HARRY: Harry Raymond, 
Canadian Ambassador to Moscow; mid. to late-sixties.

MARIAN: Marian Raymond, 
his wife; late fifties.

DIANA: Diana Marsden, their daughter; 
a recently divorced lawyer, mid-twenties.

MICHAEL: Michael Riordon, Canada's Minister of External Affairs,
touted as the next party leader; mid- to late-sixties.

JULIET: Juliet Riordon, his wife; 
late fifties, early sixties.

JACKMAN: Superintendent,
RCMP B-Operations; forties.

MAHAVOLITCH: Corporal, RCMP, 
his junior partner; late twenties

Prelude
(The house is perched on a steep ravine that drops down to a river.
The house appears to float in space-insubstantial, 
tenuous-adrift amongst autumn trees that fade toward distant hills.

Music: flute, with a Japanese flavour, accompanies and supports the following, 
which may, as in the original production, be a spoken voice-over.)

MARIAN: In Japan, there is an ancient game called Go.
Its ritual moves are played on a squared-off board. 
Every move is made with a round, smooth stone. 
Once the stones have been set in place, they cannot be withdrawn.
Their positions.are locked, irrevocable. 
Like the moves and gestures we make with our lives.
(The lights fade. The music concludes on a siligle, drifting note.)

Scene 1

(Autumn. Late afternoon. On one platform, wicker furniture is 
pilled beneath dust cloths. Down stage, there is a stone bench. 
The stage is empty of people. Far off, a dog barks. Silence.)

JULIET:  How lovely! I'd forgotten!

 DIANA: I can't believe you'd give it up ,..

JULIET:  I can't believe it either.

DIANA: Do we have to go in through the house?
Can't we go this way?

 MICHAEL:  I don't see why not.

 (DIANA enters the garden. She wears a tailored overcoat and a
 dark  beret with a diamond pin on it.)

DIANA: Oh, Wonderful.

(MICHAEL enters-pausing to let the others pass before him.)

MICHAEL: You care for that, Diana?

DIANA: Yes. Oh, yes. Father? Do come ... The view!

(JULIET enters-followed by HARRY. All are wearing lightweight
 overcoats-autumn clothing)

JULIET: There you go, Harry. Diana wants to show you the river.

(HARRY crosses to DIANA JULIET lets him pass, 
hanging bacle near MICHAEL)

DIANA: Don't look till you get here, father. Don't. There. 
How about that!

 HARRY: Yes,..

DIANA: Nothing anywhere beats the view up that river. 
Not in October.

 JULIET: (Taking MICHAEL's arm.) We were so happy here. Weren't
 we, Mike-all those years ago. Of all the houses everywhere in
 our lives, we were never better off than here.

 MICHAEL: True enough. I guess...
 

MAHAVOLITCH and JACKMAN enter.
Both wear raincoats and both carry hand luggage-
MAHAVOLITCH a good deal more than JACKMAN.)

JACKMAN: I'm afraid you'll have to take that in the other way.
MAHAVOLITCH: Yes sir.

(MAHAVOLITCH and JACKMAN prepare to exit.)

MICHAEL: Once you're inside, you might unlock that door.
(Refer ring to the sunroom, where furniture is piled.)
Where's Mrs.Raymond?

JACKMAN: Can't say, Minister. Thought she'd come around 
with you and Ambassador Raymond.

MICHAEL: No. No. (He looks at RAYMOND.)
Harry?

HARRY: Yes, Mike ... What is it?

JULIET: Where's Marian?

HARRY: I don't know. Didn't she ...?

DIANA: (Breaking away, calling.) Mother ...?

MICHAEL: She can't have gone far. ..

 (MAHAVOLITCH and JACKMAN start to set down the luggage.)
No. Get them into the house. We'll find Mrs. Raymond.

MAHAVOLITCH: Yes, Minister.

(They exit with luggage. JACKMAN again making sure that 
MAHAVOLITCH carries most of it MICHAEL watches HARRY, 
who has not moved from his place.)

HARRY: (Finally.) I don't understand. 
Marian was definitely with us.

DIANA: (Calling.) Mother...?

HARRY: ... I'm sure of it.

JULIET: Not to worry.

HARRY: Marian?

JULIET: No. Let me ... Diana and I will find her.

 HARRY: Thank you, Juliet.  I'm sorry, Mike.

MICHAEL: She'll turn up. (He looles around the garden.)
You know, it's quite true.
I guess we were happier here in this house than anywhere 
else we've ever lived... me and Juliet.
And we've certainly had our share of cities. 
Santiago, Moscow, London ...

(MAHAVOLITCH and JACKMAN appear in the sunroom 
and unlock the doors-after which they begin to arrange the furnitum, 
taking off the dust sheets, etc. MICHAEL looks at the river.)

MICHAEL: Imagine, after all that-to say you were happiest in Ottawa, 
of all places. But. Oh dear God.... those hills... that river and, 
of course our children were born here.

HARRY: Yes.

MICHAEL: Diana was born... Where was it? Japan?

HARRY: That's right.

MICHAEL: Nagasaki?

HARRY: Yes.

 MICHAEL: Wonderful, isn't it-the useless information a person stores.

HARRY: Next thing you know, you'll remember where you were born.

MICHAEL: I'm sorry. That was completely thoughtless.

HARRY: Yes, it was, But I forgive you .., (He smiles.)

MICHAEL: (Smiling.) Thank you.

DIANA and JULlET: (Off, variously.) Mother .... Marian ...?

MICHAEL:  Have you talked with her... with Marian ...
about why you might be here'?

HARRY: How could I do that? I don't know why we're here.

All we were told was: I've been called home on "special duty."

MICHAEL: Yes. Well.

HARRY: I guess we all know what that means.

MICHAEL: Do we, now.

HARRY: Oh, for Christ's sake, Mike. Being called home on "special
duty" is just a polite way of saying there's going to be an investigation. 
What I don't know is why.
(Off-stage, the dog barks again in the distance.)
Why are we here, Mike? And at whose instigation?
 (MICHAEL does not answer.)
 Was it yours?'

MICHAEL: I'm only a servant, Harry. Just a servant-like you.

HARRY: Like hell you are. You're bloody Minister of External Affairs.

MICHAEL: Yes. But in matters like these, the bloody Minister of
External Affairs is still just a servant. We will talk about it tomorrow.

HARRY: But ..

MICHAEL: Tomorrow. Today, rest. That's a hell of a journey
you've just made. Moscow to here-non-stop.

JULIET and DIANA: (Off, variously.) Marian ...? Mother ...?

HARRY: Yes. I'm tired.

JULIET: (Off) Yoo-hoo! Marian...?

MICHAEL: What about this, Harry? Disappearing like this...

HARRY: Marian? It' s part of her condition.

MICHAEL: Ah...

HARRY: Yes. Alzheimer's. The disease with no design. 
Plays havoc with the memory. Like this-being lost. 
In Moscow, she would disappear for hours.
It was nerve-wracking. Once, she came back to the Embassy 
with blood on her dress.
"Where have you been?" "I don't know." "Why is there blood?" 
"I don't know." The good thing is-so far-she's always 
managed to find her way home.

MICHAEL: Thank god for that.

HARRY:  We're coping, of course. Oh, yes-sometimes we
don't even know when she's in the disease. I don't know-she doesn't.
And there's no medication. But we're coping. We're coping.

MICHAEL: I'm sorry, Harry. I am. Look, 
you must have an A-l case of jet lag.
Let's just ... celebrate the fact you're here. Shall we?
(He indicates the sunroom.) Why don't you and I find a drink?

(They go to the steps)
HARRY: She'll turn up. They'll find her.

(MICHAEL and HARRY join MAHAVOLITCH and JACKMAN in the sunroon.
MICHAEL says a few words to them and then leads HARRY 
up the stairway into the body of the house.)

 DlANA and JULIET: (Off, varionsly.) Mother ... Marian ...?
Marian ...? Mother ...!

MARIAN enters.
She carries an open umbrella and a bouquet of flowers wrapped in paper.
She looks at the garden around her and there, she stares at the river.

Music: a resolving chord.

MARIAN closes her eyes and wavers.
DIANA enters.

DIANA: Mother...

MARIAN: Where have you been, Diana? 
I've been looking for you everywhere.

DIANA: (Laughing.) I've been looking for you!

MARIAN: Aren't you cold? I thought I heard Juliet.

DIANA: You did. She's... 
Mother you can put the umbrella down.
It's not raining.
(DIANA does this for her.) 
And do you want me to hold the flowers?
(She takes them.)

 MARIAN: Just remember they're mine.
(She sits on the garden bench, placing umbrella beneath it.)
All the leaves are turning red. Winter's coming. Not my favourite.
Maybe the reason they've brought us back is to 
give your father a posting in the sun.
You think? Perhaps...?

DIANA: I can't answer that.
Everything happened so quickly. 
I got a phone call: "Your parents are arriving.
Come to Uplands!" That's really all I know.

MARIAN: (Merely saying it.) Liar...

DIANA: It's true, mother. I can't tell you anything ...

 (Still at some distance, the dog barks.
MARIAN waves her hand
 for silence. DIANA listens.)

 It's only some dog. Down by the river.  All I know is, you're
 here and I'm glad you' re here.

MARIAN: Is he lost, that dog? Look there's Juliet.

JULIET enters:

MARIAN: Somebody's lost their dog. Is it yours?
Were you looking? Is that where you've been all this time?
Have you seen the house? Whose is it? Maybe it's their dog. 
Whoever lives here.. .

DIANA: I don't really think so, mother. 
The house has been empty a long time.
This is where you're going to be staying you and Father, 
until we know what's going to happen next.

MARIAN: I hope what happens next is somewhere in the sun.
Any where but... what's-its-face ...

DIANA: Australia, maybe.
You haven't had Australia.

MARIAN: (Ignoring DIANA) Did you ever have to suffer the won
 ders of what's-its-face, Juliet?

JULIET: What's it... where?
 (She looks at DIANA)

DIANA: Moscow.

MARIAN: "What makes you so certain I mean Moscow?
Have you, Juliet?

JULIET: What?

MARIAN: Been there?

JULIET: Where?

MARIAN: Moscow.

JULIET: Yes. That was our last posting.. .

MARIAN: Muscovites are pigs...

JULIET:... before Mike became Minister.

MARIAN: Swine.

JULIET: Yes well... We rather enjoyed it there. I think it's one of
 the most beautiful embassies we have.

MARIAN: We haven't been to India.
Maybe they'll give us India. You think?

DIANA: Maybe there won't be a posting at all. 
Maybe they'll let you rest for a while. ....

MARIAN: Rest? Not here, pray God.

DIANA: I think father looks tired. Don't you, Juliet?

MARIAN: We will not rest here. (She listens.) Oh, that poor dog ...

JULIET: Whether you end up in India or Timbuktu isn't something
for us to decide. That's what I've always loved most about External ...
someone else makes all your decisions.
The only thing you have to do is catch the right plane.
(To DIANA.) Let me take those... (She talces the flowers; speaks quietly.)
Don't you think we should get her inside?

(MARIAN suddenly walks down stage.)
MICHAEL comes into the sunroom carrying a drink and an 8 x 10 
government issue envelope with seals. He has removed his topcoat.

MAHAVOLITCH and JACKMAN have finished setting the furniture in place.
Whatever conversation they have with MICHAEL is not heard-but 
their talk is obviously about the Raymonds.
HARRY, somewhere in the house, and MARIAN, in the garden.
Also ahout the contents of the envelope, which MICHAEL passes to JACKMAN.)

MARIAN: I heard that. I don't want to go inside. You know I swear
 I've been in this garden before. .

JULIET: You have.

MARIAN: That view. The river. . .
(MARIAN moves onto the jutting platfonn.)
 

JULIET: Mike and I lived here after the war. You came to visit us
when Diana was still a baby. You'd just returned from Japan.

MARIAN: There was a swing over there ...

JULIET: That's right...

MARIAN: Hanging from that tree ...

JULIET: That's right ...

DIANA: What tree?

MARIAN: And I used to swing... way out over the edge.

DIANA: What tree? Where?

JULIET: We cut it down.

MARIAN: And the view was. ..

DIANA: Isn't that funny...

MARIAN: (At the edge.) . .. electrifying...

(HARRY, minus topcoat, appears on one of the upper plat
forms. He looks down into the garden.)

DIANA: I don't remember any tree...

MARIAN: Wonderful! You could swing right into the sky.

DIANA:... why did you cut it down?

JULIET: It was old, I guess. I don't remember.

MARIAN: Dangerous and marvelous! I used to 
have dreams about letting go. 
Just letting go and sailing out over that ravine... kerplop!
 (DIANA laughs.)
With you in my lap.

DIANA: Me?

MARIAN: Yes. Baby Diana in her swaddling clothes.

DIANA: But only in your dreams...

MARIAN: Don't be afraid. I never let go of you. Not for an instant.

DIANA: Well thank you. Did we . .. land?

MARIAN: But, of course.

DIANA: In my dreams when I'm falling, I never land.

MARIAN: Well in my dreams, I do.

JULIET: Kerplop ..

(DIANA shoots JULIET a look. JULIET shrugs and smiles. HARRY
 moves away from window.)

DIANA: (To MARIAN.) Are we destroyed?

MARIAN: Destroyed?

DIANA: When we land ... are we killed?

MARIAN: Well, of course we are. You don't think you could 
fall that distance and not be killed, do you?

DIANA: No. But in dreams, things are different ...

MARIAN: Tell her, Juliet... how we used to sail out over that ravine.
She doesn't believe me.

JULIET: All I remember is the tree ..,

MARIAN: (Dispassionately.) Liar.
 (HARRY exits.)

JULIET: And the swing, of course. I remember the swing.

 (MICHAEL comes to the edge of the sunroom.)

MICHAEL: How would you ladies like to come in and 
have a drink...take a look around?

 (MAHAVOLITCH and JACKlMAN exit.)

JULIET: Good idea. It's getting cold. 
I'm going to put these in water.
(JULIET makes for the steps, but MARIAN and DIANA hang back.)
 Is the inside still as lovely as it was?

MICHAEL: A little barren perhaps. But we can rectify all that.

 (JULIET exits. The dog barks in the ravine.)

MARIAN: Maybe he's found our shattered bones, Diana-yours
 and mine-hidden all these years beneath the leaves.
\.
(MARIAN turns and heads for the sunroom. DIANA remains
down stage. HARRY enters the sunroom. 
Carrying a jug with water and ice)

HARRY: One thing about a safe house, Mike wherever they are,
 whatever their purpose-they always have the best liquor.

 MICHAEL: Yes. And plenty of it.

 (MAR1AN has been on the instant of entering the sunroom, 
but she stops in her tracks.)

 MARIAN: Safe house? Did Harry say safe house?
 (No one answers.)

JACKMAN: Steep, isn't it?

DIANA: Yes.

JACKMAN: Sometimes, not very often, you get the smell of sulfur
from the other side of the river. The pulp mills.

Diana: Yes

JACKMAN: Otherwise, beautiful. The perfect location.

DIANA: What for?

JACKMAN: Sorry?

DIANA: Perfect location for what?

JACKMAN: Well the view, of course.

DIANA: Of the river or my parents? 
You're with the RCMP, aren't you.

JACKMAN: You've got it, Miss Raymond.

DIANA: (Moving into the garden.) I'm not Miss Raymond.
JACKMAN: Well ...
DIANA: My name is Marsden. Diana Marsden. 
And what's your name?

JACKMAN: Jackman.

DIANA: Is that it? Just Jackman?

JACKMAN: Superintendent Jackman, RCMP.

DIANA: Yes, I was forgetting. 
You people never do have first names, do you?

JACKMAN: Danny...

DIANA: It doesn't really suit you does it: Danny...

JACKMAN: Well it's Daniel, to be right about it. 
But I've had Danny all my life. 
What name. might you find more suitable, Mrs Marsden?

DIANA: Oh, I don't now. Clint, or something. Burt.

JACKMAN: I see. So your impression of me is just about 
the same as my impression of you: wrong.

 DIANA: What do you mean by that?

JACKMAN: That I did know your name was Marsden. . . if it matters.
But you've been divorced and I thought you must've reverted.
Most women do, these days. Revert to their maiden name.

DIANA: I'm not, and never was a maiden, Superintendent.

JACKMAN: Well. Score one for you.

DIANA: So ... what else don't you know about me?

JACKMAN: Not much, I guess. 
Maybe what colour your underwear is.
 I do know how many husbands you've had and why you divorced them.
What books you read. What pills you take-and why.
The fact that you're a lawyer. 
I could, name all your clients, if you want me to ...

DIANA: No thank you.

JACKMAN: I know how many cases you've won-how many you've
lost-how much money you make. What sort of clients you prefer ...

DIANA: You're very thorough.

JACKMAN: It's my job, Mrs. Marsden. 
There's more, if you want to hear it.

DIANA: No.

JACKMAN: I wouldn't want you to think your father 
and mother were in careless hands.

DIANA: Are they in protective custody? 
Surely you can tell me that. Are they in danger?

 JACKMAN: There's all kinds of danger, Mrs. Marsden. Isn't there.
 (He smiles. DIANA stares at him for a mornent and then she
crosses to the steps. In .the sunroom, muted voices are raised.)

DIANA: Are you coming in, Superintendent?

JACKMAN: Not just yet.

DIANA: I wish I could say it had been a pleasure talking to you.

JACKMAN: No you don't, ma'am. But I'll accept the sentiment.

 (DIANA goes up the steps and into the sunroom. There is an
 other burst of voices. MARIAN hurries to her and takes her arm
as if DIANA's presence will make everything all right.
JACKMAN goes to the edge and looks into the ravine.
 The dogbarcs. JACKMAN brightens.
He nods as if in response to a signal from below.
Then he waves. The lights dim.)

(The sunroom. MARIAN removes her outer coat and puts
it first over one chair and then another. 
She then becomes preoccupied with a. spot on her collar.)

HARRY: Good for you, Diana. 
I was beginning to think you'd deserted us.
 Have a drink.

DIANA: Thank you, Father. Is Mother ...?

(HARRY pours DIANA a drink.)
HARRY: (Ignoring her question.) We were just discussing futures.

DIANA: Futures yes. Exciting for some.
(To MICHAEL)You're to be the next PM, I understand.

MICHAEL: Nothing is certain.

DIANA: How could they resist you, Michael. 
I think it's splendid. Your health.

MICHAEL: Thank you, Diana.

HARRY: When does it happen?

MICHAEL: The convention is in four weeks. Slightly less.

HARRY: And you're a shoo-in?

MICHAEL: So they tell me.

HARRY: I'm out of touch.

MICHAEL: Not really. The momentum is fairly recent. 
Two months ago, we thought he was going to get better.

HARRY: The Prime Minister.

MICHAEL: Yes. It is a cancer. Inoperable. 
Nothing's being said. Just that he wants to spend 
more time with his family. 
The usual write his memoirs enjoy the sunset.

HARRY: He's been Prime Minister eight years.

MICHAEL: Yes..And it's been a good eight years. Good for him
good for the country-and very good for the Party.

(JULIET: enters with the flowers in a vase.)

HARRY: How old is he now?

JULIET: Who?

MICHAEL: The PM.

MARIAN: Seventy-one.
(Everyone looks at her. She is unaware of it, concentrating on the spot.)

JULIET: (Showing the flowers.) Aren't they beautiful ?

MARIAN: Where did you get those?

JULIET: Why, I..,

MARIAN: They're mine.

JULIET: Of course they are, dear. I gave them to you when you got
 off the plane. Remember? I was just putting them in water.
 (She sets the flowers on a table.)

MARIAN: Everyone keeps taking everything. 
Where's my umbrella?

DIANA: I thought you had it, mother.

MARIAN: You had it.

DIANA: No. I folded it up and gave it back to you, in the garden.

MARIAN: When?

JULIET: I wouldn't worry about your umbrella, dear. 
It hasn't rained here in days.

MARIAN: Do you call everyone "dear," Juliet? 
Or just people you don't like?

JULIET: (Getting a drink.) My'goodness. We are cranky, aren't we ..

MARIAN: I heard that. First I'm "dear"-and then I'm "we."
People have names, Juliet.

JULIET: Yes, Marian.

MARIAN: I also happen not to be crazy.

JULIET: No one said you were.

MARIAN: You said cranky. Cranky means crazy.

DIANA: (Laughing.) Oh-Mother, for heaven's sake!

MARIAN: It's German, Krankenhaus. 
That's the crazy-house. The loony bin.

(HARRY walks away. He cannot bear this.
MICHAEL watches him.)

JULIET: (To MICHAEL.) Should we leave? (She smiles.)
Let these people get some rest...?

 HARRY: No. Please. Finish your drinks.

(MAHAVOLITCH and JACKMAN enter the garden.
JACKMAN sits on the bench, facing the audience.
MAHAVOLITTCH swings an imaginary golf club)

MAHAVOLITCH: Whammo !

JACKMAN: You missed.
(MAHAVOLITCH sits on the bench facing the sunroom.)

JULIET: Well! The election process begins.
Tomorrow night, cocktails. and a dinner palty. 
Sixty people. Under our own roof!
Can you believe it? I thought we'd done all that in our embassy days.
But... (She waves her hands.) here we go again. Of course, it's
different when you have a staff the way you do when you're
abroad. Still, I've got help coming in. Call themselves The Commissariats.
Sounds like a Russian rock band, to me. They're kids.
Students. They never know where anything is.
They offer to bring their own stuff, 
but I said yes to that, once, and the silly twits
turned up with paper plates. 
Plastic utensils. And plastic champagne glasses. I said:
"We aren't serving champagne." One of the girls made a face and said:
"I thought this was going on to be a class act." 
It's of course we are in North America, of course.
You wouldn't ctch a Brit with a paper plate! Not in ten million...
Well, I did once. But it was the American Embassy. 
A garden party. There's some excuse for that.
If you're celebrating Walt Disney's birthday and all the guests are two.

DIANA: My goodness, Juliet. Sixty. 
Where will you seat them am all?

JULIET: Garden tables.

DIANA: In this weather?

 JULIET: No, no, Diana. Indoors. But at garden tables. I saw it in a
magazine. I thought it was so clever. Garden fumiture is so sturdy.
Nice big round tables lovely little chairs. Everything white.. .

MICHAEL: Classy. (He winks at HARRY.)

JULIET: Yes. Well. Ingenuity. That's what counts. I dread it, of course.
The dear PM with his dire disease will be there. He's being wonderful
 to Mike absolutely wonderful. Shows up even in pain and waves the flag.
This thing tomorrow is a mix of the converted and the unconverted.
What Michael calls the Party-pros and the Party- poopers.

MARIAN: The patsies and the shit-disturbers.

JULIET: That's right, Marian. Call a spade a spade.
Of course, it's different, now that we're in politics.
 The rules are different. As the ambassador's wife, 
I used to memorize people's faces.
Now, as the candidate's wife, I memorize their shoes. 
In politics, every time you turn around, 
there's a whole new set of toes not to step on. Yes, Michael?

(MICHAEL waves his hand.)

And the obfuscation! The manipulationl The first thing I leamed
 when we got back to Ottawa was that I didn't have to smile any
more when I told a lie. Abroad, as the Ambassador's wife, 
I used to think of cocktailparties as discretion-sessions. 
Here, we have deception-receptions. Shocking.
But then, I'm the one who used to think that gerrymandering 
meant taking care of the Germans....

MICHAEL: It does in Germany.

JULIET: I think we'd better leave.

MICHAEL: Yes.

MARIAN: This event, Juliet what is it, tomorrow?

JULIET: A dinner party.

MARIAN: Are we invited?
 (No one knows what to say.)

DIANA: You're having dinner with me, tomorrow, mother.
Good bye, Juliet, Michael.

JULIET: Good-bye, all.

MICHAEL: (Aside.) Walk me to the front door, Harry. 
You're right. We need to have a word.

HARRY: Certainly.
MICHAEL: You go on ahead, Juliet. I'll be with you in a moment.
 (The lights fade slightly in the sunroom as HARRY leads)

 MICHAEL and JULIET off.
MARIAN stands and stares out the
 window. DIANA watches her.)

MAHAVOLITCH: (Tuming to face the audience.)
So.. When do we begin?

JACKMAN: We already have.

MAHAVOLITCH: Oh? How?

JACKMAN: Just go on sitting here. It makes them nervous.

 JULIET appears on one of the walkways between platforms.
 She is putting on her gloves in obvious distress.)
JULIET: Shit. (She looks back)
(MICHAEL enters behind her)
 You didn't have to make me do that.

MICHAEL: Do what?

JULIET: Prattle.
MICHAEL: It's your great, good talent, Juliet. Be grateful.

JULIET: But they're our friends.

MICHAEL: Precisely.

JULIET: You don't prattle at friends, Mike.

MICHAEL: You do when they're in trouble.

JULIET: Oh, god. That poor woman. (She takes his arm.)
I've never seen a woman so obviously distressed. 
She nearly bit my head off.

MICHAEL: Yes.

JULIET: She doesn't know yet, does she. 
Why they're here.

MICHAEL: No. I've only just told Harry. 
Now he will tell her. And Diana.

JULIET: That? What will he tell them?

(Michael stops, and looks at her)

MICHAEL: Harry and Marian ate here, Juliet. They've come home.
 That's all I can tell you.
 (MICHAEL exits. JULIET looks back at the sunroom and at
 MARIAN. Then she exits.)

MARIAN: There are two men out there.

DIANA: Yes.

MARIAN: I want to go home.

DIANA: We are home, Mother.
(The lights fade altogether on the two women.)

MAHAVOLITCH: Somebody left their umbrella behind.
(He found the umbrella under the bench. Now he raises it.
They sit for a moment. Then Jackman puts his hand out palm up.)

JACKMAN: You're right. It's raining.
(MAHAVOLITCH does the same.)

MAHAVOLITCH: No, it's not.

JACKMAN: Yes, it is.

MAHAVOLITCH: No, it's not.
 (JACKMAN rises.)

JACKMAN: Yes. It is, Corporal Mahavolitch.
 (Takes Ulnbrella and holds it over himself.)
 It is pouring.

 (MAHAVOLlTCH slowly rises.) .
 Come on.
(As they exit, MAHAVOLlTCH looks at the sky, 
shrugs, and turns his collar up.

(Sunroom. MARIAN stands where she was, staring at the garden.
DIANA is near the vase of flowers. HARRY enters.
MICHAEl has now told him why he has been brought home.
He is agitated, hyperactive. He crosses to the table where bottles and,
glasses and ice await him. He prepares a drink for each of them)

DIANA: (To HARRY) So. Now what?

HARRY: Now, we wait.

DIANA: What for?

HARRY: To hear what they have to say. In the morning.

DIANA: You don't know what they're going to say?

HARRY: (Lying.) No. Not precisely.

DIANA: What about mother?

HARRY: Your mother will be fine. She needs to rest.

DIANA: (Accepting a drink.) Look at her. So still. I had no idea she
 was so badly off. It must be very hard on you, father.

 HARRY: Yes. But worse, of course, for her.
 (HARRY approaches MARIAN with her drink. 
She does not move or look at him..)
Marian?

MARIAN: Why have they brought us here, Harry?

HARRY: I don't know, yet. They haven't told me.

MARIAN: Liar.
 (She looks at him. He offers her the drink. She ignores it.)
 You think I don't know what a safe house is for?
 (She takes cigarettes from her handbag-gets one 
out and looks for her lighter.)
 I do remember some things, you know. It's not all gone, up here.
 I do remember some things...
(She cannot find her lighter.)

HARRY: Of course you do.

MARIAN: Don't you patronize me, you bastard. 
Why are they hiding us? Why are we being hidden, Harry? 
They found you out, didn't they. How? 
What have you done?
(DIANA is watching HARRY.)

HARRY: Nothing.

MARLAN: We're not in hiding for "nothing," Harry.

HARRY: Don't stare at me, Diana. Light your mother's cigarette.
(HARRY puts Marian's drink on a nearby table and 
goes bade to the drinks table. DIANA lights Marian's cigarette. 
MARIAN looks at DIANA through her smoke.)

MARIAN: Do you call that thing a hat?

DIANA: I call it a beret.

MARIAN: Does that pin thing belong to me?

DIANA: No, mother. It's mine.

MARIAN: (Picking up her drink.) I never wear hats. 
I hate them. The only reason people wear hats is because 
they have something to hide. Are you going bald?

DIANA: No, mother.

(MARIAN  leans in, close to DIANA and whispers.)
MARIAN: Do you know why we're here?

DIANA: No.

MARIAN: It's a posting. 
They're going to give us another posting.
(HARRY coughs.)

Why can't we go to Mexico? I want to go to Mexico. 
Hot white sand. Cool white houses. 
In Cairo... In Cairo we had red tile floors and ceiling fans. Balconies.
I sat in the sun for days on end. Your father loved it there ... 
Didn't you, Harry  -love it there in Cairo.

HARRY: Yes.

MARIAN: Diana says they're giving us Mexico.
 (HARRY glances at DIANA. DIANA shakes her head.)

 Won't that be wonderful? Just to get out of the cold. 
That's all I want.

HARRY: We've done Mexico, Marian. Years ago.

MARIAN: Have we?

HARRY: Yes. They'll tell you this in the morning, anyhow. 
I might as well tell you now.

MARIAN: What? Another lie?

HAHRY: No. Not a lie. Mike just told me.

(MAHAVOLITCH appears on an upper level.
He puts a suitcase onfloor. He begins to undress. 
There is astraight-back chair for him to lay clothing on.)

There's been a killing. In Moscow. A young man. 
They found the body in a hotel room.

DIANA: So?

HARRY: Questions are being asked.

D lANA:  Why? Was he a Canadian? 
One of your staff?

HARRY: No.

DIANA; Then-what's it got to do with you? 
Did you know him? Did mother know him? 
What is the connection?

HARRY: He was murdered.. .

 (MAHAVOLITCH by now is shirtless.)

DIANA: But what's that got to do with you and mother 
being returned to Canada?

MARIAN: It was him, wasn't it, Harry.

(She sits. MAHAVOLITCH undoes his belt and zipper.)

HARRY: Yes.

DIANA: Who?

MARlAN: Mischa ...
 (MAHAVOLITCH kicks off his loafers.)

 DIANA: Daddy?

 (MAHAVOLITCH "freezes." The stair-door opens. 
JACKMAN enters the sunroom.)

JACKMAN: Excuse me?

HARRY: I said we wanted to be alone!

JACKMAN: Sorry. We found this umbrella. .
(He leaves it and exits.)

MARIAN: Bang.

HARRY: What?

MARIAN: Bang! The umbrella just exploded.

DIANA: Tell me who he was.  The young man -the dead man.
(MAHAVOLlTCH removes his trousers.)
Who was he? Mother knew his name.

(HARRY walks away.)
MARIAN: He was a friend. Of mine.
Of your father's.

DIANA: Murdered?

HARRY: Yes.

DIANA: My god.

HARRY: Indeed.

(DIANA looks at MARIAN. Suddenly, DIANA sits down.
She closes her eyes. When she opens them, she stares at 
HARRY with her hand across her mouth.)
HARRY: We know nothing, Diana. Nothing.

MARIAN: Liar.

MARIAN: Why didn't you tell me? 
Why didn't you tell me?

 HARRY: How could I tell you? I didn't know.
 (Both exit.)

 MARIAN:  Oh, god. Dead.

 (There is the sound of a door closing. DIANA sighs. JACKMAN
 enters-on a different level or platform.)

JACKMAN: A bit cool to be standing about.

DIANA: I don't mind. Where's your friend?

JACKMAN: Gone running. He's a health nut.

DIANA: Ah-yes.

JACKMAN: Not my style. Never was. 
Give me an armchair every time. May I join you?

DIANA: You already have.

JACKMAN: (With humour.) 
Is it me you don't like? Or just men?

DIANA: You.

 (JACKMAN moves to her vicinity.)
And you? Is it me you like? Or just women?

JACKMAN: Women.

DIANA: Thank heaven for that.

JACKMAN: Pleasant evening-in spite of the cool.

DIANA: I was counting stars.

JACKMAN: (Looking.)  There only is one.

DIANA: That's right. One.

JACKMAN: When you get to two, let me know.

DIANA: Two now  -if the moon is a star.

JACKMAN: No. The moon is just the moon, ma'am.
It was decent of you to stay on.
They'll be needing you.

DIANA: I was told to stay on.

JACKMAN: Oh-really?

DIANA: Yes. By the Minister-and you know it. 
Don't play pussy foot with me, Superintendent. 
Why don't you ask your first question?

JACKMAN: You know why they're here? 
Why they've been brought back?

DIANA: There's a dead man.

JACKMAN: That's right. A young Russian.

DIANA: I gather my parents knew him.

JACKMAN: Yes. They did.

DIANA: This young man, so I gather, was murdered. 
He was a friend of my mother's. 
Has my father been accused of this?

JACKMAN: Not yet.

DIANA: But he's a suspect.

JACKMAN: You've got it.

DIANA: But that's preposterous. What makes you think my father
could commit a murder?

 JACKMAN: What makes you think he couldn't?

 DIANA: Oh, please.
 (She moves away from him.)

 JACKMAN: (Amused.) That doesn't sound much like 
a lawyer's answer, Mrs. Marsden. 
Sounds more like a daughter's answer to me.

 DIANA: I am a daughter. 
First and foremost -where my parents are concerned.

JACKMAN: Yes, ma'am.

DIANA: Must you call me "ma'am"?

JACKMAN: Yes, ma'am!

DIANA: You sound like a boy scout.

JACKMAN: There you are then. Me "boy scout" You "daughter."
Any chance the policeman might get an answer from the lawyer?

DIANA: Not a chance in hell.

JACKMAN: You mean you aren't prepared to weigh the evidence.

DIANA: What evidence?

JACKMAN: Your father was there, Mrs. Marsden. Your father was
there. The boy was not a stranger to him. What if ...?

DIANA: What if what?

JACKMAN: What if he killed him in self-defence? 
People do that you know. Even good people.

DIANA: (Coolly.) Go on. Educate me.

JACKMAN: Put it this way, Mrs. Marsden: 
right now, you yourself are engaged in self-defence. 
It all depends how far the self extends, doesn't it?

(MARIAN enters the garden-moonlit.)

Some people think of their parents as being a part of themselves.
Yes? Parents think of their children that way.
Husbands, Wives, Extensions of the self. 
So, when it comes to self-defence... You see my point. I trust.

 (DIANA has been watching MARlAN.)

 DIANA: (Quietly.) Yes. I see your point.  My mother... My
 father ... My parents, Mister Jackman, are (Smiles.) uncommon
 folk. Exceptional. They actually love one another. Can you imagine
 that'? I regard them with a sense, I guess, of wonder-given
 what they've survived.

JACKlMAN: You're telling me you love them.

DIANA: No. Respect-yes. Love? I'm not so sure.

JACKMAN: They been married long?

DIANA: Since the war. You know all this. You must've read the brief.

JACKMAN: It says you were born in Japan. Nagasaki.

DIANA: That's right. Nagasaki is where they went 
on their honeymoon, if you can believe it. That's what they were like. Idealists. Later, they went back, just so I could be born there.
I think I was their gesture of atonement.

MARIAN: Harry?

JACKMAN: Your dad was in Japan with some sort of commission.

 DIANA: Yes.  The Canadian Mission to the Supreme
Commander for the Allied Powers for the Occupation and 
Control of Japan! SCAP!

MARIAN: Harry? Come out and see the moon.

DIANA: Mother was with them, too. As a cipher clerk.

(HARRY enters garden)

They were in their thirties, then. Young...

Do you ever try to imagine your parents, Superintendent...
what they were like before you were born?

(HARRY stands behind  MARIAN with his hand on her shoulder. 
They look at the moon.)

MARIAN:  Tell me why you came to Japan.

HARRY:  I was posted here. I had no choice.

MARIAN: Oh, come on. You could've said no.

 HARRY: I didn't want to say no. I wanted to be here. 
I wanted to see what had been done. 
I didn't want to be "told," any more. 
We were being told so many lies.

MARIAN: You knew they were lies?

HARRY: Yes. Discretionary lies, of course.

MARIAN: About the bombs?

HARRY: Yes. You said bombs. Plural. That's interesting.

MARIAN: You think so?

HARRY: Yes.

MARIAN: It was deliberate. I say it to test the waters-see who I'm
talking to. Most people let it pass. They don't even notice. 
What is it, now-not quite a year since they fell?

HARRY: Ten months, six days...

MARIAN: And ten months, three days. One-and then the other.
Hiroshima. Nagasaki. The Japanese had already sued for peace
 before the first bomb fell. Did you know that?

HARRY: Perhaps you shouldn't be telling me this. 
Aren't things like that official secrets?

 MARIAN: The war is over, Harry. I can tell you anything I like. About
 the war. Not about now, of course. Funny, isn't it. Here we are
 married-the cipher clerk and the junior diplomat-sworn to
silence. What will we talk about in bed at night? Not our secrets.
Never. Never our secrets. Only our lies. (She laughs.) 
Unless, of course, we talk in our sleep.

HARRY: The burden must have been unbearable, 
during the war. For you.

MARIAN: Yes. And no. It was just a job-if you didn't think about it.
When you did think about it-what you knew-it was dreadful.
Knowing when people would die. 
Hundreds of them-without warning... There were moments...
There were moments when I wanted... 
wanted to stand in the street and shout out the truth.
Which, of course, one never did. 
Sometimes, what you knew was wonderful.
Like the suit for peace. It was July-last year: 
July 1945-still not a year ago-good Lord!

I was in England, then a cipher clerk at 
Bletchley Park-part of a special liaison unit
decoding intercepts sent on to us by the Americans. 
This particular intercept was of a message sent
from Tokyo to the Japanes Embassy in Moscow. 
The Emperor had "brought his will to heal in favour of peace." 
Isn't that wonderful? 
The language of desperate diplomacy: 
brought his will to bear in favour of peace. 
I thought the war was over. Every minute of every day, 
I waited for the next intercept-the one that would 
say a surrender was in progress.
It never came, of course. The message we got wasn't written in code. 
It was written in bombs. Them.
One-and then the other. Hiroshma. Nagasaki. So much for peace.

HARRY: Yes.

MARIAN: There used to be a song about Nagasaki. 
Do you remember?

.
(She sings.)
Hot ginger and dynamite,
There's nothing but that at night
Back in Nagasaki,
Where the fellows chew tobaccy,
And the women wicley-wacky
Woo!

(MARIAN stops suddenly.)
Dear God-I hate who we are. I hate what we've done.

HARRY: It's all right. It's all right.

MARIAN: Nothing will ever match the barbarity of that second bomb.

Harry. Seventy-five thousand dead. To teach us all-a lesson.

HARRY: I love you, Marian.

MARIAN: Yes. And I love you. For all our sins.

 (HARRY and MARIAN exit.)

DIANA: I was born of that moment. There in Nagasaki.

JACKMAN: Were your parents communists, Mrs. Marsden!

DIANA: That's right, Superintendent. Plotting the overthrow of everything
 we stand for. There isn't any hiding from your politics, is there.
(Leaving.) Good night, Mister Jackman.

(Morning. In the sunroom, MAHAVOLITCH is layingout 
files and papers taken from a briefcase.
He wears a jogging suit with the RCMP logo on the breast-pocket.
HARRY enters the garden.
At a distance, the saund of Canada geese can be heard.
HARRY stops to listen. Facing the audience, he sights them, 
corning as from the back of the auditorium. 
As the sound increases and the geese pass overhead.

HARRY shades his eyes to see them. 
MAHAVOLITCH comes down to the sunroom windows from, 
which he also watches the geese. When the geese are directly overhead, 
HARRY raises his right arm in salutation. The sound of the geese is thrilling. 
HARRY turns all the way up stage as the geese pass 
over the roof of the house and the sound of them fades 
into the distance. Now, both men meet each other's gaze. 
This is brief HARRY exits. JACKMAN enters the sunroom. 
He wears a shirt and tie, and carries a jacket, which he throws down.)

MAHAVOLITCH: You hear the geese?

JACKMAN: I heard something. Is that what it was?

MAHAVOLITCH: About fifty of them. Took me straight back 
to the prairie-the sound of them.

JACKMAN: You miss it-the prairies.

MAHAVOLITCH: Yeah. When I hear that kind of thing, I do.

JACKMAN: You got those files in order?

MAHAVOLITCH: Almost.

(MAHA VOLITCH returns to file selection.
JACKMAN opens the 8 x 10 envelope given to him by MICHAEL. 
Draws out photographs and papers.)

You think Ambassadur Raymond lulled this Russian?
JACKMAN: It's possible. Or maybe Mrs. Raymond.

MAHAVOLITCH: The wife could've done it?

JACKMAN: She might have. Never close a door till you're all the way
through, Mahavolitch. Somebody killed the lad-
(He holds up a photo of Mischa.)-it hardly matters who.
The point is, he was killed because Harry Raymond is our ambassador.
The thing we don't understand is-why did the Russians let him go?

MAHAVOLITCH: It was them who got in touch with the Minister.?
 Them who said: "Take him home"?

JACKMAN: So we're told. But it doesn't make sense.

MAHAVOLITCH: It's a set-up. He's an agent.

JACKMAN: Could be. Make it seem he's in trouble. 
Set us off on the wrong track. It could be.
(He puts the photo down and picks up a file.)

MAHAVOLITCH: You trust the Minister?

JACKMAN: Michael Riordan? I'd better. He called us in on this.

MAHAVOLITCH: That doesn't mean you can trust him, sir.
I never did like his politics. High-falutin type. Left-leaning intel-
 lectual. Now, it looks like he's gonna be PM, for Christ's sake.

JACKMAN: That's right.

MAHAVOLITCH: Anti-American, too. 
Keeps pulling back from the
Yanks. They're our allies, for Pete's salce, but he keeps pulling back. 
We got all their fucking deserters and all their fucking draft dodgers up here. Tolerated. Molly-coddled.
There's got to be reason. I figure it's guys like 
Riordan-guys like Raymond.
Come on over! We love ya! Jesus.

JACKMAN: (Amused.) Someone should hire you as a border guard.
 Okay-let's get on with the business at hand. Potent stuff, this.

(JACKMAN hands photographs over.)

MAHAVOLITCH: (Beaming.) Phew! Yeah! Po-tent!

JACKMAN: You've got it.

 (They become relatively immobile.
MARIAN enters the garden
 and stands looking down. from. the jutting edge. 
One hand is fisted.)

 DIANA:  Mother?

 (MARIAN does not react. She might as well be deaf. DIANA
 comes along one of the walkways.)
You have this knack for disappearing.

MARIAN: I'm right here.

DIANA: Aren't you going to eat any breakfast?

MARIAN: I've already had lunch.

DIANA: You can't have, mother. it's nine in the morning.

MARIAN: Is it really?

DIANA: Yes. What's that in your hand?

MARIAN: Nothing.
DIANA: (Laughing.) Well-you seem to have a fairly tight grip on
 nothing, mother. Show me what it is.

MARIAN: (Tuming away.) No.
(MARIAN pockets her hand.)

DIANA: All right. What are you staring at down there?

MARIAN: People. Walking under the trees. (Suddenly yelling.)
Get out from under my trees!

DIANA: Mother-for heaven's sake. You mustn't yell at people. 
It's rude. (She looks over edge.) I don't see anyone.

MARIAN: They left.

DIANA: Oh. Well.

MARIAN: If you want to get people out of your life, 
Diana-yell at them.
(She tums around and yells at the house.)
Get out of my life!

(JACKMAN and MAHAVOLITCH look up. MAHAVOLITCH
 crosses to the windows.)

JACKMAN: Who's yelling?

MAHAVOLITCH: It's her-out in the garden.

JACKMAN: The wife?

MAHAVOLITCH: Yeah. (He smiles.) She's really wacky, isn't she.

JACKMAN: (Joining him.) No. She's really scared.  I kind of
like the other one. The daughter.

MAHAVOLITCH: (Leering.) Yeah?

JACKMAN: Yes.

MAHAVOLITCH: You better watch it, Supelintendent.

JACKMAN:  I know what I'm doing.

MAHAVOLITCH: Oh, sure. When it comes to women, 
we all know what we're doing.

DIANA: Undo your hand, mother. It's bleeding.

MARIAN: Is it?

DIANA: Yes.

 (DIANA comes round and sits beside MARIAN.
She forces the fist open.)
 Good Lord. It's full of gravel...
 (She tips the gravel onto the ground and gets out a handkerchief)

MARIAN: I was looking for round, smooth stones. There weren't any.

 DIANA: Oh, mother...

MARIAN: (Withdrawing her hand.) It doesn't hurt. Leave it alone.

(She wraps DIANA's handkerchief around it.)
DIANA: You should come in the house and let me wash it.

MARIAN: No, I will not go back in that house.

 DIANA: All right. I'll go. I'll get some disinfectant.

(DIANA exits. MARIAN reaches down and gathers up some on
 the gravel. She stares at it.)

MARIAN: (Speaking the words.) Back in Nagasaki-where the fel
 lows chew tobaccy-and the women wicky-wacky-woo...
 (She lays down a single piece of gravel.)
 There.  Someone else's move.
 (HARRYenters the sunroom.)

HARRY: Gentlemen. Forgive me. I'm late.

MICHAEL: (Reading.) FBI agents-this is the Washington 
Posthave established that the Watergate bugging incident stemmed 
from a massive campaign of political spying and sabotage con
 ducted on behalf of President Nixon's re-election.. .

JULIET: Fascinating. But anything of interest?

 MICHAEL: No.
(He throws the Washington Post aside and picks up the New York Times.)

JULIET: Have you read the Canadian papers yet?

MICHAEL: I read them second.
JULIET: I should have thought this morning you 
would have read them first.

MICHAEL: Why?

 JULIET: Our friends, Michael. Our friends.
(Lights rise on MARIAN in her garden-still playing one- handed 
Go with stones on the bench.)

MICHAEL: That won't be in the papers.

JULIET: Oh?

MICHAEL: Press blackout.

JULIET: At whose instigation? Yours?

MICHAEL: That's right.

JULIET: Don't you have to check that sort of thing through Cabinet?

MICHAEL: Sometimes.

JULIET: What about the PM?

MICHAEL: The PM is too ill to deal with this.

JULIET: You mean you haven't even told him?

MICHAEL: Juliet I know what I'm doing.

JULIET: Me you telling me no one knows he's here in Ottawa? 
My god, Michael. You scare the hell out of me.

MICHAEL: Nonsense.

JULIET: Don't talk to me that way. I'm on your side.

MICHAEL: Then abide by the rules.

JULIET: You're acting on your own, aren't you.
You brought them out of Russia on your own.

MICHAEL: You're conducting a one-sided conversation, Juliet.

JULIET:  You're acting on your own.

MICHAEL: Prattle.

JULIET: This is not prattle.

MICHAEL: It sounds like prattle to me.

JULIET: I know something.

 (MICHAEL looks over the Times.)
 I thought that might catch your attention.

(MICHAEL carefully folds paper, lays it aside.)
MICHAEL: Is there any more coffee?

JULIET: Help yourself.

 (MICHAEL rises, pours [imaginary] coffee from a pot on an
 [imaginary sideboard.)

MICHAEL: So? What is it you know?

JULlET: I know about the dead boy in the Moscow hotel.

MICHAEL:  Interesting. How do you know about that?

JULIET: I'm not the only prattler in town, Mike.

MICHAEL: All right. Who was it?

JULIET: I never divulge names. (She smiles at him.)
You told-me to abide by the rules, my dear.

 (MICHAEL returns to table,
and sits. JULIET pushes at her guest list.)
 Do you mind if Maty Ann Turnbull sits on your left tonight.

MICHAEL: I think you had better sit on my left tonight.

JULIET: You really do take the cake. You're afraid I'll say something.

MICHAEL: Juliet...
 (MICHAEL picks up a paper and sets it aside.)

JULIET: What I heard was-this dead young man might have been
Marian Raymond's lover.., That's the prattle.

MICHAEL: Is it, now.

JULIET: Yes, sir.

( MICHAEL rises and walks away to a window.)
MICHAEL: Juliet... I have a confession to make.

JULIET: Yes?

MICHAEL: I want to be Prime Minister. (He looks at her.)
Do you understand what I'm saying?
 ( She looks away.)

 JULIET: Yes. You're saying that-because of that dead young man
 in Moscow-you may have to throw our friends to the wolves.
  Because you want to be Prime Minister.

MICHAEL: Rule number one, Juliet: one does what must be done.
(JULIET turns all the way away from him.)

(Sunroom.. Noon. MAHAVOLITCH is acting as feeder for
JACKMAN, handing him various pieces of paper as JACKMAN
speaks. HARRY is in a contained mode, showing little reaction to the 
questions-courteous, but reserved. Not cordial, but without hostility.)

JACKMAN: Ambassador, were you ever associated with 
the Institute of Pacific Relations?

HARRY: Yes. Some years ago.

JACKMAN: Did you ever write for a magazine called Amerasia?

HARRY: Yes. I was once considered something of an expert on the
subject of Japanese culture. I served there after the war.
I'd been assigned to work with General MacArthur.
He was a sort of King. Not yet an Emperor, if you get my drift...

 (MAHAVOLITCH watches him, narrow-eyed.)

JACKMAN: You worked with a fellow Canadian there... 
(He pretends to look for a name.) a man called ... Norman.

 HARRY: Herbert Norman. That's right. He was my boss. 
Technically, I'd been assigned to him-but his work was with 
General MacArthur. Superintendent.

JACKMAN: (Cutting through.) Herbert Norman was also 
an expert on Japan?

HARRY: Yes. He was the expert. He was born there, 
Of missionary parents.

JACKMAN: Yourparents died...? A car accident?

HARRY: Yes, When I was a child. An uncle raised me. My father's
 brother.  Superintendent-it was my understanding I was
 here to talk about a death in Moscow.
 JACKMAN: This is about a death in Moscow.
 (He snaps his fingers and accepts the next file from
 MAHAVOLITCH.)

 You were a student at Cambridge university?

 HARRY: Yes. Kindness of my uncle. 
It had been my father's ambition for me.

JACKMAN: (From a list.)And your fellow students there were Donald
Maclean-Guy Burgess-and Herbert Norman?

HARRY: Yes.
JACKMAN: Over the years, you and Ambassador Norman seem to
 have bumped into one another rather a lot. Clearly, you shared
 a number of interests. Would you care to elaborate?

 HARRY: I've already told you-Herbert Norman was a revered
 Japanese scholar. I made some minor contributions on the subject.
 We often spoke of things Japanese.

JACKMAN: Nothing else?

HARRY: No. Nothing else.

JACKMAN: What about communist ideology?

HARRY: Stop this! Herbert Norman was not a Communist. 
That has been proved conclusively. Period. End of story.

JACKMAN: And you?

HARRY: There is no reason to doubt my loyalty, Superintendent.

JACKMAN: That sounds good, Ambassador. But-loyalty to what?

HARRY: My country.

JACKMAN: Well-if you say so ...

HARRY: (Losing his temper.) I know so, Superintendent. And so do
you.  Look. Get to the point. I want to know why I am here.
And my wife. And my daughter. You still have told me absolutely 
nothing about that young man in Moscow.

JACKMAN: Okay. The point. (Indicating a brown envelope.) In here,
 there are photographs. (He offers the envelope.) Look at them.

 HARRY: No.

 (HARRY, clearly alarmed, turns away. JACKMAN removes
photographs and offers them)

JACKMAN: Look at them!

HARRY: No.

JACKMAN: Ambassador Raymond-these photographs may 
not be pretty. They may not be uplifting. 
They sure as hell are not pleasant. But they are evidence.

HARRY: I'm sorry. I can't... I cannot look at him dead.

JACKMAN:  Who says he's dead?

HARRY: He was murdered. The Minister said so ... 
a hotel room in Moscow,..

JACKMAN: Well-these may show a hotel room in Moscow, 
Ambassador, but...
(He looks at pictures.) the boy in here sure ain't dead.
I could show them to your wife. See what she has to say...
(HARRY sits down)
Maybe it would help if you spoke to her. 
Tell her what we have here.

HARRY:  Yes. I will speak to her. But I will not look at
those photographs. I would rather be blind.

JACKMAN: Suit yourself.

HARRY: Thank you. May I go now?

JACKMAN: Yes, sir.

(HARRY stands up. He is a bit lost. Turns the wrong way. 
JACKMAN poin.ts out the