A Frayed Knot
EILEEN GREENWOOD : Late sixties, landlady and owner of 46 Southmore Street
MIKE WATKINS : Early forties. Tenant at 46 Southmore Street
SONYA WATKINS : Mid thirties, Mike 's ex-wife.
JOHN THOMAS : Thirties, Mike 's friend. Wears a red woollen cap and donkey jacket.
PC NIGEL PICKERTON : Late twenties. Police constable. Eileen 's nephew.
( JOHN and PC PICKERTON can be played by the same actor.)
The set is divided into three simple parts.
The main set which fills most of the stage is a drab bed-sit in suburban London . The furnishings are worn and unimaginative except for a modern midi style music system which sits on a sideboard to the left of the door UR . There is also an empty glass bowl on it. There is a coat rack to the right. Next to the coat rack is a small table with two stools around it. To the right is a two seater sofa, plain and a little worn. There is a worn rug in front of the sofa.
Downstage, to the right side of the stage, DR, currently in darkness, there is a small table with telephone on it and a chair to one side. A small screen behind indicates that this is another location.
To the left of the stage LC and also in darkness, is a small double bed with side table and a lamp. A small screen behind indicates that this is another location.
Act One, Scene One : The Top Floor Bedsit
MIKE WATKINS comes in through the front door. He is happily whistling the tune to “Mares eat oats and does eat oats and little lambs eat ivy” and continues to do so throughout the scene. In one hand he holds his briefcase with some envelopes in his hand, his overcoat is thrown over the other arm in which he holds the door key.
He puts the briefcase down just inside the front door, throws the keys into a glass bowl on the sideboard by the door, puts his overcoat on the coat rack and then stands C browsing through the letters. He stops at a postcard that he scans for a moment, still whistling. He chuckles at the something written there. Finishing, he places the letters and the postcard on the sideboard by the door.
He takes off his jacket and places this also on the coat rack. Rolling up his sleeves, he pulls out a stool from the table and scans the ceiling, looking for something in particular. Satisfied, he positions the stool in the middle of the room. He climbs onto the stool looking up as if about to change a light bulb.
He realises there is something else he needs to do. He climbs off the stool. He goes to the sideboard and pulls out an A4 pad and a pen. Going to the table he opens to the first pages and quickly reads through what is written there. He nods with satisfaction and then writes something briefly on the bottom with a flourish leaving the pen and open notepad on the table.
He returns to the stool, looks up again and climbs onto the stool. He looks down at the stool and shakes his head. Something else has occurred to him.
He climbs down again, and this time he pulls off his shoes. He leaves them neatly by the coat rack. He returns to the stool still whistling, facing the audience. This time while standing on it, he tests it for stability. Happy, he reaches up above him and pulls down a white electrical cord. He has already prepared this on another day; he simply unravels it to reveal a noose which he slips around his neck. Testing the tautness and strength of the cord, he is satisfied, he smiles and prepares to kick the stool away. The scene cuts to darkness…
Act One, Scene Two : Eileen's Downstairs Flat
..and lights up simultaneously on the corner of the room by the telephone table where seated on the easy chair and currently on the telephone is EILEEN . She is wearing a pink cardigan.
EILEEN : [loudly into the phone] Hang on, dear. Hang on. Yes. I know, I can—I can’t hear either. No. Not hang up. Hang on. It’s the line. Line dear. Hang on while I fix. Yes.
She takes the receiver and bangs it methodically on the table a couple of times
Hello? Hello. There. That’s better. Alfie taught me that, bless his soul. Give it a good bash and it’ll clear out the gremlins. What was I saying? [pause] No, not that, dear. About the. [pause] Yes. That’s right. That’s right. [pause] No, Alice dear. Alice with the hip. [pause] The hip. You’re thinking of Helen . She’s the one with the knees. [pause] Knees. [pause] Yes. So you know her and Willie have been living together. [pause] No, in Wimbledon . [pause] Oh. In sin. Yes in sin, dear. He’s eighty three and she’s seventy eight. I’d hardly call it sin. Unless you call a cup of tea and a packet of custard creams sin. So there I am doing my afternoon with Betty at the charity shop and…[pause] Betty . [pause] The dancer? Betty ? She’s in a wheelchair, dear. I doubt she’d be able to foxtrot even if she wanted to. [pause] I don’t know. [pause] Oh Hettie. I see. [pause] Did she? Blackpool gold cup? That’s nice. [pause] Really? She’d have been about fifty something then. Mmm. Long time ago. [pause] No. I didn’t know her then either. Yes. [pause] Sorry? What was I saying? About? [pause] Alice , yes. [pause] Oh yes. And Willie . So, Betty tells me they’ve decided to tie the knot. [pause] I know. At their age. It’ll take her all afternoon to get down the aisle with her hip. Betty said they could use her wheelchair. It’s one of those electric ones. [pause] Doesn’t she? Does that matter? [pause] I didn’t realise you needed a driving licence. Are you sure? [pause] Well, anyway, they’re going through with it. [pause] I know. No fool like an old fool. I know. Okay well I’d better go. [pause] I will. [pause] Not yet. The police want to come back. So I can’t clean the room until they’ve checked it again. Such a nuisance. I don’t know. It’s all very distressing. Such a nice young man that Mr Watkins . He always seemed so cheerful. Why on earth would anyone want to do something like….
Loud knocking at the front door.
…Beatty I’ll have to go. There’s someone at the door. [pause] Yes. I will. And you. [pause] Yes. Yes. Take care love. Bye bye. Bye bye.
She puts down the receiver and stares at the phone for a moment in thought. Another knock at the door she gets up stiffly and starts to walk behind the set.
[as she moves off] Alright, I'm coming. Hold your horses. I'll be there in a mo'.
Act One, Scene Three : The Top Floor Bedsit
Lights come up on the bed-sit once again. Keys sound in the lock. Now wearing a housecoat, she opens the door (from off set) a little out of breath and enters holding the door open. MIKE is framed in the doorway, holding a folded newspaper.
EILEEN : Here we are. Top floor. Ooh, goodness me. I used be able to march up those stairs without a second thought. It’s like climbing Everest these days. Don’t ever get old, dear. [catches her breath] So this is it. It’s been vacant for a while but I’ve given it a good airing this morning. You’re the first to see it. Bright and early. Early bird, as they say. Come on, don’t stand out there. Come in and have a look around.
She opens the door to him. MIKE walks to C and looks about while the dialogue is going on. EILEEN remains standing next to the door.
It’s nothing special but it’s clean and furnished. Not much direct sunlight but you get a nice view of the church from the kitchenette window. Well, the window’s frosted, but if you open it there is. To the left of the motorway. Behind the cemetery. Bathroom's on the second floor. A hundred a week including bills. I come up and clean every Wednesday morning. It’s all there in the advert. I don’t mind doing the washing up for you on Wednesday, just leave it in the sink and if you’ve got any laundry you can leave it by my door on your way out. I’ll charge you extra for that. How old are you?
MIKE : I’m sorry?
EILEEN : How old? The last tenant was twenty four. Dreadful noise. I don’t mind you having friends in but not if you’re going to be playing that terrible noise they call music these days. Until all hours of the morning. And smoking that funny tobacco. Goodness me. My hearings not so good any more but that racket made my bed rattle. It was like being back in the Blitz.
MIKE : I won’t be having friends over. And I’m forty three. Is the let on an assured shorthold tenancy basis?
EILEEN : A what, dear?
MIKE : The rental term. Is it six months?
EILEEN : It’s as long as you want it. I don’t mess around with all that tenancy nonsense. You pay me two weeks rent as a deposit and one week in advance. Give me two week’s notice if you want to leave. If you just up and leave, like the last one, I keep the deposit. Little blighter. Disappeared into the night. Left all his toys behind too. [she indicates the hi-fi equipment] No good to me, I can barely work my own video. I left it here for the next tenant. Anyway, as I say, no agreements. Just nice and simple. No fuss, no nonsense.
MIKE : You should be careful. Not everyone’s well meaning in this world. At least with an agreement you get some protection.
EILEEN : And end up putting lots of hard earned money into the pocket of some stuck up solicitor for doing next to nothing. No dear, this has worked fine for me and my Alfie for the past thirty two years.
MIKE : Is Alfie Mr Greenwood ?
EILEEN : Yes, dear. Or he was. Now sadly departed.
MIKE : Oh, I’m sorry.
EILEEN : That’s alright. Almost ten years ago now. Happens to us all sooner or later. Hopefully later rather than sooner, eh?
MIKE : Yes. [searches the floor] Do you have broadband internet connection in the house?
EILEEN : Sorry, dear? Should that mean something to me?
MIKE : [amused] Oh, don’t worry. It’s like a telephone line for using a computer. Fast access to the internet. [she still looks bemused] I don’t suppose you do. Would you be okay if I get one installed?
EILEEN : I’ve got a telephone downstairs if you need to use it.
MIKE : No, I don’t need a telephone. I’ve got a mobile. This is slightly different and I really need it to do my work in the evenings. If it’s a problem…
EILEEN : It’s not a problem for me, dear. But you’ll have to pay for it yourself. The last one wanted me to install satellite television. I told him, I’m not made of money. You want it, you get it. Cheeky little beggar.
MIKE : Of course. [looks at her] Yes of course. I wouldn’t dream of asking you to pay. I’ll sort it all out. But I need it for work.
EILEEN : That’s okay then. [pause] Do you have a girlfriend?
MIKE : Uh. No.
EILEEN : Boyfriend?
MIKE : Wha..? No!
EILEEN : Just asking. You never know these days. Not that I would mind. I rented to a couple of boys once. They were lovely. They dropped me off at church in their car every Sunday. And then they’d invite me up to watch videos in the afternoon. All the old favourites. We’d sit on that settee watching Fred and Ginger , Judy Garland and Mickey Rooney . They even had some old Norman Wisdom ’s. Sunday’s were such fun, singing along to the Sound of Music, drinking gin martinis. Lovely boys. Kept the place spotless. If you don’t mind my saying, you’re a bit old to be on your own.
MIKE : I’m divorced. Look. I need somewhere to stay quite urgently. I’m starting a new job in the area on Monday and I kind of like the place so do you want to see references? I’ve got one from the bank, one from my employer and one from my previous landlord.
EILEEN : [she looks at him for a moment] No need dear. The place is yours if you want it. You’ve got an honest face. Remind me a bit of my Alfie. Why did you get divorced?
MIKE : [amused but uncomfortable] You really do a thorough interview, don’t you? I got divorced because—because Sonya , my ex-wife, said I took her for granted. She said I didn’t pay her enough attention, didn’t appreciate her enough for what she was. That's what she said anyway. [reflects for a moment] Look it was two years ago now. It’s all water under the bridge. Do I pass the test?
EILEEN : Okay dear. Okay. I’m only asking. I don't know. The women today don’t know they’re born. [pause] You have one last look around the place while I go downstairs and put the kettle on. Come down when you’re ready and we can sort out the deposit. Take your time. [She goes to exit and then turns] It’s never really water under the bridge though. You do know that? [she exits]
MIKE shakes his head and smiles at her departure. He looks at the place with a sad sigh and then tries out the settee. While sitting he pulls a mobile phone from his pocket and quick dials a number.
MIKE : [into the phone] Hi it’s me. Yes I’ve found one. It’s a bit desperate but it’s three flights up in a big house on Southmore Street. You know, the road that runs behind the Dog and Duck? Huge old place. Run by some dotty old bird. Yes. It’s perfect for what we need. [pause] Are you sure this is still such a good idea? [pause] Okay. Okay. I get it. [pause] No, trust me. She’ll never suspect a thing. [pause] Yes, probably over the weekend. Can you drive my gear over? Great thanks. Okay I’ll be over later. Okay, John . Thanks mate. See you later.
MIKE stands up and has another look at the place, sighing. As he heads off UL to where EILEEN indicated the kitchenette, the bed-sit blacks out and lights come up on the bedroom.