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Wonderlands
Katherine Thomson
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Wonderlands
Katherine Thomson
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In 1931, Alice, a white station owner, goes riding with her Aboriginal head stockman and friend, Jim. During the course of the afternoon, they come to an agreement about the running and ownership of the property, Ambertrue.%##CHAR13##%%##CHAR13##%Many years later, in an environment of white paranoia fed by misinformation, Alice's great nephew Lon finds himself running Ambertrue. When Lon receives a letter announcing a native title claim in the area, he is terrified that his dream of passing the family property on to his son-in-law will be shattered. Includes an introduction by Henry Reynolds and a foreword by Bob Munn (a Gunggari Native Title claimant).
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Thema
LiteratureThema
DramaACT ONE
Bush sounds. EDIE, CATHY, LON and TOM appear.
EDIE: Over the river. The other side of the river from here. On the second Yumba. Tin houses that grew like topsy, whenâs that hammering ever going to let up, our parents used to say. How many more extensions can that poor old excuse for a house take? Not always bodgy, sometimes good. Kerosene lights and long shadows across the circle of dirt grown smooth and bald from all those feet playing rounders for as late as you could as kids. Are you kids still playing rounders, schoolâs tomorra. And casuarinas and trudging home from the pictures along the creek on a moonless night, the noise of old aunties playing cards to steer you home by. And good weâre not on the run anymore. And Jim the water tank coming over selling water and werenât we mugs thinking that was all right when town water had been on for years. In town. Everyone knew everyone. Gambling away under the stars.
LON: When itâs that still you can hear your own pulse. Some days that still youâd swear you can hear your old man. Watch that woody weed before it gets a hold. Clear as day. Everythingâs always sooner than you think.
TOM: Up the top of the second hill from the homestead. Not when the light bleaches everything to a blur, but morning time. Dusk. The top of the trees, you look down on them, theyâre making patterns like in paintings. If an artist came, theyâd paint the trees, the horizon maybe, the red earth. One thing for certain is even if I was there with them they wouldnât paint me.
CATHY: When you open the gate to leave, thereâs a ridge thatâs been made in the soil. Over the years. The gate must have scratched and scraped that dirt and now thereâs an arc. And on top of that little arc, near the fence post, are a couple of flowers. Weeds really, that manage to grow. I notice them. And Iâm always careful when I open the gate not to crush them. Tessie and Lon, sometimes they crush them, but eventually they grow again. I donât say to them watch the weeds. Theyâre my secret, I suppose. My pact with the weeds. If a pact can be one way.
Transition.
The heat of the day. LON is waiting for TOM, who is repairing a fence, offstage.
LON: [trying to find a rhyme] Wedding⊠Wedding⊠Treading. Heading. Bedding. Jesus. HeadingâŠ
Pause.
Only yesterday it seems
That Tessie was on her first pony,
Today sheâs resplendent in white
And hitched to Tom Maloney.
As kids they played and raced their horsesâ
TOM enters during the following. LON repeats some of the poem for him.
Howâs this? Dum de dum de dum, etcetera, bit of work needed at the top thenâŠ
Today sheâs resplendent in white
And hitched to Tom Maloney.
As kids they rode and raced their horses
From Sanders End to Devilâs Coursesâ
TOM: Thatâs good.
LON: My darling Tessie has become Tomâs bride, Now theyâre up for a whole new ride.
Pause.
Iâll work on the last two lines.
TOM: Good. Itâs good.
LON: For the reception. Itâll change. You need to think about it for a while and⊠Iâll work it up.
TOM: Wouldnât be an occasion without one.
LON: Itâs an occasion all right.
TOM: It will be.
LON: Youâre working up a sweat all right. Sorry I canât help.
TOM: Smoke-oh, eh. [Pause.] Sheâs feeling the pressure, I think. Tessie. The wedding.
LON: Women get nervous.
TOM: Once she gets the dress right.
LON: Once she gets the dress right. Thatâs right. [He kicks his heel into the soil.] You think how many times youâve fallen on this. Hard as iron. Christ, Iâve had some falls on this.
TOM: If itâs got four legs it can knock you down.
LON: You think back to those stock camps. Sleeping on the bare ground. I probably wouldnât get back up again these days.
TOM: Youâre going all right.
LON: Still, it can feel like a mattress when youâve done a hard dayâs work. Until about three oâclock in the morning when the Bundy wears off.
TOM: True.
LON: Very few nights I havenât slept here, Tom, on this property. Very few nights in my life. On the few occasions I wasnât sleeping here I dreamt all night I was.
TOM: I had a dream the other night. About that fan belt in the generator.
LON: Dream how to fix the blasted thing?
TOM: Almost. Every night I shut my eyes and go come on, have that dream again, but this time donât wake up.
LON: Weâll figure it out.
TOM: Yep.
LON: You know, when my father arrived out here to take over he was a city boy, all he knew about the land was that vegetables grew in it. No natural affinity whatsoever. Sure, heâd spent his Christmas holidays up here, to see the old aunty, and the spinster cousin Alice. I remember him saying after this cousin Alice died, and the will was read, and he came up here to take over, he scanned the property and felt like heâd been handed an orphan. This land was orphaned, and the stock was orphaned. But he knew heâd been called to set it right. And he lived up to the task that had been set. You get me? You get what Iâm saying?
TOM: No.
LON: Iâm not a well man.
TOM nods.
I mean really not well.
TOM: Youâll be right once you ease up a bit.
LON: You know what the specialist told me, Tom?
TOM: To go easy. Which is why Iâm⊠go on.
LON: More than that. Thank Christ Cathy wasnât with me that day, sheâs high strung enough as it is just lately. This doctor, he looked me in the eye, and said I shouldnât be surprised if one day I just dropped down dead. Iâd have thought being surprised about itâd be the least of my worries, but they were his words and I gleaned his meaning. After something like that you look at things differently.
TOM: I imagine you do.
LON: I do imagine. You look at things differently. What you might have done. Youâve done this. Youâve done that. Youâve kept this land going. Youâve developed runs, sunk bores, scraped through more droughts than youâve had hot sausages, but you always think you could have done more.
TOM: ...