Pinter's characters' internal fears and longings, their guilt and difficult sexual drives are set against the neat lives they have constructed in order to survive. Like Thackeray, he follows wherever his characters lead him. In this sense Pinter gives no suggestion of where his drama is leading us, nor does his language. Contrast this with the language of a well-made play and the language of Pinter shows in obvious relief - verbal purpose, straight direction as opposed to apparent ad hoc verbal activity. In a way then Pinter's plays do not end in the conventional sense. They stop, as do the staccato speech acts we are familiar with.
The emptiness of the dialogue shows the emptiness of the characters' relationship with each other, the stale familiarity of their lives and yet their determination to go on making friendly conversations, which is brought to the fore by the repetitive use of the word nice. On the surface it conveys nothing but on the dramatic level it carries much compact and compressed information: the vain attempt at conversation, the desire to be friendly, into an astonishingly brief space. 2b1af7f3a8