the family or to return to America with him (pp. 91–92). Ruth understands exactly what is being proposed and appears very open to the proposal. She inflexibly negotiates her demands, including a three-room flat and a maid as the terms of a "contract" (p. 93) with Lenny, all of which must be finalized in writing with signatures and witnesses, leaving Lenny nonplussed but hapless. Ruth clearly is adept at getting what she wants (pp. 92–94) and Teddy prepares to return to America without her. Having spoken up a few times earlier to voice his objections, Sam blurts out a long-kept secret about Jessie and Max's friend MacGregor, then "croaks and collapses" and "lies still" on the floor (94). Briefly considering the possibility that Sam has "dropped dead" and become a "corpse" (p. 94), the others ascertain that he is still breathing ("not even dead"), dismiss his revelation as the product of "a diseased imagination", and ignore him thereafter. After a pause, Ruth accepts their proposal, conditionally: "Yes, it sounds like a very attractive idea" (p. 94). Teddy focuses on the inconvenience that Sam's unavailability poses for him: "I was going to ask him to drive me to London airport" (p. 95). Instead, he gets directions to the Underground, before saying goodbye to the others and leaving to return home to his three sons, alone. As he moves towards the front door, Ruth calls Teddy "Eddie"; after he turns around, she cryptically tells him, "Don't become a stranger" (p. 96). He goes out the front door, leaving his wife with the other four men in the house. The final tableau vivant (pp. 96–98) depicts Ruth sitting, "relaxed in her chair", as if on a throne. Sam lies motionless on the floor; Joey, who has walked over to Ruth, places his head in her lap, which she gently caresses. Lenny, stands looking on and observing. After repeatedly insisting he is not an old man, and getting no reply from Ruth, who remains, as usual, tactically silent, Max beseeches her, "Kiss me" – the final words of the play. Ruth sits and "continues to touch JOEY's head, lightly," while Lenny "stands, watching" (p. 98). In this "resolution" of the play (its dénouement), what might happen later remains unresolved. Such lack of plot resolution and other ambiguities are features of most of Pinter's dramas. Symbolism and irony of title In addition to the play