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un-speaking, resolute, in the front hall where the shadows gathered round us in fraught mockery. Outside, a car slid like a homing egret to a swift standstill. Footsteps passed and faded relentlessly into the guesswork of another street. Silence. Fate. Footsteps again. Still no Charlie. I shall never forget it. Would you get up off the floor, Leonora? I got to polish up.
    L EONORA. Mrs. S. I’m occupied. This is a discovery and it requires concentration. Shall we hear it again?
    M RS. S. No, we heard it the first time. If that tape came to a head you would lose your job and so would Charlie. You got a bit of fluff on your skirt.
    L EONORA. Oh, that will soon brush off. The question is, what am I going to say to them all? I shall have to think of some explanation …
    M RS. S. You’ll think something up. You’d better move that machine.
    L EONORA. Reality is very alarming at first and then it becomes interesting. Are you interested in the nature of reality, Mrs. S.?
    M RS. S. Very, I’m trying to give it a polish as you can see.
L EONORA gazes at the room.
    L EONORA. The wall, the room! Where is it? What’s happened?
    M RS. S. I told you, Leonora, I’m getting the place ready. Have patience. I’ve got to work in my own time-space.
    L EONORA. Mrs. S., I’m frightened. Would you mind putting this back in the broom cupboard. I just can’t bear the sight of it.
    MRS. S. Are you interested in the nature of reality, Leonora, or are you too frightened?
    L EONORA. I’m interested.
    M RS. S. Well, there isn’t any broom cupboard. Dramatic revelation.
    L EONORA. I got it out of the broom cupboard this morning.
    M RS. S. You did and you didn’t, let’s face it. The broom cupboard is a pure idea somewhere behind the scenes. There’s a lot goes on behind the scenes in this house that’s all pure idea. It’s very alarming at first and then it becomes interesting. (She switches off the polisher.)
Enter CHARLIE BROWN with large piece of scenery — part of the original study set. He continues to adjust scenery by working pulleys, etc., with MRS. s. LEONORA watches with curiosity.
    You’re late, Charlie. I’ve had to keep the conversation going.
    C HARLIE B. Hallo, good afternoon, doctor.
    L EONORA. Let me try. (She helps to adjust a piece of scenery.)
    C HARLIE B. How’s your cousin?
    L EONORA. Good afternoon, Charlie. Which one ?
    C HARLIE B. The healthy one.
    M RS. S. That’s Annie. She’s in good health. Just mind out of the way, Leonora. We’ll soon have the place straight.
    C HARLIE B. How’s the young one?
    MRS. S. Daphne’s on a diet. Makes her bad tempered. Starts laying down the law.
The room is now normal, but MRS. S. puts final touches.
    CHARLIE B. I ask the doctor a question, I don’t expect answers from you. There’s a question I want to put to you, doctor. Now suppose you was me. Put yourself in my place. Thirty-six. Unmarried. Good job in transport. Plenty spare time both ends of the journey. — You got the picture?
    L EONORA. Yes.
    CHARLIE B. Well, you’re still me, see? Now you want to settle down in life. Understand?
    L EONORA. Oh, yes.
    CHARLIE B. But you haven’t yet found the partner that you might call of your dreams. So what do you do?
    L EONORA. You wait, you have a look round, and—
    CHARLIE B. Quite. You wait. You got to give up travel for a week or two and wait. So what do you do while you’re waiting? I’ll tell you what you do. You improve yourself.
    M RS. S. Hanging round the canal watching Annie rowing the boat.
    CHARLIE B. I’m consulting the doctor if you’ll excuse me. Where was I?
    L EONORA. You improve yourself.
    C HARLIE B. You’re in my shoes, remember.
    L EONORA. I improve myself.
    C HARLIE B. Yes, that’s what you do while you wait for the right party to turn up. Now, I’m not a one for evening classes. Too old. So you borrow a couple a books.
    MRS S. Off of Annie. (Points to a gap in bookshelf.)
    CHARLIE B. I’m putting up a problem. Well, to cut a long story short,