Pinter the caretaker script pdf free download

Medical care personnel responding to the emergency must be assured that the caregiver has the authority to act for you. A Caregiver Consent Form, prepared in advance, assures that the caregiver will be able to make medical decisions guided by health care professionals in your absence.

You can create these forms without the need for a lawyer. Place prepared consent form copies next to emergency phone numbers. Review theCaregiver Consent form and emergency phone numbers frequently to keep them current. Have a caregiver consent form for each child in the household. Remember to update the name of the caregiver as it changes. The form on the next page can be photocopied as often as needed. Or, you may want to devise your own form using it as a model. It is not meant to take the place of sound legal advice.

See next page for sample consent form. To give the Caregiver Consent Form to the Emergency Medical Service or to take it to the emergency room so all necessary information for prompt and appropriate care will be available in your absence. As Britney comes over to him, Rodney looks up at her, at first she is a blurry angelic image and then slowly everything fades to black.

As he moves she realizes that he is waking up. She bends over his bed touces his forehead with a tenderness that is unexpected from a professional before she picks up his hand to check his pulse. Nurse 1 There you are. We were afraid you wouldnt wake up. Dont try to move, you going to be really weak for a while.

Youve been under for a long time. Rodney tries to talk. His words are very soft and jumbled. The nurse bends over him trying, putting her ear close to his mouth trying to understand what his words. Nurse 1 Three weeks. The police enter Rodneys house. They start to sniff and take out handkerchiefs to put over their mouths and noses. They search the rooms until they come to Estellas room. She is lying on the bed, not moving.

The older of the police walks over to her, and shakes his head. Rodney is barley able to lift himself, but while he looks in great pain he still soldiers on through his therapy. Koska, you can take a break if you feel a lot of pain. You dont have to do this all at once. Scene 10 Rodney finally goes home, he breaks down on his mothers bed, he has a cathartic cry before deciding to get revenge. Rodney wonders through his house.

He is still moving with stiffness in his whole body. He picks up a photo of him and his wife from the side table in the living room.

He carries it with him as he goes to his wifes bedroom. He enters the bedroom and collapses on the bed. His whole body heaving as he cries great sobs. Im going to make them feel the pain they made you suffer. Scene 11 Rodney researches weapon, munitions, and the structure of the insurance company. They think they can just decide who will live or who will die. Ill show them what its like to have no chance to be up against the wall.

Scene 12 Dressed as a messenger, Rodney goes up to the presidents floor at the insurance company. Rodney arrives in front of the Insurance company office building dressed as a bike messenger. He chains up his bike and enters the building INT. Rodney walks in through the lobby, nods to the guard and enters an elevator. Rodney presses the top button and steps to the back of the elevator. He exhales a deep breath, he grips the rail behind him till his knuckles are white.

The door opens to reveal the presidents office of the insurance company. He pull out a letter. Never without his passport. Had an eye for the girls. Very much your build. Bit of an athlete. He had a habit of demonstrating different run-ups in the drawing-room round about Christmas time. Had a penchant for nuts. Nothing else but a penchant. Had a marvellous stop-watch. Picked it up in Hong Kong.

The day after they chucked him out of the Salvation Army. Used to go in number four for Beckenham Reserves. That was before he got his Gold Medal. Had a funny habit of carrying his iddle on his back.

Like a papoose. I think there was a bit of the Red Indian in him. I mean that my uncle was his brother and he was my uncle. But I never called him uncle. As a matter of fact I called him Sid. My mother called him Sid too. It was a funny business. Your spitting image he was. Married a Chinaman and went to Jamaica. I hope you slept well last night.

What bed you sleep in? Now look here— MICK. That one. Not the other one? How do you like my room? Your room? Actually he lived in Aldgate. I was staying with a cousin in Camden Town. This chap, he used to have a pitch in Finsbury Park, just by the bus depot. When I got to know him I found out he was brought up in Putney.

I know quite a few people who were born in Putney. His old mum was still living at the Angel. All the buses passed right by the door. She could get a 38, , 30 or 38A, take her down the Essex Road to Dalston Junction in next to no time. I used to leave my bike in her garden on my way to work. Yes, it was a curious affair.

Dead spit of you he was. Did you sleep here last night? Did you have to get up in the night? Now look here! A violent bellow from MICK sends him back. A shout. Sleep here last night? I slept— MICK. Now look— MICK. What bed? That— MICK.

Not the other? Again amiable. What sort of sleep did you have in that bed? All right! MICK stands, and moves to him. You a foreigner? Born and bred in the British Isles? I was! What did they teach you? How did you like my bed? From the bed? No, now, up your arse. MICK turns swiftly and grabs them. MICK holds out a hand warningty. You intending to settle down here? Give me my trousers then. You settling down for a long stay? Give me my bloody trousers! Why, where you going?

I was brought here! Brought here? Who brought you here? Man who lives here … he. I was brought here, last night … met him in a caff … I was working … I got the bullet … I was working there … bloke saved me from a punch up, brought me here, brought me right here. This is my room. What about that, then? MICK moving to him. Keep your hands off my old mum. Well, stop telling me all these ibs.

Now listen to me, I never seen you before, have I? Never seen my mother before either, I suppose? Listen, son. Listen, sonny. You stink. You got no business wandering about in an unfurnished lat. I could charge seven quid a week for this if I wanted to. Get a taker tomorrow.

Three hundred and ifty a year exclusive. No argument. Rateable value ninety quid for the annum. You can reckon water, heating and lighting at close on ifty. What do you say? Bathroom, living-room, bedroom and nursery. You can have this as your study. Yes, just about to start. So what do you say?

Eight hundred odd for this room or three thousand down for the whole upper storey. No strings attached, open and above board, untarnished record; twenty per cent interest, ifty per cent deposit; down payments, back payments, family allowances, bonus schemes, remission of term for good behaviour, six months lease, yearly examination of the relevant archives, tea laid on, disposal of shares, beneit extension, compensation on cessation, comprehensive indemnity against Riot, Civil Commotion, Labour Disturbances, Storm, Tempest, Thunderbolt, Larceny or Cattle all subject to a daily check and double check.

Who do you bank with? ASTON comes in. MICK turns and drops the trousers. ASTON, after a glance at the other two, goes to his bed, places a bag which he is carrying on it, sits down and resumes ixing the toaster. MICK sits in the chair.

They all look up. You still got that leak. From the roof, eh? The cracks. What do you do—? They both look at him. Empty it. I was telling my friend you were about to start decorating the other rooms. I got your bag. Crossing to him and taking it. Oh thanks, mister, thanks. Give it to you, did they? MICK rises and snatches it. MICK warding him off.

MICK eluding him. ASTON rising, to them. Scrub it. This your bag? Give me it! Give it to him. Give him what? That bloody bag! MICK slipping it behind the gas stove. What bag? Look here!

MICK facing him. Where you going? Watch your step, sonny! You come busting into a private house, laying your hands on anything you can lay your hands on.

ASTON picks up the bag. MICK grabs it. ASTON takes it. MICK reaches for it. MICK takes it. He drops it.

They watch him. He picks it up. Goes to his bed, and sits. ASTON goes to his bed, sits, and begins to roll a cigarette. MICK stands still. How did you get on at Wembley? MICK goes to the door and exits. I had a bit of bad luck with that jig saw. When I got there it had gone. Who was that feller? Is he? Yes, I noticed. Yes, he tends … he tends to see the funny side of things.

Yes, you could tell that. I could tell the irst time I saw him he had his own way of looking at things. Make a lat out of it. What does he do, then? Perhaps I can knock up one or two things for it. He walks to the window. I can work with my hands, you see. I never knew I could. But I can do all sorts of things now, with my hands.

You know, manual things. I … could do a bit of woodwork. Simple woodwork, to start Working with … good wood. They break up a room with them. Make it into two parts. I could either do that or I could have a partition. I could knock them up, you see, if I had a workshop. Eh, look here, I been thinking.

My bag, it was another kind of bag altogether, you see. What they done, they kept my bag, and they given you another one altogether. No … what happened was, someone had gone off with your bag. Anyway, I picked that bag up somewhere else. He let me have the whole lot cheap. Any shoes? He holds them up. Yes … well, I know about these sort of shirts, you see.

No, what I need, is a kind of a shirt with stripes, a good solid shirt, with stripes going down. He takes from the bag a deep-red velvet smoking-jacket. A smoking-jacket? He feels it. He tries it on. How do you think it looks? Looks all right. ASTON picks up the plug and examines it. You could be … caretaker here, if you liked. You could … look after the place, if you liked … you know, the stairs and the landing, the front steps, keep an eye on it Polish the bells.

Caretaking, eh? Well, I … I never done caretaking before, you know … I mean to say … I never … what I mean to say is … I never been a caretaker before. How do you feel about being one, then? What sort of. Yes, what sort of … you know. Well, I mean. Well, I could tell you.

When the time comes. More or less exactly what you. You could wear this, if you liked. Well off. Thanks very much, mister. And you could answer any queries. Why not? The interesting and provocative dialogues between established and emerging scholars featured here provide close readings of The Dumb Waiter, within relevant cultural and historical contexts and from a range of theoretical perspectives.

The essays range over issues of autobiography and theater, genre studies, and the impact of Pinter's political activism on his dramatic production, among others. The collection is also concerned with the meaning of the play when assessed against other example's of Pinter's work, both dramatic and non-dramatic writing. Each contributor shows a gift for presenting a complex argument in an accessible style, making this book an important resource for a wide range of readers, from undergraduates to postgraduates and specialist researchers.

Are you studying his plays and looking for help with interpretation? Or do you teach Pinter and need a reliable guide to the plays? The Faber Critical Guide to Harold Pinter gives this and much more, including an introduction to the distinctive features of the playwright's work, a detailed analysis of each of the classic plays and comments on performance.

Popular Books. Fear No Evil by James Patterson. From This Moment by Melody Grace.