by Harold Pinter
|
Table One |
|
| Waiter | Who's having the duck? |
| Lambert | The duck's for me. |
| Julie | No it isn't. |
| Lambert | No it isn't. Who's it for? |
| Julie | Me. |
| Lambert | What am I having? I thought I was having the duck. |
| Julie (to waiter) | The duck's for me. |
| Matt (to waiter) | Chicken for my wife, steak for me. |
| waiter | Chicken for the lady. |
| Prue | Thank you so much. |
| waiter | And who's having the steak? |
| Matt | Me (He picks up the wine bottle and pours) Here we are. Frascati for the ladies and Valpolicella for me. |
| Lambert | And me? I mean, what about me? What did I order? I haven't the faintest idea. What did I order? |
| Julie | Who cares? |
| Lambert | Who cares? I bloody care. |
| Prue | Osso buco. |
| Lambert | Osso what? |
| Prue | Buco. |
| Matt | It's an old Italian dish. |
| Lambert | Well, I knew osso was Italian but I know bugger all about buco. |
| Matt | I didn't know asshole was Italian. |
| Lambert | Yes, but in the other hand what's the Italian for asshole? |
| Prue | Julie, Lambert. Happy Anniversary. |
| Matt | Cheers. |
| They lift their glasses and drink. | |
|
Table Two |
|
| Russell | They believe in me. |
| Suki | Who do? |
| Russell | They do. What do you mean, who do? They do. |
| Suki | Oh, do they? |
| Russell | Yes, they believe in me. They reckon me. They're investing in me. My nous. They believe in me. |
| Suki | Listen. I believe you. Honestly, I do. No really, honestly. I'm sure they believe in you. I mean, listen, I want you to be rich, believe me. I want you to be rich so you can but me houses and panties and I'll know that you really love me. |
| They drink | |
| Russell | Listen, she was just a secretary. That's all. No more. |
| Suki | Like me. |
| Russell | What do you mean like you? She was nothing like you. |
| Suki | I was a secretary once. |
| Russell | She was a scrubber. A tart. They're all the same, these secretaries, these scrubbers. They're like politicians. They love power. They've got a bit of power, they use it. They go home, they get on the phone, they tell their girlfriends. Listen to me. I'm being honest. You won't find many like me. I fell for it. I've admitted it. She just twisted me round her little finger. |
| Suki | That's funny. I thought she twisted you round your little finger. |
| Pause. | |
| Russell | You don't know what these girls are like. These secretaries. |
| Suki | Oh I think I do. |
| Russell | You don't. |
| Suki | Oh I do. |
| Russell | What do you mean, you do? |
| Suki | I've been behind a few filing cabinets. |
| Russell | What? |
| Suki | In my time. When I was a plump young secretary. I know what the back of a filing cabinet looks like. |
| Russell | Oh, do you? |
| Suki | Oh yes. Listen. I would invest in you myself if I had any money. Do you know why? Because I believe in you. |
| Russell | What's all this about filing cabinets? |
| Suki | Oh, that was when I was a plump young secretary. I would never do all those things now. Never. Out of the question. You see, the trouble was I was so excitable, their excitement made me so excited, but I would never do all those things now. I'm a grown-up woman and not a silly young thing, a silly and dizzy young girl, such a naughty, saucy, flirty, giggly young thing: sometimes I could hardly walk from one filing cabinet to another I was so excited. I was so plump and wobbly it was terrible, men simply couldn't keep their hands off me, their demands were outrageous but coming back to more important things, they're right to believe in you, why shouldn't they believe in you? |
|
Table One |
|
| Julie | I've always told him. Always. But he doesn't listen. I tell him all the time. But he doesn't listen. |
| Prue | You mean he just doesn't listen! |
| Julie | I tell him all the time. |
| Prue (to Lambert) | Why don't you listen to your wife? She stands by you through thick and thin. You've got a loyal wife there and never forget it. |
| Lambert | I've got a loyal wife where? |
| Prue | Here! At this table |
| Lambert | I've got one under the table, take my tip. (He looks under the table.) Christ. She's really loyal under the table. Always has been. You wouldn't believe it. |
| Julie | Why don't you go and buy a new car and drive it into a brick wall? |
| Lambert | She loves me. |
| Matt | No, she loves new cars. |
| Lambert | With soft leather seats. |
| Matt | There was a song once. |
| Lambert | How did it go? |
| Matt |
"Ain't she neat? Ain't she neat? As she's walking up the street. She's got a lovely bubbly pair of tits. And a soft leather seat." |
| Lambert | That's a really beautiful song. |
| Matt | I've always admired that song. You know what it is? It's a traditional folk song. |
| Lambert | It's got class. |
| Matt | It's got tradition and class. |
| Lambert | They don't grow on trees. |
| Matt | Too bloody right. |
| Lambert | Hey, Matt! |
| Matt | What? |
| Lambert picks up the bottle of Valpolicella. It is empty. | |
| Lambert | There's something wrong with this bottle. |
| Matt turns and calls. | |
| Matt | Waiter! |
|
Table Two |
|
| Russell | All right. Tell me. Do you think I have a nice character? |
| Suki | Yes, I think you do. I think you do. Well.... I mean.... I think you could have quite a nice character but the trouble is that when you come down to it you haven't actually got any character to begin with - I mean as such, that's the thing. |
| Russell | As such? |
| Suki | Yes, the thing is you haven't really got any character at all, have you? As such. Au fond. But I wouldn't worry about it. For example look at me. I don't have any character either. I'm just a reed. I'm just a reed in the wind. Aren't I? You know I am. I'm just a reed in the wind. |
| Russell | You're a whore. |
| Suki | A whore in the wind. |
| Russell | With the wind blowing up your skirt. |
| Suki | That's right. How did you know? How did you know the sensation? I didn't know that men could possibly know about that kind of thing. So I didn't think men could possibly know what it was like when the wind blows up a girl's skirt. Because men don't wear skirts. |
| Russell | You're a prick. |
| Suki | Not quite. |
| Russell | You're a prick. |
| Suki | Good gracious. Am I really? |
| Russell | Yes. That's what you really are. |
|
Table One |
|
| Lambert | What's that other song you know? The one you said was a classic. |
| Matt | "Wash me in the water where you washed your dirty daughter." |
| Lambert | That's it. (To Julie) Know that one? |
| Julie | It's not in my repertoire, darling. |
| Lambert | This is the best restaurant in town. That's what they say. |
| Matt | That's what they say. |
| Lambert | This is a piss-up dinner. Do you know how much money I made last year? |
| Matt | I know this is a piss-up dinner. |
| Lambert | It is a piss-up dinner. |
| Prue (to Julie) | His mother always hated me. The first time she saw me she hated me. She never gave me one present in the whole of her life. She wouldn't give me the drippings off her nose. |
| Julie | I know. |
| Prue | The drippings off her nose. Honestly. |
| Julie | All mothers-in-law are like that. They love their sons. They love their boys. They don't want their sons to be fucked by other girls. Isn't that right? |
| Prue | Absolutely. All mothers want their sons to be fucked by themselves. |
| Julie | By their mothers. |
| Prue | All mothers--- |
| Lambert | All mothers want to be fucked by their mothers. |
| Matt | Or by themselves. |
| Prue | No, you've got it the wrong way round. |
| Lambert | How's that? |
| Matt | All mothers want to be fucked by their sons. |
| Lambert | Now wait a minute--- |
| Matt | My point is--- |
| Lambert | No, my point is----how old do you have to be? |
| Julie | To be what? |
| Lambert | To be fucked by your mother? |
| Matt | Any age, mate. Any age. |
| They all drink | |
| Lambert | How did you enjoy your dinner, darling? |
| Julie | I wasn't impressed. |
| Lambert | You weren't impressed? |
| Julie | No |
| Lambert | I bring her to the best caff in town---spending a fortune---and she's not impressed. |
| Matt | Don't forget this is your anniversary. That's why we're here. |
| Lambert | What anniversary? |
| Prue | It's your wedding anniversary. |
| Lambert | All I know is this is the most expensive fucking restaurant and she's not impressed. |
| Richard comes to the table. | |
| Richard | Good evening. |
| Matt | Good evening. |
| Prue | Good evening. |
| Julie | Good evening. |
| Lambert | Good evening, Richard. How have you been? |
| Richard | Very, very well. Been to a play? |
| Matt | No. The ballet. |
| Richard | Oh, the ballet? What was it? |
| Lambert | That's a fucking good question. |
| Matt | It's unanswerable. |
| Richard | Good, was it? |
| Lambert | Unbelievable. |
| Julie | What ballet? |
| Matt | None of them could reach the top notes. Could they? |
| Richard | Good dinner? |
| Matt | Fantastic. |
| Lambert | Top-notch. Gold-plated. |
| Prue | Delicious. |
| Lambert | My wife wasn't impressed. |
| Richard | Oh, really? |
| Julie | I liked the waiter. |
| Richard | Which one? |
| Julie | The one with the fur-lined jockstrap. |
| Lambert | He takes it off for breakfast. |
| Julie | Which is more than you do. |
| Richard | Well, how nice to see you all. |
| Prue | She wasn't impressed with her food. It's true. She said so. She thought it was dry as dust. She said---what did you say, darling?---she's my sister---she said she could cook better than that with one hand stuffed between her legs; she said---no, honestly---she said she could make better sauce than the one on her plate if she pissed into it. Don't think she was joking---she's my sister, I've known her all my life, all my life, since we were little innocent girls, all our lives, when we were babies, when we used to lie in the nursery and hear Mummy beating the shit out of Daddy. We saw blood on the sheets the next day---when Nanny was in the pantry---my sister and me---and Nanny was in the pantry---and the pantry maid was in the larder and the parlor maid was in the laundry room washing the blood out of the sheets. That's how my little sister and I were brought up and she could make better sauce than yours if she pissed into it. |
| Matt | Well, it's lovely to be here, I'll say that. |
| Lambert | Lovely to be here. |
| Julie | Lovely. Lovely. |
| Matt | Really lovely. |
| Richard | Thank You |
| Prue stands and goes to Richard. | |
| Prue | Can I thank you? Can I thank you personally? I'd like to thank you myself, in my own way. |
| Richard | Well, thank you. |
| Prue | No, no, I'd really like to thank you in a very personal way. |
| Julie | She'd like to give you her personal thanks. |
| Prue | Will you let me kiss you? I'd like to kiss you on the mouth. |
| Julie |
That's funny. I'd like to kiss him on the mouth too.
She stands and goes to him.
Because I've been maligned, I've been misrepresented. I never said I didn't like your sauce. I love your sauce. |
| Prue | We can't both kiss him on the mouth at the same time. |
| Lambert | You could tickle his arse with a feather. |
| Richard | Well, I'm so glad. I'm really glad. See you later I hope |
| Richard goes. Prue and Julie sit. | |
| Silence. | |
| Matt | Charming man. |
| Lambert | That's why this is the best and most expensive restaurant in the whole of Europe---because he insists upon proper standards, he insists that standards are maintained with the utmost rigor, you get me? That standards are maintained up to the highest standards, up to the very highest fucking standards----- |
| Matt | He doesn't jib. |
| Lambert | Jib? Of course he doesn't jib---it would be more than his life was worth. He jibs at nothing! |
| Prue | I knew him in the old days. |
| Matt | What do you mean? |
| Prue | When he was a chef. |
| Lambert's mobile phone rings. | |
| Lambert |
Who the fuck's this?
He switches it on.
Yes? What? (He listens briefly.) I said no calls! It's my fucking wedding anniversary!
He switches it off.
Cunt. |
|
Table Two |
|
| Suki | I'm so proud of you. |
| Russell | Yes? |
| Suki | And I know these people are good people. These people who believe in you. They're good people. Aren't they? |
| Russell | Very good people. |
| Suki | And when I meet them, when you introduce me to them, they'll treat me with respect, won't they? They won't want to fuck me behind a filing cabinet? |
| Sonia comes to the table. | |
| Sonia | Good evening. |
| Russell | Good evening. |
| Suki | Good evening. |
| Sonia | Everything all right? |
| Russell | Wonderful. |
| Sonia | No complaints? |
| Russell | Absolutely no complaints whatsoever. Absolutely numero uno all along the line. |
| Sonia | What a lovely compliment. |
| Russell | Heartfelt. |
| Sonia | Been to the theater? |
| Suki | The opera. |
| Sonia | Oh, really, what was it? |
| Suki | Well....there was a lot going on. A lot of singing. A great deal, as a matter of fact. They never stopped. Did they? |
| Russell (to Sonia) | Listen, let me ask you something. |
| Sonia | You can ask me absolutely anything. |
| Russell | What was your upbringing? |
| Sonia | That's funny. Everybody asks me that. Everybody seems to find that an interesting subject. I don't know why. Isn't it funny? So many people express curiosity about my upbringing. I've no idea why. What you really mean of course is how did I arrive at the position I hold now---maîtresse d'hôtel---isn't that right? Isn't that your question? Well, I was born in Bethnal Green. My mother was a chiropodist. I had no father. |
| Russell | Fantastic. |
| Sonia | Are you going to try our bread-and-butter pudding? |
| Russell | In spades. |
| Sonia smiles and goes. | |
| Russell | Did I ever tell you about my mother's bread-and-butter pudding? |
| Suki | You never have. Please tell me. |
| Russell | You really want me to tell you? You're not being insincere? |
| Suki | Darling. Give me your hand. There. I have your hand. I'm holding your hand. Now please tell me. Please tell me about your mother's bread-and-butter pudding. What was it like? |
| Russell | It was like drowning in an ocean of richness. |
| Suki | How beautiful. You're a poet. |
| Russell | I wanted to be a poet once. But I got no encouragement from my dad. He thought I was an arsehole. |
| Suki | He was jealous of you, that's all. He saw you as a threat. He thought you wanted to steal his wife. |
| Russell | His wife? |
| Suki | Well, you know what they say. |
| Russell | What? |
| Suki | Oh, you know what they say. |
| The Waiter comes to the table and pours wine. | |
| Waiter | Do you mind if I interject? |
| Russell | Eh? |
| Waiter | I say. do you mind if I make an interjection? |
| Suki | We'd welcome it.. |
| Waiter | It's just that I heard you talking about T. S. Eliot a little bit earlier this evening. |
| Suki | Oh, you heard that, did you? |
| Waiter | I did. And I thought you might be interested to know that my grandfather knew T. S. Eliot. quite well. |
| Suki | Really? |
| Waiter | I'm not claiming that he was a close friend. But he was a damn sight more than a nodding acquaintance. He knew them all, in fact, Ezra Pound, W. H. Auden, C. Day-Lewis, Louis MacNiece, Stephen Spender, George Barker, Dylan Thomas, and if you go back a few years he was a bit of a drinking companion of D. H. Lawrence, Joseph Conrad, Ford Madox Ford, W, B. Yeats, Aldous Huxley, Virginia Woolf, and Thomas Hardy in his dotage. My grandfather was carving out a niche for himself in politics at the time. Some saw him as a future Chancellor of the Exchequer or at least First Lord of the Admiralty but he decided instead to command a battalion in the Spanish Civil War but as things turned out he spent most of his spare time in the United States where he was a very close pal of Ernest Hemingway---they used to play gin rummy together until the cows came home. But he was also boon compatriots with William Faulkner, F. Scott Fitzgerald, Upton Sinclair, John Dos Passos---you know, that whole vivid Chicago gang---not to mention John Steinbeck, Erskine Caldwell, Carson McCullers, and other members of the old Deep South conglomerate. I mean---what I'm trying to say is---that as a man my grandfather was just about as all-round as you can get. He was never without his pocket Bible and he was a dab hand at pocket billiards. He stood four-[square in the center of the intellectual and literary life of the tens, twenties, and thirties. He was James Joyce's godmother. |
| Silence. | |
| Russell | Have you been working here long? |
| Waiter | Years. |
| Russell | You going to stay until it changes hands? |
| Waiter | Are you suggesting I'm about to get the boot? |
| Suki | They wouldn't do that to a nice lad like you. |
| Waiter | To be brutally honest, I don't think I'd recover if they did a thing like that. This place is like a womb to me. I prefer to stay in my womb. I strongly prefer that to being born. |
| Russell | I don't blame you. Listen, next time we're talking about T. S Eliot I'll drop you a card. |
| Waiter | You would make me a very happy man. Thank you. Thank you. You are incredibly gracious people. |
| Suki | How sweet of you. |
| Waiter | Gracious and grateful. |
| He goes. | |
| Suki | What a nice young man. |
|
Table One |
|
| Lambert | You won't believe this. You're not going to believe this---and I'm only saying this because I'm amongst friends---and I know I'm well liked because I trust my family and my friends---because I know they like me fundamentally---you know, deep down they trust me, deep down they respect me---otherwise I wouldn't say this. I wouldn't take you all into my confidence if I thought you all hated my guts---I couldn't be open and honest with you if I thought you thought I was a pile of shit. If I thought you would like to see me hung, drawn and fucking quartered---I could never be frank and honest with you if that was the truth---never...... |
| Silence. | |
| But as I was about to say, you won't believe this. I fell in love once and this girl I fell in love with loved me back. I know she did. | |
| Pause. | |
| Julie | Wasn't that me, darling? |
| Lambert | Who? |
| Matt | Her. |
| Lambert | Her? No, not her. A girl. I used to take her for walks along the river. |
| Julie | Lambert fell in love with me on the top of the bus. It was a short journey. Fulham Broadway to Shepherd's Bush, but it was enough. He was trembling all over. I remember. (To Prue) When I got home I came and sat on your bed, didn't I? |
| Lambert | I used to take this girl for walks along the river. I was young. I wasn't much more than a nipper. |
| Matt | That's funny. I never knew anything about that. And I knew you quite well, didn't I? |
| Lambert | What do you mean you knew me quite well? You knew nothing about me. You know nothing about me. Who the fuck are you anyway? |
| Matt | I'm your big brother. |
| Lambert | I'm talking about love, mate. You know, real fucking love, walking along the banks of a river holding hands. |
| Matt | I saw him the day he was born. You know what he looked like? An alcoholic. Pissed as a newt. He could hardly stand. |
| Julie | He was trembling like a leaf on top of that bus. I'll never forget it. |
| Prue | I was there when you came home. I remember what you said. You came into my room. You sat down on my bed. |
| Matt | What did you say? |
| Prue | I mean we were sisters, weren't we? |
| Matt | Well, what did she say? |
| Prue | I'll never forget what you said. You sat on my bed. Didn't you? Do you remember? |
| Lambert | The girl was in love with me---I'm trying to tell you. |
| Prue | Do you remember what you said? |
|
Table Two |
|
| Richard comes to the table. | |
| Richard | Good evening. |
| Russell | Good evening. |
| Suki | Good evening. |
| Richard | Everything in order? |
| Russell | First class. |
| Richard | I'm so glad. |
| Suki | Can I say something? |
| Richard | But indeed---- |
| Suki | Everyone is so happy in your restaurant. I mean women and men. You make people so happy. |
| Richard | Well, we do like to feel that it's a happy restaurant. |
| Russell | It is a happy restaurant. For example, look at me. Look at me. I'm basically a totally disordered personality; some people would describe me as a psychopath. (To Suki) Am I right? |
| Suki | Yes. |
| Russell | But when I'm sitting in this restaurant I suddenly find I have no psychopathic tendencies at all. I don't feel like killing everyone in sight, I don't feel like putting a bomb under everyone's arse. I feel something quite different, I have a sense of equilibrium, of harmony, I love my fellow diners. Now this is very unusual for me. Normally I feel---as I've just said---absolute malice and hatred towards everyone within spitting distance---but here I feel love. How do you explain it? |
| Suki | It's the ambience. |
| Richard | Yes, I think ambience is that intangible thing that cannot be defined. |
| Russell | Quite right. |
| Suki | It is intangible. You're absolutely right. |
| Russell | Absolutely. |
| Richard | That is absolutely right. But it does---I would freely admit---exist. It's something you find you are a part of. Without knowing exactly what it is. |
| Russell | Yes. I had an old schoolmaster once who used to say that ambience surrounds you. He never stopped saying that. He lived in a little house in a nice little village but none of is boys were ever invited to tea. |
| Richard | Yes, it's funny you should say that. I was brought up in a little village myself. |
| Suki | No? Were you? |
| Richard | Yes, isn't it odd? In a little village in the country. |
| Russell | What, right in the country? |
| Richard | Oh, absolutely. And my father once took me to our village pub. I was only that high. Too young to join him for his pint, of course. But I did look in. Black beams. |
| Russell | On the roof? |
| Richard | Well, holding the ceiling up in fact. Old men smoking pipes, no music of course, cheese rolls, gherkins, happiness. I think this restaurant---which you so kindly patronize---was inspired by that pub in my childhood. I do hope you noticed that you have complimentary gherkins as soon as you take your seat. |
| Suki | That was you! That was your idea! |
| Richard | I believe the concept of this restaurant rests in that public house of my childhood. |
| Suki | I find that incredibly moving. |
|
Table One |
|
| Lambert | I'd like to raise my glass. |
| Matt | What to? |
| Lambert | To my wife. To my anniversary. |
| Julie | Oh, darling! You remembered! |
| Lambert | I'd like to raise my glass. I ask you to raise your glasses to my wife. |
| Julie | I'm so touched by this, honestly. I mean I have to say---- |
| Lambert | Raise your fucking glass and shut up! |
| Julie | But darling, that's naked aggression. He doesn't normally go in for naked aggression. He usually disguises it under honeyed words. What is it, sweetie? He's got a cold in the nose, that's what it is, |
| Lambert | I want us to drink to our anniversary. We've been married more bloody years than I can remember and it don't seem a day too long. |
| Prue | Cheers. |
| Matt | Cheers. |
| Julie | It's funny our children aren't here. When they were young we spent so much time with them, the little things, looking after them. |
| Prue | I know. |
| Julie | Playing with them. |
| Prue | Feeding them. |
| Julie | Being their mothers. |
| Prue | They always loved me much more than they loved him. |
| Julie | Me too. They loved me to distraction. I was their mother. |
| Prue | Yes, I was too. I was my children's mother. |
| Matt | They have no memory. |
| Lambert | Who? |
| Matt | Children. They have no memory. They remember nothing. They don't remember who their father was or who their mother was. It's all a hole in the wall for them. They don't remember their own life. |
| Sonia comes to the table. | |
| Sonia | Everything all right? |
| Julie | Perfect. |
| Sonia | Were you at the opera this evening? |
| Julie | No. |
| Prue | No. |
| Sonia | Theater? |
| Prue | No. |
| Julie | No. |
| Matt | This is a celebration. |
| Sonia | Oh my goodness. A birthday? |
| Matt | Anniversary. |
| Prue | My sister and her husband. Anniversary of their marriage. I was her leading bridesmaid. |
| Matt | I was his best man. |
| Lambert | I was just about to fuck her at the alter when somebody stopped me. |
| Sonia | Really? |
| Matt | I stopped him. His zip went down and I kicked him up the arse. It would have been a scandal. The world's press was on the doorstep. |
| Julie | He was always impetuous. |
| Sonia | We get so many different kinds of people in here, people from all walks of life. |
| Prue | Do you really? |
| Sonia | Oh, yes. People from all walks of life. People from different countries. I've often said, "You don't have to speak English to enjoy good food." I've often said that. Or even understand English. It's like sex, isn't it? You don't have to be English to enjoy sex. Lots of people enjoy sex without being English. I've known one or two Belgian people, for example, who love sex and they don't speak a word of English. The same applies to Hungarians. |
| Lambert | Yes. I met a chap who was born in Venezuela once and he didn't speak a fucking word of English. |
| Matt | Did he enjoy sex? |
| Lambert | Sex? |
| Sonia | Yes, it's funny you should say that. I met a man from Morocco once and he was very interested in sex. |
| Julie | What happened to him? |
| Sonia | Now you've upset me. I think I'm going to cry. |
| Prue | Oh, poor dear. Did he let you down? |
| Sonia | He's dead. He died in another woman's arms. He was on the job. Can you see how tragic my life has been? |
| Pause. | |
| Matt | Well, I can. I don't know about the others. |
| Julie | I can too. |
| Prue | So can I. |
| Sonia | Have a happy night. |
| She goes. | |
| Lambert | Lovely woman. |
| The Waiter comes to the table and pours wine into their glasses. | |
| Waiter | Do you mind if I interject? |
| Matt | What? |
| Waiter | Do you mind if I make an interjection? |
| Matt | Help yourself. |
| Waiter | It's just that a little bit earlier I heard you saying something about the Hollywood studio system in the thirties. |
| Prue | Oh, you heard that? |
| Waiter | Yes. And I thought you might be interested to know that my grandfather was very familiar with a lot of the old Hollywood film stars back in those days. He used to knock about with Clark Gable and Elisha Cook, Jr. and he was one of the very few native-born Englishmen to have had it off with Hedy Lamarr. |
| Julie | No! |
| Lambert | What was she like in the sack? |
| Waiter | He said she was very tasty. |
| Julie | I'll bet she was. |
| Waiter | Of course there was a very well established Irish Mafia in Hollywood in those days. And there was a very close connection between some of the famous Irish film stars and some of the famous Irish Gangsters in Chicago. Al Capone and Victor Mature, for example. They were both Irish. Then there was John Dillinger, the celebrated gangster, and Gary Cooper, the celebrated film star. They were Jewish. |
| Silence | |
| Julie | It makes you think, doesn't it? |
| Prue | It makes you think. |
| Lambert | You see the girl at that table? I know her. I fucked her when she was eighteen. |
| Julie | What, by the banks of the river? |
| Lambert waves at Suki. Suki waves back. Suki whispers to Russell, gets up, and goes to Lambert's table, followed by Russell. | |
| Suki | Lambert! It's you! |
| Lambert | Suki! You remember me? |
| Suki | Do you remember me? |
| Lambert | Do I remember you? Do I remember you! | <