch. Havc you no manners? What's these? yo: Self-poftraits. Give'em here. HELEN: Self-portraits? Oh! Well, I suppose you'vc got to draw picttres of yor:rself, nobody else would. IIcyl Is that
supposed to be me? Yes.
HELEN: Don't
A TASTE OF IIONEY
r5
say. Have you ever thought of going to a proPer art school and getting a proper training? 1o: It's too late.
I must
HELEN: Why, had we run short of cemetery space? Well, I,ve
;o:
sr:nxr r]
I
look a misery? They're very trristic rhough,
I'll
pay, You're not stuPid. You'll soon learn. ;o: I've had enough of school. Too many different schools and too many different places. rrrLEN: You're wasting yourself. ;o: So long as I don't waste anybody else. Why are you so suddenly interested in me, anyway? You've never cared much before about what I was doing or what I was trying to do or the difference benpeen them. r{ELEN: I know, I'm a olrel, wicked woman. yo: Why did we have to come here anyway? \Ve were all right nllr,EN:
at the other place. I was fed up with the other place. mean you're running away from somebody. You ;o: r{ELEN: You're asking for a bloody good hiding, lady. Just be careful. Oh! She'd drive you out of yoru mind. And my HELEN:
head's splining. Splitting in two. ;o: What about me? Don't you think
I
get fed up with all this
flitting about? Where's the bathroom? I'm going to
have
a bath. HELEN: You're always bathing.
;o: I'm not like you. I don't wait until it becomes necessary before I have a good wash. HELEN: You'll find the coutmunal latrine and wash-house at the end of the passage. And don't throw you things about, this place is untidy enough as it is. 1o: That's all we do, live out of a travelling-bag. HELEN: Don't wony' you'll soon be an independent working woman and free to go where you please. yo: The sooner the better. I'm sick of you. You've made my life a misery. And stop sneezing your'flu bugs all over me. I don't want to catch Your cold. HELEN: Oh! Get out of my sight. Go and have your bath.
I6
A TASTB OF HONEY
yo: You qrn get your own cpfee too. Vhy should thing for you? You never do anything for me.
[ecr
I
r
do any-
lMusic. Enter IETER, a brash car salesman, cigar in mouth.l HELEN: Oh!
My God! Look what the wind's blown in. What
do you want? pErER: Just passing by, you know. Thought I'd take a look at your new headquarters. HELEN: Just passing . . . How did you find my address? IETER: I found it. Did you think you could escape me, dear?
1o: So that's what she was running away from. PETER: Who's this? HELEN:
Itly daughter.
IETER: Oh! Hello there. That puts another ten years on her. 'What's this one called?
1o:
HELEN: Smith.
;o: You told me not to tnrst men calling themselves Smith. HELEN: Oh go and have your bath.
yo:
I
don't know where the bathroom is. HELEN: It's in a little hole in the corridor. 1o: Is he staying? PETER: Yes,
I'm staying.
1o: Then I'll HELEN: What did you want to follow me here for? pErER ffumblingl: You know what I want. HELEN: Give over! Jo, go and see to that coffee! He would show up iust when I've got her hanging round my ncck. nETER: Do what your mother tells you. ;o: Ordering me about like a servant! [Shc goes. PErl:R makzs another pass at nrrrN.] The kettle's not boiling. I suppose she hasn't told you about me. PETER: Christ! HELEN: Go and lay the table. ;o: No. HELEN: Vell, do something. Trrrn yourself itrlo it blotldy go for my bath later.
r7
A TASTE OF HONEY
\(:ENE I]
termite and crawl into the wall or something, but make yowself scarce. lrl'tER: Get rid of her. rnlt,EN: I can't. Anyway, nobody asked you to come here' town r,rl rER: why did you come here? I had to chase all over dump' finish this in up looking for you, only to rriLEN: Oh shut uP! I've got a cold. r'r: l'ER: What on earth made you choose such a gbastty distria? nuLEN: I can't afford to be so classy. ru tER: Tenements, cemetery, slaughterhouse' uljLEN: Oh we've got the lot here. r't,'rER: Nobody could live in a place like this' 1o: Only about fifty thousand people. l'rj'rER: And a snotty-nosed daughter. Iu,LEN: I said nobody asked you to come' Oh my God! I'll have to have a dose of something. My head's swimming.
Why did you? lrirER: Vhy did I what? rniLEN: Follow me here?
ltiTER: Now you know you're glad to see me, kid' TIELEN:
No I'm not. The only consolation
I can find in your
immediate prcsence is your ultimate absence' v'1;'rER!
rrtLEN:
In that case, I'll
I
warned you.
staY.
I told you I was throwing
my hand in'
Now drdn't I? pETER:
You did.
oh! Throw that cigar away. It looks bloody ridiculous stuck in your mouth like a horizontal chimney'
TTELEN:
eETER:
Your nose is damp. Here, have this'
HELEN: Oh go awaY! Give it a good blow. HELEN: Leave it alone. while you're PETER: Blow yoru nose, woman' lSlrc doesl' And
PETER:
atitblowafewofthosecobwebsoutofyourhead.You can't afford to lose a man like me'
I8
A TASTE OF HONEY
[rcr
r
HELEN: Can't I?
This is the old firm. you can't renege on the old firm. HELEN: I'm a free lance. Besides, I'm thinking of giving it up. PETER:
PETER: What?
HELEN: Sex! Men! pETER: What have we done to deserve this? HELEN: It's not what you've done. It's what f've done. PErER: But lapproaching lurl, dafling, you do it so well.
it? You don'r fancy anything. Well, put your hat on, let's go for a drink. Come on
PETER:
down to the church and I'll make an honest woman of you. HELEN fshe goes to put her coat on, then changes her mincll: No, I don't fancy it.
I'm offering to marry you,
dear.
PETER: Come
on, Iet's go for a drink. I don'r fancy it. rETER: You won'r find anything better. HELEN: Listenr, love, I'm old enough to be your mother. PErER fpetting zar]: Now you know I like this mother and son
I
toid you
relationship. HELEN: Stop
it!
Aren't you rvearing your girdle? HELEN: Now, Peter. PErER: Vhoops! HELEN: Well, you certainly liberare something in me. And don'r think it's maternal instincts either. PETER lsingsl: "Walter, Valter, lead me to the altar!', PETER:
HELEN: Some hopes.
II
A TASTB OF HONEY
r9
rrj'rlR: Helen, you don't seem to reatze what an oppornrnity I'm giving you. The world is littered with women I've rejected, women still anxious to indulge my linle vices and excuse my less seemly virtues. Marry me, Helen. I'm youg, good-looking and well set up. I may never ask you ur,LEN: You're drunk. r'I:TER: I'm as sober as a iudge. uI:LEN: If you ask me again I might accept. lnrER [singsl: "I see a quiet place, a fireplace' a cosy room." uriLEN: Yes, the tap room at the Red Lion. What are you after? r'rirER: You know what
I
like.
1o lcouglu, entersl: Here's your coffee. Excuse me if I interrupted something. I'm sorry the crockery isn't very elegant,
but it's all we've got. lrjrER: Dontt run away. 1o: I'm not running. [Stts.] lrirER: Is she always like this? She's jealous . . . IErER: That's something I didn't bargain for. tTELEN: Can't bear to see me being affectionate with anybody. 1o: You've certainly never been affectionate with me. IETER: Still, she's old enough to take care of herself. What sort of coffee is this anyway? It can hardly squeeze itself through the spout. r{ELEN: She always does that. Makes it as weak as she can because she knows I like it strong. Don't drink that, it isn't TTELEN:
HELEN: You what? HELEN:
(:liNE
again.
HELEN: Now give over, peter. I've got all these things to unpack. PETER: Send her to the pictures. HELEN: I don't feel like it. PETER: What's wrong? HELEN: I'm tired. It's terrible when you've got a cold, isn,t
PETER:
..
worth drinking. Leave it. yo: She should be in bed.
I
I know she should. Jo: You look very pale and sickly, Helen.
PETER:
HELEN: Thank you.
Jo: Is he going?
HELEN: Yes, come on, you'd better go before you catch my cold'
A TAsrE oF
HoNEy
[acr
I
scENE
lHe pulk fur to him as she passes.l PETER: Come outside then.
Il
2l
get going. We've ail this to clear away before we go to bed. t't:'rDR: Well,
HELEN: No.
A TASTE OF HONEY
I won't
be round tomorrowl the cat's been on the
IETER: What does the little lady want? An engagement ring? 1o: I should have thought their courtship had passed the stage of symbolism. HELEN: I always accept the odd diamond ring with pleasure. eETER: I know it's my money you're after.
strawberries. til1r.EN: Get going. r'r,rER: Don't forget me.
HELEN: Are you kidding? yo: Hey!
will be good night. lrl't'ER: Well, take care of your mother while she's ailinB' Io. You know how fragile these old ladies are. lr 11r.EN: Go on, get!lExit pETER.l Well, I'm going to bed. Ve'll shift this lot tomorrow. There's always another day. ;o: It's dark out there now. I think I'll have my bath in the
lHe embraces HELEN at the door and begins to tell hn a dirty story.f
Did I ever tell vou about the bookie who married the prostitute? HELEN: No. Go on. yo: Hey! What sort of a cigar is that? rETER: Why don't you go home to your father? ;o: He's dead. IETER: Too bad. Anyway, this bookie . .. 1o: Is it a Havana? pETER:
HELEN: Yes. rETER: A rich, dark Havana, rolled on the thigh of a coal black
mafirmy.
;o: You want to be careful. You never know where a coal black mammy's thigh's been. HELEN: Take no notice of her. She think's she's funnv. ;o: So does he! I bet he's married.
[unrrN
bursts out laughing at his
jokt.]
You're not really going to marry her, are you? Shc's a devil with the men. PETER: Are you Helen?
I don't consider nryself a slouch. Now come on you've finished what you slme fbr you'd better
HELEN: Well,
then,
if
I withdraw while you kiss her good night? lr:t.t1N: I'll kiss you good night in a minute, lady, and it really ro: Shall
morning. IrrlLEN: Are you afraid of the dark? 1o: You know I am. rr.r.EN: You should try not to be. 1o: tr do. nr:t.EN: And you're still afraid? l, r: Yes. rrrlr.EN: Then you'll have to try a
bit harder, won't you? do that. What's the bed like? r u,t-EN: Like a coffin only not half as comfortable. tr': Have you ever tried a coffin? urlt.EN: I dare say I will one day. I do wish we had a hot water 1,
r: Thanks.
I'll
bottle.
t,r: You should have asked him to stay. It wouldn't be the first time I've been thrown out of my bed to make room for one
ofyour... Iu:I.EN: For God's sake shut up! Close your mouth for five minutes. And you can ttrrn the light offand come to bed. Io: Aren't we going to clear this lot up? rrrlLEN: No, it'll look all right in the dark. yo: Yes, it's seen at its best, this room, in the dark.
A TASTE OP HONEY HELEN: Everything is seen at its best
in the dark
I
[acr I
-
including
love it. Can't understand why you're so scared of it. yo: I'm not frightened of the darkness outside. It's the darkness inside houses I don't like. HELEN: Come on! Hey, Jo, what would you do if I told you I me.
was thinking of gening married again?
1o:
I'd
have you locked up in an institution right away!
sceNr
rr]
A TAsrE oF HoNEY
23
rrov: Say that again. ;cl: I don't care. rrov: You mean it too. You're the first girl I've met who really didn't care. Listen, I'm going to ask you something. I'm a man of few words. Will you marry me? yo: Well, I'm a girl of few words. I won't marry you but you've talked me into it. are you?
noy: How old
HELEN: C,ome on.
llttu;ic. Fade out.l
SCENE TIVO
yo: Nearly eighteen. rroy: And you really will marry me? yo: I said so, didn't I? You shouldn't have asked me if you were only kidding me up. fSIu starts to go.l rrov: Hey! I wasn't kidding. I thought you were. Do you really mean it? You will marry me?
;o: I love you. rrov: How do you know? yo and hq sov FRIEND, a coloured naoal rating, walking on tlu street. They stop by thc door. ;o: I'd better go in now. Thanks for carrying my books. gov: Were you surprised to see me waiting outside school? ;o: Not really.
soy: Glad I
came? 1o: You know I am.
soy: So am I. ;o: Well, I'd better go in. sov: Not yet! Stay a bit longer. yo: All right! Doesn't it go dark early? I like winter. I like it bener than all the other seasons.
sov: I like it too. When it goes dark early it gives me more time for - fHe hisses her.l 1o: Don't do that. You're always doing it. soy: You like it. yo: I kno% but I don't want to do it dl the time.
soy: Afraid someone'll yo:
I
don't care.
see us?
;o: I don't know why I love you but I
do.
I
adore you.lSwinging her thrwgh the air.l Jo: So do I. I can't resist myself. rroY: I've got something for you. yo: What is it? A ring!
rrov:
I couldn't remember what small hands or what. I you long hands, sort of hands had, stood there like a damn fool trying to remember what they felt like. [He puts the ing on and hisses hn hand.f What will your mother say? yo: She'll probably laugh. rrov: Doesn't she care who her daughter marries? ;o: She's not marrying you, I am. It's got nothing to do with rrov: This morning in the shop
her.
noy:
She hasn't seen me.
lo: And when she does? nov: She'll see a coloured boy. yo: No, whatever else she might be, she isn't preiudiced against colour. You're not worried about it, are you?
e
A TASTE OF HONEY
24
[ecr
BoY: So long as you like it. ;o: You know I do. nov: Well, that's all that matrers. ;o: When shall we get married? oov: My next leave? It's a long time, six months. ;o: It'll give us a chance to save a bit of money. Here, see . . . this ring . . . it's too big; look, it slides about . . . And I couldn't wear it for school anyway. I might lose it. Let's go all romantic. Have you got a bit of suing? soy: What for? 1o: I'm going to tie it round my neck. Come on, turn your pockets out. Three handkerchiefs, a safety pin, a screw! Did that drop out of your head? Elastic bands! Don't linle boys carry some trash. And what's this? BoY: Nothing. yo: A toy car! Does it go?
sov: Hm hm! yo: Can I try it? [Slu does.l sov: She doesn't even know how it worls. Look, not like that. lHe nnhes it
go
fast.l
I
like that. Can I keep it? noy: Yes, take it, my soul and all, everything. yo: Thanks. I know, I can use my hair ribbon for my ring. Do it up for me. nov: Pretty neck you've got. yo: Glad you like it. It's my schoolgirl complexion. I'd better nrck this out of sight. I don't want my mother to see it. She'd only laugh. Did I tell you, when I leave school this week I start a paft-time job in a bar? Then as soon as I get a full-time iob, I'm leaving Helen and starting up in a room
yo:
somewhere.
nov: I wish I wasn't in the Navy. 1o: Why?
sov: Ve won't have much time together.
III
r
t
Ir
I
A TASTE OF HONEY
25
Wcll, we can't be together all the time and all the time lrt'rc is wouldn't be enough. It's a sad story, Jo. Once, I was a happy young man, not carc in the world. Now! I'm trapped into a barbaric What's that? Mau-Mau?
rror': Mztrimony. 'l'rapped!
Ir
)
t(
): Who found the football pitch? I didn't
I like that! You almost begged me to marry you. .Who took me down rror': You led me on. I'm a trusting soul. to that deserted football pitch?
even know it just you have been must how often it shows thcre, too . . . you certainly know where all the best spots
cxisted. And
I'm not going there again . . . It's too quiet. Anythtng might happen to a girl. rroy: It almost did. You shameless woman! t,r: That's you taking advantage of my innocence. :rre.
rroy:
f
didn't take advantage. I had scruples.
t,,: You would have done. You'd have gone as far as I would have let you and no scruples would have stood in your way. rroy:You enjoyed it as much as I did. 1o: Shut up ! This is the sort of conversation that can colour a young girl's mind. rroy: 'Women never have young minds. They are born three thousand years old.
Jo: Sometimes you look three thousand years old. Did your ancestors come from Africa? rroy: No. Cardiff. Disappointed? Were you hoping to marry a man whose father beat the tom-tom ali night?
I don't care where you were born. There's still a bit of jungle in you somewhere. lA siren is luardl.I'm going in now, I'm hungry. A young girl's got to eat, you know. rrov: Honef5 ]ou've got to stop eating. No more food, no more make-up, no more fancy clothes; we're saving up to get 1o:
married.
t
A TASTE OF HONEY
26
yo:
[ecr I
I iust need some new clothes too. f've only got this one coat. I have to use it for school and when I go out with you. I do feel a mess.
noy: You look all right to me. yo: Shall I see you tonight? noY: No, I got work to do. 1o: What sort of work? soy: Hard work, it invoives a lot of walking. ;o: And a lot of walking makes you thirsty. I know, you're going drinking. sov: That's right. It's one of the lads'birthdays. I'll see you tomorrow. yo: All right. I'll tell you what, I won't bother going to school and we can spend the whole day together. I'll meet you down by that ladies' hairdressing place. soy: The place that smells of cooking hair? ;o: Yes, about ten o'clock. soy: Okay, you're the boss. 1o: Good night. soy: Aren't you going to kiss me good night? 1o: You know I am. [Kzsses hin.ll like kissing you. Good night. BoY: Good night. ;o: Dream of me. sov: I dreamt about you last night. Fell out of bed nrice.
;o: You're in a bad way.
nov: You bet I am. Be seeing you! Jo [as she goesl: I love you. nov: Vhy? Because you're daft. fHe waztes good-bye, turns and sings to tlu audienurand goes. HELEN dances on to the tmrsicr lies dwn and reads an evening poper. lo dances on dreamily.f HELEN: You're a bit late coming home from school, aren't you?
;o:
r(:lNr rr]
A TAsrB oF
HoNEy
27
1o:Imetafriend. urir.rN: Well, he certainly knows how to put stars in your eyes. 1o: What makes you think it's a he? rlr.riN: Well, I ss6ainly hope it isn't a she who makes you walk round in this state.
to: IIe's utl.riN:
a sailor.
I
hope you exercised proper control over his nautical :rrdour. I've met a few sailors myself.
;o: IIe's lovely. lll:l.liN: IS he? Jo: I{e's got beautiful brown eyes and gorgeous curly hair. rrir.riN: Has he got long legs? 1o: 'fhey're all right.
How old is he? He's doing his national service, but before
'n1r-EN: 'Iwenty-two.
to:
that he was a male nurse. rn.t.EN: A mde nurse, eh? That's interesting. Where did he do his nursing? to: In a hospital, of course! 'Where else do they have nurses? lr,r.tN: Does he ever get any free samples? We could do with a few contacts 1i11 hings like that.
t,r: Oh shut up, Helen. Have a look in that paper and see rf
what's on at the picnrres tomorrow night. I,I-EN: Where is it? Oh yes ... I a)as a Teenage . . . what? You can't go there anyway, it's a proper little flea pit. Thc Ten Commandmcnts, here that'd do you good. Desire Undq the ... oh! What a funny place to have desire!
You might as well have it at home as anywhere
else,
mightn't you? No, there's nothing here that I fancy. 1o: You never go to the picnrres. nriLEN: I used to but the cinema has become more and more like the theatre, it's all mauling and muttering, can't hear what they're saying half the time and when you do it's not worth listening to. Look at that advertisement. It's pornographic. In my opinion such a frank and open display of
A TASTE OF HONEY
28
[acr
r
the female form can only induce little boys of all ages to add vulgar comments in pencil. I ask you, what sort of an inflated woman is that? She's got bosom, bosom and still more bosom. I bet every inch of her chest is worth it's weight in gold. Let's have a look at you. I wonder if I could turn you into a mountain of votuptuous temptation? yo: Why? HELEN: I'd put you on films.
yo: I'd sooner be put on't streets. It's more honest. HELEN: You might have to do that yet. ;o: Where did this magazine come from? HELEN: Woman downstairs give
1o:
I didn't think you'd
HELEN: W"hy buy when
yo: IThat day was
I
it
buy it. it's cheaper to borrow?
born on?
f
;o: You
should remember such an important event.
don't know.
yo: How old was I when your husband threw you out? HELEN: Change the subiect. Vhen I think of her father and my husband it makes me wonder why f ever bothered, it does really. 1o: He was rich, wasn't he . . . HELEN: He was a rat! yo: He was yoru husband. Why did you marry him? HELEN: At the time I had nothing better to do. Then he divorced me; that was your fault. yo: I agree with him. If I was a man and my wife had a baby
that wasn't mine
would. Still, why worry? yo lreading from mngazincf: It
I
don't think
I
sa5n here that Sheik Ahmed an Arabian mystic - will, free of all charge, draw up for you a complete analysis of your charactcr and destiny.
HELEN: Let's have a look.
A TASTE OF
HONEY
29
tr' :'l-here's his photograph. rn r rjN: Oh! He looks like a dirty linle spiv. Listen Jo, don't bother your head about Arabian mystics. There's two w's rn your future. Work or want, and no Arabian Knight can tcll you different. Ve're all at the steering wheel of our own destiny. Careering along like drunken drivers. I'm going to gct married. lThe news is receioed in silence.l I said I'm going to get married. rrt: Yes, I heard you the first time. What do you want me to do, laugh and throw pennies? Is it that Peter Smith?
head.
HELEN: I've always done my best to forget that.
I'd sling her out. HELEN: Vould you? It's a funny thing but
ltl
ilr:r.riN: He's the unlucky man. t,r: You're cennrries older than him. nr,r.EN: Only ten years. 1o: What use can a woman of that age be to anybody? In,t.ENr I wish you wouldn't talk about me as if I'm an impotent, shrivelled old woman without a clue ldt in her
me.
HELEN:
.,(:t{NE
a child bride. have been one once, or near enough.
lo: You're not exactly rrjLEN:
I
yo: Just imagine it, you're forty years old. I hope to be dead and buried before I reach that age. You've been living for
forry years.
it must be a biological phenomena. 1o: You don't look forty. You look a sort of well-preserved
ntiLEN: Yes, sixty.
lMusic. Entq pErER carrying a large bouquet and a bor of cho colate
s and looking uncomfortable.l
Oh look, and it's all mine! yo: Hello, Daddy. rErER: Oh! So you told her. TIELEN: Of course. Come in and sit down. On second thoughts lie down, you look marvellous.
TTELEN:
lHe gioes hcr
tlu bouquet.)
Oh! redlS you shouldn't have bothered yourself.
I know
A TASTE OF HONEY
[ecr I
r, t.Ntt III
the thought was there, but . .. here, Jo, have we got a vase, put these in some water. ;o: How did she talk you into it? You must be out of your
tlrink?
3o
mind. PETER: That's possible, I suppose. 1o: Flowers and all the trimmings. Helen can't eat anything
sweet and delicious. She's got ro watch her figure. HELEN: Nonsense! My figure hasn't altered since
f
was
eighteen.
;o:
Really?
HELEN:
Not an inch.
I hope I'm luckier with mine. HELEN: Do you see anyrhing objectionable about my figure,
yo:
Peter?
rETER: I find the whole thing most agreeable. yo: You've got to say that, you're marrying it! IETER: The chocolates are for you, Jo.
yo: Buying my silence, hey! It's a good idea. I like chocolates. HELEN: Ilelp yourself to a drink, Peter, and I'll go and put my glad rags on.lExit.l rETER: Don't let's be long, huh? I've booked a table. Dammit, I thought you'd be ready. ;o: She's gor no sense of time. PETER: Don't sit there gtzzling all those chocolates at once.
fShe throzas rle lid at him.l I7hat the hell are you playing at . . . sit down and behave
yourself, you little snip. 1o: Hey! Don't start bossing me about. you're not my father. pErER. Christ Almighty! Will you sit down and eat your chocolates. Do what you like but leave me alone. lSuddenly slrc attacks him, halfJaughing, half-tying.l ;o: You leave me alone. And leave my mother alone too.
[nrrrx
enters.]
nETER: Get away! F'or God's sake go and . . . HELEN: Leave him alone, Jo. He docsn'L wrnt to bc bothered
A TASTB OF HONEY
3r
with you. Got a cigarette, Peter? Did you get yourself r,r
lr,rt:No,
a
I...
t,': l)o I bother you, Mister Smith, or must I wait till we're rrlone for an answer? r'r'r r1R: Can't you keep her under control? I r r, r. r: N : I'll knock her head rorrnd if she isn't careful. Be quiet,
Io. And don't r'r, r'rjR:
tease
him.
Tonight's supposed to be a celebration.
to: What of? rr,r.r.rN: He's found a house. fsn't he marvellous? Show her the photo of it, Peter. I shan't be a tick! t,r: You've sqtainly fixed everything up behind my back. ur,r.uN: Don't you think it's nice? One of his pals had to sell, moving into something smaller. fGoesl.
[r,nrnn throws sflap orr to tlre table.l
Io: It's not bad. White walls, tennis courts. Has it got
a
swimming pool? lrjrER: It has twelve swimming pools. yo: Can I see the other photos? r'rrER: Which photos? yo: In your wallet. I suppose you thought
I didn't notice. r'rrER: Oh! These. Yes, well, that's a photograph of my
hy sister, my brother and . . . ITo himself.l all the rest of the little bastards. yo: Is this a wedding group? PErER: My brother's wedding. yo: They only just made it, too, from the look of his wife. You can tell she's going to have a baby. PErER: Oh? Thank you. ;o: You can have it back if I can see the others. pErER; Which others? What iue you talking about? ;o: Do you want me to tell my mother? nETER: I don't give a damn what you tell your mother. family, my mother, my fatherr
A TASTE OF HONEY
32
[ecr
r
yo: They're all women, aren't they? I bet you've had thousands of girl friends. Vhat was this one with the long legs pErER: Ah! Yes, number thirry-eight. A charming little thing. yo: Why do you wear that black patch?
I
lost an eye.
yo: Vhere?
During the war. you in the Navy? Vere ;o:
t,r:
I
l.rR:
Could
I
have my photographs back, please?
There...
You don't like your mother much do you? 1o: She doesn't much care for me either. r,rirER: I can understand that. p llooking oaer his shoulder at photographsl: I like that one with the shaggy hair cut. She's got oice legs too. Nearly as nice as mine. lrl.rER: Would you care for a smoke? 1o: Thanks. r'tl u1R:
I thought you would have been somebody very impoftant. rETER: A private is far more important than you think. After
yo:
all, who does all the dirry work?
;o: Yes, a general without any army wouldn't be much use, would he? Can I see your eye? I mean can I see the hole? There's nothing to
see.
;o: Do you wear that
patch when you go to bed? IETER: That's something about which I don't care to make public statement.
a
[nnrtN
is lrcard singing off stagef:
rnrLEN: Jo! Where's my hat?
;o: I don't know. Where you left it. It's no use gening im-
me.
is one highly recommended way for
a
young girl to find out. 1o [glancing through photos in wallet]:
I don't like this one.
She's got too much stuff on her eyes. IETER: That's the sort of thing your sex goes in for. 1o: I don't. I let my natural beauty shine througbPETER: Is there no alternative?
yo: Don't you like shiny faces? IETER: I suppose they're all right on sweet young things but I just don't go for sweet young things 1o: Do you fancy me? PETER:
r
yo:
PETER: Private.
pErER: Well, there
will be. Ah well, that's love. [Slzgs.] "That wild, destructive
She soon
rhing called love." are you marrying Helen? rr'r'riR: Why shouldn't I marry Helen? t.r: Your generation has some very peculiar ideas, that's all lr,
Army.
;o: Tell
33
can say.
1o: Offficer?
PETER:
HoNEY
t,': Why
PETER:
PETER:
A TASrE OF
rr,r'riR: She isn't old. r'r,r'r1R:
called?
PETER:
'.r llNE III
Not yet.
Jo: You prefer old women.
patient, Peter. The art work takes a long time. Are you sure you lost your eye during the war? What happened? rrjrER: Go and tell your mother I'll wait for her in the pub. ;o: Are you married? IErER lgoingl: No, I'm still available. TTELEN [enteing): But only just. IETER: Helen, you look utterly fantastic. HELEN: Thanks. Put that cigarette out, Jo, you've got enough bad habits without adding to your repertoire. Do you like my hat, Peter? PErER: Bang-on darling ! HEI.EN: What are all these books doing all over the place? Are you planning a moonlight flit, Jo? Stop it, Peter.
34 PETER:
A TAsrE oF
HoNEy
[ecr
r
Got your blue garters on?
HELEN: Now, Peter. Come on, Jo, shift these books.
1o: f'm sorting them. pErER ltaking HELEN's hatl: How do
I
look?
Have you forgotten I'm leaving school this week? it here. stop foering about. It took me ages to get this hat on right. Jo, do as you're told.
HELEN: Peter, give
yo: All right. HELEN: Peter! Don't do that. Give it to me. It's my best one. Put it down. pErER lto himselfl: No bloody sense of humour. HELEN: s7hat has she got there? Lnok
at'em. selected Nursery
Rhymes, Hans fuidersen's Fairy Tales, pinocchio. Well, you certainly go in for the more advanced types of literature. And what,s this? The Holy Bible! ;o: You ought to read it. I think it's good. HELEN: The extent of my credulity always depends on the extent of my alcoholic intake. Eat, drink and be merry _ yo: And live to regret it. PETER: God! we've got a founder member of the Lord's Day Observance Society here.
yo: What are you marrying him for? HELEN: He's got a wallet
full of reasons.
;o:
Yes. I've iust seen 'em too. HELEN: Can you give us a quid, peter?
some money.
Ir
lt]
A TASTE OF HONEY
I r riN: We can't take her
('Kception
35
with us. We will be, if you'll not take
to the phrase, on oru honeymoon. Ilnless
we
our minds. r'r,u,R: I'm not having her with us. rn r,r'N: She can stay here then. Come on. I'm hungry. t hange
HELEN: Peter!
;o:
1, ltN u
I,d better leave her !7e might decide to have a weekend at
Blackpool and she can't five on grass and fresh air. 1o: I won't set eyes on her for a week now. I know her when she's in the mood. What are you going to do abour me, Peter? The snotty-nosed daughter? Don,r you think I'm
a bit young to be left rike this sa my own while you flit off with my old woman? PETER: She'll be all right, won,t shc? At hcr :rgc.
to: .So am I. ru r riN: There's plenty of food in the kitchen. 1o: You should prepare my meals like a proper mother. ru r.r:N: Have I ever laid claim to being a proper mother? If you're too idle to cook your own meals you'll iust have to cut food out of your diet altogether. That should help you lose a bit of weight, if nothing else. rr: r'rR: She already looks like a bad case of malnutrition.
1o: I{ave you got your key, Helen? I might not be here when you decide to come back. I'm starting work on Saturday. nriLEN: Oh yes, she's been called to the bar. r'r:'rER: What sort of a bar? yo: The sort you're always propping up. I'm carrying on the family traditions. Will you give me some money for a new dress, Helen? rn,LEN: If you really want to make a good investment, you'll buy a needle and some cofton. Every article of clothing on her back is held together by a safety pin or a knot. If she had an accident in the street I'd be ashamed to claim her. lurER: Are we going? .;o: Can't I come with you?
IIELEN: Shut
up! You're going to have him upset.
You
jealous little cat ! Come on, Peter. prirER: All right, all right, don't pull. Don't get excited. And
don't get impatient. Those bloody little street kids have probably pulled the car to pieces by now but we needn't worry about that, need we .. . I told you you'd upset him.
TIELEN:
Upset? I'm not upset. I just want to get to hell out of this black hole of Calcutta.
PETER:
A TASTE OF HONEY
36
vlrey to bed
[ecr I
leazte flat.1o loohs aftt them.f- o moment ilun turns - sfu lies across it, ryitg. Music. BLAcK sov mtas.l
sov lcallingJ: Jo ! lSlu doesn't mwe.f nov: Joee!
vhey mone towards each otltq as if dancing to trrc nasic. Tlu music goes, the lishtt change.l 1o: oh! It's you! come in. Just when I'm feeling and looking a mess.
soy: What's wrong? You been crying'/ yo: No.
noy: You have. Your eyes are red.
I
don't cry. I've got a cold.
nov: I think you
have, roo. Yes, you've got a bit of a temperature. Have you been eating? ;o: No. soy: You're a fine sight. Where's the kitchen? ;o: Through there. What are you going to do? soy: Fix you a cold cure. Where do you keep the milk? 1o: Under the sink. I hate milk. sov: I hate dirt. And this is just the dirtiest place I've ever seen. The children round here are filthy. ;o: It's their parents'fault. What are you puning in that milk?
nov: A pill. ;o: I bet it's an opium pellet. I've heard about men like you.
sov: There isn't another man like me anywhere. I'm one on his own. yo: So am I.
noy: Vho
was that f"o.y bit minutes ago?
A TASTE OF HONBY
37
make a pretty bridesmaid. 1o: llridesmaid! I'd sooner go to my own funeral.
' You'd better drink this first. 1,r: I don't like it. It( | Y ' Get it down You. t.: llut look, it's got skin on the top. r()y: Don't whine. I'm not spending the evening with n(l
yo: Coming.
yo:
rl] rrrl'; fsg'll
'.( rtNe
\'
a
running-nosed wreck. Finish your milk. 1o: Did you treat your patients in hospital like this? rrov: Not unless they were difficult. Your mother looks very yougr Jo, to have a daughter as old as you. yo: She can still have children. rrov: Well, that's an interesting bit of news. Vlry should I worry if she can have children or not? Jo: Do you fancy her? rrov: That isn't the sort of question you ask your fianc€. to: It doesn't really matter if you do fancy her, anlmay' because she's gone. You're too late. You've had your chips. rrov: I'll be gone soon, too. What then? 1o: My heart's broke.
rrov: You can lie in bed at night and hear my ship passing down the old canal. It's cold in here. No fire? 1o: It doesn't work. rr
are only two seasons, winter and winter. Do you think Helen's beautiful?
rroy: Who's Helen?
I
saw stepping out of here a few
;o: If she was dressed up like Hope Gardens it was my mother. noy: And who is the Pirate King? 1o: She's marrying him. Pqel dcvil!
yo: My mother. Honestly, you are slow sometimes. Well, do you think she's beautiful.?
noy: Yes. yo: Am I like her? rroY: No, you're not at all like her.
A TASTB OF HONEY
38
[acr
r
;o: Good. I'm glad nobody can see a resemblance between us. Boy: My ring's still round your neck. wear it. your mother isn't here to laugh. ;o:
Unfasten ir, then. Boy: Pretty neck you,ve got.
yo: Glad you like it. BoY: No! Let me put it on. yo: Did it cost very much? gov: You shouldn't ask questions like that. Woolworths
A TASTB OF HONEY
now, it's enough, it's all l'll still be here.
3e
f want, and if you do come back
' You think I'm only after one thing, don't you? t, ' I know you're only after sag thing. rrr,1'; {porre so right. lHe hisses lw.l But I will come back, I nr | \'
Iove you.
I
got
it from
't care. I'm not proud. It,s the wonder what thought
it was in
de you buy it.
soy: f've got dishonourable intentions. ;o: f'm so glad. BoY: Are you? lHe embraces her.l
;o:
Stop it. Boy: \Phy? Do you object to the "gross clasps of the lascivious Moor"? yo: Who said that?
BoY: Shakespearc in Othello. yo: Oh! Him. He said everything, didn't he? Boy: Let me be your Othello and you my Desdemona. yo: All right. BoY: "Oh ill-starred wench.', yo: Will you stay here for Christmas? BoY: If that's what you want. ;o: ft's what you want. BoY: That's righr.
;o: Then stay. soy: You naughty girl!
;o: I
lrJ
t,': Ilow
!
Jo:
..r l,Nu
may as well be naughty whilc I'vc gor the chance. I'll probably never see you again. I know it. noy: What makes you say that? 1o: I just know it. That's all. Ilut I tkrn'r crrc. stay with me
can you say that? rrov; \pfuy or how I say these rhings I don't knoq but whatcvcr it means it's true. r, I Anyway, after this you might not want to come back. After rrll, I'm not very experienced in these little maners. rroy: I am. 1o: Anyway, it's a bit daft for us to be talking about you coming back before you've gone. Can I leave that hot milk? rrov; f1 would have done you good. Never mind. lEmbraces
her.l
to: Don't do that. rrov: Why not? 1o:
I like it. [Fade sut. Music. lYedding bells. r.ntsN's music. Slrc dances on with an assortment of fanry boxes, containing her wedding clothes.l
rI:LEN: Jo! Jo! Come on. Be sharp now. f1o comes on in her pyjamas, SIrc hat a luaoy cold.l
For God's sake give me a hand. I'll never be ready. What time is it? Have a look at the church clock.
;o: A quarter past eleven, and tle sun's coming out. rn,LEN: Oh! Vell, h"ppy the bride the sun shines on. ;o: Yeah, and happy the corpse the rain rains on. You're not getting married in a church, are you?
urtLEN:
Vhy, are you coming to throw bricks at us? Of
course not. Do
I look all right? Pass me my fur. Oh! My
fur! Do you like it?
A TASTE OF HONEY
40
[ecr
r
I
bet somebody's missing their cat. HELEN: It's a wedding present from that young man of mine. He spends his money like water, you know, pemy wise, pound foolish. Oh! I am excited. I feel rwenty-one all over again. Oh! You would have to catch a cold on my wedding &y, I was going to ask you to be my bridesmaid too.
Jo:
;o: Don't talk daft. HELEN: Where did you put my shoes? Did you clean ,em? Oh! They're on my feet. Don't stand there sniffing, Jo. Ifse a handkerchief.
1o:
I
haven't got one.
HELEN: Use this, then. What's the matter are you trying to hide?
with vou? What
yo: Nothing. HELEN: Don't try to kid me. What is it? Come on, let,s yo: It's nothing. Let go of me. You're hurting.
see.
HELEN: What's this?
I
can see
it's a ring. Who give it to you?
yo: A friend of mine. HELEN: Who? Come on.
Tell
me.
yo: You're hurting me. [HnrEN breaks the cord and gets the ring.l HELEN: You should have sewn some buttons on your pyjamas
if you didn't wanr me to see. Who give it you? yo: My boy friend. He asked me to marry him. HELEN: ![ell, you silly linle bitch. you mean that lad vou,ve been knocking about with while we,ve been away? 1o: Yes. HELEN:
Yes"
l(
,
4r
r,N: Well, thank God for the divorce courts! I suppose lrrst because I'm gening married you think you should. I lave you got the monopoly?
rrr,rlN: You stupid little devil! Vhat sort of a wife do you rhink you'd make? You're useless. It takes you all your time to look after yourself. I suppose you think you're in love. Anybody can fall in love, do you know that? But what do you know about the rest of it? t,' : Ask yourself. rn r.EN: You know where that ring should be? In the ashcan with everything else. Oh! I could kill her, I could really.
1.: You don't half knock me about.
I
hope you suffer for it. if I never do any more.
Oh Jo, you're only a kid. Why don't you learn from my mistakes? It takes half your life to learn from your own. Jo: You leave me alone. Can I have my ring back, please? utjLEN: What a thing to happen iust when I'm going to enioy myself for a change. Jo: Nobody's stopping you. urLEN: Yes, end as soon as my back's turned you'll be offwith this sailor boy and ruin yourself for good. Jo: I'm already ruined. uILEN: Yes, it's just the sort of thing you'd do. You make me sick.
Jo: You've no need to worry, Helen. He's gone away. He may be back in six months, but there again, he may . . . nELEN: Look, you're only young. Enioy your life. Don't get trapped. Marriage can be hell for a kidIo: Can I have your hanky back?
Where did you put it? is your fault too. This ,Jo: TIELEN: Everything's my fault. Show me your tongue' Io: Breathing your'flu bugs all over me. HELEN: YeS, and yOUr neCk'S red where I pullcd that strttrg. lo: Vill you get me a drink of water, Helen? TTELEN:
I
could choke you. yo: You've already had a damn good try. HELEN: You haven't known him five minutcs. Has he really asked you to marry him?
Io:
rrr
A TASTE OF HONEY
ur:r-EN: I've done my share of suffering
yo: A ring. HELEN:
',, r rutr II]
A TASTE OF HONEY
42
[acr r HELEN: No, have a dose of this lOffering whiskyl.It,ll do you more good. I might as well have one myserf while I'm at it,
'.1:ttttll ttl
to:
1, r
mightn't I?
rt'[ never come to that. The devil looks after his own, they say. 1o: He certainly takes good care of you. you look marveilous,
considering. : Considering what? yo: The wear and tear on yoru soul. HELEN
;o:
\Vhere's your husband?
yo: What was my father like?
[nerrN turns awajt.l HELEN: Who?
: Wcll, was he so horrible that you can't even tell me about him?
HELEN:
oh well, that'll have increased won't it? yo: Old Nck,ll get you in the end.
43
t,r: You hcard! My father! Vhat was he like? urrr riN: Oh! Him.
r
HELEN:
A TASTE OF HONEY
its market
value,
Hc wasn't horrible. He was iust a bit stupid, you know. Nor very bright. I.r . lle serious, Helen. rrr:r.[Nl I am serious. Jo: Are you trying to tell me he was an idiot? rt,r.riN: He wasn't an idiot, he was just a bit - retarded. yo : You liar ! r.r riN:
ru,r.rN: All right, I'm a liar. yo: Look at me. tltrl.llN: Well, am I?
Io: No. ilrlr-EN: Well, now you know. t,r: How could you give me a father like that? rr:r.rN: I didn't do it on purpose. How was I to know you'd materialize out of a little love affair that lasted five minutes? to: You never think. That's your trouble. nr:r-EN: I know. r,r. Was he like a . . . a real idiot? rI:I-EN: I've told you once. He was nice though, you know, a nice little feller! yo: Where is he now, locked up? rriLEN: No, he's dead. lo: Why? urjLEN: Why? Well, I mean, death's something that comes to us all, and when it does come you haven't usually got time to ask wtry. ;o: It's hereditary, isn't it? rrrLEN: What?
;o: Madness. TTELEN: Sometimes.
Jo: Am
I
mad?
#
[ecr
A TASTE OF HONEY
r
HELEN: Decide for yourself. Oh, Jo, don't be silly. Of course you're not daft. Not more so than anybody else. 1o: Vhy did you have to tell me that story? Couldn't you have
made something up? HELEN: You asked for the be satisfied?
truth and you got it for once. Now
HELEN: Mind my scent! ;o: Please tell me. I want to understand.
HELEN: Do you think I understand? For one night, acnrally it was the afternoon, I loved him. It was the first time I'd ever really been with a man . . . 1o: You were married. HELEN: I was married to a Puritan - do you know what I mean?
I think
so.
HELEN: And when I met your father I was as pure and unsullied as I fondlyr and perhaps mistakenly, imagine you to be. It was the fust time and though you can enjoy the second, the third, even the fourth time, there's no time like the first, it's always there. I'm off now. I've got to go and find my husband. Now don't sit here sulking all day.
I was thinking. HELEN: Well, don't think.
yo:
doesn't do you any good. I'll see you when the honeymoon's over. Come on, give us a kiss. You may as well" It's a long time since you kissed me-
It
1o: Keep it for him. HELEN:
I don't suppose
you're sorry to see me go.
1o: I'm not sorry and I'm not glad. HELEN: You don't know what you do want.
Yes. I do. I've always known what HELEN: And when it comes your way yo: Good luck, Helen.
;o:
t r:NE II]
r
|
| r.r1N:
I'll
I
want.
will you recognize it?
45
A TASTE OF HONEY be seeing you' Hey !
If
he doesn't show up
back.
r.,: Good luck, Helen.
lExit :nntsN. "Here
comes the
Bride" on the cornct')
Curtain
yo: How could you go with a half-wit? HELEN: He had strange eyes. You've got'em. Everybody used to laugh at him. Go on, I'll tell you some other time. yo: Tell me now!
yo:
'.
I'll
be
.,r:ltNr
Act Two
nancy is quite obaious.
,itt,
o bunch
of
is summa now and yo,s preg_
Jo las
s]te falls on a couch in trrc darhpned rooml: Let me lie here and don't wake me up for a month.
cEoF: Shall I put the light on? ;o: No. Don't you dare put that light
on.
a chair or table and cries or wsears.l Put a match on, you da1ft thing. [caor strihcs a nntch.l r,rioFl Ee, this place is enormous, isn't it? 1o: I know. f've got to work all day in a shoe shop and all night in a bar to pay for it. But it's ming. All mine. r,r oFi I can tell it's yours from the state it,s in. No wonder you won't put the light on. Where do you keep the ctrps? Io: In the sink. r,r:oFl fsn't this place a bit big for one, Jo? 1o: Why? Are you thinking of moving in? r,rioFl Not likely. 1o: You are, you know. Put 'em down here. Don't you want hangs into
As tlte anrtain goes up fairground music can be ruard in the distance. yo and a boy can be luard playtng together. When
It
47
t,r .
SCENE ONE
theg enter the flat_ trrcy hazte been ptayingabiut
A TASTE OF HONEY
put the light on. you No, won't! I like this romantic half-light, it iust goes t,'. with this Manchester maisonette! r,r,,oFr Take four paces forward, nrrn right, turn left, once round the gasworks and straight on up the creek. [He r , r, ( ) f?
brightly coloured balloons.
tl : I'll
cEoF: Did you enjoy the fair? ;o: Loved it. I haven't been to a fair since Christmas. cEop: Those roundabouts are still going. Can you hear ,em? 1o: I should be up at harf past seven tomoffow morning. I'll never make it. I'll just have to be late. Anyway, why should f slave away fo_r anybody but me? Hav.dt you got a home to go to, Geof? cEoF: Of course. 1o: Vell, why are you lurking about? Come in if you want to. cEoF: Thanks. ;o: There's some biscuits and a flask of coffee in the kitchen only I'm too tired to get 'em. Aren't you hungry? cEoF: No, but you are. ;o: That's right. Go and ger ,em for me, Geof. cEoF: Where's the kitchen? ;o: Straight on.
any?
r,r'Op: NO.
r,: Well, hand'em over to me because I'm stanred. Has your landlady thrown you out? (;loF: Don't be silly. 1o: I've been wondering why you were so anxious to see me home. You didn't fancy sleeping under the arches, did you? Why did your landlady throw you out, Geoffrey? I'll let you stay here if you tell me. (;rloF: f was behind with the rent. ;o: That's a lie for a start. f
I don't tell lies. 1o: Come ou, let's have some truth. Why did she throw you out? (,r;oF: I've told you why. (;r:oF:
lightl: C-ome on, the truth. Vho did she find you with? Your gid friend? ft wasn't a man, was it?
1o fsuritclrcs on
A TASTE OF HONEY
48
[ecr
u
cEoF: Don't be daft.
;o: Look, I've got a nice comfortable
couch, I,ve even got
some sheets. You can stay here if you'll tell me what you do.
Go on, I've always wanted to know about people like you. cEoF: Go to hell.
yo: I won't snigger, honest f won,t. Tell me some of it, go on. I bet you never told a woman before. cEoF: f don't go in for sensationr I confessions.
;o: I want to know what you do. I want to know why you do it. Tell me or get out. cEoF: Right! fHe goes to thc dom.l yo: Geof, don't go. Don't go. Geof! f'm sorry. please stay. cEoF: Don't touch me. yo: I didn't mean to hurt your feelings.
cEoF: f can't stand women at times. Let go of me. 1o: Come on, Geof. I don,t care what you do. cEoF: Thank you. May I go now, please?
lur
book of drawings on
tlu
table and glances through
tlum,l cEoF: Are these yours? ;o: No, why? Put them down, Geof. cEoF: Obviously they are. They're exactly like you. ;o: How do you mean? cEoF: Well, there's no design, rhythm or purpose.
yo: Hey? cEoF: Where's the design Charcoal. I don't like it. yo: I do.
in that? It,s all
messy,
cEoF: What made you choose that for a subjcct?
yo:Ilike...
cEoF: They're all sentimental.
r r.rri
r]
A TAsrE oF
HoNEY
49
t,, Me? Sentimental? ,,r()r;: No. No. I don't like'em. t,) l)o you really think they're sentimental? r.torjt Well, look. I mean . . . ;,r: I'm sorry you don't like them. r,r'or'-t Why don't you go to a decent school? l,r: I've never been to any school. ,,r.()[:: You want taking in hand. l,r: No, thanks. r,r,,oFt Has anybody ever tried? 1,r: What? r,r:oFr Taking you in hand. 1o: Yes.
r;r,oF: What happened to him? yo: He came in with Christmas and went out with the New Year.
;o: Please stay here Geof. I'll get those sheets and blankets. cEoF: r can't stand people who laugh at other people. They'd get a bigger laugh if they laughed at themselves. yo: Please stay, Geof. lshe goes off fo, the sheets and blankets. He finds
:r
(;uoF: Did you like him? Jo: He was all right . . . (;rioF: Did you love him? yo: I don't know much about love. f've never been too familiar with it. I suppose I must have loved him. They say love creates. And I'm certainly creating at the moment. I'm going to have a baby. cEoF: I thought so. You're in a bit of a mess, aren't you?
1o:
I don't care.
cEoF: You can get rid of babies before they're born, you know'
isn't it?
;o: I know, but I think that's terrible. cEoF: W'hen's it due? 1o: Reckon it up from Christmas. cEoF: About September.
;o:
Yes.
cEoF: What are you going to do? You can't be on yoru own' ;o: There's plenty of time. cEoF: Got any money? 1o: Only my wages and they don't last long. By the time I've
50
A TAsrE oF
HoNEy
[ecr rl
bought all I need, stockings and make-up and things, I,ve got nothing left. cEoF: You can do without make-uo. yo: I can't, I look fike a ghost without it. cEoF: At your age? ;o: What's age got to do with it? Anyway, I,m not working for much longer. I'm not having everybody staring ar me. cEoF: How are you going to nunage then? ;o: There's no need for you to worry about it. cEoF: Somebody's got to. Anyway, I like you. yo: I like you too. cEoF: Your mother should know. yo: Why? cEoF: well, she's your mother. Do you know her address? 1o: No. She was supposed to be marrying some man. They live in a big, white house somewhere. cEoF: Vhat sort of a woman is she? ;o: She's all sorts of woman. But she,s got plenty of money. cEoF: That's all you need to be interested in. you've gor to buy all sorts of things for the baby. clothes, a cor and a pram. Here, that teddy bear we won tonight'll come in handy, won't it? I can make things too. I,ll help . . . yo: Shut up! I'm not planning big plans for this baty or dreaming big dreams. you know what happens when you do things like that. The baby'll be born dead or daft! cEoF: You're feeling a bit depressed, Jo. 1o: I'm feeling nothing. cEoF: You'll be your usual self soon. yo: And what is my usual self? My usual self is a very unusual self, Geoffrey Ingram, and don,t you forget it. I'm an qrtraordinary person. There's only one of me like there's only one of you. cEoF: We're unique!
'., r Nu
t,, r,
|
()
I]
A TASTE OF HONEY
Smashing! [;] We're bloody marvellous
r,'. [[ey! Do you like r,t()l;:
5r
!
beer?
YeS.
1,'. Whisky? ',1,()l:: YeS. 1,
': Gin?
)r;t Yes. Have you got some? t.,: No, but if I had I'd give it all to you. I'd give everghing I had to you. Here, have a biscuit. You'll like these. They Laste like dog food. r,tolri Spratts! t,': You look tike a spratt. Jack Spratt, who'd eat no fat, his wife would eat no lean and so between them both, you see, they licked the platter clean. Did you enioy that dramatic
r,
|
(
recitation? r;r:oFl very moving. 1o: You say one. r:oF: There was a young man of Thessaly, And he was wondrous wise. He iumped into a quickset hedge
(,
And scratched out both his eYes. And when he saw his eYes were out' With all his might and main He iumped into another hedge And scratched them in again. ;o: I like that. Do you know anY more? (;DoF: As I was going up Pippin Hill, Pippin Hill was dirrY. And there a I met a PretrY miss And she dropped me a curtsy.
Little miss, pretty
miss,
;o: Young.
Blessings light upon You. If I had half a crown a daY
cEoF: Unrivalled!
I'd gladly spend it
on Yur.
a rASTE oF
52
HoNEy
[ncr
rr
1o: Would you? cEoF: I would. ;o: Silly things nursery rhymes when you weigh them up. cEoF: I like them. Do you want a cigarette? ;o: How many have you gor left? cEoF: I've got enough for one each. ;o: No, you keep 'em. They don't bother me really. I used to smoke just to annoy my mother. What's that? cEoF: A free gift coupon. yo: Everything you buy lately has a free gift coupon in it. It's coming to somerhing when they have to bribe the public to buy tl.:ir sruff. '$?har's this one for? cEoF: There's a whole list of things to send for if you have enough coupons. Hee, there's even a car, smoke forty thousand cigarettes a day for the next ten thousand years and you'll get a Lagonda. that?
;o: What's
cEoF: A car. 1o: A nice car? cEoF: A wonderful car. 1o: tr'll buy you one for Christmas. you two. cEoF: Thanks.
;o: Oh! I'm tired. This
If
you ask me nice
I'll
buy
couch isn't going to be very comfort-
able, is it?
cEoF: It'll do. 1o: What are you going to sleep in? cEoF: My shirt! 1o: I'm that tired! I haven't the energy to get myseH to bed. You won't sleep very well on this couch, Geof. cEoF: It's all right. Beggars can't be choosers. yo: We're both beggars. A couple of degenerates. cEoF: The devil's own! 1o lslrc goes to bed. cnon starts to undressf: Hey! You'd better turn that light out, or I might be after you. lHe nnns the
r;r;uNE
I]
A TASTE OF HONEY
53
light out and then gets into bed. She begins to sing the song " Black Boy" as shc lies on hn bed.l Black boy, black boy, don't you lie to me. Where did you stay last night? In the pines, in the pines where the sun never shines, I shivered the whole night through.
,;rior: Jo! 1o: Yes. (;r1oF:
What was that boy like?
yo: Which boy? (;rioF: You know,
yo: Oh! Him. He wasn't a
bit like you. He could sing
and
dance and he was as black as coal.
(;rjoF: A black boy? ;o: From darkest Africa ! A Prince. (;uoF: A what? Jo: A Prince, son of a chieftain. (;DoF: I'll bet he was too. 1o: Prince Ossini! (;uoF: What was he doing here? yo: He was a male nurse in the Navy. (;EoF: Do you wish he was still here? yo: Not really. I think I've had enough. I'm sick of love. That's why I'm lening you stay here. You won't start anything. (;DoF: No, I don't suppose I will. I o: You'd better not. I hate love. (;EoF: Do you, Jo?
.;o: Yes, I do. (;EoF: Good night. ;o: Good night. cEoF: You needn't lock the bedroom door. ;o: I'm in bed. Geoffrey! Geoffrey! cEoF: What do you want? lo: What time have you got to be up in the morning? (;EoF: I don't go to school tomorrow. I'll stay here and clear
A TAsrE oF
54
HoNEy
[.rcr tt
this place up a bit. And make you a proper meal. Now go
to sleep, hey?
;o:
Geoffrey!
cEoF: What's wrong now? 1o llaughingl: You're just like a big sister to me. lMusic to black out. Then quick as lights go up. Waking,cEoF dances and goes off utith bedclothes. 1o danczs off. enor dances in with ?rops for the ncxt scene, which in reality
would be a month or tuo latn. cEoF is anting out a ba.bj/s gown. 1o wa.nders about the room.l
yo: God! ft's hot. cEoF: I know it's hot.
ztoices die
away.
A tugboat lwo*.|
cEoF: Who? ;o: His mother. Think of all the harm she does, ha*'iog children.
cEoF: Sit down and read a book, Jo.
I
A TASTE OF HONEY
kicked me.
belly.l (;rioF: Vill
it do it
[cror
55
rans to lpr and puts his
hcad.
n
lpr
again?
;o: It shows it's alive anyway.
Come on, baby, let's see what big sister's making for us. (;EoF: Put it down. 1o: What a pretty little dress. (;EoF: It's got to wear something. You can't just wrap it up in a bundle of newspaper. to: And dump it on a doorstep. How did Geoffrey find out the measurements?
His mother ought not to be allowed.
yo:
ft
yo:
rI
(;EoF: Babies are born to the same size more or less.
1o: I'm so restless. cEoF: Oh, stop prowling about. 1o: This place stinks. lGoes oner to the dom. children are hcard singing in tfu street.f That river, it's the colour of lead. Look at that washing, it's dirty, and look at those filthy children. cEoF: ft's not their fault. 1o: It's their parents'fault. There's a linle boy over there and his hair, honestly, it's walking away. And his ears. Oh! He's a real mess ! He never goes to school. He iust sits on that front doorstep all day. I think he's a bit deficient. [The children's
scENE
can't.
cEoF: Be quiet then. You're getting on my nerves. lsud.denly she yelk and whirls atross tlu room.l ;o: Whee! Come on rain. Come on storm. It kicked me, Geof. It kicked me! cEoF: What?
lo: Oh, no, they're not.
Some are thin scrappy things and
others are huge and covered in rolls offat. (;EoF: Shut up, Jo, it sounds revolting. yo: They are revolting. I hate babies. (';EoF: I thought you'd change. Motherhood
is supposed to
come natural to women.
It comes natural to you, Geoftey Ingram. You'd make somebody a wonderful wife. What were you talking about to that old mare downstairs? cEoF: I was grving her the rent. I got my grant yesterday. ;o: You're as thick as thieves, you two. (;EoF: She's going to make the baby a cradle.
1o:
yo: What? cEoF: You know, she makes wicker baskets. yo: A wicker basket! cEoF: It's the best we can do, unless you want to go down to the river plaiting reeds. ;o: I don't want her poking her nose into my affairs. cEoF: You're glad enough to have me dancing attendance on you.
yo: Only because I thought you'd leave me alone. Why don't you leave me alone? lshe des and flings herself down on the couch.l I feel like throwing myself in the river.
56
A rASrE oF
HoNEy
[acr rr
f wouldn't
do that. It's full of rubbish. yo: Well that's all I am, isn't it? cEoF: Stop pitying yourself.
cEoF:
yo: Don't iurnp down my throat. cEoF: How much longer is this going on? 1o: Vhat? cEoF: Your present performance. 1o: Nobody asked you to stay here. You moved in on me, remember, remember? If you don't like it you can get out, can't you? But you wouldn't do that, would you, Geoftey? You've no confidence in yourself, have you? You're afraid the girls might laugh . . . cEoF: Read that book and shut up. When the baby comes, if it ever does, you won't know one end of it from the other. 1o: Looking After Baby.Isn't that nice? Three months, exercises, constipation. Four months, relaxation. It even tells you how to wash nappies. How lovely. There's a little job for you, Geofrey. cEoF: Drink that.lHe hanils lur a glass of milk.l 1o lflirting with himl: Does it tell you how to feed babies,
scENE
I
mean
57
do you? You like babies, don't You, Geof? cEoF: Yes, I do.
p
lcoquettes
with himl: Geoffrey, have you got any of that
toothache cure?
lHe mwes away.l Geoffrey, have you got any of that toothache cure? cEoF: The only cure for the toothache is a visit to the dentist.
Drink your milk. yo: I hate milk [Sftl looks out of ilre window.l I never thought I'd still be here in the summer. [Slr puts lur arms round cEoF pl"yf"lly.l lVould you like to be the father of my baby, Geoffrey?
cEoF: Yes,
I
l1o stands
would.
in tlu dooru;ay. TIrc children
ccrn be
heard n rsing
again.l
What time is it? yo: Half-past four by the church clock. Why do you stay here, Geof?
cEoF: Someone's got to look after you. You can't look after yourself.
being eaten alive.
yo:
A TASTE OF HONEY
;o: After all, you don't show much sign of coming fatherhood,
Geoffrey?
cEoF: Even you know that. ;o: I know about that way, breast feeding, but I'm not having a little animal nibbling away at me, it's cannibalstic. Like cEoF: Stop trying to be inhuman.
rl
It
yo:
there's going to be a storrn. Look at that sky. It's nearly black. And you can hear the kids playing, right over there on the croft.
I think
lA silnce in tlu roorn: doesn't suit you.
it. I hate motherhood.
cEoF: Well, whether you hate it or not you've got it coming to you so you might as well make a good job of it. ;o: I've got toothache. cEoF: I've got bloody heartache! yo: I think you'd like everybody to think this baby's yours, WOuldr,'t you, Geoffrey? cEoF: Not likely.
we hear the children singing.l
cEoF: What would you say if I started something? 1o: Eh ! cEoF: I said what would you say if I started something? yo: In my condition I'd probably faint. cEoF: No, I mean after. ;o: I don't want you. cEoF: Am I repulsive to you? yo: You're nothing to me. f'm everything to myself. cEoF: No, you're not. You're going to need me after.
A TAsrE oF
58
Jo:
I
HoNEy
[ecr rl
won't be here after.
lSlu turns toanrds hintr lu to lta.l cEoF: You do need me, Jo, don't you? ;o: Let go of me. You're squeezing my arm. cEoF: I've never kissed a girl. ;o: That's your fault. cEoF: Let me kiss you. ;o: Let go of me. Leave me alone.
lu
kisses
59
I said no. 1o: You like strawberry cream. (;EoF: I don't want any, Jo. I've made my mind gp. ;o: Don't be daft, have some chocolate. cEoF: No .. . lslre giaes a ptece of chocolate to him yo:
her.l
do. ;o: Yes, you would.
I don't mind that you're having somebody else's baby. What you've done, you've done. What I've done,
cEoF: Jo,
f've
A TASTE OF HONEY
just ilu
samc.)
cEoF: How was that for first time? 1o: Practise on somebody else. cEoF: I didn't mean to hurt you. yo: Look Geof, I like you, I like you very much, but I don't enioy all this panting and grunting . . . cEoF: Marry me, Jo. ;o: Don't breathe all over me like that, you sound like a horse. f'm not marrying anybody. cEoF: I wouldn't ask you to do anything you didn't want to
done.
I
like you, Geof, but I don't want to marry you. cEoF: Oh, all right. fuiyway, I don't suppose I could live up to
yo:
I]
(;EoF:
cEoF: Do you still think he might come back? yo: I've forgotten him.
lShe smtggles but
SCENE
I think it would be best if you left this place, Geof. I don't think it's doing you any good being here with me all the
time. cEoF: I know that, but I couldn't go away now. ;o: You'll have to go some time. Ve can't stay together like this for ever. cEoF: I'd sooner be dead than away from you. 1o: You say that as if you mean it. cEoF: I do mean it. yo: Why? cEoF: Before I met you I didn't qlre one way or the other - I didn't care whether I lived or died. But now . . . 1o: I think I'll go and lie down. lshc goes to bed and li^es ctaoss
it.l cEoF: There's no need for me to go, Jo. You said yourself you didn't want anybody else here and I'm only interested in you. We needn't split up need we, Jo? yo: I don't suppose so. f,Music. Enter nnreN.] HELEN: Jo! Your beloved old lady's arrived. Well, where is she, Romeo?
cEoF llu gioes her a bar of chocolatef: Have some chocolate.
cEoF: Don't tell her f came for You. HELEN: What? Don't mumble. cEoF: I said don't tell her f came for you. HELEN: All right, all right. This place hasn't changed much' has it? Still the same old miserable hole. wcll, whcrc's
yo: Tbanks. Do you want some? cror: No. ;o: Go on.
the lady in question? cEoF: In there. HELEN: What, Lazrngin bod'
that black beast of a prince of yours.
I
bet you didn't
stnrggle when he made love to you.
yo:
It might have
been better
if I
had.
as usual? Come
on' gct up; plclty
6o
A TASTE oF
HoNEy
[ecr rr
scENE rI
nothing to do with
of girls in your condition have to go out to work and take care of a family. Come on, get up. yo: What blew you in? HELEN: Let's have a look at you. Jo: Who told you about me? HELEN: Nobody. ;o: How did you get to know then? HELEN: Come on, aren't you going to introduce me to your boy friend? Who is he? yo: My boy friend. Oh, it's all right, we're so decent we're almost dead. I said who told you about me?
it matter? you to keep out of my affairs, Geoffrey. I'm not hav-
HELEN: Does
1o:
I told
ing anybody running my life for me. What do you think you're running? A "Back to Mother" movement? cEoF: Your mother has a right to know. She's got no rights where I'm concerned. HELEN: Oh, leave him alone. You're living off him,
;o:
by all
accounts.
;o: Who've you HELEN:
I didn't
been talking to? That old hag downstairs? need to talk to her. The whole district knows
what's been going on here. yo: And what has been going on?
I suppose you think you can hide yourself away in this chicken run, don't you? Well, you can't. Everybody knows. cEoF: She won't go out anywhere, not even for a walk and a bit of fresh air. That's why I came to you. HELEN: And what do you think I can do about it? In any case, bearing a child doesn't place one under an obligation to it. cEoF: I should have thought it did. HELEN: Well, you've got another think coming. If she won't take care of herself that's her lookout. And don't stand HELEN:
there looking as if it's my fault. cEoF: It's your grandchild. HELEN: Oh, shut up, you put years on me. Anyway, I'm having
6r
A TASTE OF HONEY
it.
I
She's more than
can cope with,
always has been.
cEoF: That's obvious. HELEN: And what's your part drama? Nursemaid?
in this linle Victorian melo-
Serves you right for bringing her here, Geof. HELEN: It's a funny-looking set-up to me.
;o:
yo: It's our business. HELEN: Then
don't bring me into it. Where's the loving
father? Distinguished by his absence, Jo: That's right.
I
suppose.
HELEN [ro cnor]: Did she hear any more of him? ;o: No, she didn't. HELEN: When f'm talking to the organ grinder I don't expect
the monkey to answer. I could get him back tomorrow if I wanted to. HELEN: Well, that's nice to know. He certainly left you a nice Christmas box. It did happen at Christmas' I suppose? When the cat's away. cEoF: You've been away a long time. HELEN: Oh, you shut up. Sling your hook! yo: Will you keep out of this, Geoffrey? HELEN': Well, come on, let's have a look at you. [1o turns away.l What's up? We're all made the same, aren't we?
yo:
;o: Yes we are. it yet? l1o turns-l Yes, you're carrying it a bit Hgh, aren't you? Are you going to the clinic regularly? Is she working? cEoF: No, I told you, she doesn't like people looking at her. HELEN: Do you think people have got nothing better to do than look at you?
HELEN: Well then. Can you cut the bread on
;o: Leave
me alone. HELEN: She'd be better off working than living off you like a little bloodsucker. cEoF: She doesn't live off me.
6z
A TASTE oF
HoNEy
;o: No, we share everything, see! We're HELEN: That's his influence
I
[acr rl
communists too.
suppose.
1o: Get out of here. I won't go out if I don't want to. It,s nothing to do with you. Get back to your fancy man or
scrNn rl
out of your sight? I'll give you such a bloody good hiding in a minute, if you're not careful. That's what you,ve gone short of! yo: Don't show yourself up for what you are! HELEN: You couldn't wait, could you? Now look at the mess you've landed yourself in. ;o: I'll get our of it, without your help. HELEN: You had to throw yourself at the first man you mer, HELEN:
didn't you?
I
did, that's right.
HELEN: You're man mad.
yo: I'm like you. HELEN: You know what they're calling you round here? A silly
little whore! yo: Well, they all know where I get it from too. HELEN: Let me get hold of her! I'll knock her bloody head round ! 1o: You should have been locked up years ago, with my father. HELEN: Let me get hold of her!
cEoF: Please, Jo, Helen, Jo, please! HELEN: I should have got rid of you before you were born.
yo:
I
wish you had done. You did with plenry of others,
I
know. HELEN: I'll
kill her. I'll knock the living daylights out of her. cEoF: Helen, stop it, you will kill her! Jo:
If
you don't get out of here I,U
window.
fTfure is a sudden lull.l
...
63
cEoF: Helen! HELEN: Now you're going to listen to a few home truths, my
girl.
begins to chase her.l
Aren't you afraid he'll run otr and leave you if you let him
yo: Yes,
HONEY
cEoF bellingl: Vill you stop shouting, you two? HELEN: We enjoy it.
your husband, or whatever you like to call him.
[nnrrN
A TASTE OF
iump out of the
;o: We've had enough home tnrths! HELEN: All right, you thought you knew it all bdore, didn't you? But you came a cropper. Now it's "poor little Josephine, the tragedy queen, hasn't life been hard on her". Well, you fell down, you get up . . . nobody else is going to carry you about. Oh, I know you've got this pansified little freak to lean on, but what good will that do you? Leave Geof out of it! HELEN: Have you got your breath back? Because there's some more I've got to get off my chest first. ;o: You don't half like the sound of your own voice. cEoF: If I'd known you were going to bully her [ke this I'd never have asked you to come here. HELEN: You can clear off! Take your simpering little face out
;o:
of it!
;o: Yes, buzz off, Geof! Well, who brought her here? I told you what sort of a woman she was. Go and . . . go and make a cup of tea.
lHe
goes.'l
HELEN: Look at your arrns. They're like a couple of stalks! You look like a ghost warmed up. And who gave you tbat haircut, him? Don't sit there sulking. 1o: I thought it was the tea break. HELEN: I didn't come here to quarrel.
yo: No?
I brought you some money. yo: You know what you can do with that. HELEN: All right! You've said your piece. Money doesn't HELEN:
64
A TASTE OF HONEY grow on trees. I',ll leave
yo:
[acr rr
it
on the table. Have you been collecting your materniry benefit or . . .
or are you too idle to walk down to the post office? Don,t be daft ! I'm not enritled to it. r haven,t Leen earning long
enough. HELEN: You've no need to go short of anphing.
yo: It's taken you a rong time to come round to this, hasn,t it?
HELEN: What?
yo: The famous mother-love act. HELEN:
r
haven't been abre to sleep for thinking about you
since he came round to our house. ;o: And your sleep mustn't be disturbed at anv cost. HELEN: There'll be money in the post for yor .u..y week from now on.
yo: Until you forget. HELEN: I don't forget things; It's iust that
I can't remember anything. I,m going to see you through this whether you like it or nor. After all I am . . .
;o:
Afte that,
e
remembering
door with that
man HELEN:
;o: You should have known. you,re nothing to me. [rnrrn appears.f what the hell's going on? Do you expect me to wait 'ETER: in the fi.lthy str.eet all night? HELEN: I told you to stay outside. rETER: Don't point your bloody finger ar me. HELEN: I said I'd only be a few minutes and I've only been a few minutes. Now come on, outside!
pErER:
Ah! The erring
"Little
Josephiner keep the whisky?
daughter. There she is. tsrrgr.l lou're a big girl now.,, Where d,you
HELEN: They haven't got any. Now, come on.
sceNr rl
A TASTE OIJ HONEY
nETER lseeing
cror]: $fhat's this, the
65
father? Oh Christ,
no! cEoF: Who's he? HELEN: President of the local Temperance Society!
fsingingl: "'Who's got a bun in the oven? Who's got a cake in the stove?" HELEN: Leave her alone. PErER: Oh, go to hell! ;o: I've got nothing to say . . . rETER: Go on, have your blasted family reunion, don't mind me! [Nolrces cror again.l Who's this? Oh, of course! Where are the drinks, Lana? lHe falls into the kitchen, singing.l "Gening to know you, getting to know all about nETER
you..."
HELEN: Jo, come on
.. .
lThere is a loud aash in the kitchen.l
And the light of the world shone upon him.
[rrrrn
enters.l
pErER: Cheer up, everybody. I am back. Who's the lily? Look at Helen, well, if she doesn't look like a bloody unrestored oil painting. What's the matter everybody? Look at the sour-faced old bitch! Well, are you coming for a few drinks or aren't you? HELEN: The pubs aren't open yet.
;o: Do you mind genihg out of here?
rETER: Shut your mouth, bubble belly! Before I shut it for you. Hey! [To cror.] M"ry, come here. Did I ever tell you about the chappie who married his mother by mistake? ;o: I said get him out of here, Helen. His breath smells. HELEN: f can't carry him out, can I? rETER: His name was Oedipus, he was a Greek I think. Well, the old bag turned out to be his mother . . . HELEN: Shut up, Peter, for God's sake! pETER: So he scratched out both his eves.
66
A TASTE oF
HoNEY
HELEN: Cut the dirty stories! nETER: But I only scratched out one
[ecr lt
of mine. Well, are
you
coming or not? HELEN: f'm not.
for a few drinks? You staying with the ladies, Jezebel? cEoF: Listen, mister, this is my friend's flat... rETER: And what do you do, Cuddles? Don't worrlr I know this district. Look at Helen, isn't she a game old bird? Worn out on the bear but she's still got a few good strokes left. IIELEN: Get out of here, you drunken sot.
nETER: Well, is anybody coming
rETER: Now
I told you to moderate
your language. What's
this? Giving my money away again? HELEN: Take your bloody money and get out! PETER: Thank you. HELEN: You dirry bastard! pErER: You should have heard her the other night. You know what happened? Her wandering boy returned. He hadn't been home for t'wo weeks and do you know why? He picked up a couple of grapefruit on a thirty-two bust,
rich, young and juicy
hey
!
Where's the smallest
room?
cEoF: This way. PETER: And she went off the dcep end. [Strgs as he goes. Anotlrcr oash offstage.l HELEN [ro caor]: You'd better go with him or Lord knows where he'll end up. cEoF: I hope the landlady hasn't heard him. TIELEN: Cigarerte? yo: No. Yes, I will. I'll keep it for Geof. HELEN: You'd better have the whole bloody packet in such a state. 1o: Well, he couldn't hold it any more, could he? HELEN: No one could hold that much.
if you're
67
A TASTE OF HONEY
scrNr t]
this? Jo: How long has he been like of yours do for a living? friend boy that HELEN: What does that's what's been keeping suppose I stuclent. ;o: He's an art you occuPied? Does he live here? HELEN: An art student. I might have known' never answer You yo: Why should I answer yotlr questions? any of mine. a HELEN: Look at you ! Why don't you take yourself? Grow Your hair ProPcrlY?
bit of pride in
your pride in yourself has done Jo: Look at you. Look what for you.
a nice room and HELEN: Come and stay with me, Jol there's plenty of food.
;o: No, thanks. HELEN.yo,,prefertostayirrthisholewiththatpansifiedlittle freak?
I go? knorv You'd come' didn't I HELEN: go and live rvith her if you were me' you Would ;o: cEoF: No, I don't think I would'
cEoF: Shall
Geof?
their right mind' Jo: Neither would anybody in
cEoF:Shealwayssaidyouwercaprettyrottensortofwoman'
I thought she was exaggeratrng' stupid head that HELEN: Look' can't you get it into your home? offering You a decent [r'rren
I'm
en[ers' more sober' more unpleasant'l
in there' rETER: Bloody cockroaches are playing leapfrog my home is him' of front in again, you tell I'll HELEN: Look' yours. PErER: Ah! Shut uP! it' HELEN: I'll take care of you and see you through when I ago' years was me Jo: The time to have taken care of couldu't take care of mYself'
HELEN:Allright,butwe'retalkingabouthereandnow'When
A TASTE OF HONIY
68
I really ser out ro take care of somebody job properly.
[ncr r
usually do the
;o: So I see. PETER: I'm not having that bloody slut ar our place. I'll
you that for nothing. HELEN: Take no norice. The house is half mine. rETER: Like hell it is. I could throw you our romorrow.
yo:
rr
I
tell
can't stand the sight of him. Can'r stand ,em
at any price. HELEN: Oh, keep out of it. Jo, I can't bear to think of vou sitting here in this dump! IETER: Neither can I. Now let's get going. HELEN: The whole district's rotren, it's not fit to live in. nETER: Let's go before we grow old sining here. HELEN: Shut up, the pubs will be open in ren minures. pETER: You're wrong there. lLooking at his watch.f They're
open now. What time do you make it? cEoF: There's one thing about this district, the people in it aren't rotten. Anyway, I think she's happier here with me
than in that dazzling white house you're supposed to
so...
6g
A TASTE OF HONEY
mel it's your own bloody level. Well, are you coming or not?
And don't bring that little fruitcake parcel either!
[Mumbles.l
Il
HELEN:
I don't think . ..
pETER:
scENn
be
pErER: Dazzling bunch of bul . . . lot of bloody outsiders, no class at all. What's the time anyway? HELEN [ro cror]: You shut up ! I know what she necds if she's not going to finish up in a box. IETER: Whar's the time by your watch, sonny? cEoF: ft's never been right since it last went wrong. pETER: Neither have I. How long are we going to sit around in this room? I don't like the smell of unwashed bodies, woman. I dragged you out of the gufter once. If you want to go back there it's all the same to me. r'm not having this shower at any price. I'm telling you for the last time because I'm getting out of it. Stay if you lvant, it's all rhe same to
I'm not.
I
said are you coming? HELEN: And I said I'm not. pErER: Well, you €n iust go and take a flying flip out of the PETER:
window. lHe goes.l I'll . " . would you sooner HELEN: I'il
with you? yo: No, thanks. rETER: Helen HELEN:
I'll
...fCalling].
...
I
stayed here
come on!
send you some moneY.
yo: Keep it. You might need it. PETER:
Helen!
HELEN: Go to . .
.
Are you coming? HELEN lydlt"sl: Yes. [To cror.] See that she goes to the clinic regularly and be sure she gets enough to eat. cEoF: She has been doing that. HELEN: I'll see you around. [Sfte goes.l yo: Vell, here endeth the third lesson. cEoF: At least she left you some money. We can get some ' ' ' ;o: He took it back. I got you a cigarette though, lovc' PETER:
cEoF: Oh, smashing!
I
was out.
lMusic. They dance together-
Fa"de
out.l
SCENE TV/O cEOFFREv dances in aith a moP and bucket and begirts to clean the place. 1o dances bach ard liits ott tlu table reading. she is weaing a long white housecoat and againrintealityrmonths have passed between this ard the preoiotts scenc. Muic ottt.
A TASTE Ot' IIONEY
7o
[ecr
rr
;o: "Ninth month,
everyrhing should now be in readiness for the little srranger." where did you fincl this book, Geoffrey? It reads hke Little Women. cEoF: I got ir for fourpence off a book barrow. ;o: You've got terrible tendencies, haven't you?
cEoF: How do you mean? ;o: You like everything to be just that littre bit out of date, don't you? Clothes, books, women. cEoF: You've got no choice, have you? I mean you all start by living in the past. Well look, it's all around you, isn,t it? ;o: I wonder if we ever catch up with ourselves? cEoF: I don't know. 1o: Now you're a real Edwardian, aren't you? cEoF: What's that? yo: A proper Ted! And me, I'm conremporary. cEoF: God help us! ;o: I really am, aren'r I? I realry do live at the same time as myself, don't I?
cEoF: Do you mind? I've just done all that. Oh come on! Get off!
fHe pushes her with the mop.l
1o: Hey, hey! cEoF: Women! ;o: You haven't noticed my home dressmaking. cEoF: No. I've been trying to ignore it. !7hat is it? yo: A house-coat. cEoF: It looks more like a badly tailored shroud.
1o: what the well-dressed expectant mother is wearing this
year. I feel wonderful. Aren't I enormous? cEoF: You're clever, aren't you? yo: What's in the oven, Geoffrey? cEoF: You what? 1o: Vhat's cooking? cEoF: A cake.
scrNn r r]
A TASTE OF HONEY
;o: Mm, you're wonderful, aren't
7
you?
cEoF: Pretty good. 1o: I know, you make everything work. The stove goes, now we eat. You've reformed me, some of the time at any rate.
[crorrnrv
shifts the sofa. There is old rubbish and dirt under
it.l cEoF: Oh, Jo!
I wondered where that had got to. cEoF: Now you know. It's disgusting, it really is. 1o: Oh Geof, the bulbs I brought with me! cEoF: Haven't you shifted the sofa since then?
yo:
;o: They never grerv. cEoF: No, I'm not surprised. ;o: They're dead. It makes you think,
doesn't it?
cEoF: Vhat does? 1o: You know, some people like to take out an insurance policy, don't they? cEoF: f'm a bit young for you to take out one on me.
;o: No. You know, they like to pray to the Almighty fust in case he turns out to exist when they snuff it. cEoF [brushing under the sofal: Well, I never think about it. You come, you go, it's simple. ;o: It's not, it's chaotic-a bit of love, a bit of lust and there you are. We don't ask for life, we have it thrust upon us. croF: What's frightened you? Have you been reading the
newspapers?
yo: No, I never do. Hold my hand, Geof. cEoF: Do you mind? Halfway through this? yo: Hold my hand. lHe does.l cEoF: Hey, Jo. Come on, silly thing, it's all right. Come on there. hands, hard. You know I used to try and hold my mother's hands, but she ahvays used to pull them
;o: You've got nice
A TASTE OF HONEY
72
Incr
rr
away from me. So silry really. She had so much love for everyone else, but none for me.
If you don'r watch it, you'll turn our exactly like her. I'm not like her at all. ;o: cEoF: In some ways you are already, you know. cEoF:
lShe pushes his hand azaay.l
I go now? ;o: Yes. Can
cEoP: Thank you very much I [He is pushing the couch back into position.)
;o: "And he took up his bed and walked." you can stay here if you tell me rvhat you do. Do you remember, Geoffrey? I used to think you were such an interesting, immoral character before I knew you. I thought you *.-.. like that . . . for one thing.
[cnon'nrv
chases
her uith the mop ail through this speech.]
You're just like an old woman really. you just unford your bed, kiss me good night and sing me to sleep. FIey, what,s the matter? Don't you like living here with me? ' cEoF: It has its lighter momenrs, but on the whole
it's a pretty trying prospecr. yo: Why do you wear black shirts? They make you look like a spiv.
cEoF: They do, Jo, but
;o:
I can't be too particular. Good clothes cost money. well' I weigh in with my share, don't I? That's a nice rittle
job you got me, retouching those bloody photographs. SThat was it supposed to do, prove I was the artistic type?
Of course we can't all be art students, going to our expcn_ sive art schools, nursing our little creative genius. cEoF: Must you shout? yo: f'm Irish. cEoF: Never mind, it's not your fault. 1o llaughingl:
I
like you.
scnNn
rt]
A TASTE OF HONEY
73
cEoF: Do you like me more than you don't like me or don't you like me more than you do? 1o: Now you're being Irish. cEoF: Fine Irishwoman you are. Where did your ancestors fall, in the Battle of Salford Town Hall? yo: My mother's father was Irish. cEoF: You'll find any excuse. yo: And she had me by an Irishman-the village idiot, from what I can make out. cEoF: What do you mean? yo: A frolic in a hay loft one afternoon. You see her husband thought sex was dirty, and only used the bed for sleeping in. So she took to herself an idiot. She said he'd got eyes like me. cEoF: Are you making it up? yo: He lived in a twilight land, my daddy. The land of the daft. cEoF: Did she tell you all this?
;o:
Yes.
cEoF: I'm not surpnsed. It sounds like Ibsen's Ghosts.I don't know where Helen gets them from, I don't really. yo: I had to drag it out of her. She didn't want to tell me. cEoF: That doesn't mean to say it's the truth. Do people ever tell the truth about themselves? yo: Vrhy should she want to spin me a yarn like that? cEoF: She likes to make an effect.
;o: Like
me?
cEoF: You said it. You only have to let your hair grow for week for Helen to think you're a cretin.
a
yo: What?
I said you've only got to let your hair grow for a week
cEoF:
for Helen to think you're a cretin. as
though
1o: Yes.
I
She always looks at me should be put away for ueatment, doesn't she?
I know, you don't have to tell me! Have you been worrying about that all these months?
cEoF:
A TASTE OF HONEY
7l
[ecr rr
1o: No. cEoF: You have.
yo:
I
haven't.
cEoF: Well, I didn't rhink you could be so daft. Can you see Helen going out with a real loony! 1o: \Vell, now you put it like that, no, I can't! cEoF: No, neither can-I don't know. Anryay, who knows who aie the fools and the wise men in this world? tro: I wouldn't be surprised if all the sane ones weren't in the bin. cEoF: You're probably right. Anymy everyone knows you're as craeked as an old bedbug. 1o llaughing]: Thanks, Geof. You know, you're a cure. cEoF: I used to be a patrol leader in the Boy Scouts. yo: So long as you weren't Scoutmaster! You know, I wish she was here all the same. GEoF: Why? You'd only quarrel. You know you always say you hate the sight of her.
yo:
I do.
cEoF: Well then. yo: She must know my time has almost come. When do your exams finish? cEoF: On Thursday. yo: I wonder which day it'll be? Put your arms round me, Geof. I don't want you to be worried while your exams are on.
cEoF: Then you shouldn't have asked me to put my arms round you, should you? 1o: Ah well, it doesn't matter if you fail. In this country the more you know the less you earn. cEoF: Yes, you're probably right. I've got something for you. Oh Jo, I'm daft at times. yo: I know that. I was wondering what it was. cEoF Wo* his pack Iu takcs a life-sized doltl: There-isn't it nice? I thought you could practise a few holds on it over
scnNn
ul
A TASTE OF HONEY
75
the weekend. You've got to be able to establish your superiority over the little devils. I don't know where that goes. There, look, isn't it good? yo lseeing t\rc dollf: The colour's wrong.
cror:
Jo.
1o: The colour's wrong. lsuddenly and aiolently flinging tlu doll to thc ground.l I'll bash its brains out. I'll kiil it. I don't
want his baby, Geof. I don't want to be a mother' I don't want to be a woman. cEoF: Don't say that, Jo. ;o: I'11 kill it when it comes, Geoff, I'11 kill it' cEoF: Do you want me to go out and find that chap and bring him back? Is that what You want? yo: I don't want that. I don't want any man. cEoF: well, if you're going to feel like that about it you might as well have it adopted. I thought you'd feel differently as time went on. yo: I won't. cEoF: Perhaps you will when you see the baby' ;o: No, I won't. cEoF: L-\o you still love him? yo: I don't know. He was only a dream I had' You know, he could sing and he was so tender. Every christmas Helen used to go off with some boy friend or other and leave me all on my own in some sordid digs, but last christmas I had him. cEoF: Your black prince. ;o: What was his name? cEoF: Prince Ossini. yo: No, it was Jimmie! cEoF: oh well, the dream's gone, but the baby's real enough. the first time 1O: My mother always used to say you remember all your life, but until this moment I'd forgotten it' cEoF: Do you remember when I asked you to marry me? 1o: Yes.
A TASTE OF HONEY
76
[ecr rl
cEoF: Do you? ;o: No. What did I say? cEoF: You just went and lay on the bed. ;o: And you didn't go and follow me, did you? cror: No. yo: You see, it's not marrying love between us, thank God. cEoF: You mean you just like having me around till your next prince comes along? ;o: No. cEoF: oh welr, you need somebody to love you while you,re looking for someone to love. yo: oh Geof, you'd make a f,nny father. you are a funny little man. f mean that. you're unique. cEoF: Am I? 1o: I always want to have you with me because I know you,[ never ask anything from me. Where :ue you going?
[crorrnrv
goes
b tlu bitchen.l
set the cups and
we'[ have a celebration, then you,ll rt's a bit daft tarking about gening married, isn't it? v'e're arready married. w'e,ve
been married for a thousand years.
ITl,'ey march in togetrer from thc kitchen, he slu with the tea things.l cEoF [putting it dountl: Here, rook at that. what
aith tru
cakc,
are you going to call it? ;o: What, the cake? cEoF llaugltingl: No, Jo, the baby. 1o: I think I'll give it to you, Geof. you like babies, don't you? I might call it Number one. It'n always be number one ro itself.
[nnrnN enttrs, toadcd with
&p.l
baggage as
in Act One, Scme
77
barrows are smothered in them. Oh! How I carried that lot from the bus stop I'll never know. The old place looks
a
bit more cheerful, doesn't it? I say, there's
a nice homely
smell. Have you been doing a bit of baking? I'll tell you e1s thing, it's a lovely day for flining. yo: Would you like a cup of tea, Helen? HELEN: Have you got anything stronger? Oh no, course you haven't! Go on, I'll have a cup with you. Let's have a look at you, love. I arrived iust in time, by the look of things, didn't I? How are you, love? Everything straightforward? Been having your regular check-up and doing all them exercises and all d1g things they go in for nowadays? That's a good girl. Have you got everything packed? yo: Packed? Yes.
;o: But f'm not
have to study for your exams.
A TASTE OF HONEY
HELEN: Anybody at home? Well, I'm back. You see, I couldn't stay away, could I? There's some flowers for you, Jo. The
nntnN:
cEoF: To see the cake. fio folloa;s him.l
;o: I'll
scnNn rr]
going into hospital.
HELEN: You're not having it here, are you? cEoF: Yes, she didn't want to go away.
HELEN: Oh my God,
is he still here?
I
thought he would
be.
cEoF: Do you want a piece of cake, Jo? 1o: Yes, please. HELEN: You can't have a baby in this dump. Why don't you use a bit of sense for once and go into hospital? They've got everything to hand there. f mean, sometimes the first one can be a bit tricky. cEoF: There's going to be nothing tricky about it; it's going to be perfectly all right, isn't it, Jo? HELEN: Who do you think you are, the Flying Doctor? 1o: Look, f've made up my mind I want to have it here" I don't like hospitals. I{ELEN: Have you ever been in a hospital? 1o: No.
T8
A TAsrE oF
HoNEy
[ecr ll
Vell, how do you know what it's like? Oo! Give a cup oftea quick.
HELEN:
me
scrNr rrJ
A TASTE OF HONEY
HELEN: Come here. How long is he going to stick around here.
Bloody little pansy . . .
cEoF: Oh well, we've got a district nurse coming in. HELEN: Oh my God, my feet are killing me. How I got that lot from the bus stop I'll never know. yo: Well what are you lugging all the cases about for? HELEN: I've come to look after you. It's iust as well, by the look of things. [Whispers ro 1o.] ;o: Well, it's going to be a bit crowded, you know. Is your husband coming and all? Is he moving in too? HELEN: There wouldn't be much room for two of us on that couch, would there?
;o: Look, if you're going to insult Geof . . . HELEN: f'm not insulting him.
yo: That's Geoffrey's bed. cEoF: It's all right, Jo, I don't mind moving out. yo: For Heaven's sake, you don't have to staft wilting away
cEoF: Jo, I've got to gc, I'll only be a couple of minutes. 1o: There's plenty of stuff in the kitchen. Now look . . . as
soon as she barges in.
cEoF:
I don't.
HELEN:
yo: Yes you are. HELEN: I'm not. I just don't like his style, that's all. cEoF: It's all right, Mrs. Smith .. . HELEN: Look, love, I iust want five minutes alone with her. Do you mind? Is it too much to ask? i,iioF: I)o you want any cotton wool? HELEN: Good God, does he yo: You don't have to go.
[cEorrnev
knit an' all?
goes.l
HELEN: You don't mean to tell me he's really gone?
I
could do with a drink. yo: Start barging around just like a bull in x shinx shop. HELEN: f've got some lovely things for the baby, Jo. Where did I put them? Where's that other case, Jo? Oh! cEoF: Jo, will you sit down. I'll get it. HELEN: Look, love. I've come here to talk to my daughter. Can you make yourself scarce for a bit? cEoF: I've got to go, we need some things for the weekend. ;o: You don't have to let her push you around. cEoF: f don't. HELEN: Oh I do wish he wouldn't mumble. It does get on my nerves. What's he saying? cEoF: Where's my pack? 1o: What a couple of old women. cEoF: Look here, Jo!
;o: Look, iust a minute will you. I... nothing. .. cEoF: Hor.v can I stav .. .
79
took
I...
there,s
;o: Now that you've been rude to my friend . . . HELEN: What an arty little freak! I wasn't rude to him. I never said a word. I never opened my mouth. ;o: Look, he's the only friend I've got, as a matter of fact. HELEN: Jo! I thought you could find yourself something more like a man. yo: Why were you so nasty to him? HELEN: f wasn't nasty to him. Besides, I couldn't talk to you in front him, could I? He5 wait till you see these things for the baby. ;o: You hurt peopls'5 feslings and you don't even notice. HELEN: Jo, I iust wanted to get rid of him, that's all. Look at those, ]o. Look, isn't that pretry, eh? The baby's going to be dressed like a prince, isn't he? ;o: !?e're all princes in ou own little kingdom. You're not to insult Geoffrey. Vill you leave him alone? HELEN: Hen look at this Jo, isn't it pretty? Oh, I love babiesaren't they lovely?
8o
A TASTE oF
HoNEy
[ecr lr
1o: Has your husband thrown you out? HELEN: Oh come off it, Jo. I had to be with you at a time like this, hadn't I? And what about this sailor lad of yours, have you rnade any attempt to trace him? He's entitled to keep his child, you know. yo; I wouldn't do that, it's degrading. HELEN: What do you call this set-up? ;o:'It's all right. There's no need for you to worry about me. I can work for the baby myself. HELEN: Who's going to look after it when you're out at work? Have you thought about that? ;o: Yes, I have. HELEN: Well, you can't do two jobs at once, you know. Who's going to nurse it? Him? ;o: That's my business, f can do anything when I set my mind to it. HELEN: Very clever, aren't you?
yo: There's no need to be so superior. Look where all your swanking's landed you. What does the little lady wantan engagement ring? And now he's thrown you out, hasn't he, and you have to come crawling back here. HELEN: Well, it was good while it lasted. yo: Making a fool of yourself over that throw-back. HELEN: He threw his money about like a man with no anns. yo: This is my flat now, Helen. HELEN: It's all right, love, f've got a bit of money put by. ;o: You're a real fool, aren't you? HELEN: Oh, Jo, look. I'm back aren,t I? Forget it. Don't keep on about it.
yo: Do you know what I think? HELEN:!ilhat? yo: I think you're still in love with him. HELEN: In love? Me?
yo: Yes. HELEN: You must be mad.
scnNr rrl
A TASTE OF HONEY
8t
yo: What happened?
offwith his bit of cnrmpet. Still, it was good lasted. Anyw"y. I'll shift some of this, Jo. ;o: So we're back where we started. And all those months you stayed away from me because of him! Just like when I was small. HELEN: I never thought about you ! It's a funny ffrg, I never have done when I've been hrppy. But these last few weeks I've known I should be with you. HELEN: He's gone
while
it
;o: So you stayed awayHELEN: Yes. I can't stand trouble. ;o: Oh, there's no trouble. I've been performing
a perfectly normal, healthy function. We're wonderful! Do you know, for the first time io -y life I feel really important. I feel as though I could take care of the whole world. I even feel as though I could take care of you, too! HELEN: Here, I forgot to tell you, I've ordered a lovely cot for you.
;o: We've got one. HELEN: It's lovely. It's got pink curtains, you know, and frills. l1o gets wicker basket from under bed.l
Oh, I don't like that. What is it? yo: It's wicker work. Geof got it. HELEN: It's a bit old-fashioned, isn't it? ;o: We like it. HELEN: Look love, why don't you go and lie down? You look as though you've got a bit of a headache. 1o: Do you wonder? HELEN: Vell, go and have a rest, there's a good girl. I'm going to tidy this place up for you. I'm going to make it just the
it. Go on. Oh no! 1o: HELEN: Go on, Jo. Go on. It looks more like a laundry basket, doesn't it! Oh! The state of this place! We'll never have it right. Living like pigs in a pigstyway you like
[ecr u
A TASTE OF HONEY
8z
[cuorrnnv
enters.l
Oh, you're back are you? Well, come in cEoF: Where's Jo?
if you're
coming.
HELEN: She's in bed. Where do you think she is? She's having a little sleep, so don't you dare wake her up. cEoF: wouldn't do that. fHe places pack filled with food on
f
tlrc table.l HEi.EN: Don't put that bag on there,
up. cEoF: You know
I'm
cleaning this place
I
just did it bdore you came. HELEN: It doesn't look like it. Look, son, we're going to have the midwife running in and out of here bdore long. We want this place all clean and tidy, all hygienic-looking if that's possible. cEoF: Well, it's clean. 1o: Is that Geof? HELEN; Now look what you've done! cEoF: Yes, Jo. ;o: Have you got any of those headache pills, love? cEoF: Yes, I'll get you some. HELEN: If you're going in there take these flowers with you and put them in water. You might as well make yourself useful. They look as though they're withering away. fSIu peers into thc pack.l Vhat the devil's he got here? What's that? Spagheni! I don't know how people can eat it. And that's a fimny looking lettuce. What the hell's tbat? H.y, what's this here? cEoF: What? HELEN: All this muck in here? cEoF: Vell, Jo likes that type of food. HELEN: Since when? She needs proper food down her at a time like this.
cpor: Oh! [unrnN points to wicker basket.l
scrNn rr]
A TASTE OF HONEY
83
HELEN: Hey, you can throw that bloody thing out for a staft. cEoF: What thing? HELEN: That thing there. You're not putting rny grandchild in a thing like that. Oh, this place! It's filthy! f don't know what you've been doing between the two of you. you might have kept it a bit cleaner than this. lust look at it! Don,t stand there looking silly holding that thio& throw it away, or do something with it! I've ordered a proper cot of the latest design, it's got all the etceteras and everything. 'fhis place! You're living like pigs iu a pigsty. Ob for God.'s sake give it here, I'll do something with it. cEoF: Yes, but Jo likes it. HELEN: $7ell, I suppose it will come in handy for something fShe enters thp kitchenl Oh my God, it's the same in here! Nowhere ro put anything . . . Are you off now?
crop: Yes. HELEN: Vell, take that muck with you as you're going. cEoF:
I
don't want it.
f'm sure f don't. cEoF: Mrs. Smith, I . . . I . .. HELEN:
HrLEN: Are you talking to me? cEoF: Yes, f wanted to ask you something. HELEN: Vell, get it said. Don't mumble. crioF: I don't want you to take offence. rrrjr.DN: Do I look the rype that takes offence? (;11oF: Would you not frighten Jo? nrir.uN: I thought you said you were going. (;r:or,: I said would you not frighten Jo. rrir.uN: What :ue you talking about, frightening her? (;r1()r,: You know, telling her that it might be tricky or that shc might have trouble, because she's going to be all right. rr:r r,N: Are you trying to tell me what to do with my oum d:rughter?
(,t;()lr: Oh no. urir.rtN: Well, are you going?
84
A TAsrE oF
HoNEY
[ecr rr
cEoF: Yes, although she said she didn't want a woman with her when she had it. HELEN: She said what?
cEoF: She said she wanted me with her when she had it because she said she wouldn't be frightened if I was with her. HELEN: How disgusting!
HELEN: Well, get.
cEoF: I'm going. She can't cope with the two of us. Only just don't frighten her, that's all. HELEN: I've told you we don't want that. cEoF: Yes I knoq but she likes it. HELEN: You can bloody well take it with you, we don't want it. empties food
from his pack on to tlu table while
HELEN thrusts it back. nutnN finally throws tlu whole thing, pack and all, on to tlu fu*.\
cEoF: Yes, the one thing civilisation couldn't do anything about-women. Good-bye Jo, and good luck. lHe goes.'l
[o
srrrs on
HELEN:
tlu bed.l
yo: Did you yell? HELEN: No, I ran. ;o: Do you know, I had such a funny dream just now. HELEN: Oh Jo, you're always dreaming, aren't you. Well, don't let's talk about your dreams or we'll get morbid. yo: Where would you like those flowers puning? HELEN: Over . .. over there . .. Come on, you come and yo: Hasn't Geof come back yet? HELEN: No, he hasn't. ;o: Well, where iue you going to sleep, Helen? HELEN: It's all right, love" Don't fall over, now. 1o: You know, I've got so used to old Geof lying there on that couch like-like an old watchdog. You aren't . . . HELEN: It's all tight, love, don't you worry about me, I'll find somewhere.
I wonder where he is . . . Oh! HELEN: Oh Jo, careful ... Hold on, love, hold yo:
on! It'll
be
all right. The first one doesn't last long. Oh my God,
I
could do with a drink now. Hold on. [1o kneels on bed, HELEN strokps hn hair.l
;o: That's better. HELEN: fue you all right now? There we are. lChildren
sing
the croft, Jo?
It's all dght, love, I'm here and everything's all right.
1o: Is there much pain?
No! It's not so much pain
as hard work, love.
I was
putting my Chrismas pudding op on a shelf when you
f
was standing on a chair singtng
away merry as the day is long .
;o: Yes, you can always hear them on still days. HELEN: You know when I was young we used to play all day long at this time of the year; in the sunmer we had singing
HELEN: Wrat?
started on me. There
85
outside.l Can you hear those children singing over there on
Are you awake now? 1o: Hello. Yes . . . Vhat's it like?
HELEN:
A TASTE OF HONEY
do it, love.
cEoF: There's nothing disgusting about it. A man in the room at a time like this! cEoF: Husbands stay with their wives. HELEN: Are you her husband? cnor: No.
HELEN:
[crorrnnv
scrNn rrl
..
games and in the spring we played with tops and hoops, and then in the autumn there was the Fifth of November, then we used to have bonfires in the street, and gingerbread and all that. Have I ever told you about the time when we went to a place called Shining Clough? Ob I must have done. I used to climb up there every day and sit on the top
86
A TASTE OF HONEY
[acr rl
ul
A TASTE OF
of the hill, and you could see the mills in the d.istance, but the clough itself was covered in moss. rsn't it ftrnny how
HELEN: Where's mY hat? ;o: On your head.
[nrrnN
;o: Are you going? nrtnN: Yes.
you remember these rhings? Do you know, Ird sit there all day long and nobody ever knew where r was. sha[ r go and make us a cup of tea? enters hitclun and fiddtes with stmte.l
Oh Jo, f've forgonen how we used to light ftis thing. ;o: Turn on all the knobs. Mind you don,fgas yo'rself. HELEN:
I still can't do it.
Yes.
nrt.sN:
Yes.
looks round. tlp riom, sftiw
oh' don't be sillp Jo. you'll be giving yo'rself
nightmares.
was going uP PiPPin
Hill'
Pippin Hill was dirtY. And there I met a Pretty miss,
Jo: Jimmig.
to say that ... that sailor was a black Oh my God! Nothing else can happen to me
HELEN: You mean
man? ... now. Can you see me wheeling a pram with a . . . Oh my God. I'll have to have a drink. 1o: Vhat are you going to do? HELEN: f don't know. Drown it. Vho knows about it?
yo: Geoffrey.
HELEN: And what about the n'rse? she's going a shock, isn't she?
ntslus
to get a bit of
she's black too. HELEN: Good, perhaps she'll adopt it. Dear God in heaven! 1o: rf you don't like it you can get out. I didn't ask you to ctme here.
tln iloorpost' TlPn
slrc
a little to herself-she rcnumbas
cror.l ;o: As I
was black.
HELEN: Who?
;o: Vell,
yo: fue you iust going for a drink?
against lyo watclus her go, Ieaning
HBLEN: You what, love? yo: My baby will be black.
;o: But it's tnre. He
you do?
out.i
yo: My baby may be black.
HELEN:
87
you, nrrsN:-oh yes . . . I don't know what's to be done with would you' what I ask I don't t."ffy. lTo ttu aadimce]
nsnN: Yes. ;o: \[ell, what are You goiug to do? ,ir. stage and call it Blackbird. lsfte HELEN: put it "o
Helen.
nrlrN:
HONEY
1o: fu'e you coming back?
yo: Geof'll fix it. HELEN: No, ir's all right.
;o:
scrNr
And she droPPed me a curtsY'
Linle miss, Pretty miss, Blcssings light uPon You. If I had hdf a crown a daY, I'd gladlY sPend it on You.
Cwtain.
NOTES Itl lll
89
old firm - colloquial term for a reliable, familiar enterprise. make an bonest woman of you - marry you, make a rclationship legal by marriage. Itl girdle - corset, tight underwear. Itl 'Walter, Walter,lead me to the altar!'- line from a song of that
Notes
t:l.te
title.
19 'l see a quiet place, a fireplace,
(Tbese notes are intended En glis h -b
orn
re ad ers.
for
use
by ooerseas students as zuell as by
)
Act I
7
Mancbester - very large industrial city in the North of England (according to a note under the cast list on page 6 the play takes place in Salford, a smaller industrial town adjoining Manchester). 7 liaing off her immoral eamings - it is a criminal offence for a man to live off a woman's immoral earnings, i.e. her earnings as a Prostltute. 7 gasworks - where gas is generated and stored for piping to
it
houses that use
as a
fuel; gasworks can smell unpleasant.
7
contemporary - a decorative style of the fifties, usually involving very bright colours, sharp contrasts, and spiky designs. 7 sbe'd lose ber bead - a common saying, indicating carelessness. 8 get it dousn - drink it. 8 shilling in tbe slot - a coin placed in the slot of a gas meter buys a certain quantity of gas to burn in fire or cooker. 8 furniture and fittings - what is supplied by the landlady of a furnished flat. 8 knocking it back - drinking. 9 take the weight off my feet - sit down. lo one of the fixtures - part of the equipment supplied with a flat.
lO fancy rnen - lovers.
lO
sight for sare eyes - usually means a pleasant, welcome sight' here Helen is being sarcastic. 12 knocked me into tbe middle of next zpeek - hit me very hard. 12 aspirins - painkilling tablets. 12 set on - determined to. 13 aamp it - add a simple musical improvisation or
accompanlment.
14 geniused
-
(made up word) endowed with genius, as talented
with talent. 77 classy - insisting on only the best. 17 kid - used as an endearment.
means endowed
a cos)l
room'-
line from the
song'My Blue Heaven'.
2O a rich, dark Haaana etc. advcrtising slogans.
-
the sort of description found in
22 institution - institution or hospital for the insane. 22 coloured - a common euphemism in the fifties for someone of non-whitc race.
22 naaal rating - ordinary sailor. 23 I don't knou wby I loae you but I do - title line of a popular s()ng.
25 Mau-Mau - nztionalist movement
based on the
Kikuyu tribe in
Kcnya. in the fifties during the struggle for independence. 2(> daft silly , crazy. 27 nut.ional seraice - compulsory two years in the armed forces, Io whiclr all young men were conscripted at this time. 27 I uas a Teenage - several films, usually horror films, had titles lrcginning like this, e.g.I usas a Teenage Frankensteiz (released in
1957).llclcn leaves the title incomplete for comic effect. 'l'en Commandments - epic film by Cecil B. De Mille
27 'l'bc
lr:rsctl on the Bible (released
in 1958).
27 I)asire Under - film version (released in 1958) of Eugene
O'Ncill's intense drama, Desire under tbe Elms. Again Helen gets l'rrrr out of leaving the title incomplete. 2tl sling her out - throw her out. 21) spia flashily dressed person living on his wits.
3ll glad rqgs - smart clothes. 3l tt.ick -amoment.
.1.1 "l'hot s()nll.
wild, destructiae thing called looe'
- line from
a popular
33 lttrtlqtt'n absolutely right.
34 Lrtrtl's Day Obseraance Society - a group who believe that Srrrrtl:ry, the Christian Sabbath, should be kept holy. Peter means tlr:rt .f o is being unusually moral and righteous. 34 t quid - (popular slang) a pound (money). 34 llluckpool - a very popular, not very genteel seaside resort in llrt' north of England within easy reach of Manchester.
90
NOTES
A TASTE OF HONEY
35 called to the bar - usually said of barristers when they first
59 Rorneo -
name of a typical lover, from Shakespeare's Romeo
begin their profession.
and
35 black bole of Calcutta - used of any dark or confined space; originally the completely dark, cramped dungeon into which the
6O you'ae got another
sultan who captured Calcutta in 17S6 crowded his enemies. 36 opium pellet - drug traditionally given to victims in romantic novelettes.
36 Pirate King - the boy is referring to perer: pirate kings and fiction were often portrayed with a black eye-patch like
captains in Peter's.
37 You'ae bad your cbips - you are too late, you
your chance.
38 Woolwortbs -
have missed
a cheap chain store.
39 sbarp - quick.
4O spends his rnoney like anter - spends lavishly (cf. p. g0). 4O knocking about witb - going around with. 42 boozer - (slang) drinker, alcoholic. 42 metbs - methylated spirits, a form of cheap alcohol used as fuel, and as intoxicating drink by down-and-outs. 42 Old Nick - the devil. 44 balf
tbink coming - you'll have ro think again. - situation or arrangement. organ grinder . . . monkey - street musicians playing a portable
set'up
organ traditionally had pet monkeys to attract amenrion and money from passers-by. Helen is rudely implying that the relationship between Geof and Jo is like that between an organ grinder and his monkey.
6l
Cbristmas box
present traditionally given
-
to tradesmen etc.
at Christmas. Here used sarcastically. 6l When tbe cat's auay - a proverb, meaning that people do what they are usually not allowed when unsupervised. The full saying is: When the cat's awly, the mice do play.
6l 6l
sling your hook can
-
(slang) go away.
you cut tbe bread on it yet? - at an advanced
stage
of
pregnancy the belly sticks out high and shelf{ike. 62 bloody good hiding - a severe beating. 62 knock tbe liaing dayligbts out of her - hit her very hard. (>3 came a cropper - fell down, failed. (t3 pansified like a homosexual ('pansy' is a slang word for homosexual). (>3 get off my cbest - reveal. (>3 buzz off go zway.
a
-
rnothers by the government.
47 maisonette - flat (normally a flat on two floors). 47 up tbe creek - (slang) all wrong, mistaken. 47 under tbe arches - arches under railway bridges or viaducts
give some shelter to the homeless and the down-and-out. 48 people like you - Jo thinks Geof is homosexual. 49 taking in band - looking after and organising. 5l Spratts - a well-known make of dog biscuit.
5l
Jack Spratt etc.
52
Beggars
-
a nursery rhyme.
can't be cboosers
those who have
-
well-known proverb meaning that choose what they are given.
little cannot expecr to
54 walking auay - i.e. with lice. 54 deficienr - mentally deficient.
other.
Juliet.
(t4 maternity benefit weekly payments made to expectant -
Act II
55 tbick
6l 6l
9I
as thieaes
-
very friendly and in confidence with each
57 croft - (dialect) patch of
waste land.
(t5 bun in tbe oaen (slang) pregnant. 715'Getting to kruou you' etc. - title line of a song from the rrrusical Tbe King and I, the film version of which had been released rn 1956.
66 utent off tbe deep end - was extremely angry. 67 leapfrog - a, children's game, in which they jump
over the lr:rt'ks of several others. 6tI lruitcake - (slang) homosexual. (tlJ qt any price at all. irtl box - i.e. a coffin. 6tl shower - (slang) useless crowd of people , presumably referring r, .f o and Geof (and Helen if she stays with them).
$ llip - j,r-p. (tt) ltcre endeth
- said after a reading from the Bible in the Church ,,1 l,.ngland service. 'ltt Little Women a nineteenthrenrury book for girls by Louisa -
92
May Alcott; its tone is very moral. 7o ba*oas - carts or barrows are used as stalls in outdoor markets; a book barrow would sell second-hand books.
8O tbreu bis money about like a man with no arms me 81
(slang) die
'And he took up bis bed and warked'- a reference to rhe New Testament miracle where Jesus cures a lame cripple. 72 retoucbirg - improving photographs by bruihwork after they are printed. 73 lrish - often used of something comicalry conrradictory. 73 spin me a yarn - tell me a story. 73 put auay - i.e. in a hospital for the insane. 74 loony - lunatic. 74 bin - short for 'loony bin', a slang phrase for an institution or hospital for the insane. 74 cracked - crazy,mad,. 74 you're a cure - you make me feel better. e Boy Scouts - the Boy Scouts is a world boys; patrol leader is a boy who leads a small 7 4 scoutmaster _ r.rrX1iion"t newspapers sometimes fearure stories about Scoutmasters using their position as leaders of a scout company to make homosexual advances to the boys. It has become
a
journalistic clich6.
74 a feu bolds - grips used in wrestling. 75 digs -lodgings.
77 flitting
-
(dialect) moving house.
77 cbecktp - examination by the doctor.
7 o
-, 7 p
8o entitled to keep bis cbild -
sbased on the advenrures cases by aeroplane. ple in their homes. por a destructive. clumsv
.cy
Heren rnay mean that the father has obligation to pay for the upbringing.f his chircr, or she may simply mean that Jo should pass rhc clril,l ,,vcr ro hinr. 8A sasanking - conceited behaviour. 8O tbroas-back - primitive crcarrrr(.. a legal
was very
childbirth'
83
) meantng gorge or
narrow ravlne.
7l snuff it -
-
82 85
72
93
NOTES
A TASTE OF HONEY
