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UBC Theses and Dissertations

A scent of flowers : a record and analysis of a production Freiman, Judith Ann 1969

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A SCENT OP FLOWERS A Record  and A n a l y s i s o f a P r o d u c t i o n  J U D I T H ANN FREIMAN B.A., U n i v e r s i t y  of B r i t i s h  Columbia, 1 9 6 6  A T H E S I S SUBMITTED I N P A R T I A L FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS i n t h e Department o f THEATRE  We a c c e p t t h i s required  t h e s i s as conforming t o t h e  standard  THE U N I V E R S I T Y OF B R I T I S H COLUMBIA January, 1 9 6 9  In p r e s e n t i n g  for  this  thesis  in p a r t i a l  an a d v a n c e d d e g r e e a t t h e U n i v e r s i t y  that  the L i b r a r y  Study.  thesis  shall  I further  agree that  for scholarly  publication  permission  p u r p o s e s may  of this  w i t h o u t my w r i t t e n  Department o f  thesis  Theatre  September.  1968  Columbia  Columbia,  I agree  for reference  and  f o r extensive copying of  this  be g r a n t e d b y t h e Head o f my  It i s understood  for financial  permission.  The U n i v e r s i t y o f B r i t i s h V a n c o u v e r 8, Canada Date  of B r i t i s h  make i t f r e e l y . a v a i l a b l e  D e p a r t m e n t o r b y hiJs r e p r e s e n t a t i v e s .  or  f u l f i l m e n t of the requirements  gain  shall  that  n o t be  copying  allowed  ABSTRACT  A  Scent  directed  by  of  Judith  requirements of  Theatre  Frederic  The along the  the  Master  Studio  of  Arts of  was  fulfilment  degree  B r i t i s h  from  produced  i n the  the  Department  Columbia,  Wednesday,  of  and  at  the  January  31  to  1968.  i s a  detailed  director's  record  analysis  and  of  that  production  interpretation  of  script. A  Scent  of  a  three  and  five  The  non-Equity Arnott;  a  was  half  record  theatre  The  Susan  set  into  which  begins  information  about  James  Saunders  a  detailed  particular basis with  of  examination  emphasis  the  themes  on  d i r e c t o r i a l  re-emphasis  on  the  and of  the  budget  period one  and  $300.00  had  a  hundred  students  designed  of  by  and  run  three three  Brian  Gibson.  i s divided  basic  five  was  essay  recurring  a  seating  of  i s an  his  on  rehearsal  composed  performers. by  produced  week  i n a  c a s t was  costumes,  This f i r s t  Flowers  performances  people.  by  Saunders  i n p a r t i a l  Theatre  3,  following the  James  University  February  with  with of  of  by  Freiman,  f o r a  Wood  Saturday,  Flowers  A  three  with  brief  and  h i s  main  a  sections.  biographical  short  style.  discussion  This  Scent  of  Flowers  structure  of  the  concept. play  as  an  The  essay  image.  The  play  of  i s followed with as  the  concludes  i i i  The  second  including into For  which  and cuts,  unit  action,  light,  o r beat  dominant  any d i f f i c u l t i e s third  o f the actual  there  significant  sound, i s a  i s made  r e l a t i n g  up  d i r e c t l y  t o the  of  cues,  and  box office  and copies  include  colour  drawings, working  cues,  reports.  program  taken i n terms  o f various  a r e t h e i n s e r t i o n s f o r t h e mass music  cues.  analysis  character  Included light  d i v i s i o n  and scenery  brief  approach  emotions,  script  of  dominance,  involved.  section  i l l u s t r a t i o n s  up  blocking,  indicates the d i r e c t o r i a l  The and  i s made  and i n d i c a t i n g  major  purpose, and  inserts  beats, each  section  properties,  Also  included  and f i n a l l y ,  i n A c t I I and  are a The  o f the f l o o r  drawings.  Approved  j$y:  cost  sample  o f the production,  blueprints  records,  production.  costumes,  of the press reviews.  photographs  tables,  l i s t s l i s t s ,  o f the  i l l u s t r a t i o n s costume plan  and  TABLE  OP  CONTENTS  Page  Introductory  Essay  1  Notes  16  Bibliography  17  Prompt  Script  18  Analysis  93  Beat  Tables  114  Appendix  130  Program  130  Reviews  131  I l l u s t r a t i o n s  133  LIST  OP  TABLES  Page  Mass  Inserts  114-  Light  Plot  and  Cues  117  Sound  Plot  and  Cues  121  Properties  Costume  List  Plot  Play  Cost  Box  Office  Report  Report  122  125  127  129  v i  LIST  OP  ILLUSTRATIONS  Page  Production  Set  Photos  133  Drawing  Costume  137  Drawings  138  Pred  138  /.  Sid  . . .  139  Scrivens  140  Priest  14-1  Zbe  14-2  David  14-3  Pred  and  S i d Act  Agnes  Act  I I  Agnes  Act  I  I I  14-5 and  I I I  Granny  Working  Light  146 14-7  Drawings  Ground  14-4-  Plan Plot.  Lighting  Instrument Schedule  14-8 14-g 14-9 150  INTRODUCTORY  ESSAY  1  James January degree  8,  City  nine  plays  writing  one-act  plays:  while  Double  ('62),  Neighbours  Time  I ' l l Sing  Russell an  has Poor  Return  To  A  ('61),  ('64) a n d two  You  he  Alas  (Bog Accident)  outlines  Taylor,  (•62) a n d A  Anger  of the early  appraisal  f u l l - l e n g t h Scent  a  not very  much  of  notatively  tool.  He  gives  plays theme,  has a talent  as well  Taylor  t o express a  brief  as well and  as a  that  and that  of  theme  so  ideas  oblique  Saunders*  language i s  connotatively  consistent  simple  f i n a l l y  theatre  then,  1  plot  (though not perhaps  implies,  i tboth  Saunders  a s f o r t h e more  i n t e l l e c t u a l uses  t o date,  about  f o rthe Neo-Shavian  i s basically  prime  He  character,  action  o f Ionesco"."*"  statement  inaccessable  Saunders talent)  h i s t o r i a n  and A f t e r .  of language,  "that  individual  h i s only  extremely concise  i n h i s book  theatre  ('55),  f o r a  ('64).  provides  states  To  on  studying  Committal, Barnstable, Accident  Next  London,  and t o date  Moonshine  Slight  John  his  i n Islington,  A  Flowers  mode  born  began  !  ('60),  work  He  The A r k ( 5 9 ) ,  Double  and  1925.  was  i n Chemistry a t Southampton,  written Pred,  Saunders  and de-  o f human  non-  communication. More human  must  despair,  subjective  be  said  o f Saunders'  h i s fascination  r e a l i t i e s ,  with  concern  to  communicate  the depiction  and h i s i n t e r e s t  i n dramatic  of structure.  2  In  a l l h i s works  i s o l a t i o n . and  their  Instead  Saunders  of confrontations  environment,  psychological  focuses  the central  i s , subjective views  Alas  Poor  Fred  centered  some  seems  time  t o be  between  individuals involve  and p h i l o s o p h i c a l i n t e r p r e t a t i o n s o f  that  at  individual  c o n f l i c t s  behavior;  ship  on  i s an examination  around  Fred  "who  i n the past, l i t t l e  of  was  r e a l i t y . of a m a r i t a l  apparently  b u t o n whom  agreement,  even  human  r e l a t i o n -  cut i n half  otherwise  there  to the question  of  what  2 he  actually  Fred the of  looked  i s the only outset,  human  then,  points  (in  mime)  and  the other  chistic walk".  the situations time,  a  about  recurs  i t  i s an important Double  i n Saunders'  takes  part  place  which  human  dance  he  point  At  complexity  keep  people again  despair. on the  scenes,  o f fa l l her  while  work  the  and which,  wife's  "one i n clothes  i n front  an elaborate  character's  situations  Double  up  h e r husband  one  with  specific  provocative  i s that  relationship.  concentrates  she takes  she b u i l d s  Presenting  i s done  and create  i n two  asleep,  and performs  fantasy  apart,  Saunders  expecially  when  i s concerned  relieve  out that  h e r husband  implication  of the couple's  Saunders  both  o f view,  which,  Taylor's  a n d , a t t h e same  paradoxically,  point  basis  relationships,  together  Taylor  l i k e " .  of him,  semi-maso-  i s out f o r a of view  and t h e manner  towards i n which  of h i s style. i n a busman's  cafeteria.  3  The  setting,  gesture, very  dialogue)  r e a l i s t i c  presents their are  ten  each  no  purely  externals  the  B r i t i s h  Within  this  self-conscious  i n  their  effective  view  only  have  communication  thereby  i n  people  mutually  the  into  manner  a  of  drivers,  this  group pass  each  other,  Therefore  subjective  portrait Ghekov  by  mentally  place.  purely  a  Saunders  merely  They  i n  (bus  excluding  takes ten  i n  and  (costume,  class  characters  dealings.  monologues,  character  working  environment,  i m a g i s t i c a l l y  more  of  environment,  The  communication  ten  blended  by  personal  themselves,  v i r t u a l l y  of  depict  manner.  together  other  isolate  of  and  a s s i s t a n t s , waitresses).  held  and  properties,  of  and  we points  non-  Pinter  than  Ionesco. Actually,  usually  may  as  having  i n  one  be one  them.  The  character  particular  end  necessitates  between time film,  central  concern  h i s  structure  of  films.  i t i s  on  the  time  to  one  Saunders  e n t i t i e s a  and  cubistic  or  general as  then  being  of  type, involved  profoundly  f i n a l l y  view  They  combines  one  central  theme.  with  A  depicting with  d i s t i n c t i o n  based  structure  possible  as  drawn.  characteristic,  experimentation  sequential  based  i s  simply  described  separate  result  one  Saunders'  are  relationship.  the  of  characters  immediately  specific  investigates  and  h i s  of  on  the  with  r e a l i t i e s  fragmented  must  be  c a u s a l i t y and  mental  eliminate  subjective  made  here  subjective  associations. f a c i l i t y  style  With  events  i n  4-  a  c a u s a l sequence  o r t o change p o i n t  o f t h i s a r i s e s a new  of view r a p i d l y .  method o f s t r u c t u r i n g p l o t .  As  Out  Hauser  explains:  The m o s t f u n d a m e n t a l d i f f e r e n c e b e t w e e n t h e f i l m and t h e o t h e r a r t s i s t h a t , i n i t s w o r l d p i c t u r e , t h e b o u n d a r i e s o f space and t i m e a r e f l u i d s p a c e h a s a q u a s i - t e m p o r a l , t i m e t o some e x t e n t , a spatial character. I n t h e t e m p o r a l medium o f a f i l m , we move i n a way t h a t i s o t h e r w i s e p e c u l i a r t o s p a c e . . . . d i s c o n n e c t i n g the i n d i v i d u a l stages i n the d e v e l o p m e n t o f e v e n t s and g r o u p i n g t h e m , g e n e r a l l y speaking, a c c o r d i n g to the p r i n c i p l e s of s p a t i a l order. The r e a l s p a t i a l i z a t i o n o f t i m e i n t h e f i l m does not t a k e p l a c e , however, u n t i l the s i m u l t a n e i t y o f p a r a l l e l p l o t s i s p o r t r a y e d . The way i n w h i c h , i n P r o u s t , p a s t and p r e s e n t , dreams and s p e c u l a t i o n j o i n hands a c r o s s t h e i n t e r v a l s o f space and t i m e , t h e s e n s i b i l i t y , a l w a y s on t h e s c e n t o f new t r a c k s , r o a m s a b o u t i n s p a c e and t i m e , and t h e b o u n d a r i e s o f space and t i m e v a n i s h i n t h i s e n d l e s s and b o u n d l e s s s t r e a m o f i n t e r r e l a t i o n s : : a l l t h i s corresponds exactly to that mixture of space and t i m e i n w h i c h t h e f i l m moves.  Saunders  is utilizing  t h i s montage a p p r o a c h t o p l o t  n o t on t e m p o r a l , b u t s p a t i a l , basis which lends a f i l m i c particularly S i n g To Y o u The  t o h i s two  fluidity  It i s this  structural  t o h i s p l a y s and  f u l l - l e n g t h works,  Next  Time  three actors,  Time I ' l l  S i n g To Y o u  are  an a c t r e s s , and an a u t h o r -  d i r e c t o r meet i n a t h e a t r e t o r e h e a r s e a p l a y b a s e d life  I'll  and A S c e n t o f F l o w e r s .  b a s i c events o f Next  very simple:  order.  based,  o f A l e x a n d e r James Mason, t h e H e r m i t  of Great  on  the  Canfield.  5  The  characters,  naive, an  too,  unquestioning,  e p i c u r i a n who  own  may  cynical  Dust;  Rudge,  actor-Hermit.  human  Downes  point  of  view.  v i r t u a l l y  With deal  dying  funeral barely  The in  a  play  lived,  passes  plot  state  necessary attitude  play  of  i s  and  as  the  of  on  of  as  the  the  voice  of  theme  characters  h i s  own  counterpoint  c r i s i s .  a f f a i r  i n which  she  had  c r i s i s  she  home  family.  hoping  I t  i s  diminishing of  the  the  poem  scent  of  air"*'  which  of  the  perceivable. A  young  She  was  necessary  become  possible  Flowers.  security offered equally  i t i s now  image.  i s minimal.  emotional  her  an  barely  the  from  the  "trembling  toward  counsel  Scent  by  the  perceived,  returned  Each  background, A  represented  s p i r i t u a l  i n  fugue  philosophical  essentially  i t s e l f  of  Mason".  theme  with  flowers,  kind  i s ,  r e l a t e d .  foregoing  s p e c i f i c a l l y  l i f e  the  "a  h i s  a n a l y t i c a l  Structurally,  vocal  s p a t i a l l y  the  This a  The  the  frightened,  states,  develops  s e r i o u s l y as  the  the  and  as  Meff,  and  Jimmy  up  to  simplicity;  s o l i t u d e and  takes  is  mere  Lizzie,  uncomplicated;  only  paranoid  of  but  world  seeking  Panter  described:  the  humanist  Mollie  easily  confused  takes  non-sequiturs;  he  by  g i r l , torn  the  Instead,  receive a  church  At  series  was  between  adulterous  involved. to  Zoe,  and  i t s  love  this  comfort of  the  time and  confron-  of  6  tations  occured  which  farther  inside herself until  and  she committed  and  three  various  easily  suicide.  i n Next  Time I A l l  who p r o v i d e s  and' s e l f - i n v o l v e d ; Th'e"-other t h r e e point' i n terms apprentice;  rather  in  terms  Sing  carry  outthe  To Y o u , t h e c h a r a c t e r s a r e Godfrey,  a sounding-board  characters of their  and S c r i v e n s ,  significantly  Zoe.  self-contained  These devices  three  this  function  i n the play  relationships.  Saunders  i n which  at  Edgar.  craftsman; S i d ,  undertaker.  of character  of the conflict  ofreasonability;  be d e s c r i b e d  Pred,  as s t r u c t u r a l  i s , o f course,  step-  i r r e s p o n s i b l e Uncle  may b e s t  work:  the loving  f a t h e r David,  and romantic,  than i n terms  character  impossible  comes t o mourn h e r  and two workmen,  stepmother;  -  more  Her f a m i l y  The f a m i l y :  Agnes , t h e " w i c k e d "  far  s o l u t i o n s "became  f a r t h e r and  o f t h e f u n e r a l s e r v i c e and b u r i a l .  described.  brother  her. t o w i t h d r a w  men, a n u n d e r t a k e r  duties  As  caused  describes  The m a i n her only  she f i n d s h e r s e l f :  Zoe h a d t o embody a l l t h a t I w a n t e d t o e x p r e s s about t h e n e c e s s i t y o f being a l i v e . And so I made h e r y o u n g , I made h e r a g i r l , a n d I made h e r dead, so t h a t t h e audience c o u l d see att h e same t i m e t h e f u l l n e s s o f h e r l i f e a n d t h e a c t u a l i t y o f h e r death. To make h e r l i f e a s v i v i d a n d a s i n t e n s e a s p o s s i b l e , I made h e r f i r s t o f a l l i n l o v e , i n v o l v e d i n an impossible love a f f a i r . A n d t h e n I made h e r a C a t h o l i c , creating this insoluble conflict of loyalties.'  7  The  complexity of  presentation family  and  various By  the  tions he  aspects end  of  the  of  a  -  great  of  the  the  and  of  f i r s t  g i r l  g u i l t  the  Zoe's  growth  a  on  subject of  gradual  vehicle  character not  her The  are  of  i s the  events  merely  of  the  individual  constructed  similarly  using  spatial  way.  I t i s primarily  structure A  Scent  of  and  rather  Flowers  may  and  end  i n the  Her  question to have two  point  elements Next  of  and of  a  Time  theme  or  an  1  to  do  and  with  c o f f i n  the  and  act.  Sing  then,  structure To  even  examination  You  but  more  of  character analysis  appreciated.  becomes  meanderings  characters,  i n an  comes  Scrivens  complex 1 11  This  she  Her  this  the  elements  through  act,  l i t t l e  acts.  and  l i f e  philosophical  grave f i r s t  third  by  church  of  act,  adultery  plagued  the  action  be  woman  intima-  second  security.  temporal  than  the  and  With  perceive  presented  Catholicism young  and  relationships.  comfort  focal  to  has  may  from  and,  her  her  we  her  suicide.  death.  which  and  the  background  alienate  of  created i n the  person  a  f o r Saunders'  acceptance  from  her  Throughout  between  which  sources  merely  about  Saunders  becomes  to  the  act  individual.  leads  of  facts  personality  alienation end  many  conflict  former  c h a r a c t e r i s c r e a t e d by  situations  her  complex  charming  anxieties family  a  snatches  develops  and  of  Zoe's  f i l m i c  this that  8  Three exist  i n the play:  l i n e a l the  structural  which  and  permanence;  the  boundaries A l l  basic  the structural  fact  this  fact,  plot  -  former  a  of past  i n common: Saunders  l i n e a l  may  be  coffin,  out  the funeral  uses  time  lapse  and present) planes  u t i l i z e s  proceedings  t o the church.  pieces  F o r example,  i n Act I  stepmother  and m i s t r e s s  o f t h e house  and  ready.  grief  (Agnes  o f  existence.)  the  funeral  going  which  developing  manner.  conducting  have  The  I n Act  and  I  carrying  i n t h e dead  g i r l ' s  funeral The  l a t t e r  characters but i s  rather  -  same  of events.  than  causal Agnes  enter  and  - h e r  look  everything i s i n order  preoccupied  through  I n the course  bouquets  the  i n elaborating  Zoe w a t c h e s  that  i s naturally  and i s merely  day  pattern  sure  have  at the graveyard.  sequence.  t o make  memory.  Act I I i s her  by  t h e room  i s , crossing  F i r s t l y  o f i n f o r m a t i o n and  associative  objective  to depict  depiction  structured  around  (that  a r e assembled  A c t I I Ii s h e r b u r i a l  and  between t r a n s c i e n c e  two methods  and those  of  development;  of the play  Zoe i s d e a d .  the mourners,  t h e same  contrast  and a n o n - l i n e a l  f o r the t r i p  mass.  to plot  described i n the following  the  home  a  distinction)'  the combination  of subjective  creates  the third,  dogmatic  involves  approaches  the combination  of view  (without  the f i r s t  and n o n - l i n e a l  second,  points  planes  with her  the motions  of making just  been  ready  of her she  own every-  arranges  brought i n .  93  She  stoops  Zoe  screams,  into her  a  to  pick runs  monologue  lover  and  up  a  over,  bouquet grabs  explaining  of  the  that  white  roses.  bouquet the  and  white  Shift,  launches  roses  are  from  that:  He o n c e s a i d : W h e n y o u s t o p s e e i n g me, as you w i l l . . . I ' l l send you t e n w h i t e r o s e s , one for each month we've known each o t h e r , and each y e a r I ' l l send another t e n ; I ' l l choose each r o s e i n d i v i d u a l l y t o make s u r e i t ' s p e r f e c t , so t h a t i n y e a r s t o come . . . t h e a c t o f choosing t h e s e t e n r o s e s w i l l f o g a moment b r i n g b a c k a glimmer of remembrance.  Shift  once  realizes relates  again.  that an  the  and  so  on  the  important the  mental  Granny  anecdote  trates  i s  Zoe,  the  transitions or  of  thought.  in  order  be  properly  These  f o r the  subjective  of  Zbe's  of  the  childhood which, relationship  this  between  and  As of  I  any  occurrence  occurrences  and  be  and  f o r Zoe,  have  i l l u s -  them.  t r i e d  that  Shift  to  non-linear  begins  must  room,  her,  between  associations;  transitions,  the  structure  i s , what  the  next  clearly  new  chain  presented  therefore the  structural  and  death.  members  objective The  of  plane  the  points  subjective family  i n v o l v e s the of  points  a l l of  view  plot,  to  of  whom  presentation  toward view  are  are  -  indicate,  understood.  second  of  across  acknowledges  continues.  environmental  of  The  from  act  part  moved  i s there,  relaxed, firm as  having  the  fact  those  emotionally  tied and By  to  the  situation;  Scrivens  who  presenting  contrast  may  these  between  be  burial,  disperses,  but  Fred  a  has  always  i s  their  function  mechanical from  h i s  detached  l i f e ' s  the  that  objective,  points  After  job  the  view,  transience Zoe  and  and  of  f o r  no  Sid  they  perform  Scrivens  Fred,  having  f i l l  always  known  obtains  and the be  the  Zoe. a  acquires  family  grave  -  done.  i t mindlessly too  Sid,  permanence.  exists  to  w i l l  of  Saunders and  remain and  consistency.  not  longer  been  those  It  and  with  constancy  function.  I've a t t e n d e d t h e h i g h e s t and the l o w e s t . I can do y o u s i m p l e o r I c a n do y o u b a r o q u e . I can do you a h e a r s e and one, one carriage that i s , f o r a n y t h i n g up t o s i x , n o t counting the deceased, I c a n do y o u a h e a r s e a n d three, four, seven or e i g h t , i f y o u l i k e , i t ' s a l l one t o me. The common f a c t o r i s d i g n i t y . You c a n be u g l y or b e a u t i f u l , crooked or s t r a i g h t , r i c h or poor even poor. Y o u ' r e a l l t h e s a m e t o me. What's i n t h e b o x i s n o t my province, the r i t u a l i s the t h i n g . F i l l i t w i t h peanuts i f you l i k e , i t m a k e s n o d i f f e r e n c e t o me; I shall usher i t into i t s appropriate hole i n the ground with a l l due ceremony.^  He  i s u t t e r l y  certain deal  involved  amount  with.  But  of  with  cocksure  Saunders  his  job  disdain  has  given  and, f o r  i n  the  Scrivens  fact, people  has he  s p e c i a l  a must sig-  nificance . As a l l  funeral  segments  of  d i r e c t o r Scrivens society.  People  has from  learned  to  a l l classes  deal and  with a l l  ages At  come  t h e same  quality i n  to Scrivens time,  (other  Act I I ) .  Saunders  than  Zoe  and t h i s  affords  embues  the fact  him a  him with  that  he  universality.  a  s p i r i t u a l  doubles  as the  priest  states:  Do y o u k n o w w h a t M r . S c r i v e n s i s ? H e ' s t h e k i n d g o d l i k e p a r e n t who w r a p s t h e n a k e d h a l f - a s l e e p child i n a woolly blue blanket a n d , f l i e s with i t across the seas through the n i g h t .  Scrivens from and  takes  procedure. omnipresence  with  Zoe's  conditions ment  H i s job affords and he  i s able  o f human  of Fred, process  of a l l the details.  questioning  Saunders  the  care  to present  existence  t o the process  the  o f the r i t u a l  No  human  interaction  need  be  o f who  to  subjective  viewpoint  suggest  of the other  the transience  relationships  through  r i t u a l  omnipotence  enough  to  Their  deal  an  i t .  meaningfulness.  The  r i t u a l  remains  This  i s i n  contrast  that  of existence;  o f an i n d i v i d u a l .  towards  a t t e n t i o n t o  and i t i s through  characters  detach-  aesthetic  r i t u a l ' s  involved.  performs  eternal  attitude  Strict  that  and  the emotional  represents  creates  regardless  viewpoints  of  and wise  of l i v i n g .  intact any  kind  permanent  Scrivens.  funeral  approach form  i s patient  creates  i n Act I I I .  S i d ,and  o f Zoe's  him a  He  the  Saunders  of the l i f e  In this  plane  subjective i s able  t o  and  of structure,  then, to  Saunders j u x t a p o s e s o b j e c t i v i t y  and s u b j e c t i v i t y  p r e s e n t h i s m a i n theme - t h e p a r a d o x o f human e x i s t e n c e . The  t r a n s i e n c e d e s c r i b e d above i s t h e r e s u l t  c r e a t i o n o u t o f common e x p e r i e n c e s o f m e n t a l s t a t e s between i n d i v i d u a l s ; When a n i n d i v i d u a l which  ceases  t h a t i s , human  to exist,  he h a s b e e n i n v o l v e d i n c e a s e  of the  and e m o t i o n a l relationships.  the relationships f u n c t i o n i n g as w e l l .  T h e y c a n no l o n g e r g r o w b e c a u s e t h e y c a n no l o n g e r and  t h e r e l a t i o n s h i p s a n d t h e i n d i v i d u a l become f r o z e n i n  memories. begins be  The f a c t  t h a t Zoe h a s d i e d b e f o r e t h e p l a y  i s the basis o f the t h i r d  s t r u c t u r a l plane which  may  s a i d t o d e s c r i b e memory. Its  crisis first to  change  elements  are temporal:  and p r e s e n t act utilizes  t o depict the funeral proceedings. both of these  create a cubistic  picture  facets of her personality order to e n t i r e l y vitality coherence  p a s t t o r e c r e a t e Zoe's  as w e l l as a r t i s t i c  o f Zoe.  o f the young g i r l .  E x p o s i t i o n o f many  by t h e charm and  Her presence  a n d f o c u s a n d one i s c e r t a i n l y  gives theact s t r u c k by t h e  Act I I i s a beautifully  c o u n t e r p o i n t b e t w e e n t h e movement o f t h e mass Zoe's d e a t h suicide.  and t h a t o f t h e events which  Having  developed  celebrating  l e d to her  provided a l l the necessary  Saunders c l i m a c t i c a l l y  time"'""'"  and b a c k g r o u n d a r e p r o v i d e d i n  capture the audience  "fullness of her l i f e " .  The  builds to her suicide  background, and  succeeds  in  producing  her  death".  story l i f e set  tremendous  By  o f Zoe's and then  up  or  a  change  h e r death,  i s involved.  For  Zoe, t h i s  sets  as  she w i l l i n g l y  to rest.  a  journey  to the present  t h e same  play, away  each  tinued The  f i r s t  t h i r d  emotional mood  as  o f them  They  Zoe goes  have  fades  disperses  has  I n  present.  must  S i d and  the facts  i t  of the  act plays  her nothing  but have  and  i s  continue.  of f i l i n g  t h e i r  a  I ti s  Scrivens,  the present doing  and,  questions,  of her family, they  growth  o f her death  the process  t h e second  of her  con-  everyday  duties.  characters them  o u t , and  them.  The  and atmosphere.  the  out of the focus  left  the  more  to her grave.  which  throughout,  i s creating  tones.  goes  For Fred,  together  No  unphraseable  through  never  t o t h e memory,  sentimental  with  memories.  act gathers  Saunders  Zoe.  o f  i t s e l f  to the past.  F o r t h e members  consistently  relevent the  time  i n their  changes.  the story  to reinforce  o f nebulous,  journey  completed  the intensity  belongs  about  a  At  have  concerning  She  "the actuality  a c t involves an acceptance  i n the face calm  recreating  limitations  I I I , Saunders  growing  By  depicting  Act  even  with  t h e e n d o f A c t I I we l i f e .  i t s own  impact  a  poem  overall  f o r the stage  impact  of the play'is  I t i s as t r a n s c i e n t l y  as the symbolic  white  employing  roses.  i ni t s  beautiful  and  I n production,  the  main  complex  goal nature  My  lines  are  l y r i c a l l y  shift,  Day  connotative  use  so t h a t  that  create  The  spatial  that  a  i n pure  have  i t does  not occupy  space  exclude  and time  the c r i t e r i o n  of  form  films.  and and  a  I t i s not  i talso  makes  and i t s p o t e n t i a l f o r i t from  temporal  of the perceiver,  by which  a  constantly  timelessness  because  play.  the mobile i s  i s , i texists i n space-time. i t occupies  a  r e l a t i o n -  i s reminiscent  exercise  by  of the mobile  r e l a t i o n s h i p s  i tretains  and e t e r n a l motion  limitations.  t o the  a l l i t s elements  the spatial  expression,  by t h e space  constant  of their  the fact  a mobile  I t represented  of the pieces  that  i s an  was  analogous  a k i n e t i c i s m that  o f t h e space  work,  Also,  and Night  universality; defined  shapes  and i n motion,  provides  ('65).  and s t r u c t u r e  other.  volume  that  production  b e a u t i f u l by way  t o each  d e l i c a t e , and  atmosphere.  and Night  and minimal  suspended  the subtle,  f o rthis  Day  o f mood  The  v i r t u a l  image  Calder,  combination  In  of this  central  Alexander  ships  i s t o achieve  t h e work  may  not the  be  ap-  preciated. In because  conclusion,  with  thematic a  chose  of i t s combination  structure. the  I  Generally, concern  subjective  t o produce  viewpoint  Scent  of sentimentality  the connotative  with  A  human -  a l l these  and  use of  existence,  of  the  aspects  Flowers complex  language, pre-occupation of the  play  may  be  first  r e l a t e d t o the and  foremost,  an  structure.  e x e r c i s e i n form, but  s h a d i n g s o f mood i t w o u l d be exercise.  Indeed, the  only a tedious  play without  repres the  intellectual  16  NOTES:  (Hammondsworth, 2  I b i d . ,  p.  Ibid.,  p. 180.  Middlesex:  1  Pelican  Books,  1963),  p. 181.  179.  "Arnold Hauser, The S o c i a l H i s t o r y o f A r t , V o l . IV(New Y o r k : ; V i n t a g e B o o k s j , p p . 239-244.. New  Yorker,  V o l .XXXIX(May  James Saunders, Ltd., 1965),  A Scent p. 93.  25, 1963),  of Flowers,  p.  148.  (London:  James Saunders, P l a y s and P l a y e r s , ed. P e t e r Vol. X I I , N o . 3 ( D e c e m b e r , 1964), p . 2 2 . James Saunders, Ltd., 1965), Ibid., Ibid.,  p.  A Scent o f Flowers, p p . 28-29.  Andre  Deutsch  Roberts,  (London:; Andre  Deutsch  17.  p. 21.  This term r e f e r s t o the a c t u a l present o f the play's length from t h e b e g i n n i n g o f t h e f i r s t a c t t o the end of t h e t h i r d . I am u s i n g a r t i s t i c t i m e t o d e s c r i b e the p r e s e n t a t i o n a l moments i n A c t I when t h e c h a r a c t e r s v i r t u a l l y address the audience.  17  BIBLIOGRAPHY  Downes, Vol.  MollisXXXIX,  Panter. May 25,  "Letter from 1 9 6 3 , p p . 14-5  London." 152.  New  Yorker,  Hauser, Arnold. The S o c i a l H i s t o r y o f A r t : N a t u r a l i s m , I m p r e s s i o n i s m , The F i l m A g e . V o l . IV. New York: Random House I n c . , n.d.  Saunders, James. Deutsch Ltd.,  A  Scent  l^STI  of  Flowers.  London:  Andre  Taylor, John Russel. Anger and A f t e r : A G u i d e To The New B r i t i s h Drama. Hammondsworth, M i d d l e s e x : P e l i c a n Books,  T9T3T  W h o ' s Who i n the Theatre: a biographical record contemporary stage. ed. F r e d a Gage. ed. 14. S i r I s a a c P i t m a n and Sons L t d . , 1967.  of the London:  A  SCENT  OF  FLOWERS"  by James  Saunders  PflBSBT: SBTTEB  : coPFBE  LQ 1 LQ z <>q> 1 LQ 3 BEATl SQ  I  BEAT Z  " ••  TABLE  A C T O N E  A room. Asleep on a settee, centre-stage, her legs curled up, is ZOE. FRED'S back appears, jT) FRED: 'Course i t ' l l come t h r o u g h , watcha. talking; about?. L o o k , l o w e r y o u r end a b i t . . . Raise it, then, raise i t . . . L o o k , . y o u ' v e only gotta ease it r o u n d that corner . . . G e t out o f the w a y , then, get underneath it . . . O h , Sid . . . O . K .  (D F 5*JTT5£i  01.  rest..' He puts down his end of whatever it is they arc, carrying, and hacks a jew steps, still facing off-stage. He shakes-his head ns.SiD • enters. ' Y o u ' v e made a right mess o f that wallpaper, haven't y o u ? D a r n great tear right across the Regency stripes. H o w many. times have I told y o u , w a t c h out for the decor w h e n y o u ' r e turning the corners? It's bad, Sid, it's amateur - k n o c k i n g chunks out the w a l l s . . . SID: W e l l , w e got it r o u n d . . . . . FEED:. It's not what you do, it's the.manner o£doing ii. , SID: That's m y Betty's favourite m o t t o . (D F K PfcT S FRED : Sometimes I w o n d e r i f y o u ' l l ever make a craftsman.•ANb our UL- s Slight pause. ; R/cKi. UP OAJSTA^E SID: W h e r e w e gonna put it, then?. £/Ji> OF CoFF/tJ. FRED: W e l l , let's get it i n first, shall we? . JSOTM ENr£(L ... •Zrhty gwfj, come on uaain^viih tite coffin, w'likli they.dcpnsit cA£/L<j//<j ej COFF//J. in jront oj tliO'£ottK They str.iigkten.up. (£) srop. F po/Nn SID: T h i n k I cricked m y back out there. Is that her? ^ ) DC. £ A/ODS. p They look at ZOE. FRED nods. FRED: I s'posc. Yes, that'll be her. SID: She's not a b a d - l o o k i n g k i d . . S A/odS- F '/JODS. Bom r  \ COFF/N'3)  £ X  Si2  SETTEE. 0V££  SifiE  LOOKS AT  Z-  19  A SCENT OF FLOWERS  i FRED: Mhm.(7) SID : Looks a bit like someone I used to go around with. A bit. •j I dunno, though. What, er - happened? ' i. FRED : Docs it matter? . ! SID shrugs. ' , j (To ZOE) Erni.... ! He coiighs. So docs SID. ZOE stirs, and makes a sound. >' Miss . . . Missj®,. SID: Hey, Miss. ; ZOE: NO . . . no, no, no . . . It's not possible, it's not^! She opens her eyes and stares at them. '; SID: Where d'you want this then? '• . She stares'at it. I mean— FRED: Give her a chance, Sid; she's not with us y e t . ^ ) I He comes closer to her. \ I I'm Fred, and he's Sid.' ZOE (still looking at the coffin): How do you do?  0 j  F U/PPS OFF CoFFl/J-  0  F X L  0  z  OF SETTEE.  s,rz (J?  :  ! FRED: W e we're wondering where you wanted it p u t ; ZOE: Put. . . ; ! SID: Put. .  BBAT3  ;  '  .  | FRED: Take your time, take your time. ' . © 2 qf&TVZ-ES ; ZOE (vaguely): E r m . . '. Over there . , . ? ! FRED: Over there. • ,, • . , I PRED Mill SID Ulll)> tilt ufflll, t\) StdgL Lift, ZOE jhuuls up illld . ; ^jotwws than a little way. FRED ami SID straighten up. F <CfS K TO COPF//J, Wo.K.l \ /<JOJ>, PICK, ir up, .- • • . She nods. ' ' • . I CAlS-H IT TO TASL£ You, erm .,. . Anything vou want, you let us know. Eh? SID: We'll get the flowers. ( £ ) ^ FRED and SID go out. Left alone, ZOE looks at the coffin,- (L) F<J S ByciT D L . 2 approaches it, touches it . . . GODFREY, meanwhile, enters; 'he-' ! X considers ZOE for a moment. GODFREY: Hallo, ZoeV  Tt  COFFIN,  q  2  ACT ONE She looks round at him; there is a slight pause, as though they • were adjusting to one another from two different worlds. ZOE: G o d f r e y L a m b k i n - h o w nice o f y o u t o come. GODFREY: Ever the perfect hostess. ZOE: Y o u m a y approach and kiss m y hand. GODFREY: Dare I, madam? M y heart w i l l burst. ZOE: Get h i m . GODFREY: W i t h a l . ( j ) (D Q X 7D Z. He kisses her hand. Engineer G o d f r e y L a m b k i n at y o u r service. . ZOE: O h , sir. (2) GODFREY: Two-stroke combustion engines a speciality; bicycle chains replaced w h i l e y o u w a i t ; ladies attended i n bed. He intones a benediction over her head. ZOE: Fathsr, I have sinned. \ ; GODFREY^What's that to me, girl? I've got m y o w n troubles. &TE-f&S ZOE: I bet you're terrible i n bed. .' j. GOD EHEY: M a d a m , I'm an engineer. ZOEV-D'ypu go to bed w i t h a spanner i n case o f trouble? Z X 7D GODFREY: A blueprint; spanners arc f o r mechanics. Z o e , darling ... .(s) 0 2 j C} £M8ZAC£. They are in each other s arms. ZOE: Gogo,.darling. GODFREY>Let us dispel misconceptions.  Cf  P~  Q.  ZOE: O . J f e T h i s creature was neither my' father, brother, boyfriend, ghostly tutor n o r even lover. • GODFREY: Not.even that.' . ZOE: . H e was.a filthy rotten stepbrother, weren't you, G q g o ? GODFREY.^Neither, a.relation n o r n o t a relation; a k i n d o f bastard semi-dcmi-relationship o f a most baffling k i n d was j . '. ours. ; ZOE: A f t e r all, m y father fell i n love w i t h y o u r mother; w h y j shouldn't I fall i n love w i t h y o u ? \ | 1  :  BOTH  7V£AJ  70  AoPiBfJCB. HtEHB'. hPTSiL //JPiCA7]££> BH Fbt-LOU/NCf cccuQS /Al PB^-FDHHAfJCE Sr<ic& kllTTr• • CouSTfrtir. . •,! iZ&PBQ-Eucz BACK, TO BAO+ OTVB£. TftELj AdfPB&FOHHIAJ C. F?>fi- BACH OWd/L.  XDDflESS Tb TUB  0  4  A SCENT OP FLOWERS  GODFREY: We didn't. ZOE: 'Course we didn't; but then you're an ugly bastard. GODFREY: And you're an unattractive bitch; otherwise, who. knows? ZOE: Did you ever find it odd, Gogo? . GODFREY: What? .. ZOE: I mean, did you ever stop to consider that we could've'; been exactly the same people, only not step-related, and we. could've met, fallen madly in love and even settled by now .•••! into the deathlike embrace of matrimony? :-','• GODFREY: Impossible.. • , ' I . ZOE: Why? ' ' ''' .'. •'• '. GODFREY: We'd not have been the same people. ; ZOE': What, difference docs our parents marrying make to ,! ;. up. Pause.  • '•  " ••  .-• .'•  . ,  • • • '; '  GODFREY: None You're right. • ZOE: Well? | GODFREY: I suppose you were not my type. ZOE: YOU made it your business to make me hot your type. . i".. • GODFREY: Rubbish! I'm a free man; I make my own choices. j •".. ZOE: Exactly; and you chose sister. ... GODFREY: More or less? It was a kind of never-ending make• .... believe. When we romped together with pillows in our;-' . |* . .. .. pyjamas we were brother and sister— !••'•• ZOE: "^and when we danced in the moonlight at the end-ofr 'term ball we were lovers. If you walk along the pavement . :> without treading on.the lines, the bcars'll never get you.. . . (T) I wonder how close behindus those bears really were ... Or 2 /1/&/JS would we have discovered, if we'd trodden on the line, that . i ; . there weren't really any bears at all? ' ! • • • , . GODFREY: You? With a face like a frog? Look at you, you're . ! • skinny. • • I .; ZOE: And you stink of tobacco and engine oil. . j- •••;'. 5  7V  ACT ONE - u p w h e n w e were twelve, I'll GODFREY: O v e r that little draw a veil. •ZOE: O h , that; that doesn't count. They giggle. . •%Wc were having .a p i l l o w - h g h t , and the p i l l o w sort o f got •  o  s  t  '  •  .  GODFREY: N o t h i n g happened'. ZOE: W h y make a thing about it? W e ' r e not related. GODFREY: W h o ' s m a k i n g a thing about itr^fchildish experi-. mentation . . . zoEjJcYeah, yeah.. . . GODFREY-M had to give up, she kept crossing herself. . ZOE: W h a t ! Y o u cried oft, y o u c o w a r d , Sissy! GODFREY: Because y o u were crossing yoursclt; the perfect defence. ZOE: I was n o t ! GODFREYV*YOU were. ZOE: W a s n ' t . GODFREY: W e r e . In y o u r m i n d y o u were. ZOE: C o u l d y o u see i n m y m i n d ? GODFREY: Yes. Pause. GODFREY: E n d o f topic. ZOE: E n d o f topic. So let's y o u go back and w e ' l l make a more, like, characteristic confrontation.  BEATS  G> C- VovES TV 2- AJOSE: TO vo&e  GODFREY: O . K . \ £ ) Q> Q He retreats; turns. Zoe! • ZOE: G o g o ! She runs the width of the stage, and he catches her in his arms; custard-pie fashion. She begins to tickle him. He collapses howling, ZOE oii-Jopof him, tickling./p. Lights quickly fade, leaving only a white spot on to the box;, at .which s CRIVENS .appcars^imriediatcly withflowers,which he  X DiL  3)B/JT&&  FOOT OF  Z. X DL.  • OU,  X  COFF/AJ.  TV  23  A SCENT OF FLOWERS arranges on the table; ZOE and GODFREY can still be heard, of course. • Lights bach to normal <?Hi'cfe/y^rnDD rind eiD haw-followed s e n i V E M S ) wish ume flewen, 0 Z^ SCRIVENS: Scrivens. (jf) ', •• ZOE mill c o D r R c Y sit »j> a little sheepishly; ,-;»// SID -arrange tlicflowers,cr rather throw them cn available parts of the OFF.  :  t  t.nhh^ «nA prtirr-A  tn giiir  the  / y i y nflnn!  huff up  mifli  rUthc_  Q  ZBT  UP,  ntSMiSLties  cj»V  andJinscad oil. Funereal decorum is my business. If you seek a tasteful departure, I'm your man. (i) FLOU/EJLS. He makes a slight bow towards zOE-aud GODFREY, who hope.. UirnPLACE fk£.0UAjJ> got up and arc brushing themselves 1°'P I - ^o/jj^ . CoFF/jJ. BUFF, COFFIN SID (as he ivorks) :.„]3ut lie can't tclf*"^?^ from butter. He fl/iij?RED sing softly together as they work. SCRiVENS^l've attended the highest and the lowest. I can do (z)&. X. DC you simple or I can do you baroque. I can do you a hearse • and one, one carriage, that is, for anything up to six, not counting the deceased, I can do you a hearse and three, four, • seven or eight, if you like, it's all one to me. The common factor is dignity. Y o u can be ugly or beautiful, crooked or . straight, rich or poor - even poor. You're all the same to me.. What's in the box is not my province, the ritual is the tiling. • '•' Fill it with peanuts if you like, it makes no difference to me; I shall usher it into its appropriate hole in the ground with all Anc ceremony. Z. TAICES STEP Z O E M H O W marvellously democratic. 7oi*J*-£.p Sc. SCRIVENS: Democratic, yes;'ritual is a great leveller. Birth,' (  / I  TfrBM  now, this is a terrible thing. ZOE: Terrible? SCRIVENS: Oh, yes, most distressing. Head first they come, feet first, even breech-first if you'll pardon the expression. • - It's— ZOE: Messy?(£>  X 70 SC.  ACT ONE  7  SCRIVENS: Untidy, yes. And all conducted by a woman with . her sleeves rolled up who might be taking a bun out of the oven. Where's the finesse, Miss, where's the finesse? ZOE: I've never thought of it like that. QC X TO CDFF/AJ. SCRIVENS: No one ever docsUAh, Miss, if we could just., be 0 born in a little caskctri Wonder if I might have a word with' (D-SC. TV&iJS BACIC the gentleman of the house? TO 2. ZOE: Y o u mean Daddy? He's up in his room crying, he'll be. down presently; if you could perhaps go out and polish your top-hat or something for a while . . . (S) vSC- X TO 2.. SCRIVENS kisses her hand. GODFREY: Leave her alone, you cold bastard. ZOE: He's not cold, Gogo, he's waniT-Tie's as warm as toast, aren't you, M r Scrivens? And'hc's only doing his job. GODFREY: I'll do him if he comes this way; I'll kick him in the crutch if he comes this w a y . ( 5 } SCRIVENS: A standard response. ZOE: Is it? SCRIVENS: Oh, yes indeed. Don't let it bother you, I'm quite , used to it, it doesn't disturb me in the least. You'd be surprised at the abuse that's been heaped on my head from time to time. People take it personally, you know; also it embarrasses them, and this makes them angry. They forget I'm just doing my job, as, best I can. Someone has to do it; it's got to be done. What else would they have? . ZOE: What else would you have, Gogo? • . GODFREY: I'll strangle him if he gets any nearer. SCRIVENS: People arc odd, that's my philosophy, people are very odd. You'd think they'd be glad to know that at least once in this world they were sure of a little spot of dignity, nobility, meaningfulness. O d d they are, Miss. Think of it: they come screaming into the world at all sorts of angles, and with what? What do they have thats, rightly theirs?. Tell me: what do they have? Nobility, no; dignity, no;  25  8  A SCENT OF FLOWERS  experience, no; opinions, none at all. Processes, that's all. we are when we're born, Miss, little wee processes with an ' instinct or two and a hole at each end, if you'll pardon the ' expression. Y o u know what it's like when you're just coming out from under the anaesthetic? Y o u do whatever you're told; breathe deeply - you breathe; spit in here you spit. Just like that, it is. Walk; recite your four times table; learn your catechism; act like this and think like that that's the way it is, that's the way we grow up, stuck together from outside,, if you see what I mean. And where's the person underneath, where's the real me, or you, Miss, or him? Ah, that's a question. Skin a pearl, Miss, 'skin a pearl, and try to find its prime cause; what arc you left with? A . little wee speck of accidental grit. , • GODFREY: Get him out here! SCRIVENS: M i n d you, it's all one to me, that's my point. I'm a craftsman, too, you know. I take the material for what it's worth and do what I can with it. They come in their boxes, no one's to know the difference, or if they do. know they keep quiet about it. And what do I get for them, these, as you might say, residual specks of grit? Friends wecpingfor . them - real tears, mind you, very often real tears - clergymen • praying for them, perfect strangers taking oft their hats to. them as they pass them, in the street,flowers,music, what more could you want? A dignified passing, and nobody, knows the difference. ZOE: O r if they do they keep quiet about it. SCRIVENS: Precisely. Y o u take my meaning. Democracy . . . . He flicks a speck of dust, from z OE'J dress, GO/DFRZY suddenly flies at him, seizes him by the throat and they fall to the ground,  • G ODFREY on top. DCZOE: NO, Gogo. *  .  GODFREY seems intent on strangling SCRIVENS, who puts , up lio resistance. After a while CODFREY stops shaking  ACT ONE  :  9  SCRIVENS by the'throat, sits up, and looks at ZOE, who'shakes. her head. GODFREY stands up. He is crying. GODFREY: I ' l l . . . murder him . . . ZOE: M y gladiator. SCRIVENS stands up with dignity, takes a folding clothesbrush from his pocket and brushes himself down, ZOE takes GODFREY'S hands. GODFREY sinks to his knees, puts his arms round her; she puts her hands on his head. ~~ • GODFREY: Zoe .'. . What have we all done to you . . .? SCRIVENS (brushing): N o understanding, you see, nothing but . abuse; but it doesn't bother me, I have the last word. I'll sec you later, my dear. &) 0 £CSCRIVENS bows, and-withdraws, arrangingflowersas he  passes. .GODFREY: Hypocrite! ZOE; He's only doing his job. .. /j\ ' GODFREY: Callous,', narrow-minded hypocriteV-'Poncing '. ' • . around in morning suits,.the ponce, larding it all over with his bloody gentility,, filling the place with his fatuous . phrases like laurel wreaths, what does he know about bereavement,'what does he know about—!. z o i x i V o u should think yourself lucky you've got nice dependable M r Scrivens to look after you.' You'd be in a fine fix without him. Can you imagine what it would be like having ' to make up your grief as you went along?  :  6> .  !  '. '  7b  £x/TS OL. $ X OJ. &>C/T:  D 9> BKCL w C :• (ACjimrEJ))  3)  Z~XW Q.  GOlXF-REY: Hill.© G f X Z>£ /AJ ZOE^DO you know what M r Scrivens is? He's the kind, god[FfLoAtT OF Z. like parent who wraps the naked half-asleep child in a §) Z. MVSBS DS. woolly blue blanket and flies with it across the seas through the night. •> • ' '; GODFREY: Y o u always were of a poetical turn. ZOE: Engineer. ' ' i C O M S E Y : But I'm no child. • ' . • •• A zOEVYCS you arc. All travellers arc children, that's why they : (o) £  X  TJ> Q.  A SCENT OF FLOWERS  10  have to have rugs and hot drinks and hostesses to tuck them up. Children with wide eyes - defenceless, vulnerable, and without feelings. GODFREY: Without feelings! What arc you talking about? ' zOEvlt's.truc; that's what M r Scrivens is here for. T o wrap you up in a cloak of ceremony and carry you gently and all unnoticed from one end to the other of this strange, unreal afternoon, until you wake up in a new country, where there isn't any Zoe. GODFREY StClTCS at llCT. M y child ... . ' She puts her arms round him and kisses him; he doesn't move until she releases him, then sits doivnand lights a cigarette. If ^r.ii rniilr| your fitCC . 0 • ( % ) FREL\<3He's not so essential. SID: Where'd his. ceremony be without the craftsman? FRED raps the side of the box with his knuckles. FRED: It's not made of orange-boxes, you know. SID : Undertakers? I've shot 'em. They're just the middle-men. FREE@&easoned English elm, that is. None of your rubbish, none of your African veneers. Come and look at the joints. ZOE goes over. E@Lik(Tlaunching a ship; some tart stands there with a bottle ••• of champagne, no one notices the workers; that's what she's there for. Give her a try and her fag with it. . FRED : Dovetailed throughout. Precision-machined, no plastic wood in there; cut through that joint anywhere, yon won't find a crack in it. That's a snug joint i w h a t they call an .'intimate joint. Here, come herc; feel it .(Z^Go on, run your fingers along it. '. She does so. • What d'you think' of that? ZOE: Mmm. .. . . •'.-•.  &ETTZE , Sin LIGHTS aqkH-BTTB. ($) F STXfiJDi. F  {jJOt^S  COFFirJ.  0/J  si  rivet-guiVshe'd  AbD&eXFS  light  AUD-  tLfiJBEL£ l>£ FsJD COFF//J; ASSUM&A  (£) S  .  (3) F Zn/JS Z ' S : //AM£> ALotiq :  COFF/A).  .  28  II  ACT ONE  F RED ^-You won't find a better joint than that; experience, that.  \0 F X BEhf/fJ-D 5/2  is; craftsmanship. this side ... ; toFFItt TV Site does so: .' ' Here, what, crm . . . What arc you doing after the'show? . s i p coughs. (£) 0S BycjTS Oh, blimey ... ZOE: D'you really want to know, Fred? Arc you interested? FRED: Look, I crm ... ZOE: D O you fancy me, Fred? D'you find me attractive? FRED: Forget I spoke, c h — ? /j\ ZXDS ZOE: I think you're rather nice, toofyou're alive all the way. CoFF/*l TO .through, you know what I mean? How. would you like to . take me home after the show, Fred? Something could be j arranged. How would you like to take me home and spend ; the long, long, long hight with me? . .'; '  FRED:  I—  ...  LC:  OF F.  '•;['•'..  ZOE: I love you, Fred, I love you, I love you, I love you ... • j She puts her arms round him. His hang by his sides. ' .j. FRED: I don't know you! ' . She kisses him fairly passionately. \ . But you're . . . You're ... _zOE. who has released him, takes his hand and raises it to her ! eye. She releases it; he looks in bewilderment at his finger. .> • ZOE: A tear, Fred; shed by a dead girl for a stranger. Go and •' . make a little box to keep it in, with an airtight lid and your j . ' special dovetailed joints, your beautiful dovetailed joints, and next time you're lying in the grass with your girl-friend . ;. . . on a warm summer evening with the sound of traffic far ! offin the distance and that special'smell on her breath-think j. of me, Fred, the cold ground; think of me, and of j all the infinite possibilities that never happened. i FRED has edged aimf^t^afds^he d<m\ his hand still raised. • ! FRED: We've crm . ... We're gonna get a cup o' tea, (ff) ^> . Q fz ' He goes out, after SID, wiping his finger on his trousers, just 1 • . 1  LQ  9  '  • '  £X/7~S L C  29  12.  A SCENT OE FLOWERS  before lie goes. Into the room comes the GRANDMOTHER, wheeled in a chair by EDGAR. EDGAR IS approaching middleage, red-faced, with the hind of face whose natural lines arc laugh-lines, so that when the laugh slips off the face has a look of intense, almost tragic concentration.  0BAT  $  The GRANDMOTHER is about a hundred and fifty,motionless, and invisible except for one hand, r.DC An declaims as he enters.' id B BAITERS E DGAiNWanity, vanity! He laughs. . . STOPS D&. ZOE: What arc you laughing at, Uncle Edgar? EDGAR: Say hallo to all the nice people, mother; they've all come to sec you; give them a sign, break a little wind for. themfrh'c old woman, symbol of the wisdom of the ages only between you and me, she suffers from the malady of the times - failure to communicate. Can you hear m y watch, mother? Can you see my hand? Maybe she can and' maybe she can't, but I assure you, she's in there somewhere I think. He laughs, as he arranges the GRANDMOTHER in a convenient position. Fie sings, in quite'a good bass-baritone. 'Audi love her, yes, I love her ...!' ZOE: Uncle Edgar. He turns to her for a moment, serious-faced; then he laughs again. ZQE catches it. What are you laughing at? , EDGAR looks down at the GRANDMOTFIER, and sings softly in a minor key. . EDG^UI: 'Though her hair has turned grey .. .' ZOE: He never tells me. -f» That's granny, she's about a hundred and fifty. She lives upstairs in the past— E D'G A Relives? Our servants can do that for us. z O E ^ H c r r o o m is full of daguerreotypes and wax fruit in glass, domes and rust-coloured plush and an unworldly smell v  • ' •; \ :  LQ  10.  U£  30  ACT ONE  ' • '.  ; I , • .•  LQli  r  E D G A R ^ n d a shrunken head or two, of course, and lots of '••'•! • obscene literature. Annals of the South African War; the , . Ladies'Companion in twenty-nine volumes; Thoughts by •'. ' • the Wayside; dummies, of course, inside are dirty pictures; . j- • zp£!^Shc insisted on coming down against protests from all the family.' ' i' . EDGAR tnlics up the GRANDMOTHER'S hand. She's so used up that all she's got left is perversity; she's a''. sort of spirit of cantankerousness; she really ought, to be .-' ''• dead. I think one day she'll forget herself and do as some- : body tells her; and out she'll go like a candle; there'll be } nothing left but a crinkled up shell as light as a feather, a • > '. husk you could put on the palm of your hand a n d — She blows her palm. '•  —hlow to the win.d.(7) f  ;• ...  '•  '.' •'.  (j) 2 X OL. %  ... ED G A R ^ A t the moment of my conception, my parents both .. STANDS i . bellowed with laughter; the result was that the homunculus , AQA/AJST was born with a joke.instead of a soul. Thus, as the soul PdOSCElOH,. informs.the body, so did this joke-soul spread forth its tentacles every which way like a jolly cancer until this j . changeling, this man-bladder was transformed into a single, simple, complex, never-ending, profound, ridiculous, ex- '••' . .'• cru'eiating joke. • He laughs. ;•'] • Too long to tell, of course, and suffers in the telling; but : allow me to cut you off aslicc: There-was this couple, you sec, and they booked in at this hotel, the first night of their ' • . honeymoon you understand, newly weds they were though •. mind you they were riot altogether innocent, not without• blemish you might say, neither with respect to themselves I • considered separately nor themselves considered in relation -V . . t o each other if yon follow me; the long and the short of ..; , it being that after the necessary preliminaries and finding ;, \ themselves five years later unable to bear, the sight of each ;!, • ' . o t h e r , the. inevitable', happened and they got this, divorce^  14  A SCENT, OF FLOWERS  •  upon which he, this fella,'whether the same fellow or by . . , now another it's impossible to say, casting his mind back. . to tliis other fella or was it the same fella, remembered,' or thought he did, though he wasn't at all sure one way or the •  :  :  •"/'.• •'  v  :  other, a feeling as of transport; a sensation as of the fluttering of angels within the breast! - which he linked, rightly or • ' wrongly, with a memory, real or imagined, of a teardrop, • : ' . shining on the lash of this same girl, or some other, as viewed ''•••'  •  ;  •  sideways-on from the self-same pillow of this bed of this ' .; room of this honeymoon hotel I just mentioned the odd' . . ' - . , i thing being that at the same time_this same remembered or . • . imagined sensation as of angels fluttering within the breast , ' called up another and quite different memory; viz: one or '. " • ! another of these fellas', gazing upon the figure of Our Lord :  '  on the Cross, comes first to realize with a blinding flash his true vocation, a vocation, needless to say, left unfilled .' 'j owing to the sight of the teardrop.upon the face of one or ,, • . other of these aforementioned girls. Payoff: gently releasing . his mother's hand he took from his pocket a packet; of . . . .  '  ;  . . "' :  :  .!  Burma cheroots— He docs so. - l i t one u p - Q  • ' ' . . - '  ...  •  AO  1.  ,;,  He does . I —and pondered on the fact that this same parcel of antique .'' '!••',. parchment and brittle bone, author by. dint of passionate .•[••. conception, brutal labour and Caesarian section of this same • or another fella, gazed fixedly at him from eyes which held , j. neither resemblance nor understanding and from which crept two, passionless teardrops as the old lady, unable to . contain her own moisture, dried slowly out until she would , be nothing but'a crinklcd-up shell, a husk he could put on •.(•' the palm of his hand and— . He blows his palm. '  -•..j  ,  s~s • .  X  Z  OL  > ^-  a  FF  .. '  (  L.Q i Z  :  —blow to tlic wind.f*  ,5'  " •  . • 1  32  15  ACT ONE  He laughs, ZOE QOCS UP behind him and puts her hands over his eyes. Don't tell me; it's my Snow Princess; my Ice Maiden; my little monkey-face. She removes her hands. He turns, but she slips to one side, and goes behind the GRANDMOTHER'S chair. He looks round. N o w w h e r e ' s she gone^TjVhere's my captive Princess? 0 E X itf- OF MHEFLCHAlZThe Big Bad W o l f is hungry, he wants his supper. He performs a mock search for her, she following close behind him; he looks round now and then, but she skips to one side each Q B X BACH- TO time.  PEAT 9  1  (z)Thc pot's on the  water's in the pot, the salt's in the water, and potato and peas and beans, bubble bubble goes the stew and all it needs is some nicy juicy meat. And I think I know where I can find some. ..  an*^6nion  :  He steals up, followed by ZOE. ^ ) 5)And • • . I've . . . got you! He is confronted by the box. A pause. He laughs. Uncle Edgar - buffoon, extraordinary! (^) AGNES comes in. if zo:(r7)My stepmother?"  BEAT10  ;  COFF/N.  fire, the  F X THEAJ CQFF/K)  AROUAID A(U)U/JJ> UL To  DL PC  @ Z BerUeeiJ. . £  Q  COFP//J.  x TO  G O D F R E Y * M y mother. , . CoFF/tJ. E D G A R ^ M y sister; Agnes of the iron heart. They watch AGNES as she goes across the room - ignoring.6) Z X £>fi-. EDGAR — and stands next to. the box, looking in. AGNES remains, 4 STAA/DS. looking in the box for a moment, then ratherfussily straightens and £ x PL. examines theflowers,reading the card on each bunch. The others still watch her. Meanwhile EDGAR da-da's to the tune 'Heart, ® E X l/L. and Flowers', loudly and with exaggerated irony, AGNES picks up a bunch of white roses. ZOE: Leave that bunch alone! • •' AGNES raises her head. M y white roses! Leave them alone!!! She runs across and snatches them from AGNES' hands, holds  33  A SCENT OF FLOWERS  l6  • them iii her. arms and buries her face in the blooius. AGNES turns a\vajj_ GODFREY, whose attention ' had left AGNES, looks  '  sharply round; EDGAR, to whom ZOE'S back is turned, puts his hand on her arm. She almost screams: No!H_ gT? ,  -—  Z.Cj> i T _  -  3^AT  \  J.1  •  " EDGAR drops his hands. Tableau. pOE walks with her roses •  Z-C XD/ZC.  '  slowly across the room. GODFREY watches her; AGNES and '.'. • •. '."  EDGAR do tWt. •.'•..'" \ ^ H c once said: When you stop seeing me; as you will - I put' •.'';' my hand on his mouth but he went on - when you stop • seeing me I'll send you ten white roses, one for each month ' • '' ' . , we've known each other, and each year I'll send another ,;'. ten; I'll choose each rose individually to make sure it's j ; , perfect, so that in years, to come, even i f I've forgotten-• .'>*.'• evcrytlhng and can't.even remember what you looked like or how your voice sounded or how your skin felt to my ... ',•; fingers, the act of choosing those ten roses will for a moment •, • '.,••.••''• . . bring back a glimmer of remembrance. W e were in bed at the time. And of course this possibility didn't occur to him. : . ' • . . ' She is now near the GRANDMOTHER. _^ . •'' BEAT dZ - ' @ W h a t do you think of things, granny? (Z) Z Pljfi- fi-OSES '•^Granny used to come into thebathroom when I was having • .j /A/ Cj (LfrAJN&{jf LAP a bath; it was a kind of understanding between us. She '•. • • ' ' watched me grow up in that bathroom. ••'.j- '•.:•'•• ' E D G A R ^ W h y do they grow up, why do they? ..'; ZOE^She'd say: Stand up, child, and let me look at you. I was i like Grctel in the cage, with the witch outside waitino; till I i. was fat enough to cat. Only I never did grow fat, and ' i :' .'•".•• LQ ±4- Q~ granny's q v^grrnrinn >p '{ LQ d.S GODFRE Y?^God, she was skinny, that kid. Like a stick insect, 'fr.'' ' •' • • gEf^T L2> ' D o you thinlc you should smoke, Edgar? . EDGAR: W h y not? AGNES: Because I wonder whether this is the right time for it. ' ...'• ; EDGAR: Godfrey's smoking. ' .'. ;  A C N E S :  ;  34  ACT ONE  •17  AGNES: He's not smoking cheroots, Edgar. EDGAR: Are cigarettes more holy than cheroots? AGNES sighs. Arc they, Agnes? Are cheroots less spiritual than cigarettes? Is it that they come from pagan Burma rather than the United Christian States? zOEC^Unclc Edgar's a lapsed Methodist. AGNES: It's possible they might give offence, that's all I meant. EDGAR: T o you, or to Zoe? AGNES: You're abominablc^P^ EDGAR laughs, looking round at ZOE, who gazes solemnly • £? backrfU. him, her head on one side. ZOE: rile day I decided to lose my virginity the only thing that © really worried me was the thought of granny looking at me in the bathroom next morning. It was silly really, because it was - well, nothing; I got much more of a kick when Gogo taught me how to Charleston. Qf) GODFREY: No, you see, it's dead easy; you wiggle.on the ball.. of your foot and kick backwards, look. • He demonstrates.' That's right; wiggle and kick, wiggle and kick. , He Charlestons, singing the tune. Relax, kid; you're all tensed up. (^) .© ZOE: I am relaxed. CODFREY: Are you hell! Look at you,, you're like what's-' .. his-name, one of those puppets. You take everything too seriously. . • •'. ' .. ZOE: Hark at'thc man of the world. GODFREY: Come on, your priest can't sec y o u — ZOE: Oh, shut up, G o g o — , G o D F R EY .'-^Start it slow - like this, like this... He dances; ZOE follows. The music in the background gets ,. louder. They go faster. That's it, that's it!  Z /loVES. £><>,  (D 4  6Q3  PL.  X  X  oc  76 z .  Q SHAKES  35  is  A S C E N T OF FLOWERS  They dance, vigorously, laughing. ' = Watch this. ' • He does a step.. I tell you, Z o - if your Saint bloody Augustine - had been able to Charleston - he wouldn't have had to write all that crap. She stops dancing. f> . Crap-crap, crap-crap, da da dada da da . . . ZOE: O h , shut up, Gogo, for God's sake!.Some things are serious! ; . Pause: C O D F R E Y : Nothing's serious, honey; what the hell . . . ZOE: O h , Gogo . . . . ~  GODFREY: Oh, Zoe.[JL)  He kisses her. ' ZOE: D i d you have to goad me, right up to the end? GODFREY: Y o u know what, kiddo? Y o u were a mixed-up, kid, kiddo. . ' ZOE: Did^wc have to quarrel all the time? GODFRE Y^Quarrcl? What're you talking about? W e didn't quarrel. ZOE: Have you forgotten—? GODFREY: W e argued; it's.a different thing altogether. W e had intellectual arguments, we got on very well together considering what a neurotic bitch you were— ZOE: Intellectual arguments, at eight years old? GODFREY: Who's talking about eight years old? . ZOE: That's when it started, • when I arrived. W e started quarrelling the first day. GODFREY: Nonsense. ZOE: Pyjamas. GODFREY: What? ZOE: W C quarrelled over whose pyjamas were the best colour and whether you spelt it with a 'y' or an 'a''. And you hit me;  ®  Q BREAKS  ACT ONE  19  I suppose that was an intellectual argument. GODFREY: That was an orthographic and chromatic argument. Anyway, kids always quarrel, it's how they express themselves; I'm talking about now. ZOE: NOW? ' GODFREY: Y o u ' k n o w what I mean. W e had intellectual arguments, we never quarrelled; we were very close to one another. ZOE: Like the time you were mending your bike and I threw a spanner at you and broke the garage Window? GODFREY: 'You'd have broken my head if I hadn't ducked. ZOE: I meant to. GODFREY: Yes, well, you were making your point. W o m e n • ' are sometimes a bit short on logic, the odd spanner or twolevels the odds. '•.'..' ZOE: Crap. • ' • • -  BSAT IS  GODFREY:. Crap yourself. It was a contretemps over Confession, if I remember. rightly. \i' Pause. Anyway, you were - you were overwrought that day . . . I didn't realize . . . ZOE: Y o u never did. , s~\ GODFREY: I don't think you need have brought that up \ I / Pause. GODFREY is by the box. • ' • Some fool's been dropping ash on these flowers.... ZOE: Gogo. ^ GODFREY: Zoe: M y poor dead sister, r\ LiJ 4* Pause. Spot on box. Tableau. zOE?\My mother was American; it's said this side of the Atlantic that she was a bitch. Anyway, Daddy caught the night plane back to England; I think I was more or less smuggled out. I left behind my kitten and my dolls and my jumbo-size paint-box and Buster my turtle and a lot of other  :  A  To COFF//J.  <Q q X TO  serree  ^ sirs.  20  i9. 10.  A SCENT OF. FLOWERS  filings. And my mother. A n d picked up a fresh kitten and. an even bigger paint-box^and another turtle, I mean a tortoise, over here. And her, Agnes. I didn't bother over dollsany more. (T)^ ' AGNES^Shc was a difficult child. EDGAR £tShc was a sweet child. AGNEs(^Edgar, I l i a d to bring her up, I should'know. It wasn't just a matter of sitting her on your kriee and reading her fairy stories. ... EDGAR: All I'm saying is— AGNES: Any child would have been difficult in the circumstances; I don't blame her— EDGAR: HOW, can you blame a child ? AGNES: I've told you I don't. EDGARjcShe was a lovely kid.  (D Z XI>fZ TO  Q  A  ;  A GNES^: TKIICW exactly what I was letting myself in for. When I first met David and he told me her history I was appalled. . I told him he was seven kinds of fool to create a rift like that in the life of a child who in any case must be introverted by nature— ZOE: Get her! W h y ? ACNES:^\II hysterical mother, an only child, and David for a father, what else could she be? Thank God, just after he. came over the mother went into a nursing-home, otherwise there would have been the'most dreadful legal tug-of;  • war. The cruelty involved in some judicial processes is almost • incredible; can you imagine what it does to a child waiting while the courts decide which parent it should love? • EDCAR: What'clse could he do, with a wife like that? AGNES:. Like what? EDGAR:- For God's sake, Agnes, by all accounts she was a— ACNES; A l l what accounts? You've only had one account: David's. You've never seen the woman, neither has anyone else;  A x PC, A D D £ J = S $ E S  38  ACT ONE EDGAR: If you doubt your, own husband's w o r d — AGNES: Don't be ridiculous, Edgar— " ZOE: Agnes is a woman without love. She reeks of under- ; • standing, but she hasn't any love. I don't, need you to stick ' up for my mother. EDCAR: Y o u said yourself she was hysterical. .,'• ' AGNES: I said she was hysterical, in the medical sense. . EDGAR: Medical sense or any other sense, Agnes, a woman ' who. could— \: AGNES: What arc you trying to prove, Edgar? . Pause. ~ET>CAR laughs. • .i  .'  Are you trying to make me into some kind of t y r a n t ? ^ ) ' . ^ Pause, EDGAR shakes his head, his shoulders, helplessly, capitulating in au argument which has become too difficult for ...;!'•. him. He turns away and moves towards the box, singing to himself, lighting another cheroot. zo i r l was eight when I arrived in AgnesYbig, cold house. I " OE?I cidit • got locked in the lavatory, i couldn't work the bolt, T was i in. there for ages afraid to cry out, waiting for Daddy to V come and rescue mc. Then she came. I heard that cold, ,. ' [' reasonable voice and I died inside. When I finally got the' ; bolt open I •couldn't breathe. I was martyred. I'd died on' • , • ' . • ' - ' the wheel. . . . . C •, ACNES: The fact is, you're romantic; you class Zoe as a sweet • .' kid and her mother as a hysterical bitch and that's that.-I'm • sure it makes life deliciously simple for you. Only like all; • . • ' , . . romantics you- have no roots and no sense of'responsibility.' Y o u think one can choose which people to regard as people ' and which to-write off as bitches and fools and lunatics. ••' " . Your-wife was a bitch, so you divorced her— • /T\ ^ EDGAR^Let's keep the books straight; she divorced mc. v AGNES: After you'd run away to Canada for ten years; just •,;,'. like David. A n d I ' m an, insensitive idiot,'so you write me • ! . ' . . off. I don'ttliink you sec people, at all, you see your relation- .  ^  :  ;  :  :  _.  j.  A SCENT OF FLOWERS ship with them, and if the relationship isn't to your liking, you assume the person-no longer exists— EDGAR: Haven't you written me off ? • AGNES: Ihave too much respect for reality to write anyone off, least of all a person I've never met who was.obviously suffering, in her soul. EDGAR: Her soul, is it? AGNES: Whatever you'd call it. What do you think happened, • then?-. • • • . •;' EDGAR: Happened?, • AGNES:.David did marry her.' Pause, ZOE moves closer, to,listen. EDGAR: Yes, he married her. That was his mistake. AGNES: Out of which came Zoe. ZOE looks at AGNES. W o u l d you rather he hadn't made that mistake? ZOE looks quickly fliEDGAR. Q B W o u l d you, Edgar? (t) . Pause, EDGAR da-da's 'Hearts and Flowers', then suddenly breaks off. Pause'.- Fie.looks at the box. ZOE: Agnes? PLOWED Pause. . .''•'• AGNES fiiWiinWiW^iK^W't*/^^^^^ she.turns • -^^r^d-picks up the bunch of white roses. Leave those roscs^ilone— AGNES [breaking i/i^That's the trouble with being a romantic;  X  DL  /At  q/LAA/sfV 's LAP-X TO THEM-  Q)  A  X  PLACES  you select what you want,' and never notice how much you TUP destroy in the process. ZOE: Agnes, my stepmother; she has no heart. AGNES moves towards the box, where she eventually deposits . the roses.. .' AGNES: Once the mistake is made it no longer is a mistake, ' but a fact that has to be lived with.  TO  COFF/AI.  &OSES  OF  IT.  ON  ACT. ONE  •LQ It  23  ZOE: Like me? Like I was a fact that had to be lived with? .. .AGNES: David did marry her. I call him afool not for that, but because he didn't treat it as a fact but as you do,'Edgar, as a mistake'he could somehow, eventually, wriggle out of..'. ZOE {meanwhile): Words, words, words, 'words, words, ' words.. 1 AGNES:.Human relationships aren't bits of string, to be cut when they begin to get too many knots in. When you cut the string the person at the other end doesn't disappear. ' What happened to Z o e — ~ ^ ... GODFREYVAVhat happened to Zoe is that she's dead. , Pause. The string's cut now. (JL) A> • ED GAR. She was a lovely kid" a sweet kid, she was like, an angel made out of matchsticks.She had no weight, none at all, it was only the weight of her clothes that kept her on the ground. When she sat on my lap I had to hold her in case a sudden.draught would blow her away like a dandelion seed. • Once upon a time . . . . It's a funny kind of sympathy you can show, Agnes, for a woman who used to knock hell out of her own child, z 0 E ^ B u t he only had 'my word- for that. EDGAR^vVhat else would I ask but the word of a child? • ZOE: Romantic Uncle Edgar.' " . . ' " E D G A * ^ V h a t else can one depend on but children? zoBt§And uncles. We told each other fairy stories so beautif . fully. We dwelt together in a fairv grotto, 'f :  LQZZ__ BEAT lie  LQ  1$  • EDGAR: Once upon a time, as you sat on my knee in your Catherine-blue pyjamas— ZOE: —surrounded by a magic cheroot-smoke cloud which, 'made us invisible to the world of mortals, your-smiling magic red face close to mine, your rough gentle magician's hands turning my hair to gold . . .  0  x  $ £iSE$  t  To  A  • <£) q X BACK TO SETTEE $ 6/TS. ...A x TO q TOTS. T  HAND  OA/ HIS  ; SfrQUL PER.  z x  c  ,  41  24  A SCENT OF FLOWERS  EDGAR: There was a mis;hty wizard and a magic prince with' magic powerszOF,!Xj\nd a stepmother.  LQ  2S_  BEAT i l BEAT 18  EDGAR: —and a princess, who went to sleep for a hundred years— ZOE: —covered over with leaves in the enchanted forest— EDGAR: —covered with rose-petals w'hich floated from' heaven into the enchanted garden . . . ZOE: Your eyes are full of tears, Uncle Edgar. EDGAR: All the better to see you with, said the wolf.(2) ZOE: W h y do you kiss me like that? EDGAR: A l l the better to gobble you up, said the wolf. xr\ ' ZOE: M y mother used to hit mejffl was the least I could say to justify the tears in Uncle Edgar's eyes. A n d she almost did, once. EDGAR: And the w o l f . . .gobbled her up I He laughs, and chokes. @ •ZOE: Poor Uncle Edgar. Into what dark jungle did'your romanticism take y o u ! ^ /g\ DAVID and SCRIVENS enter; SCRIVENS is talking, DAVID listening with a kind of vacant intensity. ZOE: M y father. SCRIVENS: N o w there's the question of the floral tributes-. •.' 7 ZOE:AHis heart is broken. • SCRIVENS and DAVID arc still talking, by the box. SCRIVENS: Y o u , of course, must decide on that. DAVID: Y^s, yes,'of course . . . GODFREY; He always struck me as a bit of a dope: . AGNES :^I hope to God he doesn't break down, zoE^Daddy's that unfortunate combination, a'sentimental' Englishman; he's always very correct, of course; when : necessary he switches himself to automatic, and runs like , clockwork on his breeding. Like now.  0 Z  X 70 L OFF.  V £- IUSSES Z ON PoftB HE/\0-  (3)z  @) 5 (£)  OF  Ami  SACKS  TO PL  UL  PfLoSPR.  X To  CoFF/M  FOOT  ACT ONE  25  EDGARf^Tlic story goes he was once invited to a party which.. .• turned out to be an orgy. Picking.his way past the discarded brassieres, he sought out the recumbent hostess, thanked her '' with impeccable politeness, and left with all his dignity •[ . intact. z 0 E i n s i d e the barriers arc broken; there's no logic any more,.. no cause and effect,, just a surging and lapping of his grief . : across the broken barriers, splashing against the shell of his . breeding, looking for a way out. SCRIVENS: There are those tributes which will be carried on 1 the roof of the carriage, arid the chosen few which you will \ . consider more seemly should be disposed along the upper surface of the coffin itself... A position usually reserved for .'. '••••'. the tributes of the nearest and dearest.. . • DAVID : Nearest and dearest, y e s . . . . ,' HeAqoks at the box helplessly. • '. coDERET?^He'sadcadlossatorganization. "When Aunt Claire Cl) X kicked the'bucket me and Zoe more or less took over. W c .j, spent a whole day in the British Museum reading-room, per- . mutating all known forms of the ceremony until wc got '. what we wanted. W e even squared off a scale diagram of •' the graveside to work out the most effective positioning of the mourners. That funeral went like a bomb, z o E ^ T h o u g h it was only a ' . " : . . DAVID gives a strange, hud sob. ; • i. SCRIVEN: Kith and kin . . . ' ''••., DAVID: Kith and kin, y e s . . . Erm . . . T h i s . . . ; :  'BEAT i 8 '. CONTINUE*;  :  • DC  :  He takes up some flowers. zoE-^fLJncle Edgar's. In memory of my. Monkey-face. EDGAR: W h o m I destroyed .C^/ ZOE: NO, you didn't. Hold on, Daddy, just a few minutes DAViDSrThese . . . • zOE^His lilies, in loving memory; so correct ^P. Hang on,hang on.  .  1st  J) PLACES BOUQUET  OA/  COFF/AJ-  d)  £> PIGItS  Up.  0  Boo QUE T PLACES  1 2/JP  BOUQUET  . 1/JD  ®  43  26  A SCENT OF.FLOWERS SIB and r R c P enter; they begin te strew, the tap tvi^ringingto  P p/cjes  0  DAVID: T h — . . .0  3*P  g'QE: V / M O leaving in a moment, it's not time for that yet, DAVID: I— (z) He is on the point of disintegrating. He picks up GODFREY'S flowers. GODFREY^For Zoe. From Gogo.  up  gOUQOET.  This inadequate bunch of flowers. Which you will never see. SCRIVENS puts his hand on DAVID'S shoulder. •SCRIVENS: One'more, perhaps. \ • •• DAVID looks round blindly, picks up sonic carnations, which sCRIVENS takes. ZOE: N o , not those, not hercarnations. g)SC. SCRIVENS: That suffices, F t h i n k . d ^  TO F $ $ OFFSTAq B.  • SID audwav get ready to can eat the box.  •SID: Tl-xy- lift the box.* ZOE: I want the roses. I want my white roses!  2.7 '  ® Z K .  She comes. wj>d,wto DAVID*. Listen to me ! @  _  £>APJ>  VJBILB  LB A V / V f /N  A NOHEAJT  L  OF  COFF/AJ.  W  P  EX  ITS  0/1.  DAVID turns his head, ,p,uU..lii&Junid awr his eyes, SID and f?) /C\ J rRED arc iu:t renin. All k z o t i i f c hohim: at the box. Tableau, ° 7• - " •SCRIVENS holds out his hand to ZOE. The othersfileout.//^) T J > 'J~*- °T GODFREY, the last'to go, hesitates at the door, and looks back at ^ ^ - t ^KlT c  ZOE. . • , . (£) UrZ. E I'm coming. • LjM/JsS </. GODFREY goes, ZOE takes SCRIVENS' hand. As they go. A. TV FA) out she says: . Your hand is cold. (7)  _  ;  ;  3* •  QUICK 'CL'^'VAi;  '  / s  UJ PEELS THEfJ  G) z 4 sc BXlT  U/Z.  44  WITH 2  'fi-oLq:  k/ATf/L  CAhJOL  ALTAIC  bPfliNP-LEL  ESr/C&S, 80QK-.  CtOClF/X.  i  KsJ&EJ_{/OC)  CUS/f/OAjS.  Ml  TP  HADDfJ/JA  P/L-LS  SQ 57 L Q 20  .  ACT  /AJ  BOTTLE;  TWO  '.  F  . Ufi-C  ENTERS  Upstage is a representation of the High Altar of a Catholic Church. : D/LE£SED . A* The action of this Act is played against, and orchestrated by, the ALTA&So H, X Burial Service, which is performed sometimes almost in silence, •TO At-TAIL C,ErJ~ sometimes audibly, and sometimes frozen at a particular point; in Latin, except for certain sentences, which appear in the text. UE~L£CtS LIGHTS The effect is partly ritualistic, partly ironic; it acts as a background ALTA&CA/JbL-ES of ritual death against ivhich the 'live' dialogue is played; but it •• EXITS. also represents one horn of the emotional dilemma ivhich destroyed ZOE, the other horn of ivhich is indicated by the bunch of white roses, which is placed somewhere downstage. Apart from the passages in the text, to what extent the Burial Service is brought in is left to the Director. t  y  SCRIVENS in this act is the priest, and dressed accordingly. He (£) of S C . E/JTE/lS conducts the service, of course, but also at points becomes part UP. Sh/ifjq/Ajc, • widi the action; Vertically behind HIT of these, Stage Right, in a grille cir lattice. TUU^ISLE. P<?S On oHC'of-tka stspn, Left, is a glass of water and a bottle of tablets. Lighting is dim; spots arc used extensively; there are no 'Black/tiff COFF/hi. ALL  BEATlH  L Q  5Z-  3EAT20  ^)  outs'. As the Curtain Rises, ZOE cntcrs&ocs to Centre, genuflects^, ^ ^ PP-OCSLSJOA} to the-altar, then crosses to Downstage Left. She picks up the PC. P i £ PUT bottle. All this very slowly, almost in 'slow motion. FT>£.Q-and S:iJA-eui£f R,iglity dressed as iHcnnicrs and carrying POI«/AJ tno COPF/AJ. ^ ccffiij (it the tame time dw PIHBST ce»ues down from Upttc.gc to r  STAND  OAJ  E/TPE&  » /AfSERJ' i £/PE FAC/N<{ EACtf ' The Priest', meeting the coffin at the church, sprinkles it with holy DTH-B& WHlua water, arid begins the Antiphon^,'Si Iuiquitatcs'). ZOE watches, the tablets inker hand. . SC. x UC To ALThfL, ZOE: Fred? wot  ;  Sq  I.  ftm t>o*jfj  THueiBLp^  TAKES ALThIL 800K.  PC  JV  SPH/NLEES  COFF/AJ  ,  t-rvLi/ MTPjL  TIMES.  P&AH.  hLTAlL.  F  PH(£$T  is  1  (C0/V7-  3 XTo CQFF/AJ  OVER.)  F  TO ALTf\£~ STEP,  28  S  DL  LQ336BAT 11  SQ  7_  LQ  3f_  LQ  5S_  LQ 3(o  1A*L  (D  F(£  ALTPr&  S/BF.  A S C E N T OF FLOWERS  FRED makes no sign that he lias heard her. PRIEST: M y soul hath-gcliod 011 Ilia word; my soul hath hoped in the Lord.  0/Z  ST^TA/DS AL  JA/^E(LT  Z  (D  EDGAR cnters^vhceling his mother^During the following he Q crosses the stage, until he finally goes out on the opposite side. EDGAR :^v\t the moment of my conception my mother bellowed with laughter. Difficult to imagine now, I grant (3) you, both the bellowing and the conception.^*^ Kvrie cleison. Christe cleison. Kyric cleison. (sP^ @) You'll know this place, mother, you'll feel at home here. .; Notice the tracery of the windows, the characteristically . Early English rib-vaulting, the foliate carving of the corbels, and the scratch on the finely carved oaken door made by the • corner of the coffin of your husband, or was it your father, or was it my brother? Are you receiving me? Pass wind once for yes, twice for no. (5) And where is my Snow Princess, where is my Ice M a i d e n . . . ? i'  K-AJEEL.  UL  £ ICAlEBLS  E STAfJDS ' . BBS IDE q&AtdAJH.  E-  LOOKS  A T  COFFIAJ.  (J) Well, what shall we take as the text for today? D o you have B SLouJLH • any fancies, any special requests? Our only aim is to please. • Q What about Stjohn'of the Sonnets: 'Consider not for whom J titfEZLS q&AAJA/H the bell tolls - as long as you can hear it, it must be for some-, •\l>L i BxtTS OH. body else.' Y o u like, that one? I know lots more. I was a wow in the vestry. 'But I am carnal, sold.under sin'! It's not the text, you understand, it's the way you tell it. I was meant for the Church, wasn't I, mother? Jesus called. A n d left a message. But I had a previous engagement. H o w mysterious, O Lord, are thy ways, and how wonderful the works of thy hand! What more proof can you want? . He goes out, reciting Latin, as the Burial Service continues:' ( 2 ^ 0 D FREY appears, dressed as in Act One, scarf round his neck, wheeling a bicycle^  46  ACT TWO  B5AT n  29  CODFREY: Z o e ! . ' . ;. ZOE: Gogo, my lost love! She, stretches out her arms melodramatically, runs to him, and theyembrace. CODFREY: You're skinnier than ever. zOESiThc perfect gentleman. , •0 Z. 8£BAtcs GODFREY: W e weren't expecting you for another week; \THB BM-8PLACE. you been sent down, you naughty girl? ZOE: Would it surprise you? GODFREY: Well, I don't know. It takes skill; I did m y damnedest and / never managed it; I don'.t.know that you'd be up to it. ZOE: M r Big. CODFREYV=rIavc you seen the parents? (2) q STMH>S ZOE: Not.yet, they were out when I arrived. They all right? ' i £/KE UP. . • . GODFREY: Depends what you mean by all right. They're as usual. Slowly bleeding each other to death. .ZOE: Who's bleeding who? GODFREY: Well, anyway. O h yes, mine sprained her wrist. . ZOE: Big deal. GODFREY: Opening a tin of sauerkraut. Keep tuned for further • bulletins. A n d how are your studies progressing? Y o u still a virgin, my child? ZOE: Get him! ' . ' • • •' Pause. Y o u still ticklish? . She tries, GODFREY collapses howling; the bicycle falls. GODFREY: L a y o f f ! ,ZOE sits.astride him, tickling. Zon: D o you surrender? CODFREY:. I'll g.ct mud all over my jacket! ZOE: D o you surrender? GODFREY: I-never surrender: She renews the tickling.  30  MAT  23  A SCENT OF FLOWERS  I surrender! • She sits up triumphantly. Look what you've done to my coat, you bitch. ZOE: Hard lines, old man. She sits observing him in a childlike way. I lost that, old thing ages ago! I told you. CODFREY: D i d you? Get off then. ZOE: Don't you like this position, darling? GODFREY:'Get off, you slut! . . . • (D Z . X £ S/DE She gets HJ).'GODFREY sits up, brushing himself down. ^ OF B/C1CL-B. Well, why are you so early? ZOE: Y o u been to the library? She is looking at the books -which have tumbled out of his ddleb, sa, ao. GODFREY: Deduction. O r is it a secret? ZOE: Would I keep secrets from my dear bro? GODFREY: Y o u must be' having a pretty dull time if you don't. ZOE: I do all right, mate. She examines the books. I just felt likp it, that's all. I never knew engineers could read. • 'Ultimate Load Analysis of Reinforced and Prcstrcsscd Concrete'Is it'dirty? GODFRE^2^0Vhat d'you mean, you just felt like it? ZOE: 'At the junction of any number of yield lines the sum of' the.nodalforccs is zero.' Disgusting. GODFREY^Have you got trouble? ID z . . ZOE: Look, I've come down a week early, that's all. Y o u don't , BiCHCLE IS . have to be pregnant by the Director of Studies to come , BBrvEE/J THEHdown a week early !:'"••' GODFREY: O . K . Slight pause. He giggles'. ' • • . 'What a marvellous picture that conjures up.  ''  •.,  ACT  31  TWO  ZOE: 'Down the.Nile i n a Canoe.' A prcstresscd concrete one, I take i t . .• • GODFREY: That's right. ZOE: I just felt I'd g o bonkers i f I stayed there any longer.  They're - they're all s o callow ....  GODFREY: .Who? ZOE: The.students ... and everyone . . . W h y d o I feel s o much older than m y contemporaries? GODFREY: Auntie Zoe . . . • ' ZOE: Give m e a cigarette. GODFREY: I thought you'd given u p . ZOE: I'm smoking for Lent. • • ••• 1  GODFREY gives her a cigarette and lights it. She blows out smoke noisily.  GODFREY: You're erm . . .  ...  ' "  ZOE:. What? . . GODFREY: You're a bit tenscdup,aren't you? ZOE: A m I? GODF-REY: Don't you know? z o E r D o you know, I've only found two people I can really talk t o . I mean who really seem t o understand about - things, you know? Instead o f always skating o n the surface - making stupid jokes. , GODFREY: Isn't two c n o u g h T w h o arc they? ZOE: O h . . . Well, there's this Priest— GODFREY: O h , G o d ! • . ZOE: He's been very helpful : . . Y o u don't have, t o tell m e what you think. GODFREY: I 'should hope not. I thought I'd got you shot o f that crowd a couple o f years ago.' • . ZOE: Honestly, you're so narrow-minded. Just because. I say he's a Priest rather than a— GODFREY: N o wonder you look a nervous wreck. -.With that gang working o n you again— , •  0 Z  ©  X PH.  Cj STEPS DoUKl.  32  A SCENT OF FLOWERS  Z O E : ' O h , don't be ridiculous! GODFREY:. They say lightning never strikes the same place twice . . . So you're back in the fold. After all the work I. put in on y o u — ZOE: All I've said is I've been seeing this Priest— 0 Z x To q. GODFREY: Yeah, yeah, yeah . . . . z o E v i was . . too young last time. Q q x ro BICYCLE. GODFREY: Yes, O . K . 7 x 7 9 Poor oF ZOE: Thee*.were a lot of thingsi~didn't understand. COFF//J. GODFREY^C&me on, let's go inri've got a new disc I want ®Cf WHEELS BllcE. you to hca&Zoe, you look terrible. . A£-OUAJ£>. £m PS He picks, up the bicycle and props it up; buckles close the BESIDE. 2. saddlebag. z o E & w h a t docs it matter to you what I do . . .? © £, X VITH-8IKE GODFREY shrugs his shoulders, his back to her. She is teiisc, defensive, too tired to be really belligerent. . ..She waits, knowing (§) q STOPS, STANDS he 11 say something else. 8its, wests lb z. GODFREY: Only Zoe, darling, if you're going to take up that lark again for God's sake be honest about it, huh? I mean, don't come out with that being too young to understand stuff. Most people give up that racket when they reach puberty, but if you want to twist your mind up in knots at least say so: I want to believe a lot of baloney. IIn turns. Zoe ZOE: What's the record? • . GODFREY: What record? ' .'. ZOE: Your new record. GODFREY: O h . Monk. ZOE: W h a t ' :  . G O D F R E Y ^ N o t what, who. Thelonius Monk. He's a jazz pianist. Z O E : I'know he's a jazz pianist . . . ' They stand looking at each other; pause.  % qx  TO  Z.  33  ACT TWO  Just lay oft mc, Gogo. For a while . . . Pause. '' ' O.K.,ifyoulikc,it'salotofbaloncy;Ijustneed-something :• I can't get elsewhere. I need i t . ' . . • •• Pause. . ' ; . • ' • . ' . ' ' ' •• GODFREY: It's your mind, honey . . . I'll read'Down the Nile • in a Canoe' and you can read St John of the Cross; and St Thomas Aquinarse . . . I just wish we cpuld.all drag ourselves • ', '. into the twentieth century and put all those mystic nutcases ' . . where they belong. I mean, it wasn't your fault they sent you to convent school, but religion and the pox, they arc . curable, you know— fi\ Gogo, shut shut (0 Z X Dfc-. Pause./* the other one? & X TV Z . ZOE: Other what? ' '. GODFREY: The other one you can talk to.. ZOE: O h . . . He's . . . Just one of the, one of the lecturers is • quite interesting . . . GODFREY: Anyone I know? . ..... .> • . ZOE: NO, I don't SO. • -.'../ '.GODFREY: What's his name? . , ZOE: I tell you you don't know him; he's new. . 1 up,  up,  up... .  ;  GODFREYVWhos'  think  Pause. ' ''•..".'•' •.'' GODFREY: Married? • ' . • i ZOE takes a draw at the cigarette, exhales. ZOE: Yes._ • ; ' " : • •.' GODFREYV^SCriOUS. • • .(§) £j ftEATZ<°  ZOE smokes. oh . . . And which came first? ZOE: Which what? ' . • . GODFREY: H i m or the priest.-.  .  .,'  CiQ  STBfS.  our  A/LBTT&.  •..]'• ' ;.•  •' Pause. '. • . This is what they call having your cake and eating it, isn't,it! •'• \ •  ••'• .' • :  •'. •'  .34  A SCENT OF FLOWERS  Slight pause. Isn't there a certain conflict here? ZOE: You.could put it that way. GODFREY watches her. GOD FREY: YOU always did have a great sense of the dramatic: • . And what docs your understanding priest say about all this? ZOE: I haven't told him. GODFREY: I thought you said he was helpful. ZOE: Not about that. GODFREY: I'stu: .lpposc you know what you're, doing. ZOE: O f course >c I1 know knowwhat what I'm I'mdoing doing . .. .~ . D'you D'you want to some advice? ' • . • ' GOD.FREYv?Ybu'vc got your priest for that, haven't you? ' : , O . K . Let's keep off the mclodrama^Vritc this man a letter; you've got the whole of the vacation to get over it— ZOE shakes her head. . Presumably, you know his address. Look, Zoe, your fun's over— ZOE: I tried it. I tried it last vacation. . . • • Pause. GODFREY: You'll have to give onee£them up..l know you you'll tear yourself in half, honey* ^et s go m. ^  (D Z TU&NS 7d q. ©  q  TVZA/S  L.  (D q €roes.  ;  Lct32> LQ 34.  He  Autiplwn:  'Si iniqiiitatcs ohservavcris,  v5  If thou, Q Lord shall observe iniquities) Lord, who t  .-^LiHStoaarc it?  BEAT Zl  BAClL  LC  70 Z  Q < 7V BlIcE ^ Ex/n uZ . z FOLLOWS  /  INSEOT  DetKtHc: Domino, quis sustinahit?'— •rniEST:  Cf X  sropS AT  CoFF/tJ, P/C£S S&  UP  •'.  COFF//J.  •The coffin is aimed '•'/o ' the clmrdh. AGNES has enteredj^ud has been ohserpin okilltj. q ZOE. AGNES IS Sill ACNES: I must remind you, David, that you have a certain . responsibility towards her. Y o u happen to be her father.. • DAVID conies in. AGNES: I suppose you do realize the danger she's i n . ( £ )  P EMTE/ZS L C .  ACT  DAVID:  Trust?  •  35  TWO  •  '  •  A m I - making any contact with you, David? (/)  .  (D/>  '  . . .  TVfi-/4£>. £>L  D A V I D says nothing, Z O E walks, meanwhile, across the stage, thinking; pauses, idly picks  iquheflowers,andfinds herself by the  orillc.  •  <>  ,'.'•'  ..  I don't suppose she's told you. anything. '•. x - S D A V I D : N o , she hasn't told mc^mything.(3 A G N E S : Well then, I'll tell yotrrAs you know, I have some •' (3) A X friends living down there. They have a son at the University..' He told them, they told me, and now I'm telling you . • '. D A V I D : So now everyone knows.' • . •'• '.•. A G N E S : Everyone doesn't-know; it's just fortunate that we ':'.'. know; this boy happens to be a very good friend of Zoe's, in a platonic sort of way; she confides in him. • : •' '•' D A V I D :'. A very good friend, to tell all and sundry. A G N E S : He told his parents because he was worried, David.' Because he thought something should be done about it, • and knew his parents would pass, it on to me. D A V I D : I've never yet interfered with Zoe's private life— . A G N E S : David, you.interfered with her private life when she was conceived. D o you want to disclaim responsibility for • that top? • ' ." '• •• D A V I D : ' Y o u know quite well what I mean— A G N E S : You've interfercAwith her private life with every•,' thing you've ever d o n ^ Y o u ' r e her father, you've made her. • sk) A X private life, you've made her. The responsibility is yours. ! • . ' . • . Are you going to evade it again as you did with her mother?-'.'.;'• • • ' D A V I D : Thank'you very much. • • • A G N E S : I f l were in a position to do anything other than make :'you do something, I would. •• ' D A V I D : What's stopping you? ' ' A G N E S . : Y o u know very well what's stopping me. U n - ' '•' fortunatcly'common senseisn't enough. She needs to get it'",.'• .'•'••': .from someone she can— ''•'.•'• . .  . •  .  •^  .  .  1  •  £>,C.,  : •'  ^H§f%i: •• '• '••' • '  1  :  :  :  ••" J~D • ;'•'  :  '-'.-.  .^ '  36  A SCENT OF FLOWERS  D A V I D looks at A G N E S , but says nothing. A G N E S : As you well know, she dislikes me. D A V I D : You've always said that— A G N E S : I've always said'it because it's always been true. I try to face facts, David, as I'm trying to make you face facts now. I don't blame her for not liking me, I blame her circumstances; I've tried all along to understand her and create sympathy between us, and I've failed; this is a fact. D A V I D : Have you ever shown any love for her? A G N E S : I've done my best to understand her! 0  .  Pause. This is beside the point, David. (2) Pause. .  Q • (D  A  A 70  7V&.A/S  &AC£  D-  D A V I D : Well? A C N E S : Zoe is having an affair with one of the lecturers. Pause. Y o u think this is nice, nice and romantic. Like a child with a crush on her teacher. D A V I D : It seems to me to be Zoe's business. AGNES>vAndis it Zoe's business to have a nervous breakdown? DAVIDT^im? •  .  A G N E S : He's married. His wife knows about it. A n d Zoe . knows that his wife knows about it. This man has explained everything to both of them.  .  D A V I D : Knows what? A G N E S : That they sleep together; that they spend weekends together in third-class hotels; what do you want me to say? Pause. He is, according to my information, rather like you. Charming, attractive, quietly unhappy, a man who invited com• passion. A n d unreliable, and self-centred, and irresponsible. D A V I D : Thank you. Your friend's son is very observant. A G N E S : I've put two and two.together. DAVID: I  see.  £> 7V#jJ£ TO A-  ACT  TWO  37  Pause.  Well, now you've told mc. A C N E S : A n d you won't do a tiling about it. D A V I D : She's my daughter, Agnes; I'll have a talk with her about it.  .  .  .  A G N E S siuiles.  . That is, if she wants to. Y o u hate the unconventional, don't . you? A G N E S : David, you are the most conventional man I know. D A V I D : Is that why you married me? A G N E S : I married you because I was strong enough to marry you. And not be sucked under. D A V I D : - N o t because of love? A G N E S : I married you. Isn't that enough for you? Slight pause.  •  '•  '  .  • •  And so the conversation turns back to you as it always does. • D A V I D . : I suppose I am conventional; butT don't condemn other people.who happen to— AGNES:  I am not condemning her! They are not my conven-  tions, David. But they exist as facts. They exist as facts in Zoe's life.. DAVID:  She's obviously not too worried about them..  A G N E S : O h , G o d , David, you are a f o o l . . , . D A V I D : That's what I like about you - you keep the con-, , versation so general. A G N E S : D o you think wc could talk about Zoe for once and not about ourselves.  '  ,. •  Pause, D A V I D sighs, and puts his hand over his eyes.  I must disillusion you. Your daughter is not a Bohemian.  iiot has  sat down with the roses, loaning against the grille, her-  head resting hach ngriust it.  . j TA  B L E &  U  \  P R I E S T : Wash me yet more from my iniquity, and cleanse mc from my sin. For I know my iniquity, and my always before me.  .55  3§.  A  SCENT  OF FLOWERS  A G N E S : Much as you'd like her to be. D A V I D : I'd likelier to be an individual. A G N E S : And'what do you mean by that? Someone able to enjoy being egotistical in a way you've never quite managed? D A y i D ^ J f you want to talk about Zoe, talk about Zoe . . . AGNEsHDavid, Zoe is tearing herself apart. She's no Bohemian; she's a conventional person, she has only the conventional ways of justifying herself. • D A V I D : Y o u think Zoe worries about justifying herself? A G N E S : D O you really not understand that this is the - the mainspring of everything she does? Pause. D A V I D : One doesn't choose whom one falls in love with.  (b A POTS TfafJb 0/U  A G N E S laughs.  •lq to. SBAT Z8  All right; now you've told me; now I know , . . Pie turns and goes*, A G N E S leavcs^at the other side of the stage. liasel&sod lior.cyesy she-whs the hack cflwr head gently and slowly-aeainst i'iO-gfitifrj• hand, still holding the roses on'the platform beside her, Z O E : D O you know what's happened? . . . A most unusual. thing; I am completely . . '. and utterly . . . happy . . , Suddenly, I'm not hungry, I'm not thirsty, Idon't care what's to become of me . . . I don't desire you . . . Y o u may even' • be asleep . . . I can just.feel your arm touching the back of my fingers. .,. But I don't have to raise my hand to stroke, your skin . .• . It's as though I'd found my way inside a little crystal ball . ... somewhere outside it's all still going on. People are hurting one another and crying out . . , Only just for a moment they've forgotten about me . . . I'm complete . . . I'm at rest... And afraid to move :  Pause. Darling? (2) Slight pause. Are you asleep?  .-.  • . •  '..  Q  p.sreps  F£oM  DOWSJ  AL-TAC  ACT  39  TWO  The P R I E S T comes down to the steps, Stage Left, and sits, waiting. Hm  . . .? •  Pause. She shakes her head violently. Darling, I don't want to talk about it . . . No, no, no, no, no . . . Please, darling, not now . , . We'll talk about it  •LQ4-1  later . . . Please •. . The PRIEST stands up as though to receive someone, stretches out hisJiaud.  B&AT  2J]  /O  p R i E S T v T m glad to see you again, ZoeTrlease sit down . . . Yes, I was beginning to wonder what had beepmc of you. ... For lost, you mean? N o , we never give anybody up. W e can afford to wait. I don't need to tell you I've been praying  Q  P  (2) p srr  X  PL.  CjESWUBS OSJ  /h/s fit.  for you.' Slight pause. You  look unwell. Is there something you want to talk about  SOE chuckles.  1  '  Z O E ~ Y O U know, I think you've got something of the ape in-, you . . . Your arms are too long for one thing . . . They arc, '• darling. It was the first tiling I noticed^about you, I saw you leaving the Union Building, I didn't even know who you were .but you looked just like an ape . . . Y o u were even holding a banana in one hand— . . . Y o u were. It was the funniest thing I've ever seen. .  '  P R I E S T : Y o u say this happened to a friend of yours. Docs she belong to the Church?  •  '•  Z O E : ' Because I was just pointing you out to this friend I was with when (she laughs) you stopped, with this banana in' your hand and - scratched yourself. She laughs.. P R I E S T : Don't you think it might be best if you were honest with me?  ';  '  Z O E : O h , darling, have I hurt your feelings? Havel damaged your male esteem?  0 Z A£Fl=.£s TO  40  A SCENT  OF FLOWERS  P R I E S T : O r do you think you can deceive God? He nods, listening. Z O E : Also, you've'got hair growing on your back. D i d you know? D i d anyone ever tell you? . . . Who's complaining? P R I E S T : Y e s . . . G o on . . . I want everything. Z O E : Darling . . . Docs your wife know about me?. The PRIEST nods.  PRIEST {coldly): I sec . . . Are you unwell? Shall I bring you a ' glass of water? Z O E stands up. Z O E : I'm sorry . . . I can't stay long today . . . I know I said I could, but I'm . . . I'm not, I'm not very w e l l . . . I can't sleep . . . Days and d a y s . . .  She sits down. OA/ CoFF/dI just don't sleep any more . . . Y o u know, there's no more . lonely time than that - awful moment, at the end of a sleepless night, when your thoughts have been up all night, like nasty little animals, chasing each other through the darkness, scratching and gnawing and scuttling about like little blind animals shut up in your head - and then you open your eyes . and you see the dawn's come . . . A n d you realize you've had it for that night, there's no - escape from the next day . . . This must be how a fox feels when it's had the hounds after it all the afternoon, circled and back-tracked and done everything and finally makes a last despairing dash to its earth . . . with foam coming out of its mouth and the hounds baying just behind . . . and finds someone's - blocked up the hole . . . Pause. ' .  1  PRIEST.: I see . . . Y o u realize, of course, what you're doing. You're putting yourself outside the Church. Z O E : This is what loneliness really is - to have no way, no , way of stopping your thoughts... This is terrible; frighten-' • ing; you begin to feci as though you're possessed . . . Slight pause.  ACT TWO  •  4,1-  I used to love fox-hunting . . . She takes a quick iud^iwn breath, and puts her hand over her eyes, A C N E S comes on^and stands not far off, watching her... No,  darling . . . N o , no, . . . It's not possible . . . . It's .  ' ...  not possible . . . It's not possible . . . Realistic?... N o , darling, .., please - please, please don't do anything like that. I am being  '.  realistic, believe me; I beg you, believe me. M y God, I never . . . . before realized quite what it meant, to - to be realistic. Y o u mustn't do anything . . . Difficult for you? . . . P R I E S T : There's only one possible choice to make. Well, if, • you  like, one choice is no choice at all. But what would you'•  have me say? Y o u must know what I must say.  • .'  Z O E : N o . . . N o , no, no . . . I can't, it's not possible . . . Ican't v do it. D o you think I'm not being realistic? M y God, I've never before realized what it meant, to be realistic. You're the  '.  one who's not facing facts. Y o u think there's still a way out. There isn't. When I lay awake at night, I used to tell myself 'Things vvill get better, things will look better in the moriiing.'I don't any more, there isn't light and day for me any ' more, it's, i t ' s i t ' s all the s-same . . . It's what they call the-.  '-.  dark night of the soul . . . A n d I'm - in it - all the time Except for just a few minutes now and then when I'm in .;, your arms and i t - i t g o e s . . . And. then . . . I'm so used to this  •••  - feeling that when it goes for those few minutes it's - as • though there's nothing left to take its place . . . as though ' I've died . .•.  BEAT '  3D  .  • '.' .. "'  Q)A X BESJpE  A G N E S ~ Z o e , do you think we might have a talk?  '. Z O E looks round at her, with dull eyes. She inclines her head slightly. Z O E : What about? The weather? P R I E S T : I can only tell you what you know already. It isn't meant to be easy. D o you think it's easy for anyone? For  ' ;  . me? A l l one can say is that for those with faith it's possible'. Do you have faith or not? D o you or not?  ,  • •  ;  •  .  Z  59  A SCENT  OF FLOWERS  Pause. . Put' on the whole armour of God, that ye may be able to stand against the wiles of the devil. For our wrestling is not  againstfleshand blood, but against :  the  principalities, against  the powers, against t h e . . . Zoe? Take up the shield of f a i t h . . . And- take the helmet of salvation, and the sword of the' spirit.. . W i t h God, the choice is never impossible. The PRTEST goes back w his place in'the Church, sutd-tkeZOE:  .  ;  NO?  A C N E S : I would appreciate it, Zoe, if you could believe that I want to do something for you. what? . A C N E S : I understand that you arc - in difficulty. Z O E : Y g u understand? D o you?  .•:  A G N E S ~ Z o e , I think you are old enough now to stop treating  CD  A  x  TO  z.  meas something out of a fairy tale. Z O E ^ I don't know what you're talking about. A G N E S : W c don't live in fairyland, Z o e ; the world isn't  Q)  Z X  (±)  D  DL-  . divided into good fairies and bad fairies, or even good people and bad people. There are people we have to live with and •  people wc. don't. It's a very hard world, Zoe. There arc no easy ways out.  There  are no allowances made for difficulties  in our childhood. There are no enchanted castles we can escape to when ,our relationships get too difficult. There • are people we have to live with and people we don't, and wc have to do the best we can. I am not a wicked stepmother, • I'm, the woman your father married after he left your mother, and this fact has made it necessary for us to accept each other as people and try to understand each other and try to help ' each other.  .  .  .  Z O E : What a cold woman you arc, A g n e s . @ A G N E S : I t r y to understand, Zoe. Z O E : Y o u do everything in your head, don't you? Y o u don't  EA/TECS  z>/e>  43  ACT T W O  Q  have any heart; have yon ever loved anyoiie^jHow understand?  ^  Pause,  BE'AT'31  ZOE: A  DAVIP  can you  •'.",,.  enters, stands apart, unccrtaintly.  :. ;.•  Daddy . . . . I'm in'trouble . . . I'm in trouble, Daddy . . . .'  Heuvoice'is that of a terrified child locked in a dark room. . ' (D A STEPS TOT,  GNEsr^Zoe, will you listen to mc!  Z O E looks at her with wide, .empty eyes, A G N E S bites her lip. • Pause.  I know what's happened. Z O E : Really? A G N E S : Tshould like to try to help.  •  '  '  ' ZO'E (in the same tone as before): Really? • , . • ••  ,'•'•'•..  She holds herself very upright, as though keeping control of  .  •  ".','.'  every muscle; her voice has a cold, ironical lightness.  A G N E S : J don't think you can afford any longer to choose • ' where help is to come from.' •  ..  ,  , .  ' . ' . ' . '  Slight pause.  I'm trying very hard to make some kind of contact so as to help you. I've stopped expecting anything but dislike from . ' ' you, but you can at least assume that my intentions arc good! •• There's a way out, Zoe, if you'll listen to inc. I know, what you're going through. But it's in yourscffrDo you underA K stand?Itcxistsonlyinyou.Itisn'tsomethingapartfromyou. . • However beautiful and profound and important you think .' . • • it is, it's no bigger than you are, because it's part of you and .. you're small, Zoe, like everyone else, small and insignificant. ; ', Zoe, you've got to grow up very quickly. You've got to '; stand outside yourself for the first time in your life and sec ;,' yourself in retrospect - an emotionally unbalanced child who's got herself into an affair with a married man. Just ' . ' ' . ' . . ; . • ' another. It's happened before. It happened to me. It's.unimportant. Nobody gives a damn about it. •  Pause.  You've got to get it out of your system, Zoe.  .  '•••!•  •'.'•'•  TZ> 2- , ..:' ,.  :  •'  .'  A SCENT  44  OE FLOWERS  Sligh.t pause: You're only another immature child opening her legs to just another married man. Q Z O E makes a sound,, turns awaykpicks up the flowers. You have to make a decisiorfjSVliy don't you stop playing the tragic soiil at the mercy of the fates, and grow up. N o . one's at the mercy of the fates unless they want to be. Make a . decision, Zoe.  (Dz  X  (DA  ru/ZAJS  L  OF  COFF//J. x  ro2.  Z O E is facing the grille, looking down at the flowers. Do you understand what I'm saying! A G N E S orips her by the lower arm; Z O E cries out as though in pain, tears her arm away, and nurses it, her face contorted. The flowers have fallen to the ground, A G N E S stares at her, and steps . back. What have you done to your arm? C£) Z O E : Daddy,- I'm in trouble . (2)  BEAT  Zoe  •flCNFS shakes her head, nftVTT> it loohiug at ZQK, hut doesn't' move from his place, A G N E S turns to him, A G N E S : W h y don't you do something? Long tableau,fyfcanivhile... •PHIEST; Et no noc inducas in tcntationom. • R E S P O N S E : Scd libera nos a malo. //JSE/2.T P R I E S T : A porta inferi. R E S P O N S E ; Erne, Domine, animam ejus. P I U K S T ; Rcquicscat in pace.  2 &TBPS ToWAHO P.  P R I E S T ; Domine, exandi orationem meam. This fa, i back to the background. Arc^giUniversity. [She leaves z o)E^Da E ^ D a d d y . . . (she goes up to D A V I D ) Say something to me. T s n a 1 1  LQ  w r i t e  t 0  t n c  (& A.EX in. LC. Q Z X Tb P.  DAVIT) says nothing. Holding her arm, Z O E slowly turns away. Q P LEA \JES • towards the grille: D A V I D lcavcs.(£) Z X PL. @_g-OD.FREY enters, Sirr^kHi. whistliug^fHe drops the tools he has in his hand, and deftly turns the bicycle upside down.(Z> q SAlFBdS ®  C] X  DR..  D(L.  UL  45  ACT-TWO  Z O E looks round at him, as though she doesn't recognize him. Wllistliug.  B F A T 32  G O D F R E Y StOpS  C O D F R E Y : Hallo, Zoe; come and talk to me. She slowly walks across to him/fHe whistles again as he sets  L Q  ,  tn wnrh  nn the hiryrlr 2.r\v^tmil-LAiuiirllag.luni  (U  Hand me that.spanner, honey.  • BiK-BZ.  She picks it up and gives it to him. He takes it without looking, tries it. N o r that one, the other one. She gives him the second spanner, keeps the first one in her hand.. • • •' • He puts the spanner to the wheel, whistling.  . '  Hold the wheel, then.  .  '  She takes hold oj the wheel. He whistles. Bloody punctures..' . . You.know what it is; it's all these, milkmen. " He works, whistling. What they do, you see . . . they drop an empty milk bottle in the . . . in the road . . . glass everywhere . . . Pull. They remove the wheel.  '  ' •  Kick the big bits into the gutter . . . Leave the small bits. For poor bastards like me to run over. I tell you, the cyclist today has become an oppressed minority . . . Look at that.  •  He takes a bit of glass from the tyre. Milk bottle glass. He lets the air out of the tyre. Whistles. Tyre levers. : •  She doesn't move. Tyre levers, honey.  ZOE: W h e r e ? ,  . '  .  . • ' . - ,  .  •  '  ., -'  -  G O D F R E Y : Never mind, I'll get them myself. He gets them. Good thing you're not a surgeon's assistant; the patients would all bleed to death. He inserts a tyre lever.'  ;  .-.•'••  Q) 7- 6  4  6  A SCENT  OF FLOWERS  The fact is, there's a conspiracy to clear cyclists off the roads. Make them all buy cars. Hold that. She holds the tyre lever. He inserts another. Good for the economy. A n d Morris Motors. Get in . . . . . There's only about three of us cyclists left in E n g l a n d . . . The. . others have capitulated . . . Hold it, hold i t . . . . He strips off the tyre. .. O r been rundown by hired assassins in cars... I tell you, they , worry about preserving things like widgeons and, and . peregrines. Meanwhile cyclists arc almost extinct. Maybe . they'll round the three of us up one day and put us in a reserve. Cycle tracks everywhere and trees oozing with rubbersolution. Cyclist hunting strictly forbidden He finds the gash in the tube. Look at that. . . Rubber solution.. Z O E doesn't move. G O D F R E Y examines her face for the frst time. . &EAT 33  .  •  A  r  c  y  Q  u  f c e l i n g  al  j ight,.Zoe? r  Meanwhile the Absolutions have begun. The FR-HIST 'Puts -.  g£/fl~20d °" ,q M'lrf1  copcr-T'liciti standing at. the foot of the  cojjin' lie says  the following prayer: "Won iutivs iu judicium . . ." etc. The Rcsponsory is -then-sung: ' "Uima me, Dominc, de uiortc aeterua . . , "cfe • While this Rcsponsory is being snug, the F R I E S T , assisted hy • • •the A C O L Y T E or DEACON,•puts-incense into-the-ihuriblc.' All '•' • this during the dialogue-between G O D F R E Y and Z O E .  •' •  Z O E says nothing. G O D F R E Y -picks up the rubber solution, ',  -  'spreads it on the. tube. Patch.  7  She picks,up a patch. Bigger one..  . •• • •  .  She gives hint a bigger one. He talks while he fxes it. There's a • film on at the Academy that might • be worth ,'  ' .-  ••  ACT  47  TWO  seeing. I'm going this afternoon. Y o u want to come? (He  ..  looks up.) Zoe? Take you out.of yourself. As they say:  '•'  .She makes no-response-  "  - -  .;  .• ,  .'  • •'  Pump. She hands him the pump.-He pumps the tyre a little, examines it. He looks up again. Zoe, honey. .'  '  <  Z O E : What?  • ' '; •  G O D F R E Y : . Get with us.  Z O E : What do you mean?  ' •  G O D F R E Y : You're in another world, honey. Z O E : Is it all right? GODFREY:  . ' . - , '  ''."' '.'  What? '  ZOE.: That - the . . .tyre, the —... . '. ;  GODFREY:  Seems O . K . . . .  Pause. He looks at her searchingly.  ''  Z O E : It's all right; you don't have to worry. It's all over..  :l- .  G O D F R E Y : ' W h o ' s worrying? Pause. .  \ '  ' . . ;'  What have you done then? Pause.  . ; . . ' . • '  •  <  . I mean which - which have y o u - g i v e n up?  '  ,  .  •  .  .  : •,  '. •  Pause. Zoe.  •  . -•'  She doesn't answer; he bends over the wheel again. Z O E : I've been to Confession. G O D F R E Y looks up at her. He has by now replaced the tyre, and is pumping it.up-. He goes back to his pumping for a moment, looks up again.  .  it?(jj  (J) P TU/lN£  CoPES DOkJrV 73 CoFp/// coffin thrice ou each side, namelyi at-thsfcct> at the middle and . HEAD ,- $>PR-lS>'JU-BS at the head,'with holy water; returning to his place, he receives'. 3 TIMES. fLETUd/Ji. the censer and goes round the bicr^ incensing the coffin in like TO Ai-TAfL.  GODFREY:  That makes everything all right, does  I\ 1cm while the F R I E O T goes round the bier, and sprinkles the ...  :  /MSEfLT (o  i  4  8  A SCENT OF FLOWERS  On returning to his place he says (at this point in the  NMiHwfi  • dialogue):  RESPONSE;  Scd libaea nos a malo.  P R I E S T ; From the gate of Hell.  ' -ejttSr-  RESPONSfi Amcft.' • P R I E S T ; Domine, cxaudi orationcm mcain, R E S P O N S E ; E$ clamor-mows-ad to venkrti J •PBIEST; Dominus vobiscumr R E S P O N S E : Et cum spiritu tuo. G O D F R E Y has finished pumping. He bounces the wheel on the ground a few times, to take kinks out of the tube, Z O E waits.' passively, emotionally spent. G O D F R E Y : Docs it?  Z O E : . What? G O D F R E Y : Make everything O . K . now . . . I mean y o u can  carry on seeing him, can you, and confess every now and. then? • S7AND4.  Z O E V - B C kind to mc, Gogo'.'. . GODFREY  puts the wheel down, goes to her and kisses  her; then goes bach to tlio wheel, which' he fits back in its  >k  •  •  •  •  •  ;  I'm hot very well.... I was sick all last night. G O D F R E Y : W h y don't you go to bed? She shakes her head. He twrka ftpitinfof-tHHomoiit.  ,  (£)  Does it, though?  ;  Z O E : What?. G O D F R E Y : I'm not trying to get at you, honey, I just.don't  understand these things. Docs it make it all right now? Pause. . .  Z O E : Yes. Theysaid it would, yes. . Slight pause.  •  TO  WHEEL-  66  49  ACT TWO G O D F R E Y : A n d you can - go on seeing him? Z O E : Who?  . . . .  GODFREY: Oh, Zoe— Z O E : O f course I can't.. . . What arc you talking about, of. course I can't!  .. •  G O D F R E Y : Well O . K . , I just— Z O E : O f course I can't. What a stupid thing to say. GODFREYT'Look, Z o e — Z O E : What do you think Confession is?— G O D F R E Y : Well, I don't know, do I?  I'm just a heathen!  Pause, while they look at cadi other. G O D F R E Y  (fi$s^acii to " S  his wheel, takes the spanner. Z O E : Be kind to mc  .  .  .  .  G O D F R E Y : Hold the wheel straight while I tighten it up. She docs so.  • •  You'll get over it. Pie spins the wheel.  . •  A fatuous thing to say, but the best I can offer. Slight pause. Not being a p r i e s t . . . Z O E closes her eyes.  s^.  (Z)4 rVd/JS BIKS Sl£>£ UP.  @ T h c r e w c arc, good as ncwgWcll r¥\ S,o . . . Erm - d'you want to come to the cincmaS^oc? He tui'iitf the bityele the right way up.  BEAT -36  (S^Cou  know, Zoe, the odd thing about all. these heartaches  and soul-searchings and God knows what else wc humans like to inflict on ourselves, is that looked at from any scientific  .  US.  0  q  &7bP£> PUTS,  X/CH-STANd. n  UP  7VHN%  z.  point of view.tlicy have absolutely no validity. • .. z o E ^ / a l i d i t y  . . . ? . ' •  G O D F R E Y : Just making conversation. Take for instance this fellow - what's his name? (9) .' Z O E closes her eyes. G O D F R E Y continues. His mood is .  ambiguous; he might be trying to cause her to break down for her. ;  . own good, or this might be only his private reason for his cruelty.  (k) Z TVA/JS TV q. 6)  z  TUfi~S>i Aw Ay,  67  50  A SCENT  OF FLOWERS  Perhaps he doesn't know himself. But he watches her as he talks, •and there is a hardness in his yoke.  He presumably has a  nameVtet's call him Harry.  Well take  (D q  r?£A/s  ., Harry. As far as I'm concerned, he's what? A hypothesis; a bit more than a hypothesis. I postulate the existence of Harry on secondhand evidence. Not very convincing from a scientific point of view, however . . . So, assuming Harry exists, for. the sake of the argument, what have we got? I mean what have. J got, as a scientist? A. postulate living in Bristol; O . K . Stage t w o — . Z O E : Gogo . . . .  (2I'  •  G O D F R E Y : Stage two is more difficulrrWhat is the connection between you, the existence of whom I can vouch for, and this hypothetical Harry in Bristol? Connection? Y o u say, I was his mistress. What more do you want? More than that, much more, says the scientist: present connection is what I'm after, past associations are of no interest to me, they just don't exist.. Z O E : Stop it, Gogo, please . . .  '  -  G O D F R E Y : I love, him, you say. What, says the scientist? Love, .you say, W o u l d you mind taking it out, says the scientist, so I can examine it more closely? What is it, electromagnetic or gravitational? Z O E : Gogo, please, what are you trying to do? c o D F R E Y ^ i ' m trying to find out, honey. I'm interested. I'm interested in how this Bristolean bloody postulate can be knocking the hell out of my Zoe from a hundred and twenty miles away. When my Zoe. herself has only just returned from demonstrating that he means nothing to her. Z O E : Y o u don't know what you're talking about— , G O D F R E Y : Isn't that what it means? Confession. As I say, honey, I'm just a simple twentieth-century pagan, it's all a closed book to me, but isn't that what it means? Isn't that what it's all about? Proving that what you feel about somc-  d)  q  STEPS  ACT  .TWO  51  one is nothing, and what you'vc done with someone is less , • •' '  .  than nothing?  1  Z O E : Leave me, Gogo, leave mc alone . . .  i-  • -'•_.  • C O D F R p r H o w does it go? Father, I have sinned, isn't i t ? © : & And what the hell sin have you been up to, child? Adultery,  '  Father. W h o with, my child? Somebody called Harry or  •  Q AfO\/£S  L.  C /V/tfJS 70  '  . •  something,' Father. H o w many times, my child? Times without number, Father. Are you in love with this man, my  ;'.' :  child? O f course I am, Father, what the hell do you take me '  •.'  for? D o you want to go to Heaven or Hell, my child? Heaven, Father. Then repeat this after me: This man means nothing to me. I wish I'd never met him. I spit on all my past experiences^ M y love was dirty. M y lovemaking was ugly. My  lover was sent from hell to tempt me and all those  beautiful things we did were disgusting, and my lover w h o maybe doesn't feel like tossing into the dustbin any of his  -j -  mortal life and then spitting after it, will roast in hell for ever more—• ZOE £ Q  &  •  .'•!•'.••'•••  throws the spanner. G O D F R E Y duck!:, the spanner  offstageAand  there is the sound  another  G O D F R E Y seizes her arm, Z O E cries out.  tool;  of breaking  glass,  Z O E picks up  ;.'••':!'•' . I'- .  Z O E : Leave go my arm!  • —Sfe---  He lets go. She holds it in the other hand. Slight pause.  SBAT37  flies  •  •.••..•:!'.  ;  G O D F R E Y : What have you done? She says nothing.  ' •  What's the matter with your arm? Z O E : I burnt it.  • .",'.; :•  } •  G O D F R E Y : How?  ;  Z O E : W i t h a cigarette.  !'  G O D F R E Y : H o w the hell did you do that?  '-  •  . . .  Z O E : W i t h a cigarette. GODFREY:  She says nothing,  .'•;/ ••-;•'  Let me see. .  is a bandage.  .  . ' ' /'  :'•.  but looks at him. He lifts her sleeve. •  There  ..'!.',. •;..  . •"•'•.'.'  :  , ;  69  A SCENT.OF FLOWERS  52  A cigarette'? What have you done, Zoe? .. He removes the bandage, takes away the piaster. On her arm is burnt a cross. O h my G o d . . .  BEAT 2.0 F  They remain motionless for a moment. P R I E S T : DCHS, cui proprium est miscrcri semper et parccrc; te suppliccs exoramus pro anima famula'c u u e Z . o c quam . hodio da hoc ... .  /A/SEfi-T  7  etc, He fades into the background, Z O E turns away from G O D F R E Y , replacing the bandage. G O D F R E Y picks up his tools, 0  BEAT 3d LQ  +2>_  and goes off. ivhecling the bicycle, (f)  Fy 6 Z/SE. <D E SrtTE&l L.C  "V .  E D G A R : M y Snow Princess.  ,&2  Z Q E V ^ f e l l me a fairy story, Uncle Edgar . .  He puts his arm round her. 'They walk together over to the  X.  OF E.  R. S/DB  steps, Right, where they tiV.iEDGAK begins they walk. E D G A R ' : W h i c h one would you like? Z O E : The enchanted castle. E D G A R : ' O n c e upon a time'there was a great forest that stretched as far as the eye couldsee, covering the whole,of the land, a forest so dark and thick that down below among the old ugly gnarled trunks of the trees nothing lived except the tiniest creatures, which scuttled about in the everlasting twilight: A n d no birds ever nested in the trce'tops but the owls. In the middle of the forest was a great silver lake full  ;  of shoals, of golden fish, and from the middle of the lake rose up the great grey towers of an enchanted castle, where nothing ever stirred, but in the very topmost room of which  0  £|)a beautiful young Princess lay sleeping an eternal sleep . .;. © W h a t is it, Zoe? Z O E : Make me forget, Uncle,Edgar; make me a child again.' E D G A R : But you are a child. A child asleep in a wood, warm and snug and unseen among the leaves, so that nothing can ever hurt you. . . Z O E : G o on with the story. W h y was the Princess asleep?,  ;  &E  Z  s/rs  BtSlOE  tCtJEELS.  70  ACT  53  TWO  E D G A R : She was enchanted until the Prince could find her and cut through the forest-and undo the spell. ' •. Z O E : Where was the Prince?. E D G A R : Lost in the forest. Lost. ' Z O E : What was he like? .'.; E D G A R ^^He was . . .just a man, like everyone else . He looks down at Z O E . Z O E : Uncle.Edgar, I'don't know what I'm going to  ;•  do.  Paiisr. E D G A R ^ M y poor . . . child . . . . 0 Z He bends over her; after a moment she begins to struggle. Both pa. . become frantic, until she tears herself away; he grabs her arm. . She Al draws in her breath, and goes rigid. He releases her. 3 lw-*infiuiS-«f (.3  LQ 4-1  BEAT ZO Q BEAT 39 LQ  HS +0,  BEAT LQ LQ  AWM  wdm.AwA'i--'  4 P  S P E A K S .  ,  the Antiplwn beginsi 'In paradisian deducaut te Augeli; in ttfo ®  SQ  BACKS,  CAg-kcf di)p  F $ S  adueutu susiipiant ta Martyrcs,' etc, Meanwlilie the coffin is-; COFF/tJ l/J p£o CES FoLLObJBb earned B O E ». atehesorfc a moiHO. it, crosses the stage, stopping- S/oP to genuflect {but the effect here sin Id be ironical) and picks up the. P. PC 4,  -  Bi  A, C/AtLf TP BxiT bottle of pills, Sitting cu the stop she begins to take them methodic ally, withflteaficuaJsips, of water, i c m v t M i ionics dewustage \ U Z . jrABLBAU} to wait for her, 5 ^ 0 A i l looks on, /A/SBKT 8 & Z TUP-NZ \ U Tt> : M y Snow Princess . . (SM* l ALTAP. , qEMUFLECT, the bottle, looks She loch* acros!to hiuijiiwwin<w»fl»fj puts down ;  t  mind,'holds her hand out to S C R I V E N S . He takes it, and rises to herfeetj thay leave together.,.  ' . . QUI Oil OURTAIN ,  PL  X  she  TD  PILLS  $ '•;••  METHOPICALLV : TAH-FS :  E  51  (i)  S3  THEN.  EPTBPS HATCHES  furs  z  .BOTTLE, OUT +  Z.  i>ou/Aj  PUTS  TD DU.  UP.  SC £>P.  sc. eom  HAAID  z X  ft  EXIT  f/iME OPE/JED Q^EfZWUICU /S COPF/P £E£F/AJ(f OA/ 2- COPF/sJ SUPPORTS. PoPES miiQUqU CoFF/tJ .../.„ WHITE £oSE OA/ FLOQg. COFF/A/.  ACT  ^- Q LQ  •. '  BEAT^l  open grave, on which the  coffin  rests on hoards.  '  •  ,  '•  .  :• .. •  S I D does  FRED:  i ' ;  •'. _ /• ,' !.  .•.'•{.:•, ••:  • ' • '" :  Pssh!  He throivs down his cards.  ''•.'•!•::  v ,  •  • ."  -•  <  S I D : T w o and eight you owe me. .  '.,;".  ,:\  • .  .  ''  ,. •.  \ ' . '.  . '  F R E D : Bishop's pay.  '  i,  F R E D : I'm just naturally knowledgeable. ..  [  S I D : Good luck to them.  !  F R E D ' : W h y not? They have to crawl up the hard way, you • know. '  .' i/.' •  . .( .  • '  S I D : Y o u want another game? F R E D : Listen:  '  •  .  '  '•;•.;! • '  ';. . S I D : What? • . ;  • • ...  ...]'.  S I D : As the Bishop said.  !','. S I D : H O W d'you.know?  !  ';'"•''  F R E D : ' A small price to pay for my enjoyment. •  .'. • i . S I D : What?-  ' I.  ''. •  •  •.  F R E D : Especially on ten thousand a year. ' •  (D F OAJ £- EfJb, S OAJ L. END.  '  .'  S I D : Pay twenties.  .'; ....  .  Twist me one.  • .. '•' I'll Stick. .  ;  (T)  S I P does.  A n d another.  • •• •  '  r  -  F R E D ff/irf SID nre 5)'«;>y P« t/ig coffin, playing cards on its top. ' . FRED:  "'.  :,'  A ccinetcry or graveyard, again represented very simply. There is air  S^- , £~S  THREE  F R E D : What is he that builds stronger than either the mason,  , ' . the shipwright, or the carpenter? •  ' ••  . .  ACT  THREE  SS.  •: S I D : What arc you on about? ' FRED:  Who  am  I?  S I D : Arc you all right? F R E D : Forget it. Deal'cm out.  .  They play-on, in silence, for a while. S I D : So I said, Ihnow, Betty, I know all about that. / . I said. I just don't like the idea of taking Arthur along, I said, that's all . . . H e ' l l pay his way, she said, I never said he wouldn't, I said, I wasn't thinking of the money . . . Meanwhile Z O E cnters.\She listens with interest to what S I D is saying. • Nothing against Arthur, I said, you know that. I just don't like the idea of i t . ; . Bringing your husband a l o n g . . . I mean it's not as if it was a Butlin's we're going to . . . Like last time . . . It's a respectable boarding house in the best part of Eastbourne . . . A n d anyway it's a matter of principle.. F R E D : W h a ' d she say? S I D : Said I was too conventional. Me . . . It's him who's conventional; won't go anywhere without his wife. I mean to say, what kind of a relationship is that? . . . Pay pontoons... Arthur's had his heart set on this holiday, she said . . . L o o k , • Betty ,.I said, why can't Arthur find himself a nice friend and go off on his own holidays, for once? He's got a friend, she . said, who, I said, you, she said . . . I mean a girl friend, I said . . . F R E D : Wha'd she say? S I D : Said I was disgusting . . . It's time Arthur realized, I said, that marriage brings responsibilities^ If he didn't want the responsibilities, I said, he shouldn't have got married. N o w I don't want to criticize my friends behind their backs, I said, but anyone with any sense of what's right and what's wrong would'vc at least talked about divorce; at least once. . As a matter of form. Has Arthur? Not once, I said. Not a syllable; If he wasn't a friend of mine, I said, it'd.bc down-  56  A SCENT OF FLOWERS  right insulting. He's never even hit me. Just invites mc round to play rummy twice a week and goes on holiday with us every summer. Pay ninctcens. •. . Trouble is, you sec, he's sweet on me. FRED:  Arthur?  SID : If Betty ever finds out, there'll be hell to pay; very jealous ••' woman <T? . Things can get very complicated sometimes, in.  g£/\rf£' • ...  thisJife  -i  zoEv'Would you rather  .  they weren't?  They look round at her.  I . .  .  ; BBTtJEEM TH&tj ; US Of COFF/tJ.  ' "'•  S I D : Have you been listening?  S  Z O E : W o u l d you?  i.  S I D : What's it matter to you? .  ;  ,.  • ' Z O E : I'm interested. |  F R E D : She's interested.  ;  S I D : I don't have to give an account of myself to her, she's  .  '  just a—  i  F R E D : Politeness costs nothing, Sid. The lady's only making  •'  conversation; being pleasant; killing time. W o u l d you care for my scat? ' He stands up.  zOB@Thank you.  1  She sits in his place.  \  j'- S I D : What was the question? , F R E D : The lady wants to know ifyou'd like things to be not so  { . •,  • )•'.  complicated.  i  S I D : Y o u mean like Betty and Arthur?  \  F R E D : D o you mean like Betty and Arthur?  .,  Z O E : Yes, for mstance.  :  F R E D : Yes, for instance. T  S I D : W c can hear each other you know.  '  F R E D : Y o u can hear each o t h e r - O h , I see, yes.  r •  .  Pause.  i ••"••Well?-.i :  "  .  •  • :  •  :  . v  S/T /Al ffl$ PLACE OAT TJfE C&FF/rJ-  74-  ACT  siD ® ' m  57.  THREE  thinking.  .  ^ 6 W/W^ S  0  F R E D : He's considering his reply.  .  SID sits looking into the grave. The other two wait.  Ever since he started philosophy at night school he's been a man of great deliberation . . . . W h e n he's in the mood, the simplest.questions arc a torment to him. ' •  A pause, Z O E sits swinging- her legs, FR-ED stands looking at  '  her. She senses the look, and looks up at him.  &EAl 43..  Y o u Wouldn't think me, like, er, necrophilic if I said you  . ' "'  had nice-legs?  .  .  .  . Z O E : ' Not at all.  .  F R E D : Hm  ...  •  Me sitsidow'u with his legs in. the hole*  Z O E : YOU can say "what you like to mc, Fred. FRED:  .•;  O h , not, not really . . .  Yes, you can. '' F R E D : N o , I can't. N o one can do t h a t . . . I mean even supposing I know what I want to say . . . Z O E : Not even to mc?.  . ZOE:  F R E D shakes his head.  i . ..  .  ,  F R E D : Well I mean, what do I say? ' Y o u got nice legs.'.I mean, when you think about it, it's a pretty bloody funny . ! . . . remark to make to anyone, isn't it? . . . • '. Z O E : I suppose it is. ' F R E D : I mean if you just change it a bit to . . . Y o u got a nice i right car . . . you got a smashing pair of index fingers . . . I • ;i adore the X^-ray photo of your liver . then you can see it's • a pretty bloody pointless remark to make. Fatuous, you I might say— ;.'. • •' Z O E : But I— ' •: ' : .  F R E D : What? •  I . z o F. shakes Iter head. .;• . Z O E : N o t h i n g . . .  .  F R E D : A n d anyway, what's it to me if you got nice legs?..  ,;  ':  AWA 7  58  A SCENT  ZOE  OF FLOWERS  shakes her head, her eyesintently on him.  What's it to you?  .,' . '  •'  .*•••.<.•  • . . . '  ;  •  I  .  Z O E looks down.  |  i.  Your legs, you might say, are irrelevant. Sec what I mean? "•  :• -  Pause.  •  _  .  •.  :'. Z O E : What's - relevant then? F R E D shakes his head. Pie takes out cigarettes, vines one to •"'  Z O E and lights both. A pause.®  •••  (D F  Z O E : Fred. He looks up at her.  '  ,  Z O E : Anything. ". F R E D : Don't you like the quiet? ,  LEAA)$  r  ,;  Say something. Talk. F R E D : What?  :  £l73  Aq/ktUSl~ StL C0FF/1J. •. . ,'i ''.'.j '  .  ..  .- .  ' •'•-.'..i . "  '  •  ;• '•-. : :  ,:  Pause.  • (2Xre you crying?  <£)  F WRt>J£ TO Z.  She shakes her head. He considers her for a moment. '  ,'  I love you. .• ! • • Z O E : It's not necessary to say that. i . i F R E D : Thought it might cheer you up. v: Z O E : That's irrelevant too, isn't it? Whether I'm what you  ' call cheeredtipor not.'.. And love, is that irrelevant? ,'  Slight pause.  '  •• • .  . . •• • •  j ' Love to me, anyway . . . •. ••< i . ' F R E D : I inight've done though . . If things had been different. . , If I'd've met you earlier on. Imight've fallen for you in a big i •' way . . . N o one can prove otherwise . . . -: . Z O E : Tell me about it. '  F R E D : What?  • ! ! .  ZOE: FRED: ZOE: FRED:  ;  Our might-have-been love affair. What for? I'm interested. Nothing much to tell really. (A pause as he takes a drag  • ' ''  • . ./  ,  .  ACT  59  THREE  at liis cigarette.) Well . . .forinstance . . . That night in the • barn.  |  •  .  Z O E : What barn? F R E D : ' T h i s barn in France; where we were on that cycling ] .holiday . . .  ..  • • • •  Z O E nods.  •  The day we got lost; and then as it got dark it started pissing .  . •'  •  with rain. Pitch dark it was..And we were dead beat. W e ' d ••• ''•''..•'•' tried to go too far, you see . . . A n d then we found.this barn :j '•' '  'w^-..'.'-  . . . A n d made some cocoa, and got out the old sack, and • ;  -0$£k:  curled up together. A n d went straight to sleep . . . . ...  •  Slight  pause.  ,:  ;  •<  Z O E : That was somebody elsey wasn't it?'  ... ,!..•••.  •FRED: M m . . .  -.J •'  •  •  Z O E : Who? F R E D : Some tart. ...  •'.•'- •"• '  Z O E : IS she dead?  '  .'  •-.  ...  F R E D : Not as far as I know .-. .1 dunno, she might be . . ' . Z O E : Is that irrelevant top?  Pause. What does'might'mean, Fred? F R E D : Might?  It m e a n s . . .  suppose..' .  ;  Means it didn't happen,  .  . I .,  Z O E : But what's the difference if it did happen? F R E D looks at her.  •  '.'•'.;..!.••'•'•'•.:  What's the difference, Fred?  Pause.  ,  .  ,  F R E D : I would've liked to've known you.  !  Z O E : But you did; you met lots like me ... . Y o u looked at r. • their legs and thought: I wouldn't mind taking that one. • And  •  they looked at you and thought, he's not bad-looking ;  for ajprole; pity about his a c c e n t . . . FREDGVOU . . . ? •  -• She nods. Pause.  i  -V ;  :''  :•  <D F TV this  TO Z.  6o  A SCENT OF FLOWERS  ZOE: 'One day you're going to die, Fred. .  . . .  Long pause. F R E D : I'll think about that when the time comes. .  Long pause.  1  Z O E : It'll be too late.  '  . . |.  "'.•'.  Long pause.  [. • F R E D : Good. • •  ••  :  •  -  •...'.'  Pause.' SID:  .  (j) S  What was the question again?^)  O.K., ;  SID:  .•'' j ; '.';.!.'•  BACK  ,s >0 TUSH.  The other two look at him. FRED:  7VMS.  I got it. N o w , as I see it, this is an unreal question. For Pete's.sake—  N o t in the sense ofhaving no existence; since the question  has been put, ergo the question has come into existence, that';. is to^say, exists, that is to say—  FREDS^O.K., O . K .  SID:  But in the sense of being incapable of logical justification, .'  that is tosay, absurcS^Now, what arc the necessary conj  comitants of a real question?  |  @ i - That it's a question, assuming a number of possibilities  <§) 6  STAMPS.  . | • . and demanding a choice.  :j  2 . That it's a  real  question, choice being possible—  j' FREEL: All the lady wants to k n o w — j siDsSrut it this way; suppose I say yes.  .,  (g)  j. F R E D : Yes what?  j SID:  Yes I would like things to be not so complicated.  |  F R E D : Y o u would.  |  SID:  j i.  S  7V£AJS  To  N o I wouldn't. Because if I say yes it means I'd like my  • life to have  been different,  which means I'd like  different person. .  j F R E D : Well? . . . . '  }{ S I D : W e l l I ask you.  .'••..'  •.:'.'  F R E D : I.don't get your point. SID: How  can I- wish that I- were not  myself'?  myself to  be a. •.  THEM.  BACK  78  ACT  Qt's  /O  logically untenable.  &J S  Is it?  '! ' >.  S I D : It stands tp reason. '  6l.  Slight pause.  FRED:  ].  THREE  FRED:  ' '••  -  '  S O it's no.  "  :.  . ; • ; ' •  .'  '. -y •  ;' .-.' "  . • . S I D : N O what?' . '• . • F R E D : N o you wouldn't like things to be.not so complicated? . ' S I D : It's an unreal question. Put it this way— F R E D : So you're satisfied. .'"'•,.' : S I D : What with? '• • • F R E D : Your life. • ,'• 1 S I D : Are you kidding? Put it this way— • ' * , . ' '. F R E D ^ k i p it, Sid, you're getting boring; . Paused , / ' BEAT<WJZ O E : Say,something. Talk. j S I D : D o you want to know about Aristotle?  /Z> Z.  •  .  •. , ' '"••'  .  7  •• ••  @ F 7~V/2fJS  ,  c  5  F A C ^ P L .  g  %f -  •  . ••'  '  ©  F TV/U& TD Z:  F R E D T ^ A r c you crying? • Z O E : N o . ., '••'1 ' F R E E w b o n ' t want to let it get'you down . . . Never let any- @ F X . TO Z . thing get you down. j • •,,;'.< j That's a craftsman's observation. " ,'j'•'•'• '•'.'"•"• Z O E : I'm cold. ' •••••\ ' ••';' ' F R E D : You're shivering. : •'':'" : . S I D : Donkeys oh your grave. i ..'•••'•' •'•'' F R E D : It comes out of the ground; the cold docs. Being cold I; down there, you sec, you dig a hole and the cold comes out. !'>'•','• , I've often noticed it. • •. . ;.•',','..' ' S I D : It's a scientific fact. '"• • ;•• •'•. '•' .'• \'"v " ••' . ' " Z O E : I ' m . . . c-cold.. . F r e d . . . ; , ; F R E D : Borrow, my jacket. ' ; •••' ' \ ' " . . • •,'•.'-. "  7  S I D :  •  ;  {•..'•  | :'. •  Tie takes his jacket off.  Z O E : I'm cold right through. '  '  F R E D puts his jacket over her shoulders. •  •  ;  ' ';"-;.".-•  : ;  ' . ',../!• ; j. .':'.•;.  . ' .'.-; j  .'•'  62 • / Q S7  A SCENT  ' F R E D ^ S that better? F R E D nil  sip:  OF FLOWERS  •  (D F Sin  ^  BESIDE  id. SID docs'the sanwi  We're missing our tea-break.  '  F R E D : Shut up, Sid. Z O E : M y lips are cold. Fred. FRED  :  kisses her.  zoi-::JSid.  Q F  ';•  FREDN^SlW. • . . .  BECKONS  S.  " }•.' .  SID kisses her. F R E D : Better now? Z O E : Fred, I'm . . .  .  •  F R E D : What? Z O E : I feel like a child again; I feel like I felt that first cold night at Agnes's . . . SID:  Who's Agnes?  F R E D : What does it matter? . Z O E : All alone in that strange room with the big cold empty: bed  ...  F R E D : Close your eyes.  She does. Now  imagine you're in a nice warm bed. A big square bed  with plenty of blankets on you; Are you warm?  ;  Z O E : I'm afraid of the dark. Come in with me, Fred . . . F R E D : I'm in with y o u ; I'm on one side, and Sid's on the other - there's no room for the bogeyman. Z O E : I'm still cold; make me warm; make love to me . . . F R E D : We're making you warm, we're making love to you.^ ) A r e n ' t we, Sid, we're making love to you like anything .  • HP takes his iwm and signals to SID. •  Z O E : Keep me warm; don't leave me . . . FRED  won't leave you, we won't never leave y o u ; we'll.  keep you warm for ever, won't we, Sid? Y o u never been so warm in your life . . .  '.  He takes his jacket carefully off her shoulders.  :  • '•  F HonorJ $ jr>  PUT Afin • Z. S  Zoo/so so..  Q F S/q^JALS '[ S 70 LEAVE.  ACT THREE W a r m and snug and safe, so nothing can ever happen to you— He acts up. GIB docs the came, (u The fire's on, and the curtains arc drawn, and the door's locked to keep out the nasty bogeyman, and the light's out, and you can feel the warmth of your two warm lovers, Sid on one side and Fred on the other . . . Your two faithful lovers...  0 6 r/PrDE<> OFF M L -  F  C I R C L E S  B E / + / K I D  1 Mis  Z'  T A K E S  -JActcdr,  : TIPTOES  our  UL.  lie signals to SID. Theytwwc thtoc 0out. She remains with her euters^^e opens her eyes, and they  LQ 5 8  eyes closed..SCRIVENS  BEAT •fb  • /ook  V  at each other jor a long moment.  SCRIVENS: Twenty minutes,  my dear. ZOE (emotionally): D a m n you, M r Scrivens. I'm not afraid of you. He nods, approaches her,, flicks a speck of dust off the coffin, and cocs.  ( i / M r Scrivens!  STAM  OS.  He stops, almost off.  •  •  T  •  i... i...  SCRIVENS: Yes,  Miss, •'.i ZOE: I want to ask you a question. . SCRIVENS: A matter of etiquette? ' ZOE: Erm . . . SCRIVENS: Leave the form to me, Miss, don't you worry your , •' head. •'. j' ZOE: N o it's not a matter of etiquette. !'• •  He waits, almost offstage.  I can't talk over this great distance. hear perfectly well, Miss . { • ZOE: I didn't say you couldn't hear, M r Scrivens, I said / ;, couldn't talk. W i l l you kindly remember you're in m y / . !• . service and do as I tell you. .  ;  ZOE:  SCRIVENS: I can  / SCRIVENS  bows slightly, and comes closer.  Closer, closer^t'll be a difficult enough question to,put  sc  MOVES  TU Z.  6  A SCENT  4  OF FLOWERS  (together in the .first -place, a -r fragile question, a delicate, '.' <.•'"•.'•.••' .  .''.-.'  ethereal question, like, let's say, a shape made for a moment by the smoke o f a cigarette in a still room . . . . S C R I V E N S : Yes, Miss.  •.  •  •  Z O E : I'm not going to ask you to pass the butter, you know. I mean it's not a . . .  .'  ••  . ;• ..- \ ' ' ~ \ .  •.  -  S C R I V E N S : Factual?  Z O E : Factual question, it's n o t — . . . . I don't think it i s . . .  'v.  S C R I V E N S : If I may mention it, I have another client, three  '•'  plots along, I'm a  little pressed for time . . . This is the busy  v  season, I'm having to run you concurrently—  Z O E : Let him wait—'• . ' ' • S C R I V E N S : He's ninety-four.. ZOE:  waiting/rVow I've  A l l the better, he'll be used to  gotten where I was. SCRIVENS: Pause.  |  • ''  knani. . . H o w -  i  •  - .  •  long—?  Z O E : It was twenty.  •. ^->.  .  \2J  6C  '  .  ••• •!  Z O E : It's like trying to remember a face.  .•'..! ' . •  Z O E : Please don't humour me. It's like trying to remember a  •' •  [•• ' •' face I once knew so well that it was as though I were looking  -  |.  in a mirror. A n d's g o n e . . . Whose face, what question,  i  j  what do I want to know?  :.  •• •• ;  .  • • "-  ;'• . S C R I V E N S : If you'll forgive me saying so— Z O E : It must be somewhere in there.  • \.  i.  j' S C R I V E N S : Very difficult.  . S C R I V E N S sighs slightly.  OUT  WATCH.  .1 .  •  [ S C R I V E N S : It's your question, Miss. •  '[ S C R I V E N S : Where, Miss? .'.  TAKES  PocKBT  S C R I V E N S : Minus one is nineteen.  !  SITS.  ,  s C R I V E N S ^ N i n e t c e n minutes.'  [ '  Z  '  '; Z O E : Can't you help me? !  (0  .  . • ••  Question, Miss.  . Question— }'.'-ZO'E:.I  ,•  for-  i .  .i ••••• •  •  82  65  ACT THREE  Z O E : In wnat happened, i n . m y life. O f course. It's tucked . away somewhere in my life, all I have to do is . . . think . back oyer every thing that ever happened to mc, take out all my memories from the time I was born and sort them all . through like a bag of buttons . . . scRivENS@ighteen.  06c  Z O E : N o , it must be simpler than that. It must be terribly.; simple. As simple as - lodking into someone's eyes Agnes . . . ? Supposing I were to go back and look into the eyes of everybody I ever met - would it be there, in one •>. of them? ' • 1 She looks at S C R I V E N S . He looks impassively hack.  OUT  TAKES  sjlftTCH-  .<  I ' m n o t c r y i n g . . . Can't you give me a clue? .' S C R I V E N S : If you'll forgive my saying so, are you quite sure ,I there is a question? Z O E : - O f course there is, what a stupid thing to say! O f course • there i s ! . . . A t the end of all that.. . There must be . . . Slight pause.  -  -..  •,.  ; ..  ••.  :  ••'."  It's all I've got left. . . Pause.  '• '  Y o u are humouring me, aren't you? SCRIVENS:  .  ,  O h , Miss.  Z O E : I'm not so exceptional. They must all - they must a l l . . . ask the same tiling . , . . ? • . . j SCRIVENS:  Miss?  .  Z O E : Mustn't they? S C R I V E N S : What thing, Miss? Pause.  ,  • -  .  .'•' .-.!•';;••/'..'•';'  If I may say s o . . . • ' i Z O E : What? S C R I V E N S : If Imay say so, you can't have everything. O r to . put it another way, a little wee something is better than,; nothing. Z O E : Or,to put it another way?  . , -. •.  ...  .  '  .". '•'/'•\'  •• .  .  •  . 6 6 ., j-'  A SCENT OF FLOWERS .  ' .  _  SCRIVENS: Or to put it another way,  j v | - ' ] ' ; • • , ' • • • ::-\:  it's quite true, they do .  ' !'.' "•' all ask. . ' : . ' • ;! ZOE: What? I SCRIVENS: The same thing you asked, Miss. ' . ; ZOE: What—? • • | SCRIVENS: What the question is, yes. Fumiy question, really, .; . i riot one at all really, a sort of question once removed or a i • •[' step-question, you might say. • • < .••*••. • .; j . ZOE: They a l l . . . . . \ j SCRIVENS: But as I say, a little wee something is better than, •:• j nothing. Even if it's only - if I may be poetical - a trembling .i of the air as a question passes by. •: •• ... ' Long pause, ZOE begins to latigli. i Yes, they all liked that; they appreciate the poetry of it. .•| .. !'• ZOE: A trembling of the air - as a question passes by . . . Oh, ! .. '.. Mr Scrivens, you are. a devil. •.. : SCRIVENS: Oh, Miss, I really should be getting on with the. .: gentleman in plot thirty-five. . i. • ' •ZOE: Don't let me keep you, Mr Scrivens; don't be detained. : . by a question mark. He goes. AC. t",'"' "• • •;'• Mr Scrivens? ' He stops, almost, off. \ Where would you be,if I hadn't stopped you? j SCRIVENS: Have your little joke, Miss. Seventeen minutes. LQ S i i Heeoes.&&y ..... EDGAR enters.Aivhceling his mother as usual, and dressed in BBAT *f-7 ! black, as will be'the others when they arrive. He passes across • > . upstage. | EDGAR: Here we are; I told you I'd take you for a trip to the j . coyjitry. Do you like the aspect? j'. z o £ < U n c l c Edgar - I ' m over here. 0Z glSBSy X"'7~D j. EDGAR: D'you hear that, mother, the distant soundof a child : S]7\fJl> SL CoFF/rJ. ; calling? No, of course you don't, you're as deaf as a post. ,, ; 1  :  L  (  ACT  6  THREE  7  Z O E : Please— . . .  ®E LEAVES $/LA*lfJ1 Ud. X SLiqHTLf not in the habit of accosting little girls in gardens of remem-' •i TOWA/Lb z.  E D G A R r Y o u remind mc - 1 don't want to stick my neck out,  it may well be pure imagination, and let me add that I'm • brance; but you have a faint resemblance to a memory I once had. I used to carry it around in my pocket, but unfor•  tunatcly it's no more.  Z O E : Uncle Edgar . . . EDGARV=£xpunged. Delightful word. I left it in my pocket • when the suit went to the cleaners, and it dissolved away in • the pyridine and petroleum ether, leaving nothing but a : slight blotch on the material classified by the cleaners as ineradicable. zOET^Don't you remember me? EDGARCLYOU remind me of a memory, what more do you . want? Introductions? M y name is Edgar; the buffoon with the heart of gold. H o w d'ye do? What next? W o u l d you  © I TAltES FBVS [STEPS To \rJA&D E  TVPMS m Z.  ©  care to sit on my knee on a gravestone, while jolly Edgar tells you a dirty fairy story? Don't worry, no one will hear, there's nobody here^-but us cadavers, is there,  mother?  £  Listen, I have a peach—Once upon a time, it goes, there was a great forest stretching as far as the eye could see— zo  o, please, please . . .  E D G A R : Beautiful young princess lay sleeping, it goes. Make  (D z  TV&NS AWAl. x  ro  E.  me forget, Uncle Edgar, it goes, make me a child again. Are you  sitting comfortably? Unseen among the leaves so  nothing can ever hurt you. Then you have to say— Z O E : Where was the prince, Uncle Edgar? E D G A R : A h , you know it. Uncle Edgar: Lost, my child, lost in the forest, my child, lost. Z O E : What was he like?  •  E D G A R : You>say. Uncle Edgar: He was... .just like everyone' else. Go onrZoc: Uncle Edgar, I don't know what I'm going • to do. A pause, as slowly she upturns her young, pale, trust-  $  SLOXvm  AWA(4 F£oM  BACKS  E.  85  68  A SCENT  OF FLOWERS  ing, stricken face to lois, nestles in his arms like a wounded bird and waits for her kind magician to wave his magic wand, blot out the nasty world and change it into fairyland. Kind Uncle Edgar bends over her. Edgar: M y poor child, my poor stricken, suffering, delightful, desirable child. His kind, hands grope for mutual comfort, his kind blood rises, his kind fingers clench.^Yes, a faint resemblance. The nose is not quite right, of course. H o w do you do? What next? W h e n the introductions have to stop, when we've introduced ourselves and seduced each other, which comes to the same thing, what then, little girlfc=What then, mother mine? Fart mc a word of wisdom. D o we know any other tricks?: Rhetorical question, asked of a deaf mute. Z O E : Isjhis all you have left of me? here to witness a passing, as you probably guessed.. Perhaps you were acquainted with the corpse? She's in there, so the story goes; conjecture, of course, you'd need a screwdriver to be sure.  ED G A i i ^ l ' m  .0  A E  Tonus  mz.^  'i  (D  £  K  uc  He wheels his mother. Z O E : Don't you remember anything? E D G A ft40h, lots, lots, I'm stuffed full. What do you think keeps. E CYCLES me in the upright position? I'm like a Woolworth's Christq/lAVE TO DL. . mas stocking bursting at the seams with paper memories in two colours, cheap tin memories with sharp edges, celluloid' memories, bakelite memories, they come by the gross from Hong Kong. What else do vgu think I am? Listen, little girl, do you like guessing games nListen, then, what do we repreE n>&A<s> jo z , sent? Look again. No? Answer: a cello without strings••; FUL-L. TVZfiJ TrJ 1 F£oAJr OF propelled to a junk yard by a tone-deaf idiot.vw^ L ro . He lauohs. zovtums away. G O D F R E Y entcrs^,rm is turned E X U/L TO ' Cf&AAJAJ</' WHEELS  Q G O D F R E Y : Zoe? • '  She, turns towards hiiv,  O h . I'm so sorry . . ^  : '  - , • • ••';.', '.  Q> Z STANDS <J£/)\/E LOOK/A/C ®  $  ^TEES  SACIC.  /A/.-.  86  ACT  THREE  • •.  69  • r' ZOE: Sorry? ' •'''':•>'••'' •. 1 • G O D P R E Y : I - mistook yori for somebody ... You are rather.' j. . alike from the back . SiX know this sounds like a line, but (j) C . AfQ^BS JD 2. '. |; ,. honestly, it's true. Were you, er ... a friend? ' ; .-. . ;;  ;  ;  :  .•"•'.•• She nods.  -••'•••',' ' •% •• •  j'," Your face is familiar; perhaps we met once at a party.;" V ' j;. ZOE: Yes, perhaps we did. '.'.v.- :•'' :  j-' , !''  |  He takes hor hand, -. GODFREYV-Godfrey. •'••<' She opens her mouth to speak, but says nothing.  ,  '  • ..  .. .  v  0 THBf SHAKE //AA/O5.  \. j ; Your hand's cpld. • <' -' S |. Z O E : I don't think so; yours'is hot. < .... . .-. .| • .. '•..'• . .!' G O D F R E Y : I don't think so, But if you say so we'll have it that ;i | '••. -wzf^He gives a faint smile.) Is this the ...?'. • • , .. V; ,,:, <§) Q . P O L L ZOE: Yes. Mon rcpos. r','. ••;'? BACK- .'•:[•: ,., r G O D F R E Y : T don't think that's quite .. . \'. • ' ~ • • - - .7 > i''.--; .'. j.-, ZOE: N O , it isn't, is it - quite? • ''/ •'"'''•' " :  1  S  ;  . !"'  •.  Slight pause.  •"•  You're shivering. ZOE: No, I'm not. {'. G O D F R E Y : If you'd care to borrow my coat... : • I: ZOE: No thank you ... But it's very kind of you. ' *,'  '.'J.?;!; ..' .  .  . •'"•  ' -  GODFREY:  !.  ! '•,! G O D F R E Y ^ N o t a t a l l . • .]•• Pause. G O D F R E Y moves to the graveside.  .'•.'•••':.• ,' {•••• ;. f !  ®  • , G A/OUE UC  '  BBplfJt> C&AV£ • . |; ZOE: You remember her well? .j-"-' ' G O D F R E Y turns 6> herfor a moment, then back to the crave. . ' ". • ••• : G O D F R E Y : Iwas her brother. & •-.. .••.•>•. ..••.;>••• j ZOE: Stepbrother. • -.: r G O D F R E Y : If you like. I don't know how you can ask such a. .i . • {'." ••question. ; ! ZOE: You have vivid memories of her...? :  :  1  Pause. .  j;  .  '.•••:!•  It's as though she'd just gone out of the room. It'll I.... always be like that. • •..:,„• i. .  .,  ,  GODFREY:  \ •'•  '•'•"••' ' • ' '•'  '•  • •• '•.  ' '"• ' '.' '',  •  •'•••/'•{• ••-'.'"•''••'.'," •.•''•-V'" •':••'••  /MA//)  '  70  A S C E N T OF FLOWERS  Z O E : You were very close. ' G O D F R E Y : You're quite right, we were stepbrother and sister. This made us closer than if we'd been related. In effect we were siblings, you see, and in effect we were lovers, too. Z O E : What colour were her eyes? G O D F R E Y : , We were very close. She used to tell me evcry, thing.'.  Pause.  Z O E : Why did she die? G O D F R E Y : Surely you know the story? ZOE: Y e s . . . . G O D F R E Y : Then why do you ask?  Slight pause.  '  She was very— . . . She was an impressionable kid ... . Her heart was too big; you know what I mean? ZOE:  NO.  . . .  G O D F R E Y : . She loved,too much. Z O E : Is that why they took her out of existence? •• G O D F R E Y : They? I don't understand you. .ZOE: Why she's dead. \, G O D F R E Y : You know the story. Z O E : Yes. G O D F R E Y : Then why do you ask? ' • •' 1  Slight paused  :  • • '  Her eyes were brown. , Z O E : Were they? G O D F R E Y : Surely you know. (He goes closer to her.) They were like yours. Only brown. Are you sure you won't borrow my coat? i, • ' 'i  She shakes her head.  You're shivering. ZOE:  NO.  • : •  -  :  ;  G O D F R E Y : Very well, if you say so.  ;  ACT  BEATtf  71  THREE  They stahd looking pkonc another for a moment; then A G N E S oF and goes up to \Q O £TAtJ£>S> A S and D A V I D enter^souF R E Y \ A 0£SlD£ q<LA\JE. them. They all now behave conventionally, making conversation in low, unemotional voices, ZOE stands apart; G O D F R E Y : The service was effective, didn't you think? ' AGNES: Yes, I suppose it was. I'm no connoisseur of such ,• things. G O D F R E Y : She would have liked it. Don't you think? AGNES: Would have? GODFREY: Don't you think SO? AGNES: But she isn't here, is she? To like it or not. She isn't here, is she? She's dead. G O D F R E Y : I only said she would have liked the service. You never loved her, of course .. .• AGNES: Does it matter? ' '•: G O D F R E Y : Does it matter! 'v AGNES: Does it matter? She's dead. ; G O D F R E Y : It matters to me, that I loved her. • . ]' AGNES: To you. Not to her. She's dead. G O D F R E Y : She'll always be iri my thoughts. AGNES: I hope you find that satisfactory. Slight pause. (^bavid. <Z)A TVMS Tb D, PUK D A V I D turns a blank face to her. She holds out her hand, which . he takes. He gives an odd little broken bow with his head; • There was nothing you could do. E D G A R wheels his mother over to the rest of the group. (sjlhcrc was nothing anyone could do, more than they 3)A ZtJt-A/S. JO did. She's dead, she's dead. . Slight pause. . . ' . ' D A viD:. Who's that over there? :  ;  !  BEAT SO  G O D F R E Y : She was  a friend.  AGNES: Ask heir to come over. .  .  G O D F R E Y goes acrn<x tn her. •  ]•''.  ;': '••,!  89  A S C E N T OF FLOWERS  72  LQ  G O D F R E Y : My mother wonders whether you'd care to . . . oin us. <f ^ • (j) She shakes her head slowly. G O D F R E Y returns to (D theZgroup. * D(L. She'd rather not. X. AGNES looks across at ZOE. who looks hack at her, SCRIVENS enters, with FRED andSID. /LC;  1>Q-  J  | i I'  BEAT Si  SCRIVENS: Very well. If I may make so bold, ladies and gcntlcj men, I think we may now perform the final closing stage of .•'•[" this little ceremony with er - reverential brevity. Nothing i • •. . . to do with the client still waiting in plot thirty-five, you understand, but I'm sure you'll agree there's nothing to be • i . gained -in drawing out the proceedings. Dignity has , triumphed, we all feel the better for it I'm quite sure, and if the point hasn't been made by now a few minutes longer won't help. If you'll therefore all gather round wc shall . ; ' . bring the proceedings to a close with all due - er decorum. FRED: O.K^  !  j  QA/WZS/DE.  © FX  J>S OF Q£A\lE.  I'Sx \J% oF  QP-AVE. SCRIVENSr^Lower away gently. F$S ZEMOVE lowerlooks the coffin into<i¥e. SCRIVENS shakes hands. , allThey roundylic across to ZOE. \CoFFifJ soPPo&n, , Goodbye, my dear.. \L-0\AJE& CoFF/N, He exits, EDGAR remains stilh looking at the grave, AGNES m&ovjfto PES. /AJ comes up to ZOE; D A V I Dfollows her, but stands a little back. TV AGNES: W C met once. Briefly, I'm afraid. I'm afraid wc didn't SFA/JP UP. get to know each other very well. But I tried. It doesn't matter now. I shall go home with the thought that there was ® sc x TV EX IF, someone I tried to know, and failed; but that it doesn't i DG-, STOPS A r .'. matter, OL She holds out her hand, Z O E takes it. AGNES moves awayj^to leave. She waits for DAVID. .David? .DAVID and Z O E have been looking at one another, DAVID. comes forward; he takes ZOE'S hand. He has difficulty in speaking, . as though he has forgotten themeanings ofwords. •••  ACT  THREE  73  D A V I D : I . . . had . . . a . . . daughter . . . AGNES  (softly): David.  D A V I D : She . . . crm . . ,  He seems to have forgotten what he was saying. He puts his hand to his foreheadfor a moment. EDGAR: In then, mother?! In now?!  He pushes the wheelchair suddenly up to the edge of the grave. The others look round. A pause, E D G A R is still. He suddenly .. bursts into laughter; but the laughter is silent, D A V I D goes over fo.EDGAR, puts a hand on his arm. They exit, E D G A R wheeling the chair. U&> (7) A G NES (as she goes) .Arc you coming? Q A x n q G O D F R E Y : It's beginning to rain. Yes, I am coming.  FRED whistles to ZOE. She looks round..He jerks his head at © A BAITS hex- She approaches them.. .  FRFEJ: If you don't mind . . . ' '•. SID: We got a couple of other jobs, you see. . FRED: It's a matter of schedule.. . SID: We don't want to miss our tea-break. FRED: Like to leave a job shipshape. SID: Professional pride, you might say. FRED: Anyway, it's coming on to rain. ..' • SID: Don't wantto be left out in the rain, do you? F R E D : So if you'd be so g o o d . . .  U L .  , ••<D F<$ S X TV Z  Z O E nods, FRED begins to help her into the hole. She pauses, and looks at G O D F R E Y . G O D F R E Y : N o ! ! (He moves towards them.) N o ! ! Take your  , hands off her, leave her alone.  He has reached them, and attempts to take ZOE back. Oh, now, sir. Hii Nins A*.OUHO S/CfA/ALS G O D F R E Y : Zoe. Zoe .... (He goes onto his knees andputs/^t*4tetnl'  FRED:  F  TO WAIT O/ZL.  nflier lap,) What have they done\to you? (He cries.) Z O E : Keep it, Gogo; it's for late^f've got nothing left to give 1 f~ $ • I you. This girl who stands here stroking your hair and | • .  ?  74  A S C E N T OF FLOWERS  talking softly to you^ it means nothing to her. She's going through the motions, that's all. You can't share grief; you're on your own. Go home and cry into your pillow; your pillow will comfort you. Pause. Cry then, it's good to cry. Get angry, it's good to get angry; it never changes anything, but you can pretend it does, and it's good to pretend. I envy you your tears; however shortlived they may be. GODrncY crouches with his arms on the coffin, his head on hit arms, tabbing. She goes behind him, puts her hands on his shoulders. Can you feel my hands on your shoulders, Gogo? G O D F R E Y raises his head. What do I look like? Do you remember? He turns his head to one side to sec her, but she moves out of Jus sight; he turns the other way, and again she keeps out of his sight. She chuckles. Don't you remember? G O D F R E Y : O f course I remember you; you're that skinny bitch with the face like a monkey. You were the sister I romped with— Z O E : And when we danced in the moonlight at the end-ofterm ball we were lovers. If you walk along the pavement without treading on the lines-rG O D F R E Y : Yourtook at you, you're skinny— • Z O E : And you stink of tobacco and engine oil— G O D F R E Y : We were having a pillow fight, and the pillow •'. sort of got lost— Z O E : Nothing happened. G O D F R E Y : Nothing happened. Z O E : And it makes no difference in any case, does it? If it happened, or might have happened, or you think perhaps • you can vaguely remember something of the kind happen-  ACT THREE  75  . ing once upon a time with you, or someone else, and me, ; or was it some other g i r l . . .  Slight pause.  ' [  GODFREY: I remember you very well.  Slight pause. They are both smiling. Z O E : It's all over, you see; the ritual is finished. No more formalities; no more Zoe. Just a little silence, a light rain .'. falling from a colourless sky, and a slight scent of flowers. • You can go home now. i .  He turns away. (IL  Good luck.  ! .  J  He takes no notice, but wanders off a little. Gogo.  He stops. BEAT 62.  LQiol BBATSX  Gogo? .GODFREY turns, but doesn't see her. He walks to the grave. He pauses at the graveside, then goes.UL SID coughf&rD.zi> offers her his arm. She takes it, Fand Qs<i, X disPS 7b appears into the hole^FRED and SID peer into it.jjnRn offers sin. I .. Z. cigarcttoi They light up. Pause. <D S\'F X D/L FRED: We can fill it in now, or we can fill it in later. TAKE OUT C/fAgSlight pause. I ETTES L.I$HT. SID: Cup o'tea first? FRED notices a rose lying on the ground, picks it up.: FRED: You ever thought of jagging this job in? SID: It's a job, i'nit? FRED: Itjiist seems, er . . . you know . . . a bit pointless some-. times. Slight pause. , SID: That's why we get paid for it, i'nit? Slight pause. FRED: Yeah. O.K. Cup o' tea first. SID goes out^t RED follows him, throwing the rose QuL. idly into, Ft. F the grave. CUB-TAIM | THlLoviS Pose /AJTO > •• : QP-AME. EXITS f  T  ;  LQ (oZ • Lq C 5  1  '  UL.  BEAT  ACT  I  1  Beat  Introduction One  spotlight  settee  slowly  a  Zoe  and  dims  by  a  quality  recorder.  both  to the play  surrounded  contributes the  ANALYSIS  The  up  soft  and  i t sm a i n  to reveal  purpose  Zoe  other-worldly  of tentativeness of this  t h e d o m i n a n t mood  character,  -  beat  sleeping glow.  i s to  of the play  on  The  the wind  Zoe. the  music  through  introduce  -  a  mysterious  bring  a  c o f f i n  Zoe.  They  sadness.  Beat  2;  Where  Pred the  and  room.  her,  introduce  imprecise, the  questions "That's  her"?  This  Beat  themselves,  somewhat  which  beat  then?  squabble,  the  i s concerned.  beat.  this  and  a t t e n t i o n i s drawn  i s obviously  work  inate  you want  S i d enter,  Their  Pred their  do  We  and  leader He  bumbly  leave  Whose  her.  of  What How  Pred,  get  the  craftsman.  apprentice.  coffin?  introduces  to  do  Zoe does  They  S i d and  as  S i d i s the dom-  the  i t mean  the  f a r as  t o t a l l y  except  these  awaken  flowers.  o f t h e twosome  i s the  learn nothing  surround  to  into  that  things  relate?  coffin.  3 Zoe  slowly  moves  to  the  c o f f i n  and  touches  i t .  The  mood  of mystery  position often  Beat  o f Zoe  i n the  4;  s i s t e r of  enters.  and have  which  the f i r s t w i l l  be  juxta-  repeated  so  and Zoe p l a y ,  They  grown  up  were  tease,  step-brother  together  sharing  and and  speak  of  step-  important  moments  childhood.  between  i s introduced  him and  information  Zoe  the relevance  mutual  Beat  one  which  of this  relaxed  Various  create  relationship  odd pieces  more  of  questions.  What  information?  i s dominant.  The  scene  i s an  equal  and  t i l t i n g .  5;  Scrivens.  Scrivens h i s views  listens  with  coldness  enters on much  i n dealing with  siding  with  Scrivens.  t o strangle purpose  h i s job as  as democratic  interest.  the individual  The  and discusses  funerals  taking  t r i e s  a n d t h e warm  i s exposed.  are related  Neither  and  have  misconceptions, He  together.  Godfrey  is  and the c o f f i n  Let us d i s p e l  past  a n d we  play.  Godfrey their  dominates  Godfrey  a l l corpses  into  account.  Godfrey  undertaker  processes.  reacts  t o  s i m i l a r l y Zoe  f i n a l l y  teases  Zoe  Scrivens' instead Godfrey  becomes enraged  Scrivens. o f t h e beat  i s t o introduce  Scrivens.  of by and  This  i s  view  toward  world, and  achieved him  Zoe's  Scrivens  Beat  f o r  the  necessity  of  with  Scrivens'  point  i s  to  one  the  of  be  his  increasing  point  of  6;  Do  Zoe  and  you  know  what  Godfrey  Mr.  extend  their Zoe  assuring  him  Mr.  Scrivens  i s  died. i s  the  the  The  f i r s t  tension  established  are  you  and  Sid  have  funeral  of  been  flowers.  (the  turns  the  tables  love,  and  f i n i s h e s with  The touch  c o f f i n ) to  Fred,  on  him  the  of  tables  a  view.  patient.  between  Godfrey  Scrivens  scene  and  by  him.  i t i s  beat  against  Godfrey help  that  the  This  Zoe  who  dissipates  and  show?  beckons makes  speech  turn,  clue  to  f o r  them.  taking  leaves  the  there  p o l i s h i n g the  and  by  comforts  previous  a f t e r  Fred  her  unnerved,  purposes  when  the  doing  craft  dead.  definite  between  What  Fred ing  that  provides  7:  of  i s ?  arguments  and  Beat  the  function,  attack.  Scrivens  l e f t  calm  and  of  consistently.  has  a  i n  his  tension  Godfrey's  a f t e r he  has  points  function  self-assured  Scrivens  beat  three  view  to  of  of  own  himself  beat  dominates  h i s  presentation  impatience  shows  This and  -  the  sympathy  Godfrey's  Scrivens  by  to  pass  over,  and  shows at  get  a to  o f f  her.  declaring  i n d i c a t i n g that  are:  which  a  Zoe,  c o f f i n  cup  of  provide  prepares  f o r  arranghis Zoe  her she  mock i s  tea. a  comic  Uncle  Edgar's  entrance,  to continue  establishing  t h a t Zoe i s d e a d , a n d t o  e x p o s e more o f Z o e ' s c h a r a c t e r - h e r l e v i t y , h e r r e g r e t . At left  t h e end o f t h i s b e a t ,  a s w i t h many o f t h e m , we a r e  w i t h Zoe i n t h e h a l f - w o r l d o f h e r d e a t h .  atmosphere o f t h e opening beat i s c o n s t a n t l y w h e n e v e r whe i s a l o n e  B e a t 8:  The mood a n d reiterated  on t h e stage.  What a r e y o u l a u g h i n g a t U n c l e E d g a r ?  (That's  Granny) Uncle Edgar enters wheeling to  him.  Zoe a n d E d g a r p r o v i d e  Granny. telling  Zoe t r i e s t o t a l k  bits of information  Edgar i n d u l g e s h i m s e l f i n h i s . f a v o r i t e  about  pastime -  stories.  This and  Granny.  beat i n t r o d u c e s  G r a n n y t h r o u g h t h e e y e s o f Zoe  Edgar and i n t r o d u c e s Edgar.  She i s t h e " s y m b o l o f t h e  w i s d o m o f t h e a g e s " who d o e s n o t s p e a k , c a n n o t move, a n d r o t s away i n t h e a t t i c w i t h h e r b e l o n g i n g s . Pagliacci The  B e a t 9: Zoe he  whose f u n n y s t o r i e s  c o n t a i n much s a d n e s s .  mood i s l i g h t .  The Snow P r i n c e s s a n d t h e B i g Bad W o l f . a n d E d g a r p l a y one o f t h e i r games.  searches  f o r h e r - mock h i d e - a n d - s e e k .  amusement f o r e a c h o t h e r The  He i s a  mood c o n t i n u e s  i n these  She h i d e s a n d  They  provide  games.  light with childlike  u n t i l E d g a r s u d d e n l y t u r n s t o be c o n f r o n t e d  carelessness by t h e c o f f i n  97  and  t h e mood  suddenly  changes.  Uncle  dominates  at t h e end o f the beat.  Beat  Agnes  10; Agnes  the  enters,  funeral)  white away  roses  t o make  Her  beat  minute  look  around  a l li s i n order,  on the c o f f i n .  i n t r o d u c e s Agnes  with  the four  presence  11;  He.  Zoe  picks  Zoe  (before up t h e  snatches  them  (The w h i t e  people  reminders  and,  i r o n i c a l l y , are only mood  room.  and the importance  o f remembrance.  yearly  The  i n the  h e r  roses).  introduces her lover  as symbols  and, succinctly,  dominates.  been  Beat  heart.  l a s t  sure  t o p u t them  relationship  roses  has a  cynicism  from h e r . This  Beat  of the iron  Edgar's  of t h e i r  12;:  They  grow  This  i s a  t r a n s i t i o n a l  erences  i n t h e room.  Godfrey  and Edgar  to  Zoe, t h e c h i l d .  to  continue.  were  a f f a i r after  ever  i s one o f time  They  used  of the white  supposed i thad  as a f u n e r a l  t o have ended  wreath.  suspended.  up. beat.  She t a l k s  regain The  o f Granny  contact pieces  Zoe comes  to  ref-  and t o h e r .  i n t h e room  p u l l  back  by  referring  together again  i n order  Beat  15:  You're  Edgar should  be  stands  h i s  and  Beat  Did  teases  o l i c ) .  Act  have  now  on  that  beat  teach  Zoe  not  Edgar  quarrel  and  Edgar  together  the  pieces  illuminates  to  the  h i s  situation  time?  dance (We  the  (ie  she  and  i n their  I t was  more  (Relax k i d ) .  Charleston.  learn  argument  part  f o r the  between of  this  opposition  i s  Cath-  r e c a l l last  past  huge  important  than  time.  prepares  quarrel  of  B i t t e r  a l lthe  grounds  i s dead.  the  the  Zoe  resolve  regrets  at  tension  quarrel  religious  argue,  realized  and  the  or  funeral).  to  to  I I -  lover  whether  i s elaborated.  Zoe's  Godfrey  This  over  starts  emotional  t r i e s  They  quarrel had  we  her  quarrels.  he  the  attend  Godfrey He  Agnes  relationship  to  14:  quarrel  ground.  beside  meeting  Agnes  smoking.  Their exists  abominable.  her the  climax  Zoe  and  conflict  of  the  Godfrey between  importance  of  the  action  i n  that  pulls  church  and  church  i n  her  l i f e . The  beat  relaxation withdraws. elsewhere.  of  begins the  Zoe,  light-heartedly,  argument l e f t  follow  alone,  and,  the  tension  f i n a l l y ,  switches her  and Godfrey  attention  99  Beat  15:  What  Zoe  states  years.  Agnes  suicide,  Zoe  as  pieces of information  and Edgar  discuss  h e r  about  Zoe's  relationship  between  h e r mother  whom  she r e a l l y  a p p a r e n t l y meant  as l i t t l e  the dolls  she had t o l e a v e  i n America.  her  the influence  imagined  r e a l  beat  tension and  other  her  -  data  i s  these  -  grasp  They  Zoe  to her  and  and  i n with  Edgar  about  the  only  dead. l i f e  and i n d i c a t e s  because blame  of their  each  explanation  understand  the  shock  themselves,  at any possible way,  d i dnot  Agnes  on  breaks  o f Zoe's  members  t o , i n some  the strange  which event  death.  16;  We  dwelt  Remembrance  together i n a  and  t e l l i n g  her f a i r y  but  changes  t o t h e mood  17: David  My  f a i r y  quasi-flashback  him  Beat  Zoe  at her suicide.  them  her  o r as much  of the mother Godfrey  the family  and, indeed,  help  Beat  fact  exposes  among  sorrow  may  character.  and knowable The  early-  mother.  introduces  about  her  background,  a n d who  argue  of  t o Zoe.  and t h e p o s s i b l e  s p e c i f i c a l l y ,  know  happened  stories.  The  of Edgar's  grotto.  by beat  Zoe  and Edgar  begins  pitiable  of  tenderly  sadness.  father.  and  Scrivens  enter.  The  family  comes  together  a g a i n i n t h e room i n t h e i r The  Beat  18:  purpose  The  comments o n  David.  of the beat i s t o i n t r o d u c e David.  q u e s t i o n of the f l o r a l  tributes.  T h i s b e a t b e g i n s d u r i n g t h e p r e v i o u s one w i t h and  Scrivens*  the purpose  entrance.  The  of the beat.  slowly, The  floral hangs  the necessary i n t r o d u c t i o n s which  one  by o n e ,  purpose  c h a r a c t e r s and  entrance i s  In a sense, t h i s beat  the p r e v i o u s beat are completed. and  of t h e i r  D a v i d must choose t h e  t r i b u t e s f o r the f u n e r a l . suspended u n t i l  purpose  David  constitute  David completes h i s t a s k  the family leaves f o r the  church.  o f the a c t has been to b r i n g t o g e t h e r the  a l l the i n f o r m a t i o n p e r t i n e n t  a c t i o n - Zoe's s u i c i d e .  to the  central  Having a l l been assembled,  they  begin a journey together into Act I I .  ACT  Beat  II  19 Zoe  she w a l k s  enters the church, looks c a r e f u l l y past the a l t a r  chapel a l t a r . object and  She  cannot  confused.  find  The  means a s much t o h e r by way She  touches both  her  as  t o a s t a t u e o f t h e madonna a t a  o r t h i s b u i l d i n g any  slightly  around  objects.  t h e way  longer. bottle  to relate to  She  i s quietly  of p i l l s  on t h e  this sad altar  o f c o m f o r t a s t h e madonna.  101  Beat  20 Pred,  and  priest  procedures point  S i d , and  etc.  mass  which  provide  i n Act I I .  the entire  Zoe's  know  this  the church. party's  the  lightness  o f the speech  the  lightness  with  22:  You  s t i l l  Plashback e a r l i e r  than  surprised  t i l t i n g  to.Zoe's  good  beat  humor  and  passes  one more  as  20a, 20b,  the various present  the  the next  through,  line  i n contrast  f a c i l e  scene  wheeling  i n the to  to the place.  provides  a r r i v a l  she i s expected.  This  i n and out  melody Zoe's  Also,  t r a n s i t i o n  into  begins.  t i c k l i s h ?  t o see h e r and  questions.  counter-  place.  relationships  which  notated  whereas  I t stands  the altar  fades  and  suicide.  provides  and  Beat  be  ironic  chronologically  at the church  H i s monologue on  and  to  arrives  mass  i n the present  i n the past  You'll  The  a c t and w i l l  place  l e a d i n g up  comment  boys  of the funeral  events  of  altar  out the prayers  occur  Granny.  as  carry  scenes  Edgar  dressed  They  I t takes  21:  enter  respectively.  to the action  throughout  Beat  Scrivens  home She  questions  from  and  Godfrey  h e r but she  re-establishes t h e i r  of Act I .  school  much  meet.  He i s  evades h i s  rapport  - the  102  Beat  23:  Well,  Godfrey s t i l l  why  sets  evades  and  out  prodding  Beat  There's  Zoe she  has  decides no  priest. the  This t r i e s  Beat  to  Godfrey  Zoe  simply about  Beat  26:  her  to  h i s  situation. expressing Beats which  the 22  i s the  about  Godfrey  -  r e a l l y to  her  climax  her  the  fact  only  talk  of  the he  that to  friendship  attachment  u n t i l  He  some  to  pushes  with  the  scene.  her  church.  Godfrey  her  too f a r .  26 of  of  serious  pulls  i s  involved  information  from  tones.  i n  disgust She  personality tone  more  gently  yourself  f o r Zoe.  crux  problem  can  something  Low  tear  to  tense.  Zoe  one.  that  shows  her  succeeds  church.  His  q u e s t i o n answered.  immediately  vocal  lover.  concern  about  s c h o o l and  and  You'll  h i s  increasingly  argue  other  the  Godfrey  at  i s the  sees  early?  priest.  reacts  dominate  The  have  talk  they  beat  25:  than  this to  Godfrey and  to  so  her.  friends  priest  you  becomes  continues  24:  are  her  at  sees  her  feeling the  dilemna  herself  dominates  delineate Zoe's  half.  of  but  i n a the  gives  i n  hopeless beat  ends  hopelessness.  components  suicide.  but  of  the  dilemna  103  Beat  20a This  beat  functions  as previously  stated  and  provides  transition.  Beat  27:  Zoe  i s having  an a f f a i r .  (You have  a responsib-  i l i t y . ) Flashback. with to  one  Agnes  t e l l s  of her lecturers  discuss,  reticent  with  about  David  and that  Zoe, b r i n g i n g  interfering  blame  t o Agnes.  They  forth  and t h e beat  i s  sleeping  has a  the a f f a i r  The  with  Zoe  David  and t r i e s  argue.  ends  that  to an  to s h i f t  tension  the tension  responsibility end.  some  s h i f t s of an  He i s  of the  back  and  unresolved  argument. The They  Beat  illuminates  are concerned  their She  beat  f o r Zoe  disagreements  becomes  a  Agnes  but are unable  i n order  pivotal  and David's  point  t o truly  to put aside  help  f o r their  relationship.  her together.  differences.  20b This  Without  beat  some  kind  j u s t i f i c a t i o n scene.  occurs  of focus  f o r this  I t functions  unnecessary  i n the middle  at this  change  break.  only point.  as a  of the previous  t o Zoe, t h e r e  I t merely reminder  beat.  i s no  impinges  on the  o f Zoe w h i c h  i s  104  Beat  28:  Darling.  Zoe i n  talks  bed.  She  peaceful. want his  to  She  wife.  This  of  lover  beat  Zoe,  her  Beat  29:  One  a  friend  realizes her  to  These f l i c t This she  has  loving feels  two  her  parents. guilt to  him.  but  moves kind of  and  the She  f i n a l l y  calm  her  mood does  must  through  of  beside  i s not  ask  about  high-pitched  -  that  of  death. with  creating priest  the  her  nameless  ironic  talking  to  lover  juxtaposition  and  answering  choice. down  between  the  always  compared  comes  she  i n which forces  the  i s having  that  leave  -  peace  conversation  possible  scene who  then  beat  imagines  lover.  Priest  flashback  next  at  problems  another  her  she  teases  acceptance  priest  Zoe;  The  to  and  the  and  any  monologue  almost  into  whom  momentarily  about  tension  acceptance;  lover  r e m i n i s c e s and  Her  emotional  her  feels  think  overlap  to  at  from  the  a l t a r  and  steps  into  himself  and  Zoe.  She  t e l l s  him  an  a f f a i r  with  i s speaking about lover  beats Zoe  and  clearly  known. Her having  the The  priest to  She  security  the  the  the  he  The  attempts  can  encourages  Church. con-  adulterously. Church  which  guilt  help  Church  i n the  of He  triangular  loves of  and  enforces the  believes  disobey.  parental  to  indicate  Church  m a r r i e d man.  herself  back  i s involved.  outside  Agnes'  come  a  a  as  next  and  of Zoe  parent beat.  i s  105  Zoe  i s also  Beat  Make  a  This  beat  overlaps  wants  dilemma cannot  to  and  stop  decide  Agnes'  Zoe  Beat  51:  Say  This  beat  nothing,  talk  of  does  and  what  she  the  the  parents.  previous  facts  i n Agnes'  of  to  one.  her  do.  concern  of not  unbearable  to her  Zoe  f o r her  being  able  facts  she  describes  one.  David  father.  me.  into  f i n a l l y  nothing.  of  i s going  f r u s t r a t i o n  to  i s woven  of  the  previous  goes  to him  but  His i n e f f e c t u a l i t y  David  enters.  says  i n this  situation  indicated.  Beat  20c With  help  and  focus Agnes'  This offered give  may  Zoe  her.  posing her  The  something  sets  r e a l i s t i c  i s sincerity  l i s t e n .  to him  speech  the  l o g i c a l l y  crying f o r help  calls  last  face  and  two  Zoe.  the  Zoe  there  to  send  i s  decision  t o make  believe  refuses  Zoe  s t r u g g l i n g between  30:  Agnes  and  then  the  death.  be  the  on  David  from  unanswered  both  question,  i n t e r p r e t e d as parental  Zoe's  support  unanswered  t h e mass  indicating her  that  f a t h e r was  the  church  unable  precisely  these  i n t e r v e n t i o n s keep  high  points  Zoe's  conflict  with  f o r  intervenes.  More  of  c a l l  the  to  juxtafact  of  106  Beat  32:  Bloody  Godfrey as  he  up  i n her  to  the  Beat  i s f i x i n g  works.  The  He  beat  out,  of  to  the  bring  Beat  34-:  I've  Zoe  t e l l s  She  and i s  joking  wrapped  -  the  beginning of  the  build  act.  her  been  out  to  Godfrey  The  implication  any  decisions  or  of  h i s t i r e . her  He  t r i e s  to  sound  thoughts.  Confession. that  she  has  been  i s that  she  has  done  taking  any  action  this  to  to  Confession.  i n l i e u  resolve  of  her  making  dilemma.  20e  35:  That  Godfrey Zoe  t a l k i n g  assistance.  light  continues f i x i n g  20d  Beat  Zoe's  i s low-key,  Beat  Beat  enlists  t i r e ;  Zoe?  Godfrey her  h i s bicycle  thoughts.  climax  33:  punctures.  appeals  makes  prods to  h i s  everything  Zoe  with  sympathy  alright?  questions about to  make  him  the  stop.  Church.  107  Beat  56:  Hypothetical  Godfrey a f f a i r  as  negative up a  he  proceeds sees  feelings  haranguing wrench The  Zoe  scene  throws  the  increasing  Beat  57:  why, i t  and,  of  a  that  He  carried  toward  confession  She  has  built  wrench  else.  to  the  grabs  up  becomes  and  facts away  the  of  Zoe's  with  h i s  Church  extremely upset  and  and  ends  throws  i n Beat Godfrey  matter  Zoe's  She her  from  sleeve  h i s horror,  32  36.  The  to  out to  your  i t s climax  atmosphere  when  i s one  of  arm?  prevent her  i n pain  reveal  finds  to  dominates.  with  arm  cries  Beat  a  a  and  from  he,  bandage.  cigarette  burn  throwing  wondering He  removes  i n the  shape  I t i s  obvious  cross. The  beat  she  has  hardly pares  them.  gets  bare  direction.  What's  pulls  Confession. the  f r i c t i o n .  Godfrey anything  to  and  present  Zoe.  i n h i s  Harry  indicates  deliberately  exists us  Zoe's  beside her  f o r her  Beat  20f  Beat  58:  T e l l  Zoe  turns  state  burnt mental  of  mind.  herself.  Physical  pain  anguish.  Saunders  pre-  suicide.  me  a  fairy  to  Uncle  story.  Edgar  f o r the  consolation  of  child-  hood  stories.  entranced in  h i s  Edgar  by  arms  removed.  one,  the and  attacks Zoe's  guilt  Edgar  which  Zoe  only  but  i t has  last  disappointment  Beat  20g  Beat  been  ends.  the  also  have  Priest  solace  wanting  security  c l a r i f i e d  sends  seeking  from  and  r e j e c t e d by  The  i s  becomes  her.  the  her.  Zoe  into  leaves  that,  her  The  been  despair  shown  helped  has  and  one  have  by  dis-  violence  of  action.  and  the  a l t a r  boys  coffin.  39 Zoe  them.  calmly  Edgar This  Beat  or  could  this  out  comfort  feels, who  who  gradually  free.  act  her  carry  of  but  himself  the  people  mass  stop  has  appointed  The  story  struggles  vestige  Zoe  a l l the  cannot  her,  Not  the  child-become-woman he  last  begins  goes  looks  beat  i s  on the  to  the  p i l l s  and  methodically  h o r r i f i e d  but  climax  of  the  act.  takes  h i s  arm  takes  helpless.  40 Scrivens  together, further  enters,  Zoe  l e a v i n g Edgar  journey  which  behind.  Zoe  w i l l  This be  and  beat  they  exit  suggests  taking with  a  Scrivens.  ACT I I I  Beat  4-1;  K i l l i n g  Pred  and  cards  while  describes his  a  Beat  The  Sid's  their  self  i n order Zoe  t o take  up  firmly  a  are  place.  h i s best  playing  S i d  friend  and  wife.  and  easily  the treatment  sets  annoyance  tone  of  comic  -  Sid's  Pred  an adultery  of relaxation  reintroduces  f o r the  and S i d .  i s introduced  What' s  Pred  and  Zoe  into  character.  rather  4-3 :  him  with  a  interest,  question.  Zoe  breaks  S i d excuses  him-  to ponder i t .  the central  annoys  and Pred's  conversation  her c o f f i n  Beat  i s relaxed  again)  4-2:  into  by  beat  clothes  i s i n with  between  a c t and more  To  than  he  i s the friend's  contrast  Zoe's.  entire  who  work  f o r the burial  predicament  atmosphere  apparent and  S i d ( i ntheir  waiting  mistress The  time.  than  this  a c t as  This  an  place  onlooker  seems  by h e r  person.  and tease  with  t o be  rather taken  relevant? banter  s l i g h t l y  with  her questions  each  other.  and h e r  She  pessimism.  Beat  Pred  44:  I t ' s an unreal  Pred  and  becomes There  comic.  impatient  i s no  With  the  may  be  The  beat  and  ends t h e  i n their  and  funny  the question  and  has  asked.  discussion.  discussion.  S i d , daily so  Zoe  Rather,  i ti s  existence, questions  seriously  as  Zoe  takes  and them.  ludicrous.  s u s t a i n s the atmosphere  and  the contrast to  of the previous a c t .  45 Zoe  his  over  are not taken  earnestness  Beat  heat  Pred  predicaments They  S i d argue  question.  arm  f o r some  around  creates they  asks  a  may In  h e r and  situation steal  away  attention. prods  Pred  S i d into  o f warmth  and  kisses  doing  security  h e r and  t h e same.  puts He  f o r Zoe  so  that  nuisance  to  Pred  f o r t e a .  demanding a t t e n t i o n  Zoe  becomes  a  quiet.  She  and S i d .  Beat  46:  Question  Scrivens about on  Zoe  breaks  her l i f e .  to h i s next  genuinely  He  her.  into t r i e s  client.  t o show  understands  behind  Miss? Zoe's  to placate her i n order  When  h e r how  and, w i t h  questions  this  upsets  h e r , he  him  to get t r i e s  unnecessary  her f r u s t r a t i o n i s .  good  leaves  humor,  her  questions  I l l  Beat  47:  Paper  Edgar recognize and  memories  arrives  a t the grave  the g i r l  the memories  i n two  colors. with  standing there.  become  grotesque  Granny. He  He  does n o t  r e m i n i s c e s about  as he  relives  their  Zoe last  encounter.  Beat  48;  Your  Godfrey "chat"  about  The  mood  face  i s familiar.  arrives  and does  t h e dead  not recognize  beat  i s gentle  over  t h e m:emory  o f Zoe f o r t h o s e  Beat  49:  was  Agnes Godfrey's  attempt  argument.  Agnes  others.  Beat  David  Who's  she r e f u s e s .  and  their  Beat  51;  talk  sadness  as time  clouds  knew h e r .  could  Agnes  verbally  not notice  do.  i s upset  and edgy  to her turns  t o comfort  David  into  and an  and the  Zoe.  that?  notices  but  arrive.  t r i e s  who  anyone  to p o l i t e l y  She d o e s  50:  nothing  and David  They  g i r l .  of this  There  Zoe.  Zoe. She  Godfrey  invites  i s entirely  her to j o i n  alienated  from  the  them family  grief.  The  Scrivens  f i n a l  and c l o s i n g  arrives.  stage.  S i d and Pred  lower  the c o f f i n  into  the to  grave. Zoe.  David  Agnes  Edgar  takes  leaves  but  Sid  become  off  f o r a  him  on  he  few  say  to  more  to  their  pushes  Agnes  remains  say  respective  Granny  beckons h i s  f i n i s h  minutes.  Godfrey  goodbye  the  She  to  job  toward  to  but  comforts  goodbyes the  as  Zoe. Zoe  grave. she  Pred  staves  Godfrey  and  and them sends  way. 47  to  i n the  51  accumulate  minds  her  family  her  experience  retains  estrangement;  of  of a  those  the  who  dominant  the  David,  evaporation  knew  her.  impression  p e r s o n , Zoe  -  i n e f f e c t u a l i t y ;  Each  based  Edgar  of  has  Godfrey,  Zoe's member  on  h i s  g u i l t ;  of  or  Agnes,  affection  confusion. To  other  Pred,  job  to  to  helps  Godfrey  accept  h i s  into  Beat  Scrivens  and  f i n a l her  to  grave  of  she  merely  confrontation with  he  represents  an-  completed.  estrangement  see  thoughts her  and  done  her  comes  with  Sid, be  Through  go  out.  impatient  Beats  and  David  h y s t e r i c a l l y  them  h i s  memory  and  must  her  any  her  i n their  continue longer  memories.  now  and,  with  the  peacefulness  Sid help  Zoe  into  family,  and  not  f i n a l l y , of  t o t a l  Zoe She  linger she  may  acceptance.  52 Pred  and  This  beat  climax  i s the  rather than  one  climax of  of  plot  the the  grave. act.  structure.  I t I t  i s an i s the  emotional point  113  of  g r e a t e s t i n t e n s i t y o f t h e p l a y ' s mood w h e r e i n  accumulated d e a t h and points  Beat  i m p r e s s i o n s and  Saunders'  v a r i o u s i m a g e s and  The  her  philosophical  view-  has  S i d have a c i g a r e t t e and i n the  d e c i d e t o have  F o r F r e d and  S i d , who  b e g i n and  end  life.  i n no  r e a l way  been  the p l a y ,  been the c y c l e of d a i l y r o u t i n e which w i l l  be r e p e a t e d and w h i c h  tea  grave.  p l a y ends w i t h t h e f e e l i n g o f a c y c l e h a v i n g  completed.  a  and  53  before f i l l i n g  of  a b o u t Zoe  culminate.  F r e d and  it  feelings  our  continually  r e l a t e s to the  cycle  DETAILS  OP  PRODUCTION  INSERTS FOR MASS IN ACT I I  I n s e r t 1: Priest:  I f y o u 0 L o r d mark i n i q u i t i e s 0 L o r d , who c a n stand? Out o f t h e d e p t h s I c r y t o y o u 0 L o r d .  Response: Priest:  L o r d h e a r my v o i c e . L e t y o u r e a r s he a t t e n t i v e .  Response:  To my v o i c e i n s u p p l i c a t i o n .  Priest:  I f y o u 0 L o r d mark i n i q u i t i e s .  Response:  L o r d , who c a n s t a n d .  Priest:  But w i t h y o u i s f o r g i v e n e s s .  Response:  That y o u may be r e v e r e d .  Priest:  I t r u s t i n the Lord.  Response:  My s o u l t r u s t s i n h i s word.  I n s e r t 2: Priest: Response: Priest: Response:  Eternal rest Grant unto h e r 0 L o r d And l e t p e r p e t u a l l i g h t s h i n e upon h e r . I f y o u 0 L o r d mark i n i q u i t i e s 0 L o r d , who c a n stand?  Priest:  L e t us p r a y .  0 L o r d we commend t o y o u t h e s o u l  o f y o u r s e r v a n t Zoe t h a t h a v i n g d e p a r t e d from t h i s w o r l d , she may l i v e w i t h y o u t h r o u g h C h r i s t o u r Lord. Response:  Amen.  Insert  3:  Priest:  Eternal  rest  Grant  unto  Response: Priest:  Insert  And  l e tperpetual  And  lead  Response:  Prom  Response: Priest:  the gate  Rescue May  Response:  shine upon h e r .  us  from  of  H e l l  her soul  she r e s t  temptation  0  e v i l  Lord.  i n peace.  Amen.  5:  Priest:  Eternal  Response: Priest:  rest  Grant And  unto  h e r 0  l e tp e r p e t u a l  Lord l i g h t  shine upon h e r .  6:  Priest:  0 Lord,  Response: Priest:  And The  Response: Priest:  light  us not i n t o  But deliver  Priest:  Insert  Lord  4-:  Priest:  Insert  h e r 0  hear  l e t my  lord  and of  your  pray.  sparing the soul  prayer  c r y come  be w i t h  And w i t h Let us  my  0  unto  you.  you s p i r i t . G o d , who  alone  o f punishment, of your  are ever  humbly  servant Zoe.  we  merciful  pray  on  behalf  116  Insert  7:  Priest:  0  Lord  dead by  we  return with  that  she  intentions  may  the  her  grant  this  mercy  who  held  fast  to  not  receive  deeds.  company  through  of  Your  the  Christ  our  your  your w i l l  punishment  mercy  choirs  to  may  of  unite  angels  i n her  i n  Lord.  Amen.  8:  Priest:  0  Almighty  of  your  God,  servant  may  this  Zoe  which  world  today.  Grant  sins,  she  receive  through and  may  Jesus  reigns  s p i r i t ,  Prom:  to  for  heaven  Insert  you  servant  her  Response:  implore  The  Rite  and  the  with  God,  Por  Christ you  forever  Christian  L i f e .  (Collegeville,  The  s a c r i f i c e  that  has  departed  once  i n  son,  the  and  Minnesota:  our  unity  from  soul the her  eternal  Lord,  who  rest l i v e s  of  the  holy  am  the  Resurrection  ever.  B u r i a l  Liturgy  and  the  from  delivered  forgiveness your  purify  Por The  :  I  C h r i s t i a n L i t u r g i c a l  Burial. Press,  1966.)  LIGHT  In cues,  order  the  stage  indicated with  by  steel  w i l l  illumination  be  a  l i g h t s  and  specials.  with  the other  of  t o by  diagram.  chocolate  f i l l  description  referred  the following  Two  included  simplify  and/or  indicated.  i s  to  PLOT  and  nine  The  used  areas  were  as  were  gelled  variously  actual  working  l i g h t i n g  A l ll i g h t s  specials  were  the  as  instrument  drawings  to  gelled as  general plot  follow.  4  Lighting  Specials:  areas:  C Y C  Settee Edgar  special special  -  on  7  8  9  4  5  6  1  2  3  settee  -  i n area  1  i n Act -  I  steel  -  and  steel chocolate  Zoe  special  A  -  on  SE  proscenium  -  steel  Zoe  special  B  -  on  SL  proscenium  -  steel  Zoe  special  C  -  i n area  5  beside  c o f f i n  i n Act I I  chocolate A l t a r  specials  -  i n area  Grave  specials  -  area  5  8 -  branches  i n Act Act -  I I -  I I I -  steel  chocolate  gobos  and  of  tree  chocolate  Light  Ql  :  Cues:  Preset:  settee  special  audience  arrives. special  Q2  :  Blackout  Q3  :  Music  cue:  lights Q4  :  Music  cue:  Q5  :  Cross  fade  Q6  :  Quick  cross  dim t o l i g h t  and house  settee  dim up  up  l i g h t s .  special  dims  to low constant  Areas 1,  4  7,  up,  8,  9»  8,  9  set as the  up  very  slowly,  eye  reading.  5,.6,  2,  3 up  f u l l .  down.  fade  to f i l l s  fade  back  used  here  as  Scrivens  special. Q7  :  Quick  cross  Q8  :  Areas  1,  4  Q9  :  Areas  1,  4,  reading.  down. 7  up.  Q10:  A l l out except  Q l l :  Area  5 out.  Q12:  Pade  up  Q13:  Area  7  Q14:  A l l quickly  Q14a:  Dim  Q15:  Areas  1,  2,  Q16:  Areas  3,  6 out.  Q17:  Sneak  up  area  Q18:  Cross  fade  Q19:  Dim  Q20:  Edgar  areas  area  1,  2,  5;  Edgar  special  3,  4,  6,  5,  8,  up.  9.  up.  settee  up  t o Q5  out leaving special 3,  4,  3  up 5,  only  special  2,  special.  f o r Godfrey's 6 up;  lose  line;  Edgar  then out.  special.  dimly.  a l lout; Edgar  areas  Edgar  3,  5,  special  up.  6.  out; begin  slow  dim up  Zoe  special  A.  119  Q21:  Area  4  up.  Q22:  Dim  out  Q23:  Zoe  special  Q24:  Dim  out  Q25:  Zoe  special  Q26:  A l l areas  Q27:  Zoe  Q29:  Blackout; house  Q30:  A l t a r  areas  4,  A  out;  area B  B  Dim  l i g h t s  Q32:  Pade  Q33:  Reading  Q34:  Area  9  out.  Q35:  Area  6  out.  Q36:  Area  4  up.  Q37:  Area  3  Q38:  Cross  up  Zoe up  and fade  up  as  l i g h t s and  as  Zoe  crosses  Zoe  moves  to  Areas  5,  Q40:  Cross  fade  Q41:  Area  Q42:  Areas  Q43:  Dim  6  up  6  up.  eye  l i g h t s  as  Pred  to  low  gradually  l i g h t s  a l t a r  dim  3,  area  up  to  candles.  special on  areas  Zoe  reading.  B. 1,  2,  special  areas  general  B  3,  5,  6,  9.  out.  1,  2,  4,  5,  6  out;  5  out;  Zoe  special  up. areas  Zoe  special  C  up.  up. 2,  ofi t .  proscenium.  dimly. Q39:  out  out.  a l l areas  up  2  out.  reading  Q31:  area  f u l l .  specials  House  then  dims  up  Q30a:  6.  2.  special  constant  5,  5 1.  up;  sneak  out  Zoe  special  C.  C  up  low  120  Q44:  Areas  Q45 :  Area  4  Q46:  Area  3 o u t a s Zoe  Q47:  Area  5 up.  Q48:  Dim  Q49:  Area  Q50:  Zoe to  5, 6 f a d e o u t . up.  out areas 1 dims special  crosses out of  1, 2,  light.  4.  up. B begins  to slowly  dim up  a s Zoe  crosses  altar.  Q51:  A l l out except  Q52:  House  lights  Q53:  Altar  specials  Pred  altar  specials  House  Q55:  Dim  lights  up  and eye l i g h t s  specials  of Pred area  gradually  dim out as  candles.  out.  grave  tableau  lights.  up.  extinguishes altar  Q54:  and eye  and  and eye; h o l d momentarily  S i d ; dim up  Q56:  Dim up  Q57:  Dim  out area  Q58:  Dim  up  Q59:  Dim up  areas  Q60:  Dim up  area  Q61:  Dim  out areas  2, 3, 4,  Q62:  Dim  out areas  1, 5 and  Q63:  S l o w l y dim out grave  Q64:  Areas  1, 2, 3 b a n g up  Q65:  House  lights  area  on  5.  4. 4.  a r e a 4 and 6, 7 ,  f i l l s . 8,  9.  1.  up.  6,  7, 8,  9.  f i l l s .  specials  and eye.  and b l a c k o u t f o r c u r t a i n  calls.  121  SOUND PLOT  Three r e c o r d e d B a c k To Me",  p i e c e s o f music were u s e d :  Surrealistic Pillow,  ( R C A . V i c t o r ) ; Bach's T o c c a t a , played  by H e l m u t  Walcha  Y e s S i r , T h a t ' s My The  first  was  Jefferson Airplane  A d a g i o , and Pugue i n C M a j o r  (Archiv Produktion);  Baby,  "Coming  "Charleston",  B e n P o l l a c k (RCA; V i c t o r ) .  used as i n t r o d u c t o r y music at the be-  g i n n i n g o f A c t I ; t h e s e c o n d , t o o p e n and c l o s e t h e mass in  A c t I I ; t h e t h i r d , as background music f o r the  Charleston  scene i n A c t I . A triangle Act  was  u s e d f o r t h e sound o f v e s p e r b e l l s i n  I I , and a g l a s s - b r e a k i n g b o x f o r t h e s o u n d o f t h e  garage window b r e a k i n g i n A c t I I ,  Ql:  Opening music  begins.  Q2:>  M u s i c s l o w l y f a d e s ; o u t by F r e d ' s f i r s t  words.  Q3: • C h a r l e s t o n fades i n . Q4-:  Charleston cuts out.  Q5:  Mass m u s i c  Q6:  M a s s m u s i c f a d e s ; o u t by P r i e s t ' s  Q7:  V e s p e r b e l l s r i n g 4- t i m e s .  Q8:  Sound o f g l a s s b r e a k i n g .  Q9:  Mass m u s i c b e g i n s guished  begins.  and  the candles  first  continues u n t i l  a f t e r Act I I .  words.  Fred has  extin-  122  PROPERTIES'  Preset  P r o p e r t i e s Stage  settee,  coffin  LIST  Left  table  coffin 9  funeral  bouquets  roses bottle 2  and  6  with  cards  assorted  ( l i l i e s ,  carnations,  others)  of linseed o i l  chamois  clothes  brush  c r u c i f i x 2  c a n d l e s t i c k s and  holy  water  central side  candles  sprinkler  altar  with  purple  a l t a r  cloth  altar  madonna glass p i l l 2  with  water  bottle  with  kneeling  funeral  coffin deck  1  altar  and  supports  of playing  coffin single  (red gelatin  capsules)  cushions  mass  cigarettes  p i l l s  matches (2  boards  cards  ropes white  book  rose  placed  across  grave)  white  123  Preset  P r o p e r t i e s Stage  wheelchair  and  Granny  cigarettes  and  matches  Right (dummy)  cigar necklace  ( c r u c i f i x  thurible  with  2  with  bicycle  tools  patches, large  charcoal  and  incense  saddlebag (2 t i r e bicycle  levers,  2  spanners,  pump)  bandage  taper  Placement ACT  of Properties  I  settee  (set up-right)  coffin  table  c o f f i n  (Pred  bottle  of linseed  2  chain)  books  bicycle  1  on  chamois  (down-left) and S i d )  (Pred  clothesbrush  o i l  ( S i d )  and S i d  (Scrivens)  wheelchair  and dummy-Granny  cigarettes  and matches  cigar  (Uncle  necklace  Edgar)  (Zoe)  (Uncle  (Godfrey)  Edgar)  rubber  solution,  124  ACT  I I  taper  (Fred)  central 2  a l t a r  candlesticks  holy  water  a l t a r  side  bottle glass  and  (on  (screwed  of of  p i l l s water  kneeling  (on (on  ACT  tools  and  of  down-left)  altar) altar)  (on  bottom  a l t a r  step  down-left  (Godfrey)  saddlebag)  patching k i t  (Godfrey)  (Agnes) (Zoe)  white  roses  ( s e t on  top  of  coffin)  I I I (set center  c o f f i n  supports  c o f f i n  ropes  white  deck  altar)  corners)  c o f f i n  1  side  saddlebag  bandage  bouquet  central  altar)  altar)  ( i n bicycle  cigarette large  central  proscenium  side  cushions  with  books  bicycle  (on  altar)  to  side  down-right  2  (on  central  ( s e t on  bicycle  candles  (Scrivens)  a l t a r  madonna  up-center)  sprinkler  book  thurible  2  (set  of  rose  pocket  (on  and  watch  (over  (through  playing  cigarettes  stage  grave c o f f i n  f l o o r cards  over  at  open  and  grave)  under  handles)  down-right  (Sid)  matches (Scrivens)  (Fred  coffin)  and  Sid)  edge  of  coffin)  and  COSTUME PLOT  ACT Zoe  I  ACT  green  jumper  beige  turtle-  II  ACT I I I  neck panty  hose  beige  shoes  crucifix  Godfrey  white  shirt  grey  flannel  white  scarf  dark  pants green  shirt suit  dark t i e overcoat  pullover  dark t i e socks shoes  Edgar  sport and  jacket  pants  shirt  green f e l t socks shoes  suit  dark t i e  l o u d bow t i e green  dark  hat  dark  shoes  overcoat  126  Agnes  black  coat-  dress  black  coat-  dress  dress  pearls  black lace  black  David  blue  dark  shoes  suit  white  shirt  dark t i e  purse &  navy red  and striped  veil  gloves  dark t i e overcoat  tie  bowler hat  mourning  funeral  as A c t  I  suit  vestments  as A c t  I  socks shoes  Scrivens  top  hat  white  shirt  grey  gloves  dark  shoes  socks  Pred  and S i d  pants  black  flannel  s h i r t s vestments  overalls work tools, cap  shoes belt,  surplus  work j a c k e t s  PLAY  COST  REPORT  Royalties Harold  Preedman  Brandt  &  Brandt  81.83  P u b l i c i t y Mamooks The  (AMS)  Ubyssey  Express UBC  1  -  8  Banner ads  Printing  Radio  &  (1 c o l . x  L t d . -  Society  33.25  25 P o s t e r s  29.60  2")  200 h a n d b i l l s  - Use o f sound  2.50  c a r  2.50  Tickets 1  Rubber  SCENERY 12  -  Stamp  f o rtickets  & MISC.  100 Watt  Items  lamps  (A S c e n t  Used  and 8  from  f l a s h l i g h t  64  s q . f t .%  20  l i n .  F i r Plywood  2.24  sq. f t .visqueen  4.24  250  f t . lamp  cord  6.65  1  g a l . e x t .latex  5.09  4  Barn  1.60  Door  Pulls  sq. f t .visqueen  Barn 4'  Door  1  Pkg. Gestetner White  CASH  Xeroxing  x  7.42  P u l l  sheet  .40  10' Beaver  Board Paper  Scenery  of play  material  Properties  4.20 83&xll  - #324 Program  2.22  EXPENSES scripts  -  ( J . Preiman  (S. Hargrave)  &  4.64  12.72  2 x 6 P i r Common  1  Set  #8166)  400  1  Wax  batteries  #7823  700  PETTY  1.68  Stock  (Stores Stores  o f Flowers)  .92 (B. Arnott)  (D. Belshaw)  Costumes  11.20  (S. Gibson)  2.49 4.24 6.05  Balance  Forward  OUT-OF-POCKET Scripts,  EXPENSES  pictures,  &  actors'  (J. Vancouver  PEE  -  B i l l  Textiles  Palmer  -  -  expenses  Freiman) 100 y d s . Cotton  House  Ticket  P r o f i t :  Management  Sales:  482.05  157.69  BOX  Total  Seating:  REPORT  105  Unsold  Date  OFFICE  Sold  Sold  1.50  Students  Comps  TOTAL  1.00  Wed.  8  Jan.  31  Thurs.  28.50  22  NOON  26  50  26.00  54-. 5 0  68 77.00  68.00  1  Thurs. Feb.  38  1  F r i .  57.00  0 2  4-466.00  Sat. Feb.  6 9.00  Feb.  Feb  19  0 3  35  47  55 55.00  53 119.00  53.00  4-9  70.50  4-9.00  154-  251  231.00  112.00  119.50  75  251.00  2/6/68  4-82.00  Deposit:  4-82.05  SAMPLE  PROGRAM  U.B.C. T h e a t r e Department presents An M.A. T h e s i s P r o d u c t i o n  *-3  h  L  o y / . / /.  <  'fS? J*''"  r  j  )  i  by James Saunders  d i r e c t e d by J u d i t h  Freiman  S e t and L i g h t i n g D e s i g n b y B r i a n A r n o t t Costume D e s i g n by Susan G i b s o n  SAMPLE PROGRAM  PRODUCTION Stage Manager, . i . . . . . . . . . . . . . CAST ( i n o r d e r o f appearance)  Zoe  L i g h t i n g Execution...............Josephine A s s i s t a n t t o the D i r e c t o r . . . . . . . . E s t h e r  .Mariko V a n Campen  Pred.  ? r • • • •.Mark P a r r y  Sid...........................Bernie  Bartlett  Godfrey........................Brian  Bueckert  Scrivens.  Torn Byrne  Edgar............................Peter Agnes.;  Burgis  Sound  Ron K n o t t  Patrick Blumanfald  .Bob W a l l a c e  Properties  Diana  Set C o n s t r u c t i o n .  Belshav  Brian Arnott Lynda ¥eston  Costumes  .Susan G i b s o n .Joan Sukava  Product i o n A s s i s t a n t . . . . . . . . . . . . . . . . . . . L a n a  Stoney  House Manager.  Palmer  Publicity.  Bill  Maureen M o l l o y  .Gerry Claman  David.  ..... .George P l a w s k i  With s i n c e r e thanks t o : MA.IHEW-SHERWOOD FLOWERS LTD. Rev. C. Lemieux, C.Ss.R Ouir Lady o f P e r p e t u a l H e l p Church S t . Mark's C o l l e g e  TIME t h e p r e s e n t , the  past  Martha M i l l e r  Jay Bancroft  Jack Darcus  Donn E l l i o t t  Vancouver Sun  Vancouver P r o v i n c e SPACE Act I  - a room  Act I I  - a church  The Ubyssey  The Peak  A c t I I I - a cemetery U.B.C. THEATRE DEPARTMENT  i  CHQM, CKLG, CFUN, CJOR.  NEWSPAPER  REVIEW ( l )  The VANCOUVER SUN: Thur., Feb. 1, 1968  Scent of Flowers Very Successful had. The only real disappoint, By JACK RICHARDS I suppose, that, in a play ment was Ron^Knott as David; directed , as an M.A. thesis Zoe's'father.' production, the important thing DREAMY PACE is the work of the aspirant to He failed to live up. Jo his role the degree. as the well-bred, self-centred On that basis, Judith Frei- David and -appeared merely man, who directed James Saun- doltish rather than sensitive but ders's A Scent of Flowers at the inarticulate. Frederic Wood Studio Theatre The pace was as dreamy as a on 'the University of B.C. Victorian novel.' There were campus Wednesday night, was suggestions of - T h o r n t o n entirely successful. Wilder's Our Town in the She most certainly did not flashback method of beginning make it easy for herself in with: a dead Zoe and!getting her choosing Saunders's play. It buried. misses being' pure melodrama • And at times they found real by the merest fraction and K emotion though, at others, they all over in two acts with one skated perilously close to becoming ludicrous. But it was still to go. That Miss Freim'an and her the writing that was at fault cast managed to maintain the and : their sincerity always degree' of believability they did managed to save it in-the hick was quite wonderful. As a of time. director, she steered most deli- It was done with-meticulous cately along the edges of some care throughout and will run in most improbable situations and the Studio Theatre at 8:30 .each conversations, retaining t h e night through Saturday as a best of the sensitivity and ifine example of the work! avoiding the maudlin as much possible by young directors- whoj care. as possible. J  GOOD CASTING < Good.casting certainly helped.. Mariko Van Zoe, the ftbrtured heroine; was excellent.' She has a passionate delicacy that worked well. Brian Bueckert as Godfrey (Gogo, she actually called him) Zoe's step-brother; Gerry Claman as Agnes, • her stepmother; Peter Burgis as Uncle Edgar (who struck the final dastardly b l o w ) and Tom Byrne as Scrivens, gave excellent support. Mark Parry as Fred and Bernie Bartlett as Sid were fine in their numerous roles they  Drama  T/fOtZSDAH  By JAMES BARBER  j  F'EBRUfiidtj  i  THE: VAUCOU\/££  }  P&Ci/tAfC&  1  of Flowers— rave stuff  M a r i k o v a n C a m p e n , the f r a g i l e g i r l , the memory", the c a t a l y s t of the whole ques'tion of identity, p a r t i c u l a r l y needed this u n d e r s t a n d i n g of the strength of - weakness. Like the other little g i r l , when she was good,- she was v e r y v e r y good, but somehow I felt that I w a s supposed to want to c r y for her, and I n e v e r d i d — although when I needed - to s m i l e she a l w a y s supplied the motivation. :  Choosing a p l a y for a thesis p r o d u c t i o n at U B C is a m a j o r p r o b l e m , c o m p l i c a t e d by budget, a v a i l a b l e cast, and the l i m i t a t i o n s of the Studio T h e a t r e . M o r e and m o r e it becomes apparent that it is not w h a t you do, b u t the m a n n e r of doing it that matters. Judith Freiman chose J a m e s S a u n d e r s ' A S c e n t , of F l o w e r s for l a s t night's production, w h i c h seemed to' be a pity,, for the play is not e a s y — i t s m a i n difficulty lies  in its d r a m a t i c deficiencies, r a t h e r than production problems. There is none of the tightlyw r i t t e n i r o n y of last y e a r ' s Saunders p l a y , N e x t T i m e I ' l l Sing to Y o u , w h i c h -the A r t s Club produced. There is also^Iittle of the lightness or l y r i c q u a l i t y of- w r i t i n g , although the content is so l y r i c a l as to b o r d e r on the romantic. : It is a g i m m i c k p l a y , a ro-.. m a n t i c think-piece- w h i c h tiptoes r o u n d a n d r o u n d the graveside of a suicide a s k i n g , a n d never a n s w e r i n g , the i n - . t e r m i n a b l e questions of r e a l ity of existence, m i x i n g - theology, philosophy a n d "one n e v e r knows, does o n e ? " , It is an actors p l a y , a v e r y delicate exercise i n a v o i d i n g excesses either of r o m a n t i c i s m o r r e a l i s m . M o s t actor's p l a y s c r e a t e difficulties for the d i r e c t o r i n h o l d i n g d o w n the cast, but M i s s F r e i m a n ' s p r o b l e m a p p e a r e d to be that o f ' g e t t i n g t h e m up, and then k e e p i n g t h e m there. :  • cate u n r e a l feeling of contact between the dead a n d the livi n g , the r e a l and the rose colo r e d m e m o r y , despite u n - , avoidable outside t r a f f i c noises. • ' '  ;  B u t also there were too m a n y moments of i r r i t a t i n g i m p a t i e n c e , when voices beGerry Claman's Agnes, her came unnaturally, restrained r e a l i s t i c mother, was consisa n d the obvious conclusion s e e m e d to r e t r e a t f u r t h e r a n d , tent and i m p o r t a n t , but we needed m o r e t h a n just two f u r t h e r into nowhere, a n d the c h a r a c t e r s to m a k e Saunders characters, almost entirely s a y m u : h m o r e than has been dependent o n voices, lost any s a i d o v e r a n d over about life s e m b l a n c e of consistency o r •in death; reality.'  !2i CQ  H  ro  A t t i m e s , there was an undeniable dialogue w i t h the audience, the soft a n d deli-  H ro  133  PRODUCTION  PHOTOS  "And I l o v e h e r , yes I love her . . . J "  134  135  "My  Snow  Princess  / "s*  "Is that  *t  it •  better?"/"We're  m i s s i n g our t e a break."  Mr.  Scrivens?  136  WW  148  t._i L.£>  C3  •U»  I© ® j© ©I ©I ,©1  i  ©! •®\  0 ®\  :©  ©0 <3\  150  i• »  i i  i.  ft.;  i  o  IN  • ! i  '4  ^ W  .  i  i  I  5w;  Ui  Si. 0 -5 o  0« - I i 5  /"W  •' '! i; 'i :  <*J_  $— fi>  3 o'cj a  o o o: QdOo, oo o o! o Q & S o o 3 « o f; 2 2 !  a OS « o. ^  0  0  • - r\ /! <~  :  J3  Wr9  SN ^ ^  ^ _ .-i, rr{ i« -J; V ~  CGG ~;.-T  ^  :  d  - * -2 ^Cl  ^4  El ' '  «/>.-S'_T ^ .  o,» V < N r i - J N <v <^<V ^"J  7  


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