Open Collections

UBC Theses and Dissertations

UBC Theses Logo

UBC Theses and Dissertations

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

Your browser doesn't seem to have a PDF viewer, please download the PDF to view this item.

Notice for Google Chrome users:
If you are having trouble viewing or searching the PDF with Google Chrome, please download it here instead.

Item Metadata

Download

Media
831-UBC_1969_A8 F74.pdf [ 15.97MB ]
Metadata
JSON: 831-1.0104072.json
JSON-LD: 831-1.0104072-ld.json
RDF/XML (Pretty): 831-1.0104072-rdf.xml
RDF/JSON: 831-1.0104072-rdf.json
Turtle: 831-1.0104072-turtle.txt
N-Triples: 831-1.0104072-rdf-ntriples.txt
Original Record: 831-1.0104072-source.json
Full Text
831-1.0104072-fulltext.txt
Citation
831-1.0104072.ris

Full Text

A SCENT OP FLOWERS A Re c o r d and A n a l y s i s o f a P r o d u c t i o n JUDITH ANN FREIMAN B.A., U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1 9 6 6 A THESIS SUBMITTED IN PARTIAL 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 t h e s i s as c o n f o r m i n g t o t h e r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH COLUMBIA J a n u a r y , 1 9 6 9 In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t o f the r e q u i r e m e n t s f o r an advanced degree a t the U n i v e r s i t y o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make i t f r e e l y . a v a i l a b l e f o r r e f e r e n c e and Study. I f u r t h e r agree t h a t p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f t h i s t h e s i s f o r s c h o l a r l y p u r p o s e s may be g r a n t e d by the Head o f my Department or by hiJs r e p r e s e n t a t i v e s . It i s u n d e r s t o o d t h a t c o p y i n g or p u b l i c a t i o n o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l not be a l l o w e d w i t h o u t my w r i t t e n p e r m i s s i o n . Department o f Theatre  The U n i v e r s i t y o f B r i t i s h Columbia Vancouver 8, Canada Date September. 1968 A B S T R A C T A S c e n t o f F l o w e r s b y J a m e s S a u n d e r s w a s p r o d u c e d a n d d i r e c t e d b y J u d i t h F r e i m a n , i n p a r t i a l f u l f i l m e n t o f t h e r e q u i r e m e n t s f o r a M a s t e r o f A r t s d e g r e e i n t h e D e p a r t m e n t o f T h e a t r e o f t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a , a t t h e F r e d e r i c Wood S t u d i o T h e a t r e f r o m W e d n e s d a y , J a n u a r y 3 1 t o S a t u r d a y , F e b r u a r y 3, 1 9 6 8 . T h e f o l l o w i n g i s a d e t a i l e d r e c o r d o f t h a t p r o d u c t i o n a l o n g w i t h t h e d i r e c t o r ' s a n a l y s i s a n d i n t e r p r e t a t i o n o f t h e s c r i p t . A S c e n t o f F l o w e r s w a s p r o d u c e d o n a b u d g e t o f $ 3 0 0 . 0 0 w i t h a t h r e e a n d a h a l f w e e k r e h e a r s a l p e r i o d a n d h a d a r u n o f f i v e p e r f o r m a n c e s i n a t h e a t r e s e a t i n g o n e h u n d r e d t h r e e p e o p l e . T h e c a s t w a s c o m p o s e d o f f i v e s t u d e n t s a n d t h r e e n o n - E q u i t y p e r f o r m e r s . T h e s e t w a s d e s i g n e d b y B r i a n A r n o t t ; c o s t u m e s , b y S u s a n G i b s o n . T h i s r e c o r d i s d i v i d e d i n t o t h r e e m a i n s e c t i o n s . T h e f i r s t i s a n e s s a y w h i c h b e g i n s w i t h b r i e f b i o g r a p h i c a l i n f o r m a t i o n a b o u t J a m e s S a u n d e r s a n d a s h o r t d i s c u s s i o n o f h i s r e c u r r i n g b a s i c t h e m e s a n d h i s s t y l e . T h i s i s f o l l o w e d b y a d e t a i l e d e x a m i n a t i o n o f A S c e n t o f F l o w e r s w i t h p a r t i c u l a r e m p h a s i s o n t h e s t r u c t u r e o f t h e p l a y a s t h e b a s i s o f t h e d i r e c t o r i a l c o n c e p t . T h e e s s a y c o n c l u d e s w i t h r e - e m p h a s i s o n t h e p l a y a s a n i m a g e . i i i T h e s e c o n d s e c t i o n i s made u p o f t h e a c t u a l s c r i p t i n c l u d i n g i n s e r t s a n d c u t s , b l o c k i n g , s i g n i f i c a n t d i v i s i o n i n t o b e a t s , a n d i n d i c a t i n g l i g h t , s o u n d , a n d s c e n e r y c u e s . F o r e a c h m a j o r u n i t o r b e a t t h e r e i s a b r i e f a n a l y s i s w h i c h i n d i c a t e s t h e d i r e c t o r i a l a p p r o a c h t a k e n i n t e r m s o f p u r p o s e , a c t i o n , d o m i n a n t e m o t i o n s , c h a r a c t e r d o m i n a n c e , a n d a n y d i f f i c u l t i e s i n v o l v e d . T h e t h i r d s e c t i o n i s m a d e u p o f v a r i o u s t a b l e s , r e c o r d s , a n d i l l u s t r a t i o n s r e l a t i n g d i r e c t l y t o t h e p r o d u c t i o n . I n c l u d e d a r e t h e i n s e r t i o n s f o r t h e m a s s i n A c t I I a n d l i s t s o f l i g h t c u e s , m u s i c c u e s , p r o p e r t i e s , c o s t u m e s , c o s t l i s t s , a n d b o x o f f i c e r e p o r t s . A l s o i n c l u d e d a r e a s a m p l e o f t h e p r o g r a m a n d c o p i e s o f t h e p r e s s r e v i e w s . T h e i l l u s t r a t i o n s i n c l u d e c o l o u r p h o t o g r a p h s o f t h e p r o d u c t i o n , c o s t u m e d r a w i n g s , a n d f i n a l l y , b l u e p r i n t s o f t h e f l o o r p l a n a n d w o r k i n g d r a w i n g s . A p p r o v e d j$y: T A B L E OP CONTENTS P a g e I n t r o d u c t o r y E s s a y 1 N o t e s 1 6 B i b l i o g r a p h y 1 7 P r o m p t S c r i p t 1 8 B e a t A n a l y s i s 9 3 T a b l e s 1 1 4 A p p e n d i x 1 3 0 P r o g r a m 1 3 0 R e v i e w s 1 3 1 I l l u s t r a t i o n s 1 3 3 L I S T OP T A B L E S P a g e M a s s I n s e r t s 114-L i g h t P l o t a n d C u e s 117 S o u n d P l o t a n d C u e s 121 P r o p e r t i e s L i s t 122 C o s t u m e P l o t 125 P l a y C o s t R e p o r t 127 B o x O f f i c e R e p o r t 129 v i L I S T OP I L L U S T R A T I O N S P a g e P r o d u c t i o n P h o t o s 1 3 3 S e t D r a w i n g 1 3 7 C o s t u m e D r a w i n g s 1 3 8 P r e d 1 3 8 S i d /. . . . 1 3 9 S c r i v e n s 1 4 0 P r i e s t 14-1 Z b e 14-2 D a v i d 14-3 P r e d a n d S i d A c t I I 14-4-A g n e s A c t I I 14-5 A g n e s A c t I a n d I I I 1 4 6 G r a n n y 14-7 W o r k i n g D r a w i n g s 14-8 G r o u n d P l a n 14-g L i g h t P l o t . 14-9 L i g h t i n g I n s t r u m e n t S c h e d u l e 1 5 0 I N T R O D U C T O R Y E S S A Y 1 J a m e s S a u n d e r s w a s b o r n i n I s l i n g t o n , L o n d o n , o n J a n u a r y 8, 1 9 2 5 . He b e g a n w r i t i n g w h i l e s t u d y i n g f o r a d e g r e e i n C h e m i s t r y a t S o u t h a m p t o n , a n d t o d a t e h e h a s w r i t t e n n i n e o n e - a c t p l a y s : M o o n s h i n e ( ' 5 5 ) , A l a s P o o r  P r e d , T h e A r k ( ! 5 9 ) , C o m m i t t a l , B a r n s t a b l e , R e t u r n T o A  C i t y ( ' 6 0 ) , A S l i g h t A c c i d e n t ( B o g A c c i d e n t ) ( ' 6 1 ) , D o u b l e D o u b l e ( ' 6 2 ) , N e i g h b o u r s ( ' 6 4 ) a n d t w o f u l l - l e n g t h p l a y s N e x t T i m e I ' l l S i n g T o Y o u ( • 6 2 ) a n d A S c e n t o f  F l o w e r s ( ' 6 4 ) . J o h n R u s s e l l T a y l o r , h i s o n l y h i s t o r i a n t o d a t e , p r o v i d e s a n e x t r e m e l y c o n c i s e s t a t e m e n t a b o u t S a u n d e r s 1 w o r k i n h i s b o o k A n g e r a n d A f t e r . He g i v e s b r i e f p l o t o u t l i n e s o f t h e e a r l y i n a c c e s s a b l e p l a y s a s w e l l a s a s i m p l e a p p r a i s a l o f l a n g u a g e , c h a r a c t e r , t h e m e , a n d f i n a l l y s t a t e s " t h a t S a u n d e r s h a s a t a l e n t ( t h o u g h n o t p e r h a p s s o i n d i v i d u a l a t a l e n t ) f o r t h e N e o - S h a v i a n t h e a t r e o f i d e a s a n d n o t v e r y m u c h a c t i o n a s w e l l a s f o r t h e m o r e o b l i q u e m o d e o f I o n e s c o " . " * " T a y l o r i m p l i e s , t h e n , t h a t S a u n d e r s * t h e a t r e i s b a s i c a l l y i n t e l l e c t u a l a n d t h a t l a n g u a g e i s h i s p r i m e t o o l . He u s e s i t b o t h c o n n o t a t i v e l y a n d d e -n o t a t i v e l y t o e x p r e s s a c o n s i s t e n t t h e m e o f h u m a n n o n -c o m m u n i c a t i o n . M o r e m u s t b e s a i d o f S a u n d e r s ' c o n c e r n t o c o m m u n i c a t e h u m a n d e s p a i r , h i s f a s c i n a t i o n w i t h t h e d e p i c t i o n o f s u b j e c t i v e r e a l i t i e s , a n d h i s i n t e r e s t i n d r a m a t i c s t r u c t u r e . 2 I n a l l h i s w o r k s S a u n d e r s f o c u s e s o n i n d i v i d u a l i s o l a t i o n . I n s t e a d o f c o n f r o n t a t i o n s b e t w e e n i n d i v i d u a l s a n d t h e i r e n v i r o n m e n t , t h e c e n t r a l c o n f l i c t s i n v o l v e p s y c h o l o g i c a l a n d 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 h u m a n b e h a v i o r ; t h a t i s , s u b j e c t i v e v i e w s o f r e a l i t y . A l a s P o o r F r e d i s a n e x a m i n a t i o n o f a m a r i t a l r e l a t i o n -s h i p c e n t e r e d a r o u n d F r e d "who w a s a p p a r e n t l y c u t i n h a l f a t some t i m e i n t h e p a s t , b u t o n whom o t h e r w i s e t h e r e s e e m s t o b e l i t t l e a g r e e m e n t , e v e n t o t h e q u e s t i o n o f w h a t 2 h e a c t u a l l y l o o k e d l i k e " . T a y l o r ' s i m p l i c a t i o n i s t h a t F r e d i s t h e o n l y b a s i s o f t h e c o u p l e ' s r e l a t i o n s h i p . A t t h e o u t s e t , t h e n , S a u n d e r s i s c o n c e r n e d w i t h t h e c o m p l e x i t y o f h u m a n r e l a t i o n s h i p s , t h e s i t u a t i o n s w h i c h k e e p p e o p l e t o g e t h e r a n d , a t t h e same t i m e , a p a r t , a n d w h i c h , a g a i n p a r a d o x i c a l l y , b o t h r e l i e v e a n d c r e a t e h u m a n d e s p a i r . T a y l o r p o i n t s o u t t h a t S a u n d e r s c o n c e n t r a t e s o n t h e w i f e ' s p o i n t o f v i e w , e x p e c i a l l y i n t w o s p e c i f i c s c e n e s , " o n e i n w h i c h , h e r h u s b a n d a s l e e p , s h e t a k e s o f f a l l h e r c l o t h e s ( i n m i m e ) a n d p e r f o r m s a p r o v o c a t i v e d a n c e i n f r o n t o f h i m , a n d t h e o t h e r w h e n s h e b u i l d s u p a n e l a b o r a t e s e m i - m a s o -c h i s t i c f a n t a s y a b o u t h e r h u s b a n d w h i l e h e i s o u t f o r a w a l k " . P r e s e n t i n g o n e c h a r a c t e r ' s p o i n t o f v i e w t o w a r d s s i t u a t i o n s r e c u r s i n S a u n d e r s ' w o r k a n d t h e m a n n e r i n w h i c h i t i s d o n e i s a n i m p o r t a n t p a r t o f h i s s t y l e . D o u b l e D o u b l e t a k e s p l a c e i n a b u s m a n ' s c a f e t e r i a . 3 T h e s e t t i n g , p r o p e r t i e s , a n d e x t e r n a l s o f c h a r a c t e r ( c o s t u m e , g e s t u r e , d i a l o g u e ) d e p i c t t h e B r i t i s h w o r k i n g c l a s s i n a v e r y r e a l i s t i c m a n n e r . W i t h i n t h i s e n v i r o n m e n t , S a u n d e r s p r e s e n t s t e n p u r e l y s e l f - c o n s c i o u s c h a r a c t e r s ( b u s d r i v e r s , t h e i r a s s i s t a n t s , w a i t r e s s e s ) . T h e p e o p l e i n t h i s g r o u p a r e h e l d t o g e t h e r o n l y b y e n v i r o n m e n t , a n d m e r e l y p a s s b y e a c h o t h e r i n t h e i r p e r s o n a l d e a l i n g s . T h e y m e n t a l l y i s o l a t e t h e m s e l v e s , t h e r e b y m u t u a l l y e x c l u d i n g e a c h o t h e r , a n d n o e f f e c t i v e c o m m u n i c a t i o n t a k e s p l a c e . T h e r e f o r e we v i r t u a l l y h a v e t e n m o n o l o g u e s , t e n p u r e l y s u b j e c t i v e p o i n t s o f v i e w b l e n d e d i m a g i s t i c a l l y i n t o a p o r t r a i t o f n o n -c o m m u n i c a t i o n m o r e i n t h e m a n n e r o f G h e k o v a n d P i n t e r t h a n o f I o n e s c o . A c t u a l l y , h i s c h a r a c t e r s a r e s i m p l y d r a w n . T h e y u s u a l l y m a y b e i m m e d i a t e l y d e s c r i b e d a s o n e g e n e r a l t y p e , a s h a v i n g o n e p a r t i c u l a r c h a r a c t e r i s t i c , o r a s b e i n g i n v o l v e d i n o n e s p e c i f i c r e l a t i o n s h i p . S a u n d e r s t h e n p r o f o u n d l y i n v e s t i g a t e s t h e s e p a r a t e e n t i t i e s a n d f i n a l l y c o m b i n e s t h e m . T h e e n d r e s u l t i s a c u b i s t i c v i e w o f o n e c e n t r a l c h a r a c t e r o f o n e c e n t r a l t h e m e . S a u n d e r s ' c o n c e r n w i t h d e p i c t i n g s u b j e c t i v e r e a l i t i e s n e c e s s i t a t e s h i s e x p e r i m e n t a t i o n w i t h t h e f r a g m e n t e d s t y l e a n d s t r u c t u r e o f f i l m s . A d i s t i n c t i o n m u s t b e m a d e h e r e b e t w e e n s e q u e n t i a l t i m e b a s e d o n c a u s a l i t y a n d s u b j e c t i v e t i m e b a s e d o n t h e s t r u c t u r e o f m e n t a l a s s o c i a t i o n s . W i t h f i l m , i t i s p o s s i b l e t o e l i m i n a t e w i t h f a c i l i t y e v e n t s i n 4-a c a u s a l sequence o r t o change p o i n t o f v i e w r a p i d l y . Out o f t h i s a r i s e s a new method o f s t r u c t u r i n g p l o t . As Hauser e x p l a i n s : The most f u n d a m e n t a l d i f f e r e n c e between 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 -space has 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 s p a t i a l c h a r a c t e r . 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 space . . . . d i s c o n n e c t i n g t h e i n d i v i d u a l s t a g e s i n t h e development o f e v e n t s and g r o u p i n g them, g e n e r a l l y s p e a k i n g , a c c o r d i n g t o t h e p r i n c i p l e s o f s p a t i a l o r d e r . 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 t h e 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 , roams about i n space 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 c o r r e s p o n d s e x a c t l y t o t h a t m i x t u r e o f space and t i m e i n w h i c h t h e f i l m moves. Saunders i s u t i l i z i n g t h i s montage a p p r o a c h t o p l o t based, n o t on t e m p o r a l , but s p a t i a l , o r d e r . I t i s t h i s s t r u c t u r a l b a s i s w h i c h l e n d s a f i l m i c f l u i d i t y t o h i s p l a y s and p a r t i c u l a r l y t o h i s two f u l l - l e n g t h works, Next Time I ' l l  S i n g To You and A S c e n t o f F l o w e r s . The b a s i c e v e n t s o f Next Time I ' l l S i n g To You a r e v e r y s i m p l e : t h r e e a c t o r s , 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 based on t h e l i f e o f A l e x a n d e r James Mason, th e H e r m i t o f Great C a n f i e l d . 5 T h e c h a r a c t e r s , t o o , m a y h e e a s i l y d e s c r i b e d : L i z z i e , n a i v e , u n q u e s t i o n i n g , c o n f u s e d b u t u n c o m p l i c a t e d ; M e f f , a n e p i c u r i a n w h o t a k e s t h e w o r l d o n l y a s s e r i o u s l y a s h i s o w n n o n - s e q u i t u r s ; c y n i c a l D u s t ; R u d g e , t h e a n a l y t i c a l h u m a n i s t s e e k i n g m e r e s i m p l i c i t y ; a n d t h e f r i g h t e n e d , p a r a n o i d a c t o r - H e r m i t . S t r u c t u r a l l y , t h e p l a y i s , a s M o l l i e P a n t e r D o w n e s s t a t e s , " a k i n d o f f u g u e o n t h e t h e m e o f h u m a n s o l i t u d e a n d J i m m y M a s o n " . E a c h o f t h e c h a r a c t e r s t a k e s u p a n d d e v e l o p s t h e t h e m e i n t h e v o i c e o f h i s o w n p o i n t o f v i e w . T h e v o c a l a n d p h i l o s o p h i c a l c o u n t e r p o i n t i s v i r t u a l l y s p a t i a l l y r e l a t e d . W i t h t h e f o r e g o i n g a s b a c k g r o u n d , i t i s n o w p o s s i b l e t o d e a l s p e c i f i c a l l y w i t h A S c e n t o f F l o w e r s . T h i s p l a y i s e s s e n t i a l l y a n i m a g e . I t i s t h e p o e m o f a l i f e l i v e d , r e p r e s e n t e d b y t h e d i m i n i s h i n g s c e n t o f t h e d y i n g f u n e r a l f l o w e r s , t h e " t r e m b l i n g o f t h e a i r " * ' w h i c h p a s s e s b a r e l y p e r c e i v e d , b a r e l y p e r c e i v a b l e . T h e p l o t i t s e l f i s m i n i m a l . A y o u n g g i r l , Z o e , w a s i n a s t a t e o f e m o t i o n a l c r i s i s . S h e w a s t o r n b e t w e e n t h e n e c e s s a r y s p i r i t u a l s e c u r i t y o f f e r e d b y t h e c h u r c h a n d i t s a t t i t u d e t o w a r d t h e e q u a l l y n e c e s s a r y a d u l t e r o u s l o v e a f f a i r i n w h i c h s h e h a d b e c o m e i n v o l v e d . A t t h i s t i m e o f c r i s i s s h e r e t u r n e d home h o p i n g t o r e c e i v e c o m f o r t a n d c o u n s e l f r o m h e r f a m i l y . I n s t e a d , a s e r i e s o f c o n f r o n -6 t a t i o n s o c c u r e d w h i c h c a u s e d h e r . t o w i t h d r a w f a r t h e r a n d f a r t h e r i n s i d e h e r s e l f u n t i l s o l u t i o n s "became i m p o s s i b l e a n d s h e c o m m i t t e d s u i c i d e . H e r f a m i l y comes t o m o u r n h e r a n d t h r e e men, a n u n d e r t a k e r a n d two workmen, c a r r y o u t t h e v a r i o u s d u t i e s o f t h e f u n e r a l s e r v i c e a n d b u r i a l . A s i n N e x t Time I A l l S i n g To Y o u , t h e c h a r a c t e r s a r e e a s i l y d e s c r i b e d . The f a m i l y : G o d f r e y , t h e l o v i n g s t e p -b r o t h e r who p r o v i d e s a s o u n d i n g - b o a r d o f r e a s o n a b i l i t y ; Agnes -, t h e " w i c k e d " s t e p m o t h e r ; f a t h e r D a v i d , s e l f - c o n t a i n e d and' s e l f - i n v o l v e d ; a n d r o m a n t i c , i r r e s p o n s i b l e U n c l e E d g a r . Th'e"-other t h r e e c h a r a c t e r s may b e s t be d e s c r i b e d a t t h i s p o i n t ' i n t e r m s o f t h e i r w o r k : P r e d , c r a f t s m a n ; S i d , a p p r e n t i c e ; a n d S c r i v e n s , u n d e r t a k e r . T h e s e t h r e e f u n c t i o n f a r more s i g n i f i c a n t l y a s s t r u c t u r a l d e v i c e s i n t h e p l a y r a t h e r t h a n i n t e r m s o f c h a r a c t e r r e l a t i o n s h i p s . The m a i n c h a r a c t e r i s , o f c o u r s e , Z o e . S a u n d e r s d e s c r i b e s h e r o n l y i n t e r m s o f t h e c o n f l i c t i n w h i c h s he 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 a b o u t t h e n e c e s s i t y o f b e i n g a l i v e . A n d 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 d e a d , so t h a t t h e a u d i e n c e c o u l d s e e a t -t 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 d e a t h . 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 a n i m p o s s i b l e l o v e 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 , c r e a t i n g t h i s i n s o l u b l e c o n f l i c t o f l o y a l t i e s . ' 7 T h e c o m p l e x i t y o f Z o e ' s c h a r a c t e r i s c r e a t e d b y t h e p r e s e n t a t i o n o f a g r e a t m a n y f a c t s a b o u t h e r b a c k g r o u n d a n d f a m i l y a n d s n a t c h e s o f s i t u a t i o n s f r o m w h i c h we m a y p e r c e i v e v a r i o u s a s p e c t s o f h e r p e r s o n a l i t y a n d h e r r e l a t i o n s h i p s . B y t h e e n d o f t h e f i r s t a c t S a u n d e r s h a s p r e s e n t e d i n t i m a -t i o n s o f a c o m p l e x i n d i v i d u a l . T h r o u g h o u t t h e s e c o n d a c t , h e d e v e l o p s t h e c o n f l i c t b e t w e e n C a t h o l i c i s m a n d a d u l t e r y a n d t h e c h a r m i n g g i r l b e c o m e s a y o u n g woman p l a g u e d b y a n x i e t i e s a n d g u i l t w h i c h a l i e n a t e h e r f r o m c h u r c h a n d f a m i l y - f o r m e r s o u r c e s o f c o m f o r t a n d s e c u r i t y . T h i s a l i e n a t i o n l e a d s t o s u i c i d e . W i t h t h e e n d o f l i f e c o m e s t h e e n d o f Z o e ' s g r o w t h a n d , i n t h e t h i r d a c t , s h e b e c o m e s m e r e l y a v e h i c l e f o r S a u n d e r s ' p h i l o s o p h i c a l m e a n d e r i n g s o n t h e s u b j e c t o f d e a t h . H e r q u e s t i o n t o S c r i v e n s a n d g r a d u a l a c c e p t a n c e o f h e r g r a v e h a v e l i t t l e t o d o w i t h t h e c h a r a c t e r c r e a t e d i n t h e f i r s t t w o a c t s . H e r c o f f i n a n d n o t h e r p e r s o n i s t h e f o c a l p o i n t o f t h i s a c t . T h e e v e n t s o f t h e a c t i o n a n d t h e c h a r a c t e r s , t h e n , a r e m e r e l y i n d i v i d u a l e l e m e n t s o f a c o m p l e x s t r u c t u r e c o n s t r u c t e d s i m i l a r l y t o N e x t T i m e 1 111 S i n g T o Y o u b u t u s i n g s p a t i a l a n d t e m p o r a l e l e m e n t s i n a n e v e n m o r e f i l m i c w a y . I t i s p r i m a r i l y t h r o u g h a n e x a m i n a t i o n o f t h i s s t r u c t u r e r a t h e r t h a n t h e m e o r c h a r a c t e r a n a l y s i s t h a t A S c e n t o f F l o w e r s m a y b e a p p r e c i a t e d . 8 T h r e e s t r u c t u r a l p l a n e s ( w i t h o u t d o g m a t i c d i s t i n c t i o n ) ' e x i s t i n t h e p l a y : t h e f i r s t i n v o l v e s t h e c o m b i n a t i o n o f l i n e a l a n d n o n - l i n e a l a p p r o a c h e s t o p l o t d e v e l o p m e n t ; t h e s e c o n d , t h e c o m b i n a t i o n o f s u b j e c t i v e a n d o b j e c t i v e p o i n t s o f v i e w w h i c h c r e a t e s a c o n t r a s t b e t w e e n t r a n s c i e n c e a n d p e r m a n e n c e ; t h e t h i r d , t i m e l a p s e ( t h a t i s , c r o s s i n g t h e b o u n d a r i e s o f p a s t a n d p r e s e n t ) t o d e p i c t m e m o r y . A l l t h e s t r u c t u r a l p l a n e s o f t h e p l a y h a v e t h e same b a s i c f a c t i n c o m m o n : Z o e i s d e a d . F i r s t l y i n e l a b o r a t i n g t h i s f a c t , S a u n d e r s u t i l i z e s t w o m e t h o d s o f d e v e l o p i n g p l o t - a l i n e a l a n d a n o n - l i n e a l d e p i c t i o n o f e v e n t s . T h e f o r m e r m a y b e d e s c r i b e d i n t h e f o l l o w i n g m a n n e r . I n A c t I t h e c o f f i n , t h e m o u r n e r s , a n d t h o s e c o n d u c t i n g a n d c a r r y i n g o u t t h e f u n e r a l p r o c e e d i n g s a r e a s s e m b l e d i n t h e d e a d g i r l ' s h o me f o r t h e t r i p t o t h e c h u r c h . A c t I I i s h e r f u n e r a l m a s s . A c t I I I i s h e r b u r i a l a t t h e g r a v e y a r d . T h e l a t t e r u s e s t h e same p i e c e s o f i n f o r m a t i o n a n d c h a r a c t e r s b u t i s s t r u c t u r e d b y a s s o c i a t i v e p a t t e r n r a t h e r t h a n c a u s a l s e q u e n c e . F o r e x a m p l e , i n A c t I Z o e w a t c h e s A g n e s - h e r s t e p m o t h e r a n d m i s t r e s s o f t h e h o u s e - e n t e r a n d l o o k a r o u n d t h e r o o m t o m a k e s u r e t h a t e v e r y t h i n g i s i n o r d e r a n d r e a d y . ( A g n e s i s n a t u r a l l y p r e o c c u p i e d w i t h h e r o w n g r i e f a n d i s m e r e l y g o i n g t h r o u g h t h e m o t i o n s o f h e r e v e r y -d a y e x i s t e n c e . ) I n t h e c o u r s e o f m a k i n g r e a d y s h e a r r a n g e s t h e f u n e r a l b o u q u e t s w h i c h h a v e j u s t b e e n b r o u g h t i n . 93 S h e s t o o p s t o p i c k u p a b o u q u e t o f w h i t e r o s e s . S h i f t , Z o e s c r e a m s , r u n s o v e r , g r a b s t h e b o u q u e t a n d l a u n c h e s i n t o a m o n o l o g u e e x p l a i n i n g t h a t t h e w h i t e r o s e s a r e f r o m h e r l o v e r a n d t h a t : 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, a s y o u w i l l . . . I ' l l s e n d y o u t e n w h i t e r o s e s , o n e f o r e a c h m o n t h w e ' v e k n o w n e a c h o t h e r , a n d e a c h y e a r I ' l l s e n d a n o t h e r t e n ; I ' l l c h o o s e e a c h r o s e i n d i v i d u a l l y t o m a k e s u r e i t ' s p e r f e c t , s o t h a t i n y e a r s t o come . . . t h e a c t o f c h o o s i n g t h e s e t e n r o s e s w i l l f o g a m o m e n t b r i n g b a c k a g l i m m e r o f r e m e m b r a n c e . S h i f t o n c e a g a i n . Z o e , h a v i n g m o v e d a c r o s s t h e r o o m , r e a l i z e s t h a t G r a n n y i s t h e r e , a c k n o w l e d g e s h e r , a n d r e l a t e s a n a n e c d o t e f r o m c h i l d h o o d w h i c h , f o r Z o e , i l l u s -t r a t e s t h e r e l a x e d , f i r m r e l a t i o n s h i p b e t w e e n t h e m . S h i f t -a n d s o o n a s t h e a c t c o n t i n u e s . A s I h a v e t r i e d t o i n d i c a t e , t h e i m p o r t a n t p a r t o f t h i s a n d o f a n y n o n - l i n e a r s t r u c t u r e i s t h e t r a n s i t i o n s b e t w e e n a s s o c i a t i o n s ; t h a t i s , w h a t n e w m e n t a l o r e n v i r o n m e n t a l o c c u r r e n c e b e g i n s t h e n e x t c h a i n o f t h o u g h t . T h e s e o c c u r r e n c e s m u s t b e c l e a r l y p r e s e n t e d i n o r d e r f o r t h e t r a n s i t i o n s , a n d t h e r e f o r e t h e p l o t , t o b e p r o p e r l y u n d e r s t o o d . T h e s e c o n d s t r u c t u r a l p l a n e i n v o l v e s t h e p r e s e n t a t i o n o f s u b j e c t i v e a n d o b j e c t i v e p o i n t s o f v i e w t o w a r d t h e f a c t o f Z b e ' s d e a t h . T h e s u b j e c t i v e p o i n t s o f v i e w a r e t h o s e o f t h e m e m b e r s o f t h e f a m i l y a l l o f whom a r e e m o t i o n a l l y t i e d t o t h e s i t u a t i o n ; t h e o b j e c t i v e , t h o s e o f F r e d , S i d , a n d S c r i v e n s who m a y b e d e t a c h e d f o r n o t h a v i n g k n o w n Z o e . B y p r e s e n t i n g t h e s e p o i n t s o f v i e w , S a u n d e r s o b t a i n s a c o n t r a s t b e t w e e n l i f e ' s t r a n s i e n c e a n d p e r m a n e n c e . A f t e r t h e b u r i a l , Z o e n o l o n g e r e x i s t s a n d t h e f a m i l y d i s p e r s e s , b u t F r e d a n d S i d r e m a i n t o f i l l t h e g r a v e -a j o b t h a t h a s a l w a y s b e e n a n d w i l l a l w a y s b e d o n e . I t i s t h e i r f u n c t i o n a n d t h e y p e r f o r m i t m i n d l e s s l y a n d w i t h m e c h a n i c a l c o n s i s t e n c y . S c r i v e n s t o o a c q u i r e s c o n s t a n c y f r o m h i s f u n c t i o n . I ' v e a t t e n d e d t h e h i g h e s t a n d t h e l o w e s t . I c a n d o y o u s i m p l e o r I c a n d o y o u b a r o q u e . I c a n d o y o u a h e a r s e a n d o n e , o n e c a r r i a g e t h a t i s , f o r a n y t h i n g u p t o s i x , n o t c o u n t i n g t h e d e c e a s e d , I c a n d o y o u a h e a r s e a n d t h r e e , f o u r , s e v e n o r e i g h t , i f y o u l i k e , i t ' s a l l o n e t o me. T h e c o mmon f a c t o r i s d i g n i t y . Y o u c a n b e u g l y o r b e a u t i f u l , c r o o k e d o r s t r a i g h t , r i c h o r p o o r -e v e n p o o r . Y o u ' r e a l l t h e s ame t o me. W h a t ' s i n t h e b o x i s n o t my p r o v i n c e , t h e r i t u a l i s t h e t h i n g . F i l l i t w i t h p e a n u t s i f y o u 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 s h a l l u s h e r i t i n t o i t s a p p r o p r i a t e h o l e i n t h e g r o u n d w i t h a l l d u e c e r e m o n y . ^ He i s u t t e r l y i n v o l v e d w i t h h i s j o b a n d , i n f a c t , h a s a c e r t a i n a m o u n t o f c o c k s u r e d i s d a i n f o r t h e p e o p l e h e m u s t d e a l w i t h . B u t S a u n d e r s h a s g i v e n S c r i v e n s s p e c i a l s i g -n i f i c a n c e . A s f u n e r a l d i r e c t o r S c r i v e n s h a s l e a r n e d t o d e a l w i t h a l l s e g m e n t s o f s o c i e t y . P e o p l e f r o m a l l c l a s s e s a n d a l l a g e s come t o S c r i v e n s a n d t h i s a f f o r d s h i m a u n i v e r s a l i t y . A t t h e same t i m e , S a u n d e r s e m b u e s h i m w i t h a s p i r i t u a l q u a l i t y ( o t h e r t h a n t h e f a c t t h a t h e d o u b l e s a s t h e p r i e s t i n A c t I I ) . Z o e s t a t e s : 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 c h i l d i n a w o o l l y b l u e b l a n k e t a n d , f l i e s w i t h i t a c r o s s t h e s e a s t h r o u g h t h e n i g h t . S c r i v e n s t a k e s c a r e o f a l l t h e d e t a i l s . He c r e a t e s r i t u a l f r o m p r o c e d u r e . H i s j o b a f f o r d s h i m a k i n d o f o m n i p o t e n c e a n d o m n i p r e s e n c e a n d h e i s p a t i e n t a n d w i s e e n o u g h t o d e a l w i t h Z o e ' s q u e s t i o n i n g i n A c t I I I . S a u n d e r s i s a b l e t o p r e s e n t p e r m a n e n t a n d e t e r n a l c o n d i t i o n s o f h u m a n e x i s t e n c e t h r o u g h t h e e m o t i o n a l d e t a c h -m e n t o f F r e d , S i d , a n d S c r i v e n s . T h e i r a t t i t u d e t o w a r d s t h e p r o c e s s o f Z o e ' s f u n e r a l r e p r e s e n t s a n a e s t h e t i c a p p r o a c h t o t h e p r o c e s s o f l i v i n g . S t r i c t a t t e n t i o n t o t h e f o r m o f t h e r i t u a l c r e a t e s t h a t r i t u a l ' s m e a n i n g f u l n e s s . No h u m a n i n t e r a c t i o n n e e d b e i n v o l v e d . T h e r i t u a l r e m a i n s i n t a c t r e g a r d l e s s o f who p e r f o r m s i t . T h i s i s i n c o n t r a s t t o a n y s u b j e c t i v e v i e w p o i n t a n d i t i s t h r o u g h t h e s u b j e c t i v e v i e w p o i n t s o f t h e o t h e r c h a r a c t e r s t h a t S a u n d e r s i s a b l e t o s u g g e s t t h e t r a n s i e n c e o f e x i s t e n c e ; o f t h e l i f e a n d r e l a t i o n s h i p s o f a n i n d i v i d u a l . I n t h i s p l a n e o f s t r u c t u r e , t h e n , 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 t o p r e s e n t h i s main theme - the pa 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 o f t h e c r e a t i o n out o f common e x p e r i e n c e s o f m e n t a l and e m o t i o n a l s t a t e s between i n d i v i d u a l s ; t h a t i s , human r e l a t i o n s h i p s . When an i n d i v i d u a l c e a s e s t o e x i s t , t h e r e l a t i o n s h i p s w h i c h he has been i n v o l v e d i n cease f u n c t i o n i n g as w e l l . They can no l o n g e r grow because t h e y can no l o n g e r change and t h e r e l a t i o n s h i p s and t h e i n d i v i d u a l become f r o z e n i n memories. The f a c t t h a t Zoe has d i e d b e f o r e t h e p l a y b e g i n s i s the b a s i s o f t h e t h i r d s t r u c t u r a l p l a n e w h i c h may be s a i d t o d e s c r i b e memory. I t s e l e m e n t s a r e t e m p o r a l : p a s t t o r e c r e a t e Zoe's c r i s i s and p r e s e n t t o d e p i c t t h e f u n e r a l p r o c e e d i n g s . The f i r s t a c t u t i l i z e s b o t h o f t h e s e as w e l l as a r t i s t i c time"'""'" t o c r e a t e a c u b i s t i c p i c t u r e o f Zoe. E x p o s i t i o n o f many f a c e t s o f h e r p e r s o n a l i t y and background a r e p r o v i d e d i n o r d e r t o e n t i r e l y c a p t u r e t h e a u d i e n c e by t h e charm and v i t a l i t y o f t h e young g i r l . Her p r e s e n c e g i v e s t h e a c t coherence and f o c u s and one i s c e r t a i n l y s t r u c k by t h e " f u l l n e s s o f h e r l i f e " . A c t I I i s a b e a u t i f u l l y d e v e l o p e d c o u n t e r p o i n t between t h e movement o f t h e mass c e l e b r a t i n g Zoe's d e a t h and t h a t o f t h e e v e n t s w h i c h l e d t o h e r s u i c i d e . H a v i n g p r o v i d e d a l l t h e n e c e s s a r y b a c k g r o u n d , Saunders c l i m a c t i c a l l y b u i l d s t o h e r s u i c i d e and succeeds i n p r o d u c i n g a t r e m e n d o u s i m p a c t w i t h " t h e a c t u a l i t y o f h e r d e a t h " . B y t h e e n d o f A c t I I we h a v e c o m p l e t e d t h e s t o r y o f Z o e ' s l i f e . B y r e c r e a t i n g t h e i n t e n s i t y o f h e r l i f e a n d t h e n d e p i c t i n g h e r d e a t h , t h e s t o r y i t s e l f h a s s e t u p i t s o w n l i m i t a t i o n s c o n c e r n i n g Z o e . No m o r e g r o w t h o r c h a n g e i s i n v o l v e d . S h e b e l o n g s t o t h e p a s t . I n A c t I I I , S a u n d e r s s e t s a b o u t t o r e i n f o r c e t h e p r e s e n t . F o r Z o e , t h i s a c t i n v o l v e s a n a c c e p t a n c e o f h e r d e a t h a n d , e v e n i n t h e f a c e o f n e b u l o u s , u n p h r a s e a b l e q u e s t i o n s , a g r o w i n g c a l m a s s h e w i l l i n g l y g o e s t o h e r g r a v e . I t i s a j o u r n e y t o r e s t . F o r t h e m e m b e r s o f h e r f a m i l y , i t i s a j o u r n e y t o t h e p r e s e n t w i t h w h i c h t h e y m u s t c o n t i n u e . A t t h e s a m e t i m e a s Z o e f a d e s o u t o f t h e f o c u s o f t h e p l a y , e a c h o f t h e m g o e s t h r o u g h t h e p r o c e s s o f f i l i n g h e r a w a y i n t h e i r m e m o r i e s . F o r F r e d , S i d a n d S c r i v e n s , n o t h i n g c h a n g e s . T h e y h a v e n e v e r l e f t t h e p r e s e n t b u t h a v e c o n -t i n u e d c o n s i s t e n t l y t h r o u g h o u t , d o i n g t h e i r e v e r y d a y d u t i e s . T h e f i r s t a c t g a t h e r s t o g e t h e r t h e f a c t s a n d c h a r a c t e r s r e l e v e n t t o t h e m e m o r y , t h e s e c o n d a c t p l a y s t h e m o u t , a n d t h e t h i r d d i s p e r s e s t h e m . S a u n d e r s i s c r e a t i n g a p o e m f o r t h e s t a g e e m p l o y i n g e m o t i o n a l t o n e s . T h e o v e r a l l i m p a c t o f t h e p l a y ' i s i n i t s m o o d a n d a t m o s p h e r e . I t i s a s t r a n s c i e n t l y b e a u t i f u l a n d s e n t i m e n t a l a s t h e s y m b o l i c w h i t e r o s e s . I n p r o d u c t i o n , t h e m a i n g o a l i s t o a c h i e v e t h e s u b t l e , d e l i c a t e , a n d c o m p l e x n a t u r e o f t h i s a t m o s p h e r e . My c e n t r a l i m a g e f o r t h i s p r o d u c t i o n w a s a m o b i l e b y A l e x a n d e r C a l d e r , D a y a n d N i g h t ( ' 6 5 ) . I t r e p r e s e n t e d a c o m b i n a t i o n o f m o o d a n d s t r u c t u r e a n a l o g o u s t o t h e p l a y . T h e l i n e s a n d m i n i m a l s h a p e s o f t h e p i e c e s o f t h e m o b i l e a r e l y r i c a l l y b e a u t i f u l b y w a y o f t h e i r s p a t i a l r e l a t i o n -s h i p s t o e a c h o t h e r . A l s o , t h e f a c t t h a t t h e m o b i l e i s s u s p e n d e d a n d i n m o t i o n , t h a t a l l i t s e l e m e n t s h a v e a v i r t u a l v o l u m e s o t h a t t h e s p a t i a l r e l a t i o n s h i p s c o n s t a n t l y s h i f t , p r o v i d e s a k i n e t i c i s m t h a t i s r e m i n i s c e n t o f f i l m s . I n t h a t D a y a n d N i g h t i s a n e x e r c i s e i n p u r e f o r m a n d c o n n o t a t i v e e x p r e s s i o n , i t r e t a i n s a t i m e l e s s n e s s a n d a u n i v e r s a l i t y ; t h a t i s , i t e x i s t s i n s p a c e - t i m e . I t i s n o t d e f i n e d b y t h e s p a c e i t o c c u p i e s b e c a u s e i t a l s o m a k e s u s e o f t h e s p a c e i t d o e s n o t o c c u p y a n d i t s p o t e n t i a l f o r c o n s t a n t a n d e t e r n a l m o t i o n e x c l u d e i t f r o m t e m p o r a l l i m i t a t i o n s . T h e s p a c e a n d t i m e o f t h e p e r c e i v e r , n o t t h e w o r k , c r e a t e t h e c r i t e r i o n b y w h i c h t h e w o r k m a y b e a p -p r e c i a t e d . I n c o n c l u s i o n , I c h o s e t o p r o d u c e A S c e n t o f F l o w e r s b e c a u s e o f i t s c o m b i n a t i o n o f s e n t i m e n t a l i t y a n d c o m p l e x s t r u c t u r e . G e n e r a l l y , t h e c o n n o t a t i v e u s e o f l a n g u a g e , t h e t h e m a t i c c o n c e r n w i t h h u m a n e x i s t e n c e , t h e p r e - o c c u p a t i o n w i t h a s u b j e c t i v e v i e w p o i n t - a l l t h e s e a s p e c t s o f t h e p l a y may be r e l a t e d t o t h e s t r u c t u r e . Indeed, t h e p l a y r e p r e s f i r s t and f o r e m o s t , an e x e r c i s e i n form, but w i t h o u t t h e s h a d i n g s o f mood i t would be o n l y a t e d i o u s i n t e l l e c t u a l e x e r c i s e . 1 6 NOTES: ( H a m m o n d s w o r t h , M i d d l e s e x : 1 P e l i c a n B o o k s , 1 9 6 3 ) , p . 1 8 1 . 2 I b i d . , p . 1 7 9 . I b i d . , p . 1 8 0 . " A r n o l d H a u s e r , T h e S o c i a l H i s t o r y o f A r t , V o l . I V ( N e w Y o r k : ; V i n t a g e B o o k s j , p p . 239-244.. New Y o r k e r , V o l . X X X I X ( M a y 2 5 , 1 9 6 3 ) , p . 1 4 8 . J a m e s S a u n d e r s , A S c e n t o f F l o w e r s , ( L o n d o n : A n d r e D e u t s c h L t d . , 1 9 6 5 ) , p . 9 3 . J a m e s S a u n d e r s , P l a y s a n d P l a y e r s , e d . P e t e r R o b e r t s , V o l . X I I , N o . 3 ( D e c e m b e r , 1964), p . 2 2 . J a m e s S a u n d e r s , A S c e n t o f F l o w e r s , ( L o n d o n : ; A n d r e D e u t s c h L t d . , 1 9 6 5 ) , p p . 28-29. I b i d . , p . 1 7 . I b i d . , p . 2 1 . T h i s t e r m r e f e r s t o t h e a c t u a l p r e s e n t o f t h e p l a y ' s l e n g t h f r o m 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 t h e e n d o f 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 t h e p r e s e n t a t i o n a l m o m e n t s i n A c t I w h e n t h e c h a r a c t e r s v i r t u a l l y a d d r e s s t h e a u d i e n c e . 17 B I B L I O G R A P H Y D o w n e s , M o l l i s - P a n t e r . " L e t t e r f r o m L o n d o n . " New Y o r k e r , V o l . X X X I X , M a y 2 5 , 1 9 6 3 , p p . 14-5 - 1 5 2 . H a u s e r , A r n o l d . T h e 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 , T h e F i l m A g e . V o l . I V . New Y o r k : R a n d o m H o u s e I n c . , n . d . S a u n d e r s , J a m e s . A S c e n t o f F l o w e r s . L o n d o n : A n d r e D e u t s c h L t d . , l ^ S T I T a y l o r , J o h n R u s s e l . A n g e r a n d A f t e r : A G u i d e To T h e New  B r i t i s h D r a m a . H a m m o n d s w o r t h , M i d d l e s e x : P e l i c a n B o o k s , T9T3T Who's Who i n t h e T h e a t r e : a b i o g r a p h i c a l r e c o r d o f t h e  c o n t e m p o r a r y s t a g e . e d . F r e d a G a g e . e d . 1 4 . L o n d o n : S i r I s a a c P i t m a n a n d S o n s L t d . , 1 9 6 7 . A SCENT OF FLOWERS" by J a m e s S a u n d e r s PflBSBT: SBTTEB : coPFBE TABLE LQ 1 LQ z <>q> 1 LQ 3 BEATl SQ I BEAT Z " •• 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 through, watcha. ta lking; about?. L o o k , lower y o u r end a b i t . . . Raise it, then, raise i t . . . L o o k , . you 've only gotta ease it round that corner . . . Get out o f the w a y , then, get underneath it . . . O h , Sid . . . O . K . 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 you? D a r n great tear right across the Regency stripes. H o w many. times have I told y o u , watch out for the decor w h e n you're 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 i t round. . . . . FEED:. It's not what you do, it's the.manner o£doing ii. , SID: That's m y Betty's favourite motto. FRED : Sometimes I wonder i f y o u ' l l ever make a craftsman.-Slight pause. SID: W h e r e we gonna put it, then?. FRED: W e l l , let's get it i n first, shall we? . •Zrhty gwfj, come on uaain^viih tite coffin, w'likli they.dcpnsit in jront oj tliO'£ottKr They str.iigkten.up. (£) SID: T h i n k I cricked m y back out there. Is that her? ^ ) They look at ZOE. FRED nods. FRED: I s'posc. Yes, that'll be her. SID: She's not a bad- looking k i d . (D F 5*JTT5£i 01. (D F K PfcT S •ANb our UL- s ; R/cKi. UP OAJSTA^E £/Ji> OF CoFF/tJ. JSOTM ENr£(L ... cA£/L<j//<j ej COFF//J. srop. F po/Nn DC. £ A/ODS. p . S A/odS- F '/JODS. Bom \ COFF/N-'3) £ X Si2 SifiE SETTEE. LOOKS 0V££ AT Z-1 9 A SCENT OF FLOWERS BBAT3 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 yet .^ ) I He comes closer to her. \ I I'm Fred, and he's Sid.-': ZOE (still looking at the coffin): How do you do? ! FRED: W e we're wondering where you wanted it put ;  ; ZOE: Put. . . ; ' . ! SID: Put. . | FRED: Take your time, take your time. ; 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. Wo.K.l .- • • . She nods. ' ' • . 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,-approaches it, touches it . . . GODFREY, meanwhile, enters; 'he-' considers ZOE for a moment. GODFREY: Hallo, Zoe- V 0 F U/PPS OFF j CoFFl/J-0 F X L OF SETTEE. 0 z s,rz (J? ' . © 2 qf&TVZ-ES F <CfS K TO COPF//J, \ /<JOJ>, PICK, ir up, I CAlS-H IT TO TASL£ (L) F<J S ByciT D L . 2 ! X Tt COFFIN, q 2 0 ACT ONE (D Q X 7D Z. She looks round at him; there is a slight pause, as though they • were adjusting to one another from two different worlds. ZOE: Godfrey Lambkin - how nice of you to come. GODFREY: Ever the perfect hostess. ZOE: Y o u may approach and kiss my hand. GODFREY: Dare I, madam? M y heart w i l l burst. ZOE: Get him. GODFREY: Withal.(j) He kisses her hand. Engineer Godfrey Lambkin at your service. . ZOE: Oh, sir. (2) GODFREY: Two-stroke combustion engines a speciality; bicycle chains replaced while you wait; 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 my own troubles. Cf &TE-f&S P~ ZOE: I bet you're terrible i n bed. .' j. GOD EHEY: Madam, I'm an engineer. ZOEV-D'ypu go to bed wi t h a spanner i n case of trouble? GODFREY: A blueprint; spanners arc for mechanics. Zoe, darling ... .(s) They are in each other s arms. ZOE: Gogo,.darling. GODFREY>Let us dispel misconceptions. Z X 7D Q. 0 2 j C} £M8ZAC£. ZOE: O.JfeThis creature was neither my' father, brother, boyfriend, ghostly tutor nor even lover. GODFREY: Not.even that.' . ZOE: . He was.a filthy rotten stepbrother, weren't you, Gqgo? GODFREY.^Neither, a.relation nor not a relation; a kind o f bastard semi-dcmi-relationship o f a most baffling k i n d was ours. ZOE: After all, my father fell i n love w i t h your mother; why shouldn't I fall i n love w i t h you? BOTH 7V£AJ 70 1 AoPiBfJCB. HtEHB'. • hPTSiL //JPiCA7]££> BH Fbt-LOU/NCf cccuQS /Al j . PB^-FDHHAfJCE Sr<ic& '. kllTTr• • CouSTfrtir. . •,! ; iZ&PBQ-Eucz BACK, TO j BAO+ OTVB£. TftELj \ Adf- PB&FOHHIAJ C. | F?>fi- BACH OWd/L. : XDDflESS Tb TUB 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 less5? 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 7V 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- ••;'. ACT ONE -up when we were twelve, I ' l l BEATS GODFREY: O v e r that little draw a vei l . •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 making 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 coward, Sissy! GODFREY: Because y o u were crossing yoursclt ; the perfect defence. ZOE: I was n o t ! GODFREYV*YOU were. ZOE: Wasn' t . GODFREY: W e r e . In your m i n d y o u were. ZOE: C o u l d y o u see in m y mind? GODFREY: Yes. Pause. GODFREY: E n d of topic. ZOE: E n d of topic. So let's y o u go back and w e ' l l make a more, l ike, characteristic confrontation. GODFREY: O . K . \ £ ) He retreats; turns. Z o e ! • 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 with flowers, which he G> C- VovES TV 2- -AJOSE: TO vo&e Q> Q X DiL Z. X DL. 3)B/JT&& • OU, X TV FOOT OF COFF/AJ. 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, SCRIVENS: Scrivens. (jf) ', •• ZOE mill c o D r R c Y sit »j>t a little sheepishly; rr.cn ,-;»// SID -arrange tlic flowers, cr rather throw them cn available parts of the t.nhh^ «nA prtirr-A tn giiir the /yiy nflnn! huff up mifli rUthc_ cj»V andJinscad oil. Funereal decorum is my business. If you seek a tasteful departure, I'm your man. (i) He makes a slight bow towards zOE-aud GODFREY, who hope got up and arc brushing themselves (1°'P/II- ^ o/jj^ 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 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. You 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 O E M H O W marvellously democratic. SCRIVENS: Democratic, yes;'ritual is a great leveller. Birth,' 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?(£> 0 Z^ Q ZBT UP, : ntSMiSLties OFF. .. Uirn- FLOU/EJLS. PLACE TfrBM fk£.0UAjJ> . CoFF/jJ. BUFF, COFFIN (z)&. X. DC Z. TAICES STEP 7oi*J*-£.p Sc. 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. SCRIVENS: No one ever docsUAh, Miss, if we could just., be born in a little caskctri Wonder if I might have a word with' the gentleman of the house? ZOE: You 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) 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, Mr 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. Odd 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; 0 QC X TO CDFF/AJ. (D-SC. TV&iJS BACIC TO 2. vSC- X TO 2.. 2 5 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. You know what it's like when you're just coming out from under the anaesthetic? You 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: Mind 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: Or if they do they keep quiet about it. SCRIVENS: Precisely. You 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. DC-ZOE: 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 clothes- brush 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. ~~ 0 £C- £x/TS OL. $ X : 7b OJ. &>C/T: D 9> BKCL w C :• (ACjimrEJ)) • 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. &) SCRIVENS bows, and-withdraws, arranging flowers as he 6> . 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 ix iVou should think yourself lucky you've got nice depend-able 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? GOlXF-REY: Hill.© ZOE^DO you know what M r Scrivens is? He's the kind, god-! like parent who wraps the naked half-asleep child in a woolly blue blanket and flies with it across the seas through the night. • > • ' ' ; GODFREY: You always were of a poetical turn. '. ZOE: Engineer. ' ' i C O M S E Y : But I'm no child. • ' . • •  A ' zOEVYCS you arc. Al l travellers arc children, that's why they : (o) £ X TJ> Q. 3) Z~XW Q. G f X Z>£ /AJ [FfLoAtT OF Z. §) Z. MVSBS DS. 10 A SCENT OF FLOWERS 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 Mr Scrivens is here for. To 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. My 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. s i 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 rivet-guiVshe'd try and light 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 iwhat 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 0/J COFFirJ. AbD&eXFS AUD-( £ ) S tLfiJBEL£ l>£ FsJD . COFF//J; ASSUM&A (3) F Zn/JS Z ' S : //AM£> ALotiq . : COFF/A). 28 ACT ONE II \0 F X BEhf/fJ-D ; toFFItt TV 5/2 0S BycjTS LC: Z X D S OF CoFF/*l TO F. LQ 9 F RED ^ -You won't find a better joint than that; experience, that. is; craftsmanship. Fcel.it this side ... Site does so: .' ' Here, what, crm . . . What arc you doing after the'show? . s i p coughs. (£) 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, ch—? /j\ ZOE: I think you're rather nice, toofyou're alive all the way. .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 — . . . ' • ; [ ' • ' . . 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 dovetailed1 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, alone.in 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 £X/7~S L C ' He goes out, after SID, wiping his finger on his trousers, just 1 • . 29 12. A SCENT OE FLOWERS before lie goes. Into the room comes the GRANDMOTHER, wheeled in a chair by EDGAR. EDGAR IS approaching middle-age, 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. The GRANDMOTHER is about a hundred and fifty,motionless, 0BAT $ and invisible except for one hand, r.DC An declaims as he enters.' E DGAiNWanity, vanity! He laughs. . . ZOE: What arc you laughing at, Uncle Edgar? EDGAR: Say hallo to all the nice people, mother; they've all come tovsec 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 .. .' LQ 10. 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. zOE^Hcrroom is full of daguerreotypes and wax fruit in glass, domes and rust-coloured plush and an unworldly smell id B BAITERS U£ STOPS D&. 30 ACT ONE 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''. '.' •'. I 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 and— She blows her palm. '• LQli r —hlow to the win.d.(7) f (j) 2 X OL. % ... ED G A R^At 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. . •' v 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 • : 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. s~s • . .! - l i t one u p - Q AO Z X OL -•..j He does 1. ,;, a>FF^-. 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. ' L.Q i Z : —blow to tlic wind.f* ,5' . 1 • 3 2 ACT ONE 15 PEAT 9 BEAT10 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. Nowwhere's she gone^TjVhere's my captive Princess? The Big Bad W o l f is hungry, he wants his supper. 1 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 time. (z)Thc pot's on the fire, the water's in the pot, the salt's in the water, an*^6nion 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. : . . 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?" G O D F R E Y * M y mother. , E D G A R ^ M y sister; Agnes of the iron heart. They watch AGNES as she goes across the room - ignoring. ; EDGAR — and stands next to. the box, looking in. AGNES remains looking in the box for a moment, then rather fussily straightens and examines the flowers, reading the card on each bunch. The others still watch her. Meanwhile EDGAR da-da's to the tune 'Heart, 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 0 E X itf- OF MHEFLCHAlZ-Q B X BACH- TO COFF/N. F X AROUAID DL THEAJ A(U)U/JJ> CQFF/K) UL To PC @ Z BerUeeiJ. . £ COFP//J. Q x TO . CoFF/tJ. 6) Z X £>fi-. , 4 STAA/DS. £ x PL. ® E X l/L. 3 3 l6 A SCENT OF FLOWERS • 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: ' N o ! H _ -— gT? , ' Z.Cj> i T _ - " EDGAR drops his hands. Tableau. pOE walks with her roses • Z-C XD/ZC. 3^AT J.1 \ 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 if 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 - '@What 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 ^Why 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> ' A C N E S : 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. ' .'. 34 ACT ONE •17 6 Q 3 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: To 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, Gogo— , 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! • £? X PL. © Z /loVES. £><>, (D 4 X oc 76 z . .© Q SHAKES 35 is A SCENT OF FLOWERS They dance, vigorously, laughing. ' = Watch this. ' • He does a step.. I tell you, Zo - 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: Oh, shut up, Gogo, for God's sake!.Some things are serious! ; . Pause: CODFREY : Nothing's serious, honey; what the hell . . . ZOE: Oh, Gogo . . . . ~ GODFREY : Oh, Zoe.[JL) He kisses her. ' ZOE: D i d you have to goad me, right up to the end? GODFREY: You 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? We didn't quarrel. ZOE: Have you forgotten—? GODFREY: We argued; it's.a different thing altogether. We 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. We 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 BSAT IS I suppose that was an intellectual argument. GODFREY: That was an orthographic and chromatic argument. Anyway, kids always quarrel, it's how they express them- : selves; I'm talking about now. ZOE: NOW? ' GODFREY: You'know 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. Women • ' are sometimes a bit short on logic, the odd spanner or two-levels the odds. ' • . ' . . ' ZOE: Crap. • ' • • -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: You 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. 2 0 A SCENT OF. FLOWERS i 9 . 10. filings. And my mother. And 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 dolls-any more. (T)^  ' AGNES^Shc was a difficult child. EDGAR £tShc was a sweet child. AGNEs(^Edgar, I l iad 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 circum-stances; 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. 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! Why? 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, other-wise 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 ; All what accounts? You've only had one account: David's. You've never seen the woman, neither has anyone else; (D Z XI>fZ TO Q A A x PC, A D D £ J = S $ E S 38 ACT ONE EDGAR : If you doubt your, own husband's word— 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 tyrant?^) ' . ^ ^ 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 him-self, lighting another cheroot. OE?I was cidit • z o i r l e gh when I arrived in AgnesYbig, cold house. I " : 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.' You 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\ ^ - _. j . 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. And I 'm an, insensitive idiot,'so you write me • ! . ' . . off. I don'ttliink you sec people, at all, you see your relation- . 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. Would you rather he hadn't made that mistake? ZOE looks quickly fliEDGAR. Would you, Edgar? (t) . Pause, EDGAR da-da's 'Hearts and Flowers', then suddenly breaks off. Pause'.- Fie.looks at the box. ZOE: Agnes? 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; you select what you want,' and never notice how much you 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. Q B X DL PLOWED /At q/LAA/sfV 's LAP--X TO THEM-Q) A X TO COFF/AI. PLACES &OSES ON TUP OF IT. ACT. ONE 23 •LQ It LQZZ__ BEAT lie LQ 1$ 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^But 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*^Vhat 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 • 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 $ £iSE$t x To A • <£) q X BACK TO SETTEE $ 6/TS. ...A x TO q T TOTS. HAND OA/ HIS , ; SfrQUL PER. z x c 41 2 4 A SCENT OF FLOWERS LQ 2S_ BEAT i l BEAT 18 EDGAR: There was a mis; magic powers-hty wizard and a magic prince with' zOF,!Xj\nd a stepmother. 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: All 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. And she almost did, once. EDGAR: And the wolf. . .gobbled her up I He laughs, and chokes. @ •ZOE : Poor Uncle Edgar. Into what dark jungle did'your romanticism take you! ^ /g\ DAVID and SCRIVENS enter; SCRIVENS is talking, DAVID listening with a kind of vacant intensity. ZOE: M y father. SCRIVENS: Now there's the question of the floral tributes-. •'. 7 ZOE:AHis heart is broken. • SCRIVENS and DAVID arc still talking, by the box. SCRIVENS: You, 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 SACKS Ami TO PL PfLoS-@) 5 X PR. (£) UL To FOOT OF CoFF/M ACT ONE 25 'BEAT i 8 '. CONTINUE*; 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 DC 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^Though it was only a Protestant.one. ' . " : . . DAVID gives a strange, hud sob. ; • : i. SCRIVEN : Kith and kin . . . ' ' ' • • . , DAVID : Kith and kin, y e s . . . Erm . . . T h i s . . . ; 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. . J) PLACES 1st BOUQUET OA/ COFF/AJ-d) £> PIGItS Up. . 1/JD Boo QUE T ® 0 PLACES 1 2/JP BOUQUET 43 26 A SCENT OF.FLOWERS SIB and r R c P enter; they begin te strew, the tap tvi^ ringing to DAVID : T h — . . .0 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. 0 P p/cjes up 3*P 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: No, not those, not hercarnations. SCRIVENS: That suffices, F t h i n k . d ^ • SID audwav get ready to can eat the box. •SID: g)SC. TO F $ $ OFFSTAq B. Tl-xy- lift the box.* 2.7 ' ZOE: I want the roses. I want my white roses! ® Z K L OF . COFF/AJ. She comes. wj>d,wto DAVID*. Listen to me ! @ £>APJ> VJBILB LB A V/Vf /N A NOHEAJT 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 • c - / s " •SCRIVENS holds out his hand to ZOE. The others file out.//^) T J > 'J~*- °T GODFREY, the last'to go, hesitates at the door, and looks back at ^ ^ - t ^KlT U/Z. (£) UrZ. E UJ PEELS • LjM/JsS </. THEfJ A. TV FA) ZOE. . • , . I'm coming. GODFREY goes, ZOE takes SCRIVENS' hand. As they go. out she says: . Your hand is cold. (7) _ ; ; 3* • ' QUICK 'CL'^'VAi; G) z 4 sc BXlT 44 WITH 'fi-oLq: k/ATf/L bPfliNP-LEL 2 CAhJOL ESr/C&S, ALTAIC 80QK-. CtOClF/X. i KsJ&EJ_{/OC) CUS/f/OAjS. Ml TP HADDfJ/JA P/L-LS /AJ BOTTLE; SQ 57 . L Q 2 0 '. BEATlH L Q 5Z-3EAT20 Sq I. A C T T W O Upstage is a representation of the High Altar of a Catholic Church. . The action of this Act is played against, and orchestrated by, the Burial Service, which is performed sometimes almost in silence, sometimes audibly, and sometimes frozen at a particular point; in Latin, except for certain sentences, which appear in the text. The effect is partly ritualistic, partly ironic; it acts as a background of ritual death against ivhich the 'live' dialogue is played; but it 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. SCRIVENS in this act is the priest, and dressed accordingly. He conducts the service, of course, but also at points becomes part of the action; • widi Vertically behind HIT of these, Stage Right, in a grille cir lattice. 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-F ENTERS . Ufi-C : D/LE£SED A* ALTA&- So H, X •TO At-TAILt C,ErJ~ UE~L£CtSy LIGHTS ALTA&- CA/JbL-ES •• EXITS. (£) S C . E/JTE/lS UP. Sh/ifjq/Ajc, TUU^ISLE. P<?S /tiff COFF/hi. ALL outs'. As the Curtain Rises, ZOE cntcrs&ocs to Centre, genuflects^, ^ ^ P P - O C S L S J O A } to the-altar, then crosses to Downstage Left. She picks up the  bottle. All this very slowly, almost in 'slow motion. ^) FT>£.Q-and S:iJA-eui£frR,iglity dressed as iHcnnicrs and carrying tno ccffiij (it the tame time dw PIHBST ce»ues down from Upttc.gc to »wot ; /AfSERJ' i ' The Priest', meeting the coffin at the church, sprinkles it with holy water, arid begins the Antiphon^,'Si Iuiquitatcs'). ZOE watches, the tablets inker hand. ZOE: Fred? PC. P i £ PUT POI«/AJ COPF/AJ. ^ STAND OAJ E/TPE& £/PE FAC/N<{ EACtf DTH-B& WHlua . SC. x UC To ALThfL, ftm t>o*jfj THueiBLp^ TAKES ALThIL 800K. PC JV COFF/AJ , SPH/NLEES t-rvLi/ MTPjL 3 TIMES. P&AH. PH(£$T XTo hLTAlL. F is 1 CQFF/AJ (C0/V7- OVER.) TO ALTf\£~ F ST^TA/DS 0/Z ALTPr& STEP, S DL AL 1A*L S/BF. 28 A S C E N T OF FLOWERS LQ33-6BAT 11 SQ 7_ LQ 3f_ LQ 5S_ LQ 3(o 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. JA/^E(LT Z (D EDGAR cnters^vhceling his mother^During the following he 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 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 Maiden. . . ? (J) Well, what shall we take as the text for today? Do you have • any fancies, any special requests? Our only aim is to please. • What about Stjohn'of the Sonnets: 'Consider not for whom the bell tolls - as long as you can hear it, it must be for some-, body else.' You 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. And left a message. But I had a previous engagement. How 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^ (D F(£ K-AJEEL. Q UL (3) £ ICAlEBLS @) E STAfJDS ' . .; BBS IDE q&AtdAJH. E- LOOKS A T i' COFFIAJ. Q B SLouJLH J titfEZLS q&AAJA/H •\l>L i BxtTS OH. 46 ACT TWO 29 B5AT n CODFREY: Zoe! . ' . ;. ZOE: Gogo, my lost love! She, stretches out her arms melodramatically, runs to him, and they embrace. CODFREY: You're skinnier than ever. zOESiThc perfect gentleman. , GODFREY: We weren't expecting you for another week; you been sent down, you naughty girl? ZOE: Would it surprise you? GODFREY: Well, I don't know. It takes skill; I did my 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? ZOE: Not.yet, they were out when I arrived. They all right? ' . 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. And how are your studies progressing? You still a virgin, my child? ZOE : Get him! ' . ' • • •' Pause. You still ticklish? . She tries, GODFREY collapses howling; the bicycle falls. GODFREY: Layoff! ,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. •0 Z. 8£BAtcs \THB BM-8PLACE. (2) q STMH>S i £/KE UP. . • 30 A SCENT OF FLOWERS MAT 23 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: Did you? Get off then. ZOE: Don't you like this position, darling? GODFREY : 'Get off, you slut! . . . • She gets HJ).'GODFREY sits up, brushing himself down. ^ Well, why are you so early? ZOE: You been to the library? She is looking at the books -which have tumbled out of his sa, ddleb, ao. GODFREY: Deduction. Or is it a secret? ZOE: Would I keep secrets from my dear bro? GODFREY: You 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? ZOE: Look, I've come down a week early, that's all. You don't . have to be pregnant by the Director of Studies to come down a week early !:'"••' GODFREY: O . K . Slight pause. He giggles'. ' • • . '' •., 'What a marvellous picture that conjures up. (D Z.X £ S/DE OF B/C1CL-B. ID z . . , BiCHCLE IS , BBrvEE/J THEH-ACT TWO 31 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 . . . • ' 1 ZOE: Give m e a cigarette. GODFREY: I thought you'd given u p . ZOE: I'm smoking for Lent. • • ••• 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? zoErDo 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 s o 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 you— -ZOE: All I've said is I've been seeing this Priest— GODFREY: Yeah, yeah, yeah . . . . zoEvi was . . too young last time. GODFREY: Yes, O . K . ZOE: Thee*.were a lot of thingsi~didn't understand. GODFREY^C&me on, let's go inri've got a new disc I want you to hca&Zoe, you look terrible. . He picks, up the bicycle and props it up; buckles close the saddlebag. zoE&what docs it matter to you what I do . . .? GODFREY shrugs his shoulders, his back to her. She is teiisc, defensive, too tired to be really belligerent. . ..She waits, knowing he 11 say something else. 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: What ' . GODFREY^Not 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. 0 Z x To q. Q q x ro BICYCLE. 7 x 7 9 Poor oF COFF//J. ®Cf WHEELS BllcE. A£-OUAJ£>. £m PS BESIDE. 2. © £, X VITH-8IKE (§) q STOPS, STANDS 8its, wests lb z. % q x TO Z . ACT TWO 33 Just lay oft mc, Gogo. For a while . . . -Pause. '' 1 ' 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\ zoEv6lu.it up, Gogo, shut up, shut up... . ; (0 Z X Dfc-. Pause./* GODFREYVWho's 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 think SO. • - . ' . . / '.GODFREY: What's his name? . , ZOE: I tell you you don't know him; he's new. . Pause. ' ''•..".'•' •.'' GODFREY: Married? • ' . • i ZOE takes a draw at the cigarette, exhales. ZOE: Yes._ • ; ' " : • •'. GODFREYV^SCriOUS. • • .(§) £j STBfS. our ZOE smokes. . CiQ A/LBTT&. ftEATZ<° oh . . . And which came first? ZOE: Which what? ' . • • . . ] ' • . GODFREY: H i m or the priest.-. .,' ' ;.• •' Pause. ••'•: .' • •'. •' '. • . This is what they call having your cake and eating it, isn't,it! '•• \ • .34 A SCENT OF FLOWERS Lct32> LQ 34. .lpposc you know what you're, doing. >c I know what I'm doing . . . D'you 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: ZOE: O f course 1 know what I'm doing . .~ D ' ou want to give.me 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* e^t s go m. ^ He BEAT Zl Autiplwn: 'Si iniqiiitatcs ohservavcris, DetKtHc: Domino, quis sustinahit?'— INSEOT v5 • r n i E S T : If thou, Q Lord t shall observe iniquities) Lord, who LC ' • ' / o the clmrdh. AGNES has enteredj^ud .-^ LiHStoaarc it? •The coffin is aimed ' has been ohserpin q ZOE. AGNES IS Sill okilltj. ACNES : I must remind you, David, that you have a certain . responsibility towards her. You happen to be her father.. • DAVID conies in. AGNES: I suppose you do realize the danger she's in . (£ ) (D Z TU&NS 7d q. © q TVZA/S L. (D q €roes. Cf X BAClL 70 Z Q < 7V BlIcE ^ Ex/n uZ . z FOLLOWS/ sropS AT CoFF/tJ, P/C£S UP •'. S& COFF//J. P EMTE/ZS L C . A C T T W O 35 D A V I D : Trust? • • ' • . ' . . . 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 iquhe flowers, and finds herself by the ,'.'•' orillc. • <> .. . . . 1 I don't suppose she's told you. anything. '•. x - S D A V I D : No, 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 £>,C., 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. • : •' '•' ^H§f%i: 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? 1 • ' ." '• •  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 don^You're her father, you've made her. • sk) A X J~D ' 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 : Ifl 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 . : You know very well what's stopping me. U n - ' : '•' ' - ' . - . fortunatcly'common senseisn't enough. She needs to get it'",.'• .'•'••': .from someone she can— : ''•'.•'• . . 36 A S C E N T O F F L O W E R S 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 circum-stances; 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. . D A V I D : Well? A C N E S : Zoe is having an affair with one of the lecturers. Pause. You 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? D A V I D T^im? • . A G N E S : He's married. His wife knows about it. And 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. Charm-ing, attractive, quietly unhappy, a man who invited com-• passion. And 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. D A V I D : I see. Q A • (D A 7V&.A/S &AC£ 70 D-£> 7V#jJ£ TO A-ACT TWO 37 Pause. Well, now you've told mc. A C N E S : And 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. You 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— A G N E S : 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.. D A V I D : She's obviously not too worried about them.. A G N E S : Oh, God, 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 sins.is always before me. .55 3 § . A S C E N T O F F L O W E R S •lq to. SBAT Z8 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 Bohe-mian; she's a conventional person, she has only the con-ventional ways of justifying herself. • D A V I D : You 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. A G N E S laughs. 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. slowly-liasel&sod lior.cyesy she-whs the hack cflwr head gently and 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 . . . You 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? ' . . (b A POTS TfafJb 0/U Q p.sreps DOWSJ F£oM AL-TAC A C T T W O 39 •LQ4-1 The P R I E S T comes down to the steps, Stage Left, and sits, waiting. H m . . .? • 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 later . . . Please •. . The PRIEST stands up as though to receive someone, stretches out hisJiaud. / O B&AT 2J] 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? No, we never give anybody up. We can afford to wait. I don't need to tell you I've been praying for you.' Slight pause. You look unwell. Is there something you want to talk about1 SOE chuckles. ' 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 . . . You were even holding a banana in one hand— . . . You 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 : Oh, darling, have I hurt your feelings? Havel damaged your male esteem? Q P X PL. (2) p CjESWUBS srr OSJ /h/s fit. 0 Z A£Fl=.£s TO 40 A S C E N T O F F L O W E R S P R I E S T : Or do you think you can deceive God? He nods, listening. Z O E : Also, you've'got hair growing on your back. Did you know? D i d anyone ever tell you? . . . Who's complaining? P R I E S T : Y e s . . . Go 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/d-I just don't sleep any more . . . You know, there's no more . lonely time than that - awful moment, at the end of a sleep-less 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 every-thing 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 . . . You 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 . . . No, no, no.no . . . It's not possible . . . . It's . ' . . . not possible . . . It's not possible . . . Realistic?... No, 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. You 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? You must know what I must say. • . ' Z O E : N o . . . No, 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. You 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 morii-ing.'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 . . . And 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 goes. . . 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 A G N E S ~ Z o e , do you think we might have a talk? Q)A X BESJpE Z ' '. 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? All one can say is that for those with faith it's possible'. Do you have faith or not? Do you or not? , A S C E N T O F F L O W E R S 59 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 against flesh and blood, but against t h e principalities, against : the powers, against the. . . Zoe? Take up the shield of faith. . . And- take the helmet of salvation, and the sword of the' spirit.. . W i t h God, the choice is never impossible. The P R T E S T goes back w his place in'the Church, sutd-tke-Z O E : 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 : Ygu understand? D o you? .•: A G N E S ~ Z o e , I think you are old enough now to stop treating 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, Zoe; the world isn't . 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. T h e r e 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, Agnes.@ A G N E S : Itry to understand, Zoe. Z O E : You do everything in your head, don't you? You don't CD A x TO z. Q) Z X DL-(±) D EA/TECS z>/e> A C T T W O 43 Q ^ have any heart; have yon ever loved anyoiie^jHow can you • ' . " , , . understand? Pause, D A V I P enters, stands apart, unccrtaintly. :. ;.• .' BE'AT'31 Z O E : Daddy . . . . I'm in'trouble . . . I'm in trouble, Daddy . . . .' Heuvoice'is that of a terrified child locked in a dark room. . A GNEsr^ Zoe, will you listen to mc! ' (D A STEPS TOT, 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 under- A K TZ> 2- , 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.un-important. Nobody gives a damn about it. • Pause. . : •' You've got to get it out of your system, Zoe. '•••!• 44 A S C E N T O E F L O W E R S BEAT Zoe 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. 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? Z O E : Daddy,- I'm in trouble . (2) •flCNFS shakes her head, n ft VTT> 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.. . • P H I E S T ; 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. (Dz X L OF COFF//J. (DA ru/ZAJS x ro2. C£) 2 &TBPS ToWAHO P. LQ P R I E S T ; Domine, exandi orationem meam. This fa, i back to the background. Arc^gi- T s n a 1 1 w r i t e t 0 t n c University. [She leaves zoE^ D a d d y . . . (she goes up to D A V I D) Say something to me. ) a DAVIT) says nothing. Holding her arm, Z O E slowly turns away. • towards the grille: D A V I D lcavcs.(£) @_g-OD.FREY enters, Sirr^kHi. whistliug^fHe drops the tools  he has in his hand, and deftly turns the bicycle upside down. (& A.EX in. LC. Q Z X Tb P. Q P LEA \JES D(L. Z X PL. (Z> q SAlFBdS UL ® C] X DR.. ACT-TWO 45 Z O E looks round at him, as though she doesn't recognize him. B F A T 3 2 G O D F R E Y StOpS Wllistliug. C O D F R E Y : Hallo, Zoe; come and talk to me. L Q She slowly walks across to him/fHe whistles again as he sets , tn wnrh nn the hiryrlr 2.r\v^tmil-LAiuiirllag.luni (U • Q) 7- 6 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. -Z O E : 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.' 46 A S C E N T O F F L O W E R S 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. And Morris Motors. Get in . . . . . There's only about three of us cyclists left in England. . . The. . others have capitulated . . . Hold it, hold i t . . . . He strips off the tyre. .. Or 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 rubber-solution. Cyclist hunting strictly forbidden He finds the gash in the tube. Look at that. . . Rubber solution.. Z O E doesn't move. GO 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 a l j right,.Zoe? 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 GO 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 ,' A C T T W O 47 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? . ' . - , ' ''."' '.' G O D F R E Y : What? ' ZOE.: That - the . . .tyre, the ;—... . '. G O D F R E Y : 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- . GO D F R E Y : ' W h o ' s worrying? \ Pause. . ' ' . . ;' What have you done then? . ; . . ' . • ' Pause. • < ' , . • . . -. I mean which - which have you-given 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. . G O D F R E Y : That makes everything all right, does it?(jj (J) P TU/lN£i CoPES I\ 1cm while the F R I E O T goes round the bier, and sprinkles the ... DOkJrV 73 CoFp/// : coffin thrice ou each side, namelyi at-thsfcct> at the middle and . HEAD ,- $>PR-lS>'JU-BS at the head,'with holy water; returning to his place, he receives'. 3 TIMES. fLETUd/Ji. the censer and goes round the bicr^ incensing the coffin in like TO Ai-TAfL. /MSEfLT (o 48 A S C E N T O F F L O W E R S NMiHwfi On returning to his place he says (at this point in the • dialogue): R E S P O N S E ; Scd libaea nos a malo. P R I E S T ; From the gate of Hell. ' -ejttSr-RESPONSfi  Amcft.' • P R I E S T ; Domine, cxaudi orationcm mcain, R E S P O N S E ; E$ 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 you can carry on seeing him, can you, and confess every now and. then? • Z O E V - B C kind to mc, Gogo'.'. . GO D F R E Y 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?. GO 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. S7AND4. ; TO WHEEL-66 ACT TWO 49 GODFREY : And you can - go on seeing him? ZOE : Who? . . . . GODFREY : Oh, Zoe— ZOE : O f course I can't.. . . What arc you talking about, of. course I can't! .. • GODFREY : Well O . K . , I just— ZOE : O f course I can't. What a stupid thing to say. GODFREYT 'Look, Zoe— ZOE : What do you think Confession is?— GODFREY : Well, I don't know, do I? I'm just a heathen! Pause, while they look at cadi other. GODFREY (fi$s^aciiSto " his wheel, takes the spanner. ZOE : Be kind to mc . . . . GODFREY : 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 priest . . . ZOE closes her eyes. s^. @ 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 point of view.tlicy have absolutely no validity. • .. z o E ^ / a l i d i t y . . . ? . ' • GODFREY : Just making conversation. Take for instance this fellow - what's his name? (9) .' ZOE closes her eyes. GODFREY 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. (Z)4 rVd/JS BIKS Sl£>£ UP. . US. 0 q &7bP£> PUTS, UP X/CH-STANd. 7VHN% n z. (k) Z TVA/JS TV q. 6) z TUfi~S>i Aw Ay, 67 50 A S C E N T O F F L O W E R S 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 ., 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 two—. 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, Would 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 : You 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 r?£A/s d) q STEPS ACT . T W O 51 one is nothing, and what you'vc done with someone is less . , • •' ' than nothing? 1 i-Z O E : Leave me, Gogo, leave mc alone . . . • -'•_. • CODFRprHow does it go? Father, I have sinned, isn't i t ? © : & Q AfO\/£S L. And what the hell sin have you been up to, child? Adultery, ' C /V/tfJS 70 Father. Who with, my child? Somebody called Harry or • ' . • something,' Father. How 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. M y lover was sent from hell to tempt me and all those beautiful things we did were disgusting, and my lover who-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—• . ' • ! • ' . • • ' • • • Z O E throws the spanner. G O D F R E Y duck!:, the spanner flies ;.'••':!'•' £ Q & offstageAand there is the sound of breaking glass, Z O E picks up . I'- . another tool; GO D F R E Y seizes her arm, Z O E cries out. • Z O E : Leave go my arm! • —Sfe---He lets go. She holds it in the other hand. Slight pause. • •.••..•:!'. ; SBAT37 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 : With a cigarette. • . . . .'•;/ !' G O D F R E Y : How the hell did you do that? Z O E : With a cigarette. ••-;•' . ' ' /' G O D F R E Y : Let me see. . :'•. She says nothing, but looks at him. He lifts her sleeve. There ..'!.',. :. •"•'•.'.' is a bandage. • •;.. 69 52 A S C E N T . O F F L O W E R S BEAT 2.0 F BEAT 3d LQ +2>_ 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 God . . . 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 uueZ.oc quam . hodio da hoc ... /A /SEf i -T 7 . etc, He fades into the background, Z O E turns away from GO D F R E Y , replacing the bandage. G O D F R E Y picks up his tools, and goes off. ivhecling the bicycle, (f) "V . E D G A R : M y Snow Princess. 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 steps, Right, where they tiV.iEDGAK begins talking.as they walk. E D G A R ' : Which 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: And 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 £|)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 : Go on with the story. W h y was the Princess asleep?, ; 0 Fy 6 Z/SE. <D E SrtTE&l L.C ,&2 OF X. R. S/DB E. 0 Z s/rs BtSlOE &E tCtJEELS. 70 A C T T W O 53 LQ 4-1 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 . . . . He bends over her; after a moment she begins to struggle. Both . become frantic, until she tears herself away; he grabs her arm. She  draws in her breath, and goes rigid. He releases her. 3,lw-*infiuiS-«f (.3 the Antiplwn beginsi 'In paradisian deducaut te Augeli; in ttfo adueutu susiipiant ta Martyrcs,' etc, Meanwlilie the coffin is-BEAT 39 LQ SQ HS BEAT +0, LQ 51 LQ S3 earned B O E ». atehes fc or a moiHO. to genuflect {but the effect here sin BEAT ZO Q bottle of pills, Sitting cu the stop she begins to take them methodic ally, with flteaficuaJ sips, of water, icmvtMi ionics dewustage /A/SBKT 8 & to wait for her, 5^0 A i l looks on, M y Snow Princess . . (SM* She loch* acros! to hiuiji iwwin<w»fl»fj puts down it, crosses the stage, stopping-Id be ironical) and picks up the. A, the bottle, looks mind,'holds her hand out to S C R I V E N S . He takes it, and she rises to herfeetj thay leave together.,. ' . . QUI Oil OURTAIN , 0 Z BACKS, AWM pa. 4 wdm.AwA'i--' . Al P S P E A K S . ® F $ S CAg-kcf di)p ; COFF/tJ l/J p£o CES -S/oP FoLLObJBb Bi P. PC 4, ; C/AtLf TP BxiT \ U Z . jrABLBAU} Z TUP-NZ t \ U Tt> :l ALTAP. , qEMUFLECT, X P L TD PILLS $ '•;•• METHOPICALLV : TAH-FS THEN. SC : EPTBPS £>P. E HATCHES Z . (i) z furs i>ou/Aj .BOTTLE, PUTS HAAID OUT TD sc. z X ft + DU. eom EXIT UP. f/iME OPE/JED Q^EfZ-WUICU /S COPF/P £E£F/AJ(f OA/ 2- COPF/sJ SUPPORTS. PoPES miiQUqU CoFF/tJ .../.„ WHITE £oSE OA/ FLOQg. COFF/A/. A C T T H R E E :,' r ^- Q S^- , A ccinetcry or graveyard, again represented very simply. There is air LQ £~S •. ' open grave, on which the coffin rests on hoards. -BEAT^l F R E D ff/irf SID nre 5)'«;>y P« t/ig coffin, playing cards on its top. (T) . ' (D F OAJ £- EfJb, S OAJ L. END. "'. ' . F R E D : Twist me one. .' ' • SIP does. , And another. '• . :• .. • • •• • SID does .•.'•{.:•, ••: • .. '•' I'll Stick. • ' • ' " : ''•.'•!•:: ''. • ' ; ' " • ' ' ' ;. S I D : Pay twenties. v , • • .'; F R E D : Pssh! • . " -• < • • ... . . . . i ; ' He throivs down his cards. •. •'. _ /• S I D : Two and eight you owe me. ...]'. '.,;". ,:\ ,' F R E D : ' A small price to pay for my enjoyment. • !. S I D : As the Bishop said. . • . ,. •. F R E D : Especially on ten thousand a year. \ ' . .'. • i . S I D : What?- . ' ' '. . ' ' • F R E D : Bishop's pay. !','. S I D : H O W d'you.know? ' i, F R E D : I'm just naturally knowledgeable. .. .' i/.' [ S I D : Good luck to them. • . ! F R E D ' : W h y not? They have to crawl up the hard way, you . ( . ' I. • know. ' • ' ! S I D : You want another game? • F R E D : Listen: ' . ' '•;•.;! • ' ';. . S I D : What? • . ; F R E D : What is he that builds stronger than either the mason, . . , ' . the shipwright, or the carpenter? • ' •• A C T T H R E E SS. •: S I D : What arc you on about? ' F R E D : W h o 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 SID is saying. • Nothing against Arthur, I said, you know that. I just don't like the idea of i t . ; . Bringing your husband along. . . 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 . . . And anyway it's a matter of principle.. F R E D : Wha'd she say? S I D : Said I was too conventional. Me . . . It's him who's con-ventional; 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 . . .Look, • 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 S C E N T O F F L O W E R S 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. F R E D : Arthur? SID : If Betty ever finds out, there'll be hell to pay; very jealous ••' woman <T? . Things can get very complicated sometimes, in. -i thisJife g£/\rf£' zoEv'Would you rather they weren't? . • ... . They look round at her. ' "'• I S I D : Have you been listening? ,. . S Z O E : Would 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 i just a— •' F R E D : Politeness costs nothing, Sid. The lady's only making conversation; being pleasant; killing time. Would you care for my scat? ' He stands up. 1 zOB@Thank you. 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 : You mean like Betty and Arthur? \ F R E D : Do you mean like Betty and Arthur? ., : . v 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 : You can hear each other-Oh, I see, yes. r • . Pause. " . • : i: ••"••Well?-.i • ; BBTtJEEM TH&tj ;; US Of COFF/tJ. S/T /Al ffl$ PLACE \ OAT TJfE C&FF/rJ-74-A C T T H R E E 57. . s i D ® ' m thinking. 0 ^ 6 W/W^ S AWA 7 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 . . . . When 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.. You 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. .•; F R E D : O h , not, not really . . . . Z O E : Yes, you can. '' F R E D : No, I can't. N o one can do that. . . I mean even suppos-ing I know what I want to say . . . i . .. . Z O E : Not even to mc?. F R E D shakes his head. , F R E D : Well I mean, what do I say? 'You 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 . . . You 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 : And anyway, what's it to me if you got nice legs?.. ': 58 A S C E N T O F F L O W E R S Z O E 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 £l73r LEAA)$ Z O E : Fred. Aq/ktUSl~ StL C0FF/1J. He looks up at her. , ,; ' Say something. Talk. •. . ,'i F R E D : What? ''.'.j . . .- . ;• : Z O E : Anything. ' . ' •'•-.'..i . " ' • '•:-. ,:: ". F R E D : Don't you like the quiet? , 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 cheered tip or 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? • Z O E : Our might-have-been love affair. ! F R E D : What for? • . ! Z O E : I'm interested. ; . F R E D : Nothing much to tell really. (A pause as he takes a drag . . / ACT THREE 59 at liis cigarette.) Well . . . for instance . . . 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. We'd ••• ''•''..•'•' tried to go too far, you see . . . And then we found.this barn :j '•' ' 'w^-..'.'-. . . And made some cocoa, and got out the old sack, and • ; -0$£k: curled up together. And went straight to sleep . . . . ... • ; ,: Slight pause. • < Z O E : That was somebody elsey wasn't it?' ... ,!. .•••. • F R E D : 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 means. . . Means it didn't happen, I suppose..' . . . , 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 accent. . . i FREDGVOU . . .?• <D F TV this TO Z. -• She nods. Pause. - V ; :'' :• 6o A S C E N T O F F L O W E R S ZOE: 'One day you're going to die, Fred. . . . . Long pause. F R E D : I'll think about that when the time comes. . 1 Long pause. ' Z O E : It'll be too late. " ' . • ' . . . |. Long pause. [. • F R E D : Good. • • • - •. . . ' . ' • • : Pause.' S I D : What was the question again?^) . The other two look at him. O . K . , I got it. Now, as I see it, this is an unreal question. F R E D : For Pete's.sake— ; S I D : Not in the sense ofhaving no existence; since the question .•'' j ; has been put, ergo the question has come into existence, that';. ' . ' ; . ! . ' • is to^say, exists, that is to say— F R E D S ^ O . K . , O . K . S I D : But in the sense of being incapable of logical justification, .' that is tosay, absurcS^Now, what arc the necessary con-j comitants of a real question? | @ i - That it's a question, assuming a number of possibilities . | • . and demanding a choice. : j 2. That it's a real question, choice being possible— j' FREEL : All the lady wants to know— j siDsSrut it this way; suppose I say yes. ., j. F R E D : Yes what? j S I D : Yes I would like things to be not so complicated. | F R E D : You would. | S I D : N o I wouldn't. Because if I say yes it means I'd like my j • life to have been different, which means I'd like myself to be a. •. i. different person. . j F R E D : Well? . . . . ' }{ S I D : Well I ask you. .'••..' •.: ' . ' F R E D : I.don't get your point. SID: How can I- wish that I- were not myself'? (j) S 7VMS. BACK ,s >0 TUSH. <§) 6 STAMPS. (g) S 7V£AJS BACK To THEM. 78 A C T T H R E E 6l. Slight pause. / O Qt's logically untenable. &J S /Z> Z. ]. F R E D : Is it? '! ' >. :. . ; • ; ' • S I D : It stands tp reason. ' '•• - ' " .' ' F R E D : SO 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; . @ F 7~V/2fJS 5 Paused 7 , g / ' F A C ^ P L . BEAT<WJ- Z O E : Say,something. Talk. . ••' j S I D : D o you want to know about Aristotle? % f c - , ' © F TV/U& TD Z: " F R E D T ^ A r c you crying? • Z O E : N o . ., '••'1 ' FREEwbon ' t want to let it get'you down . . . Never let any- @ F7 X . TO Z . thing get you down. j • •,,;'.< j S I D : 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. ' ; •••' ' \ ' " . .• •,'•.'-. {•..'• 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 A S C E N T O F F L O W E R S • • / Q S7 ' F R E D ^ S that better? ^ F R E D n i l id. SID docs'the sanwi s ip : We're missing our tea-break. ' F R E D : Shut up, Sid. Z O E : M y lips are cold. Fred. : F R E D kisses her. zoi-::JSid. ';• FREDN^SlW. • . . . " }•.' . 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 . . . S I D : 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 you; 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.- : ^)Aren'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 . . . F R E D won't leave you, we won't never leave you; 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. (D F Sin BESIDE Q F BECKONS S. F HonorJ $ jr> PUT Afin Zoo/so • Z. S so.. Q F S/q^JALS '[ S 70 LEAVE. ACT THREE LQ 58 Warm and snug and safe, so nothing can ever happen to y o u — 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 . . . lie signals to SID. They thtoc out. She remains with her twwc 0 eyes closed..SCRIVENS euters^^e opens her eyes, and they 0 6 r/PrDE<> OFF M L - F C I R C L E S B E / + / K I D Z ' T A K E S 1 Mis -JActcdr, : TIPTOES our UL. BEAT •fb • /ook at each other jor a long moment. V SCRIVENS: Twenty minutes, my dear. ZOE (emotionally): Damn 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! 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. ;. ZOE: I can't talk over this great distance. SCRIVENS: I can hear perfectly well, Miss . { • ZOE: I didn't say you couldn't hear, M r Scrivens, I said / ;, couldn't talk. Will you kindly remember you're in m y / . !• . service and do as I tell you. / SCRIVENS bows slightly, and comes closer. Closer, closer^t'll be a difficult enough question to,put STAM OS. s c MOVES TU Z. 6 4 A S C E N T O F F L O W E R S (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 of 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.. ,• Z O E : Al l the better, he'll be used to waiting/rVow I've for- . (0 Z SITS. - . gotten where I was. . • •• S C R I V E N S : Question, Miss. , Pause. ' . Question— • ' ' i • • } ' . ' - Z O ' E : . I knani. . . How - long—? •. -^>. . | s C R I V E N S ^ N i n e t c e n minutes.' \2J 6 C TAKES OUT Z O E : It was twenty. PocKBT WATCH. S C R I V E N S : Minus one is nineteen. . .1 . '; Z O E : Can't you help me? ' • ••• [ S C R I V E N S : It's your question, Miss. • •! • \. ! Z O E : It's like trying to remember a face. i . j' S C R I V E N S : Very difficult. .•'..! ' . • 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. And now.it's gone.. . Whose face, what question, i •• •• j what do I want to know? :. ; . [ ' . S C R I V E N S sighs slightly. • • "-;'• . S C R I V E N S : If you'll forgive me saying so— i ! Z O E : It must be somewhere in there. . . i '[ S C R I V E N S : Where, Miss? .'. ••••• • • 8 2 A C T T H R E E 65 Z O E : In wnat happened, in.my 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@ i g h t e e n . 06c TAKES OUT Z O E : No , it must be simpler than that. It must be terribly.; sjlftTCH-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. .< I 'mnotcrying . . . 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 ! . . . At 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? , S C R I V E N S : O h , Miss. Z O E : I'm not so exceptional. They must all - they must a l l . . . ask the same tiling . , . . ? • . . j S C R I V E N S : 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. Or to . . put it another way, a little wee something is better than,; nothing. . , - . ... Z O E : Or,to put it another way? •. . 6 6 A SCENT OF FLOWERS j ., j-' . ' . _ v | - ' ] ' ; • • , ' • • • :::-\-SCRIVENS: Or to put it another way, it's quite true, they do ' !'.' "•' all ask. . . ' : . 1 ' • ;! 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.&&yL ..... 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'. zo£<Unclc Edgar -I 'm over here. 0 Z 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. ,, ; ACT THREE 6 7 ZOE : Please— . . . 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 • not in the habit of accosting little girls in gardens of remem-' • 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. ZOE : 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. How d'ye do? What next? Would you 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— z o o, please, please . . . EDGAR : Beautiful young princess lay sleeping, it goes. Make 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— ZOE : Where was the prince, Uncle Edgar? EDGAR : Ah, you know it. Uncle Edgar: Lost, my child, lost in the forest, my child, lost. ZOE : What was he like? • EDGAR : 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-®E LEAVES $/LA*lfJ1 Ud. X SLiqHTLf i TOWA/Lb z. © I TAltES FBVS [STEPS To \rJA&D E © TVPMS m Z. £ TV&NS AWAl. (D z x ro E. $ SLOXvm BACKS AWA(4 F£oM E. 85 68 A S C E N T O F F L O W E R S 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. How do you do? What next? When 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? E D G A i i ^ l ' m 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. 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. me in the upright position? I'm like a Woolworth's Christ-. 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 repre-sent? Look again. No? Answer: a cello without strings••; propelled to a junk yard by a tone-deaf idiot.vw^ . He lauohs. zovtums away. G O D F R E Y entcrs^,rm is turned G O D F R E Y : Zoe? • '' She, turns towards hiiv, O h . I'm so sorry . . ^ : ' - , • • ••';.', '. .0 A E Tonus mz.^ ' i (D £ K uc E CYCLES q/lAVE TO DL. E n>&A<s> jo z , FUL-L. TVZfiJ TrJ 1 F£oAJr OF L ro Q E X U/L TO ' Cf&AAJAJ</' WHEELS Q> Z STANDS <J£/)\/E LOOK/A/C /A/.-. ® $ ^TEES SACIC. 86 ACT THREE • • . 69 • r' ZOE: Sorry? ;' •'''':•>'••'' •. 1 • GODPREY: 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, -. v , !'' GODFREYV-Godfrey. •'••<' 0 THBf SHAKE | She opens her mouth to speak, but says nothing. //AA/O5. \. j ; Your hand's cpld. • <' -' S |. :ZOE: I don't think so; yours'is hot. < .... . .-. .| • .. '•.'• . . ! ' GODFREY: I don't think so, But if you say so we'll have it that ;i 1 | '••. -wzf^He gives a faint smile.) Is this the ...?'. • • , .. V; ,,:, <§) Q . P O L L S /MA/ / ) ZOE: Yes. Mon rcpos. r','. ••;'? BACK- .'•:[•: ,., r GODFREY: T don't think that's quite .. . \'. • ' ~ • • - - .7 >; i''.--; ' .'. j.-, ZOE: NO, it isn't, is it - quite? • ''/ •'"'''•' " . !"' Slight pause. •"• '.'J.?;!; ..' . . . •'"• ! . GODFREY: You're shivering. ' -ZOE: No, I'm not. .'•.'•••':.• • . {'. GODFREY: If you'd care to borrow my coat... : • ,!' {•••• I: ZOE: No thank you ... But it's very kind of you. ' *,' ; . f • ,  ! '•,! GODFREY^Notatall. ® G A/OUE UC • .]•• Pause. GODFREY moves to the graveside. ' BBplfJt> C&AV£ • . |;: ZOE: You remember her well? : .j-"-' ' GODFREY turns 6> herfor a moment, then back to the crave. . ' ". • ••• : GODFREY: Iwas her brother. & •1-.. .••.•>•. .•.;>•• j ZOE: Stepbrother. • -.: r GODFREY: If you like. I don't know how you can ask such a. .i . • {'." ••question. ; ! ZOE: You have vivid memories of her...? j; Pause. . . '.•••:!• ., , GODFREY: It's as though she'd just gone out of the room. It'll I.... always be like that. • • . . : , „ • i. . • \ •'• '•'•"••' ' • ' '•' '• • •• '•. ' '"• ' '.' '', •'•••/'•{• ••-'.'"•''••'.'," •.•''•-V'" •':•'• 7 0 A SCENT OF FLOWERS ZOE : You were very close. ' GODFREY : 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. ZOE : What colour were her eyes? GODFREY : , We were very close. She used to tell me evcry-, thing.'. Pause. ZOE : Why did she die? GODFREY : Surely you know the story? ZOE : Y e s . . . . GODFREY : 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. . . . GODFREY : . She loved,too much. ZOE : Is that why they took her out of existence? •• GODFREY : They? I don't understand you. .ZOE : Why she's dead. \ , GODFREY : You know the story. ZOE : Yes. GODFREY : Then why do you ask? ' • 1 •' : Slight paused • • ' Her eyes were brown. , ZOE : Were they? GODFREY : 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: N O . • : • ;- : GODFREY : Very well, if you say so. ; ACT THREE 71 BEATtf They stahd looking pkonc another for a moment; then AGNES and goes up to and DAVID enter^souF R E Y BEAT SO them. They all now behave conventionally, making conversation in low, unemotional voices, ZOE stands apart; GODFREY: The service was effective, didn't you think? ' AGNES: Yes, I suppose it was. I'm no connoisseur of such ,• things. GODFREY: 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. -GODFREY: I only said she would have liked the service. You never loved her, of course .. .• AGNES: Does it matter? ' ; '•: GODFREY: Does it matter! 'v AGNES: Does it matter? She's dead. ; GODFREY: It matters to me, that I loved her. • . ]' AGNES: To you. Not to her. She's dead. ! GODFREY: She'll always be iri my thoughts. AGNES: I hope you find that satisfactory. Slight pause. (^bavid. DAVID 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. EDGAR wheels his mother over to the rest of the group. (sjlhcrc was nothing anyone could do, more than they did. She's dead, she's dead. . Slight pause. . . ' . ' D A viD:. Who's that over there? GODFREY: She was a friend. ]•''. AGNES: Ask heir to come over. ;': . . GODFREY goes acrn<x tn her. • '••,! \Q O £TAtJ£>S> AS oF \ A 0£SlD£ q<LA\JE. <Z)A TVMS Tb D, PUK 3)A ZtJt-A/S. JO 89 72 A SCENT OF FLOWERS LQ 1>Q-GODFREY : My mother wonders whether you'd care to . . . ;oin us. <f ^ • J (j) She shakes her head slowly. GODFREY returns to the group. | She'd rather not. i AGNES looks across at ZOE. who looks hack at her, SCRIVENS I' enters, with FRED andSID. /LC-BEAT Si SCRIVENS : Very well. If I may make so bold, ladies and gcntlc-j 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^ ! SCRIVENSr^Lower away gently. They lower the coffin into tho.gr<i¥e. SCRIVENS shakes hands. , all roundylic looks across to ZOE. , Goodbye, my dear.. He exits, EDGAR remains stilh looking at the grave, AGNES comes up to ZOE; DAVID follows her, but stands a little back. AGNES: W C met once. Briefly, I'm afraid. I'm afraid wc didn't 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 someone I tried to know, and failed; but that it doesn't .'. matter, OL She holds out her hand, ZOE takes it. AGNES moves awayj^to leave. She waits for DAVID. .David? .DAVID and ZOE 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. ••• (D Z * D(L. X. -j QA/WZS/DE. © FX J>S OF Q£A\lE. I'Sx \J% oF QP-AVE. F$S ZEMOVE \CoFFifJ soPPo&n, \L-0\AJE& CoFF/N, m&ovj ft o PES. /AJ SFA/JP UP. TV ® sc x TV EX IF, i DG-, STOPS A r A C T T H R E E 73 DAVID : I . . . had . . . a . . . daughter . . . AGNES (softly): David. DAVID : She . . . crm . . , He seems to have forgotten what he was saying. He puts his hand to his forehead for a moment. EDGAR : In then, mother?! In now?! He pushes the wheelchair suddenly up to the edge of the grave.  The others look round. A pause, EDGAR is still. He suddenly .. bursts into laughter; but the laughter is silent, DAVID goes over  fo.EDGAR, puts a hand on his arm. They exit, EDGAR wheeling  the chair. U&> (7) A G NES (as she goes) .Arc you coming? GODFREY : It's beginning to rain. Yes, I am coming. FRED whistles to ZOE. She looks round..He jerks his head at hex- She approaches them.. . FRFEJ: If you don't mind . . . ' '•. SID: We got a couple of other jobs, you see. . , •  FRED : It's a matter of schedule.. . SID : We don't want to miss our tea-break. FRED : Like to leave a job shipshape. SID : Professional pride, you might say. FRED : Anyway, it's coming on to rain. ..' • SID : Don't wantto be left out in the rain, do you? F R E D : So if you'd be so good. . . ZOE nods, FRED begins to help her into the hole. She pauses,  and looks at GODFREY. -GODFREY : N o ! ! (He moves towards them.) N o ! ! Take your , hands off her, leave her alone. He has reached them, and attempts to take ZOE back. FRED : Oh, now, sir. Hii Nins A*.OUHO GODFREY : Zoe. Zoe .... (He goes onto his knees andputs/^t*4tetnl' nflier lap,) What have they done\to you? (He cries.) Q A x n q © A BAITS <D F<$ S X TV Z U L . S/CfA/ALS F TO WAIT O/ZL. 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 SCENT 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 short-lived 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? GODFREY 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? GODFREY : Of course I remember you; you're that skinny bitch with the face like a monkey. You were the sister I romped with— ZOE : And when we danced in the moonlight at the end-of-term ball we were lovers. If you walk along the pavement without treading on the lines-r-GODFREY : Yourtook at you, you're skinny— • ZOE : And you stink of tobacco and engine oil— GODFREY : We were having a pillow fight, and the pillow •'. sort of got lost— ZOE : Nothing happened. GODFREY : Nothing happened. ZOE : 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 BEAT 62. LQiol BBATSX LQ (oZ • Lq C 5 . 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. ZOE : 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. 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, and dis- appears into the hole^FRED and SID peer into it.jjnRn offers sin. cigarcttoi They light up. Pause. FRED : We can fill it in now, or we can fill it in later. Slight pause. 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. ,; 1 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 idly into, the grave. CUB-TAIM > •• Qs<i, F X PS 7b I .. Z. <D S\'F X D/Lf TAKE OUT C/fAg-I ETTEST L.I$HT. QuL. F . F | THlLoviS Pose /AJTO : QP-AME. EXITS ' UL. B E A T A N A L Y S I S ACT I  B e a t 1 I n t r o d u c t i o n t o t h e p l a y a n d i t s m a i n c h a r a c t e r , Z o e . One s p o t l i g h t s l o w l y d i m s u p t o r e v e a l Z o e s l e e p i n g o n t h e s e t t e e s u r r o u n d e d b y a s o f t o t h e r - w o r l d l y g l o w . T h e m u s i c c o n t r i b u t e s a q u a l i t y o f t e n t a t i v e n e s s - t h e w i n d t h r o u g h t h e r e c o r d e r . T h e p u r p o s e o f t h i s b e a t i s t o i n t r o d u c e b o t h Z o e a n d t h e d o m i n a n t m o o d o f t h e p l a y - a m y s t e r i o u s s a d n e s s . B e a t 2; W h e r e d o y o u w a n t t h i s t h e n ? P r e d a n d S i d e n t e r , s q u a b b l e , a n d b r i n g a c o f f i n i n t o t h e r o o m . T h e i r a t t e n t i o n i s d r a w n t o Z o e . T h e y a w a k e n h e r , i n t r o d u c e t h e m s e l v e s , a n d l e a v e t o g e t t h e f l o w e r s . P r e d i s o b v i o u s l y t h e l e a d e r o f t h e t w o s o m e a s f a r a s t h e i r w o r k i s c o n c e r n e d . He i s t h e c r a f t s m a n . S i d i s t h e i m p r e c i s e , s o m e w h a t b u m b l y a p p r e n t i c e . T h e y t o t a l l y d om-i n a t e t h e b e a t . We l e a r n n o t h i n g o f Z o e e x c e p t t h e q u e s t i o n s w h i c h s u r r o u n d h e r . W h a t d o e s i t m e a n t h a t " T h a t ' s h e r " ? W h o s e c o f f i n ? How d o t h e s e t h i n g s r e l a t e ? T h i s b e a t i n t r o d u c e s P r e d , S i d a n d t h e c o f f i n . B e a t 3 Z o e s l o w l y m o v e s t o t h e c o f f i n a n d t o u c h e s i t . T h e m o o d o f m y s t e r y d o m i n a t e s a n d we h a v e t h e f i r s t j u x t a -p o s i t i o n o f Z o e a n d t h e c o f f i n w h i c h w i l l b e r e p e a t e d s o o f t e n i n t h e p l a y . B e a t 4; L e t u s d i s p e l m i s c o n c e p t i o n s , G o d f r e y e n t e r s . He a n d Z o e p l a y , t e a s e , a n d s p e a k o f t h e i r p a s t t o g e t h e r . T h e y w e r e s t e p - b r o t h e r a n d s t e p -s i s t e r a n d h a v e g r o w n u p t o g e t h e r s h a r i n g i m p o r t a n t m o m e n t s o f c h i l d h o o d . G o d f r e y i s i n t r o d u c e d a n d t h e w a r m r e l a x e d r e l a t i o n s h i p b e t w e e n h i m a n d Z o e i s e x p o s e d . V a r i o u s o d d p i e c e s o f i n f o r m a t i o n a r e r e l a t e d w h i c h c r e a t e m o r e q u e s t i o n s . W h a t i s t h e r e l e v a n c e o f t h i s i n f o r m a t i o n ? N e i t h e r o n e i s d o m i n a n t . T h e s c e n e i s a n e q u a l a n d m u t u a l t i l t i n g . B e a t 5; S c r i v e n s . S c r i v e n s e n t e r s a n d d i s c u s s e s h i s j o b a s u n d e r t a k e r a n d h i s v i e w s o n f u n e r a l s a s d e m o c r a t i c p r o c e s s e s . Z o e l i s t e n s w i t h m u c h i n t e r e s t . G o d f r e y r e a c t s t o S c r i v e n s ' c o l d n e s s i n d e a l i n g w i t h a l l c o r p s e s s i m i l a r l y i n s t e a d o f t a k i n g t h e i n d i v i d u a l i n t o a c c o u n t . Z o e t e a s e s G o d f r e y b y s i d i n g w i t h S c r i v e n s . G o d f r e y f i n a l l y b e c o m e s e n r a g e d a n d t r i e s t o s t r a n g l e S c r i v e n s . T h e p u r p o s e o f t h e b e a t i s t o i n t r o d u c e S c r i v e n s . T h i s i s a c h i e v e d b y t h e p r e s e n t a t i o n o f t h r e e p o i n t s o f v i e w t o w a r d h i m - h i s o w n v i e w o f h i s f u n c t i o n i n t h e w o r l d , Z o e ' s s y m p a t h y f o r t h e n e c e s s i t y o f h i s f u n c t i o n , a n d G o d f r e y ' s i m p a t i e n c e w i t h S c r i v e n s ' p o i n t o f v i e w . S c r i v e n s s h o w s h i m s e l f t o b e s e l f - a s s u r e d a n d p a t i e n t . T h i s b e a t i s o n e o f i n c r e a s i n g t e n s i o n b e t w e e n G o d f r e y a n d S c r i v e n s t o t h e p o i n t o f G o d f r e y ' s a t t a c k . S c r i v e n s d o m i n a t e s c o n s i s t e n t l y . B e a t 6; Do y o u k n o w w h a t M r . S c r i v e n s i s ? Z o e a n d G o d f r e y e x t e n d t h e i r a r g u m e n t s f o r a n d a g a i n s t S c r i v e n s a f t e r h e h a s l e f t a n d Z o e c o m f o r t s G o d f r e y b y a s s u r i n g h i m t h a t M r . S c r i v e n s i s t h e r e t o h e l p h i m . T h i s b e a t p r o v i d e s t h e f i r s t d e f i n i t e c l u e t h a t i t i s Z o e who h a s d i e d . T h e t e n s i o n o f t h e p r e v i o u s b e a t d i s s i p a t e s a n d a c a l m i s e s t a b l i s h e d b e t w e e n t h e m . B e a t 7: W h a t a r e y o u d o i n g a f t e r t h e s h o w ? F r e d a n d S i d h a v e b e e n p o l i s h i n g t h e c o f f i n a n d a r r a n g -i n g t h e f u n e r a l f l o w e r s . F r e d b e c k o n s Z o e , s h o w s o f f h i s c r a f t ( t h e c o f f i n ) t o h e r a n d m a k e s a p a s s a t h e r . Z o e t u r n s t h e t a b l e s o n h i m b y t a k i n g o v e r , d e c l a r i n g h e r m o c k l o v e , a n d f i n i s h e s w i t h a s p e e c h i n d i c a t i n g t h a t s h e i s d e a d . F r e d , u n n e r v e d , l e a v e s t o g e t a c u p o f t e a . T h e p u r p o s e s o f t h e s c e n e a r e : t o p r o v i d e a c o m i c t o u c h w h e n t h e t a b l e s t u r n , w h i c h p r e p a r e s f o r U n c l e E d g a r ' s e n t r a n c e , t o c o n t i n u e e s t a b l i s h i n g t h a t Zoe i s dead, and t o expose more o f Zoe'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 t h e end o f t h i s b e a t , as w i t h many o f them, we a r e l e f t 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 . The mood and atmosphere o f t h e o p e n i n g beat i s c o n s t a n t l y r e i t e r a t e d whenever whe i s a l o n e on t h e s t a g e . Beat 8: What a r e y o u l a u g h i n g a t U n c l e Edgar? ( T h a t ' s  Granny) U n c l e Edgar e n t e r s w h e e l i n g Granny. Zoe t r i e s t o t a l k t o him. Zoe and Ed g a r p r o v i d e b i t s o f i n f o r m a t i o n about Granny. 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 p a s t i m e -t e l l i n g s t o r i e s . T h i s beat i n t r o d u c e s Granny t h r o u g h t h e eyes o f Zoe and Edgar and i n t r o d u c e s E d g a r . She i s t h e "symbol o f t h e wisdom o f t h e ages" who does n o t speak, cannot move, and 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 . He i s a P a g l i a c c i whose funny s t o r i e s c o n t a i n much s a d n e s s . The mood i s l i g h t . Beat 9: The Snow P r i n c e s s and t h e B i g Bad W o l f . Zoe and Edgar p l a y one o f t h e i r games. She h i d e s and he s e a r c h e s f o r h e r - mock h i d e - a n d - s e e k . They p r o v i d e amusement f o r each o t h e r i n t h e s e games. The mood c o n t i n u e s l i g h t w i t h c h i l d l i k e c a r e l e s s n e s s u n t i l Edgar 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 by t h e c o f f i n 97 a n d t h e m o o d s u d d e n l y c h a n g e s . U n c l e E d g a r ' s c y n i c i s m d o m i n a t e s a t t h e e n d o f t h e b e a t . B e a t 10; A g n e s o f t h e i r o n h e a r t . A g n e s e n t e r s , h a s a l a s t m i n u t e l o o k a r o u n d ( b e f o r e t h e f u n e r a l ) t o m a k e s u r e a l l i s i n o r d e r , p i c k s u p t h e w h i t e r o s e s t o p u t t h e m o n t h e c o f f i n . Z o e s n a t c h e s t h e m a w a y f r o m h e r . T h i s b e a t i n t r o d u c e s A g n e s a n d , s u c c i n c t l y , h e r r e l a t i o n s h i p w i t h t h e f o u r p e o p l e i n t h e r o o m . H e r p r e s e n c e d o m i n a t e s . B e a t 11; H e . ( T h e w h i t e r o s e s ) . Z o e i n t r o d u c e s h e r l o v e r a n d t h e i m p o r t a n c e o f t h e w h i t e r o s e s a s s y m b o l s o f r e m e m b r a n c e . T h e y w e r e s u p p o s e d t o h a v e b e e n y e a r l y r e m i n d e r s o f t h e i r a f f a i r a f t e r i t h a d e n d e d a n d , i r o n i c a l l y , a r e o n l y e v e r u s e d a s a f u n e r a l w r e a t h . T h e m o o d i s o n e o f t i m e s u s p e n d e d . B e a t 12;: T h e y g r o w u p . T h i s i s a t r a n s i t i o n a l b e a t . Z o e c o m e s b a c k t o r e f -e r e n c e s i n t h e r o o m . S h e t a l k s o f G r a n n y a n d t o h e r . G o d f r e y a n d E d g a r r e g a i n c o n t a c t i n t h e r o o m b y r e f e r r i n g t o Z o e , t h e c h i l d . T h e p i e c e s p u l l t o g e t h e r a g a i n i n o r d e r t o c o n t i n u e . B e a t 1 5 : Y o u ' r e a b o m i n a b l e . E d g a r a n d A g n e s q u a r r e l o v e r w h e t h e r o r n o t E d g a r s h o u l d b e s m o k i n g . A g n e s s t a r t s t h e q u a r r e l a n d E d g a r s t a n d s h i s g r o u n d . T h e i r r e l a t i o n s h i p i s e l a b o r a t e d . B i t t e r o p p o s i t i o n e x i s t s b e s i d e t h e e m o t i o n a l t e n s i o n o f t h i s s i t u a t i o n ( i e m e e t i n g t o a t t e n d Z o e ' s f u n e r a l ) . B e a t 1 4 : D i d we h a v e t o q u a r r e l a l l t h e t i m e ? ( R e l a x k i d ) . G o d f r e y t r i e s t o t e a c h Z o e t o d a n c e t h e C h a r l e s t o n . He t e a s e s h e r o n r e l i g i o u s g r o u n d s (We l e a r n s h e i s C a t h -o l i c ) . T h e y a r g u e , r e s o l v e t h e a r g u m e n t a n d r e c a l l p a s t q u a r r e l s . G o d f r e y r e g r e t s h i s p a r t i n t h e i r l a s t h u g e q u a r r e l n o w t h a t Z o e i s d e a d . I t w a s m o r e i m p o r t a n t t h a n h e h a d r e a l i z e d a t t h e t i m e . T h i s b e a t p r e p a r e s f o r t h e c l i m a x o f t h e a c t i o n i n A c t I I - t h e q u a r r e l b e t w e e n Z o e a n d G o d f r e y t h a t p u l l s t o g e t h e r t h e p i e c e s o f h e r c o n f l i c t b e t w e e n c h u r c h a n d l o v e r a n d i l l u m i n a t e s t h e i m p o r t a n c e o f t h e c h u r c h i n h e r l i f e . T h e b e a t b e g i n s l i g h t - h e a r t e d l y , t h e t e n s i o n a n d r e l a x a t i o n o f t h e a r g u m e n t f o l l o w a n d , f i n a l l y , G o d f r e y w i t h d r a w s . Z o e , l e f t a l o n e , s w i t c h e s h e r a t t e n t i o n e l s e w h e r e . 9 9 B e a t 1 5 : W h a t h a p p e n e d t o Z o e . Z o e s t a t e s p i e c e s o f i n f o r m a t i o n a b o u t h e r e a r l y -y e a r s . A g n e s a n d E d g a r d i s c u s s Z o e ' s b a c k g r o u n d , h e r s u i c i d e , a n d t h e p o s s i b l e r e l a t i o n s h i p b e t w e e n t h e s e -s p e c i f i c a l l y , h e r m o t h e r . Z o e i n t r o d u c e s h e r m o t h e r whom s h e r e a l l y d i d n o t k n o w a n d who a p p a r e n t l y m e a n t a s l i t t l e o r a s m u c h t o h e r a s t h e d o l l s s h e h a d t o l e a v e i n A m e r i c a . A g n e s a n d E d g a r a r g u e a b o u t t h e i n f l u e n c e o f t h e m o t h e r o n Z o e a n d a b o u t h e r i m a g i n e d c h a r a c t e r . G o d f r e y b r e a k s i n w i t h t h e o n l y r e a l a n d k n o w a b l e f a c t - Z o e i s d e a d . T h e b e a t e x p o s e s d a t a o f Z o e ' s l i f e a n d i n d i c a t e s t h e t e n s i o n a m o n g t h e f a m i l y m e m b e r s b e c a u s e o f t h e i r s h o c k a n d s o r r o w a t h e r s u i c i d e . T h e y b l a m e t h e m s e l v e s , e a c h o t h e r a n d , i n d e e d , g r a s p a t a n y p o s s i b l e e x p l a n a t i o n w h i c h m a y h e l p t h e m t o , i n some w a y , u n d e r s t a n d t h e s t r a n g e e v e n t o f h e r d e a t h . B e a t 1 6 ; We d w e l t t o g e t h e r i n a f a i r y g r o t t o . R e m e m b r a n c e a n d q u a s i - f l a s h b a c k b y Z o e a n d E d g a r o f h i m t e l l i n g h e r f a i r y s t o r i e s . T h e b e a t b e g i n s t e n d e r l y b u t c h a n g e s t o t h e m o o d o f E d g a r ' s p i t i a b l e s a d n e s s . B e a t 1 7 : My f a t h e r . D a v i d a n d S c r i v e n s e n t e r . T h e f a m i l y c o m e s t o g e t h e r a g a i n i n t h e room i n t h e i r comments on D a v i d . The purpose o f t h e beat i s t o i n t r o d u c e D a v i d . Beat 18: The q u e s t i o n o f t h e f l o r a l t r i b u t e s . T h i s beat b e g i n s d u r i n g the p r e v i o u s one w i t h D a v i d and S c r i v e n s * e n t r a n c e . The purpose o f t h e i r e n t r a n c e i s t h e purpose o f t h e b e a t . D a v i d must choose t h e f l o r a l t r i b u t e s f o r t h e f u n e r a l . I n a s e n s e , t h i s b e a t hangs suspended u n t i l t h e n e c e s s a r y i n t r o d u c t i o n s w h i c h c o n s t i t u t e t h e p r e v i o u s beat a r e c o m p l e t e d . D a v i d c o m p l e t e s h i s t a s k and s l o w l y , one by one, t h e f a m i l y l e a v e s f o r t h e c h u r c h . The purpose o f the a c t has been t o b r i n g t o g e t h e r t h e c h a r a c t e r s and a l l t h e i n f o r m a t i o n p e r t i n e n t t o t h e c e n t r a l a c t i o n - Zoe's s u i c i d e . H a v i n g a l l been assembled, t h e y b e g i n a j o u r n e y t o g e t h e r i n t o A c t I I . ACT I I Beat 19 Zoe e n t e r s t h e c h u r c h , l o o k s c a r e f u l l y around h e r as she w a l k s p a s t t h e a l t a r t o a s t a t u e o f t h e madonna a t a c h a p e l a l t a r . She cannot f i n d t h e way t o r e l a t e t o t h i s o b j e c t o r t h i s b u i l d i n g any l o n g e r . She i s q u i e t l y sad and s l i g h t l y c o n f u s e d . The b o t t l e o f p i l l s on t h e a l t a r means as much t o h e r by way o f c o m f o r t as t h e madonna. She t o u c h e s b o t h o b j e c t s . 101 B e a t 2 0 P r e d , S i d , a n d S c r i v e n s e n t e r d r e s s e d a s a l t a r b o y s a n d p r i e s t r e s p e c t i v e l y . T h e y c a r r y o u t t h e p r a y e r s a n d p r o c e d u r e s o f t h e f u n e r a l m a s s w h i c h p r o v i d e i r o n i c c o u n t e r -p o i n t t o t h e a c t i o n i n A c t I I . T h e m a s s f a d e s i n a n d o u t t h r o u g h o u t t h e e n t i r e a c t a n d w i l l b e n o t a t e d a s 2 0 a , 2 0 b , e t c . I t t a k e s p l a c e i n t h e p r e s e n t w h e r e a s t h e v a r i o u s s c e n e s o c c u r i n t h e p a s t a n d c h r o n o l o g i c a l l y p r e s e n t t h e e v e n t s l e a d i n g u p t o Z o e ' s s u i c i d e . B e a t 2 1 : Y o u ' l l k n o w t h i s p l a c e . E d g a r a r r i v e s a t t h e c h u r c h a n d p a s s e s t h r o u g h , w h e e l i n g G r a n n y . H i s m o n o l o g u e p r o v i d e s o n e m o r e l i n e i n t h e m e l o d y o f c o m m e n t o n t h e c h u r c h . I t s t a n d s i n c o n t r a s t t o Z o e ' s a n d t h e a l t a r p a r t y ' s r e l a t i o n s h i p s t o t h e p l a c e . A l s o , t h e l i g h t n e s s o f t h e s p e e c h p r o v i d e s f a c i l e t r a n s i t i o n i n t o t h e l i g h t n e s s w i t h w h i c h t h e n e x t s c e n e b e g i n s . B e a t 2 2 : Y o u s t i l l t i c k l i s h ? P l a s h b a c k t o . Z o e ' s a r r i v a l home f r o m s c h o o l m u c h e a r l i e r t h a n s h e i s e x p e c t e d . S h e a n d G o d f r e y m e e t . He i s s u r p r i s e d t o s e e h e r a n d q u e s t i o n s h e r b u t s h e e v a d e s h i s q u e s t i o n s . T h i s b e a t r e - e s t a b l i s h e s t h e i r r a p p o r t - t h e t i l t i n g g o o d h u m o r o f A c t I . 1 0 2 B e a t 2 3 : W e l l , w h y a r e y o u s o e a r l y ? G o d f r e y s e t s o u t t o h a v e h i s q u e s t i o n a n s w e r e d . Z o e s t i l l e v a d e s a n d b e c o m e s i n c r e a s i n g l y t e n s e . G o d f r e y c o n t i n u e s p r o d d i n g h e r . B e a t 2 4 : T h e r e ' s t h i s p r i e s t . Z o e d e c i d e s t o t a l k a b o u t h e r p r o b l e m - t h e f a c t t h a t s h e h a s n o f r i e n d s a t s c h o o l a n d c a n r e a l l y o n l y t a l k t o h e r p r i e s t . G o d f r e y r e a c t s i m m e d i a t e l y t o h e r f r i e n d s h i p w i t h t h e p r i e s t a n d t h e y a r g u e a b o u t h e r a t t a c h m e n t t o t h e c h u r c h . T h i s b e a t i s t h e v o c a l c l i m a x o f t h e s c e n e . G o d f r e y t r i e s t o d o m i n a t e a n d s u c c e e d s u n t i l h e p u s h e s h e r t o o f a r . B e a t 2 5 : T h e o t h e r o n e . G o d f r e y s e e s t h a t s o m e t h i n g m o r e s e r i o u s i s i n v o l v e d t h a n s i m p l y t h e c h u r c h . He g e n t l y p u l l s i n f o r m a t i o n f r o m Z o e a b o u t h e r l o v e r . L o w t o n e s . B e a t 2 6 : Y o u ' l l t e a r y o u r s e l f i n h a l f . G o d f r e y s h o w s some d i s g u s t a t h e r d i l e m n a b u t g i v e s i n t o h i s c o n c e r n f o r Z o e . S h e s e e s h e r s e l f i n a h o p e l e s s s i t u a t i o n . H i s p e r s o n a l i t y d o m i n a t e s b u t t h e b e a t e n d s e x p r e s s i n g t h e t o n e o f h e r f e e l i n g o f h o p e l e s s n e s s . B e a t s 2 2 t o 2 6 d e l i n e a t e t h e c o m p o n e n t s o f t h e d i l e m n a w h i c h i s t h e c r u x o f Z o e ' s s u i c i d e . 1 0 3 B e a t 2 0 a T h i s b e a t f u n c t i o n s a s p r e v i o u s l y s t a t e d a n d p r o v i d e s t r a n s i t i o n . B e a t 2 7 : Z o e i s h a v i n g a n a f f a i r . ( Y o u h a v e a r e s p o n s i b - i l i t y . ) F l a s h b a c k . A g n e s t e l l s D a v i d t h a t Z o e i s s l e e p i n g w i t h o n e o f h e r l e c t u r e r s a n d t h a t D a v i d h a s a r e s p o n s i b i l i t y t o d i s c u s s , w i t h Z o e , b r i n g i n g t h e a f f a i r t o a n e n d . He i s r e t i c e n t a b o u t i n t e r f e r i n g a n d t r i e s t o s h i f t some o f t h e b l a m e t o A g n e s . T h e y a r g u e . T h e t e n s i o n s h i f t s b a c k a n d f o r t h a n d t h e b e a t e n d s w i t h t h e t e n s i o n o f a n u n r e s o l v e d a r g u m e n t . T h e b e a t i l l u m i n a t e s A g n e s a n d D a v i d ' s r e l a t i o n s h i p . T h e y a r e c o n c e r n e d f o r Z o e b u t a r e u n a b l e t o p u t a s i d e t h e i r d i s a g r e e m e n t s i n o r d e r t o t r u l y h e l p h e r t o g e t h e r . S h e b e c o m e s a p i v o t a l p o i n t f o r t h e i r d i f f e r e n c e s . B e a t 2 0 b T h i s b e a t o c c u r s i n t h e m i d d l e o f t h e p r e v i o u s b e a t . W i t h o u t s ome k i n d o f f o c u s c h a n g e t o Z o e , t h e r e i s n o j u s t i f i c a t i o n f o r t h i s b r e a k . I t m e r e l y i m p i n g e s o n t h e s c e n e . I t f u n c t i o n s o n l y a s a r e m i n d e r o f Z o e w h i c h i s u n n e c e s s a r y a t t h i s p o i n t . 1 0 4 B e a t 2 8 : D a r l i n g . Z o e t a l k s t o h e r l o v e r whom s h e i m a g i n e s b e s i d e h e r i n b e d . S h e f e e l s m o m e n t a r i l y a t p e a c e a n d t h e m o o d i s p e a c e f u l . S h e r e m i n i s c e s a n d t e a s e s h i m . S h e d o e s n o t w a n t t o t h i n k a b o u t a n y p r o b l e m s b u t f i n a l l y m u s t a s k a b o u t h i s w i f e . H e r m o n o l o g u e t h e n m o v e s t h r o u g h h i g h - p i t c h e d e m o t i o n a l t e n s i o n t o a n o t h e r k i n d o f c a l m - t h a t o f a c c e p t a n c e ; a l m o s t a c c e p t a n c e o f d e a t h . T h i s b e a t a n d h e r c o n v e r s a t i o n w i t h h e r n a m e l e s s l o v e r o v e r l a p i n t o t h e n e x t b e a t c r e a t i n g t h e i r o n i c j u x t a p o s i t i o n o f l o v e r a n d p r i e s t - t h e p r i e s t t a l k i n g t o a n d a n s w e r i n g Z o e ; Z o e , h e r l o v e r . B e a t 2 9 : One p o s s i b l e c h o i c e . T h e P r i e s t c o m e s d o w n f r o m t h e a l t a r a n d s t e p s i n t o a f l a s h b a c k s c e n e b e t w e e n h i m s e l f a n d Z o e . S h e t e l l s h i m o f a f r i e n d who i s h a v i n g a n a f f a i r w i t h a m a r r i e d m a n . He r e a l i z e s t h a t s h e i s s p e a k i n g a b o u t h e r s e l f a n d e n c o u r a g e s h e r t o l e a v e t h e l o v e r a n d come b a c k t o t h e C h u r c h . T h e s e t w o b e a t s c l e a r l y i n d i c a t e t h e t r i a n g u l a r c o n -f l i c t i n w h i c h Z o e i s i n v o l v e d . S h e l o v e s a d u l t e r o u s l y . T h i s f o r c e s h e r o u t s i d e t h e s e c u r i t y o f t h e C h u r c h w h i c h s h e h a s a l w a y s k n o w n . T h e C h u r c h e n f o r c e s t h e g u i l t o f l o v i n g p a r e n t s . H e r p r i e s t b e l i e v e s h e c a n h e l p a n d Z o e f e e l s g u i l t a t h a v i n g t o d i s o b e y . T h e C h u r c h a s p a r e n t i s c o m p a r e d t o A g n e s ' p a r e n t a l a t t e m p t s i n t h e n e x t b e a t . 1 0 5 Z o e i s a l s o t h e n s t r u g g l i n g b e t w e e n t w o s e t s o f p a r e n t s . B e a t 3 0 : M a k e a d e c i s i o n Z o e . T h i s b e a t o v e r l a p s t h e l a s t s p e e c h o f t h e p r e v i o u s o n e . A g n e s w a n t s t o m a k e Z o e f a c e t h e r e a l i s t i c f a c t s o f h e r d i l e m m a a n d d e c i d e l o g i c a l l y w h a t s h e i s g o i n g t o d o . Z o e c a n n o t b e l i e v e t h e r e i s s i n c e r i t y i n A g n e s ' c o n c e r n f o r h e r a n d r e f u s e s t o l i s t e n . T h e f r u s t r a t i o n o f n o t b e i n g a b l e t o s t o p A g n e s ' t a l k a n d o f t h e u n b e a r a b l e f a c t s s h e d e s c r i b e s s e n d Z o e c r y i n g f o r h e l p t o h e r f a t h e r . B e a t 5 1 : S a y s o m e t h i n g t o me. T h i s b e a t i s w o v e n i n t o t h e p r e v i o u s o n e . D a v i d e n t e r s . Z o e c a l l s t o h i m a n d f i n a l l y g o e s t o h i m b u t D a v i d s a y s n o t h i n g , d o e s n o t h i n g . H i s i n e f f e c t u a l i t y i n t h i s s i t u a t i o n i s i n d i c a t e d . B e a t 2 0 c W i t h f o c u s o n D a v i d f r o m b o t h Z o e ' s u n a n s w e r e d c a l l f o r h e l p a n d A g n e s ' u n a n s w e r e d q u e s t i o n , t h e m a s s i n t e r v e n e s . T h i s m a y b e i n t e r p r e t e d a s i n d i c a t i n g t h a t t h e c h u r c h o f f e r e d Z o e t h e p a r e n t a l s u p p o r t h e r f a t h e r w a s u n a b l e t o g i v e h e r . M o r e p r e c i s e l y t h e s e i n t e r v e n t i o n s k e e p j u x t a -p o s i n g t h e h i g h p o i n t s o f Z o e ' s c o n f l i c t w i t h t h e f a c t o f h e r d e a t h . 1 0 6 B e a t 3 2 : B l o o d y p u n c t u r e s . G o d f r e y i s f i x i n g h i s b i c y c l e t i r e ; t a l k i n g a n d j o k i n g a s h e w o r k s . He e n l i s t s Z o e ' s a s s i s t a n c e . S h e i s w r a p p e d u p i n h e r t h o u g h t s . T h e b e a t i s l o w - k e y , l i g h t - t h e b e g i n n i n g o f t h e b u i l d t o t h e c l i m a x o f t h e a c t . B e a t 3 3 : Z o e ? G o d f r e y c o n t i n u e s f i x i n g h i s t i r e . He t r i e s t o s o u n d h e r o u t , t o b r i n g h e r o u t o f h e r t h o u g h t s . B e a t 2 0 d B e a t 34-: I ' v e b e e n t o C o n f e s s i o n . Z o e t e l l s G o d f r e y t h a t s h e h a s b e e n t o C o n f e s s i o n . T h e i m p l i c a t i o n i s t h a t s h e h a s d o n e t h i s i n l i e u o f m a k i n g a n y d e c i s i o n s o r t a k i n g a n y a c t i o n t o r e s o l v e h e r d i l e m m a . B e a t 2 0 e B e a t 3 5 : T h a t m a k e s e v e r y t h i n g a l r i g h t ? G o d f r e y p r o d s Z o e w i t h q u e s t i o n s a b o u t t h e C h u r c h . Z o e a p p e a l s t o h i s s y m p a t h y t o m a k e h i m s t o p . 1 0 7 B e a t 5 6 : H y p o t h e t i c a l H a r r y a n d C o n f e s s i o n . G o d f r e y p r o c e e d s t o p r e s e n t t h e b a r e f a c t s o f Z o e ' s a f f a i r a s h e s e e s t h e m . He g e t s c a r r i e d a w a y w i t h h i s n e g a t i v e f e e l i n g s t o w a r d c o n f e s s i o n a n d t h e C h u r c h a n d e n d s u p h a r a n g u i n g Z o e . S h e b e c o m e s e x t r e m e l y u p s e t a n d t h r o w s a w r e n c h i n h i s d i r e c t i o n . T h e s c e n e h a s b u i l t f r o m B e a t 3 2 t o i t s c l i m a x w h e n Z o e t h r o w s t h e w r e n c h i n B e a t 3 6 . T h e a t m o s p h e r e i s o n e o f i n c r e a s i n g f r i c t i o n . G o d f r e y d o m i n a t e s . B e a t 5 7 : W h a t ' s t h e m a t t e r w i t h y o u r a r m ? G o d f r e y g r a b s Z o e ' s a r m t o p r e v e n t h e r f r o m t h r o w i n g a n y t h i n g e l s e . S h e c r i e s o u t i n p a i n a n d h e , w o n d e r i n g w h y , p u l l s u p h e r s l e e v e t o r e v e a l a b a n d a g e . He r e m o v e s i t a n d , t o h i s h o r r o r , f i n d s a c i g a r e t t e b u r n i n t h e s h a p e o f a c r o s s . T h e b e a t i n d i c a t e s Z o e ' s s t a t e o f m i n d . I t i s o b v i o u s t h a t s h e h a s d e l i b e r a t e l y b u r n t h e r s e l f . P h y s i c a l p a i n h a r d l y e x i s t s b e s i d e h e r m e n t a l a n g u i s h . S a u n d e r s p r e -p a r e s u s f o r h e r s u i c i d e . B e a t 2 0 f B e a t 5 8 : T e l l me a f a i r y s t o r y . Z o e t u r n s t o U n c l e E d g a r f o r t h e c o n s o l a t i o n o f c h i l d -h o o d s t o r i e s . E d g a r b e g i n s t h e s t o r y b u t g r a d u a l l y b e c o m e s e n t r a n c e d b y t h e c h i l d - b e c o m e - w o m a n who i s s e e k i n g s o l a c e i n h i s a r m s a n d h e c a n n o t s t o p h i m s e l f f r o m w a n t i n g h e r . E d g a r a t t a c k s h e r , Z o e s t r u g g l e s f r e e . Z o e ' s l a s t v e s t i g e o f c o m f o r t a n d s e c u r i t y h a s b e e n r e m o v e d . N o t o n l y h a s t h e a c t c l a r i f i e d t h e d e s p a i r a n d g u i l t w h i c h Z o e f e e l s , b u t i t h a s a l s o s h o w n t h a t , o n e b y o n e , a l l t h e p e o p l e who c o u l d h a v e h e l p e d h e r h a v e d i s -a p p o i n t e d h e r o r b e e n r e j e c t e d b y h e r . T h e v i o l e n c e o f t h i s l a s t d i s a p p o i n t m e n t s e n d s Z o e i n t o a c t i o n . B e a t 2 0 g T h e m a s s e n d s . T h e P r i e s t l e a v e s a n d t h e a l t a r b o y s c a r r y o u t t h e c o f f i n . B e a t 3 9 Z o e c a l m l y g o e s t o t h e p i l l s a n d m e t h o d i c a l l y t a k e s t h e m . E d g a r l o o k s o n h o r r i f i e d b u t h e l p l e s s . T h i s b e a t i s t h e c l i m a x o f t h e a c t . B e a t 4 0 S c r i v e n s e n t e r s , Z o e t a k e s h i s a r m a n d t h e y e x i t t o g e t h e r , l e a v i n g E d g a r b e h i n d . T h i s b e a t s u g g e s t s a f u r t h e r j o u r n e y w h i c h Z o e w i l l b e t a k i n g w i t h S c r i v e n s . A C T I I I B e a t 4-1; K i l l i n g t i m e . P r e d a n d S i d ( i n t h e i r w o r k c l o t h e s a g a i n ) a r e p l a y i n g c a r d s w h i l e w a i t i n g f o r t h e b u r i a l t o t a k e p l a c e . S i d d e s c r i b e s a p r e d i c a m e n t h e i s i n w i t h h i s b e s t f r i e n d a n d h i s m i s t r e s s who i s t h e f r i e n d ' s w i f e . T h e a t m o s p h e r e i s r e l a x e d a n d e a s i l y c o m i c - a n a p p a r e n t c o n t r a s t b e t w e e n t h e t r e a t m e n t o f S i d ' s a d u l t e r y a n d Z o e ' s . T h e b e a t s e t s u p a t o n e o f r e l a x a t i o n f o r t h e e n t i r e a c t a n d m o r e f i r m l y r e i n t r o d u c e s P r e d a n d S i d . B e a t 4-2: To S i d ' s a n n o y a n c e a n d P r e d ' s i n t e r e s t , Z o e b r e a k s i n t o t h e i r c o n v e r s a t i o n w i t h a q u e s t i o n . S i d e x c u s e s h i m -s e l f i n o r d e r t o p o n d e r i t . Z o e i s i n t r o d u c e d i n t o t h i s a c t a s a n o n l o o k e r r a t h e r t h a n t h e c e n t r a l c h a r a c t e r . T h i s p l a c e s e e m s t o b e t a k e n b y h e r c o f f i n r a t h e r t h a n b y h e r p e r s o n . B e a t 4-3 : W h a t ' s r e l e v a n t ? P r e d a n d Z o e b a n t e r a n d t e a s e w i t h e a c h o t h e r . S h e a n n o y s h i m s l i g h t l y w i t h h e r q u e s t i o n s a n d h e r p e s s i m i s m . B e a t 4 4 : I t ' s a n u n r e a l q u e s t i o n . P r e d a n d S i d a r g u e o v e r t h e q u e s t i o n Z o e h a s a s k e d . P r e d b e c o m e s i m p a t i e n t a n d e n d s t h e d i s c u s s i o n . T h e r e i s n o h e a t i n t h e i r d i s c u s s i o n . R a t h e r , i t i s c o m i c . W i t h P r e d a n d S i d , d a i l y e x i s t e n c e , q u e s t i o n s a n d p r e d i c a m e n t s a r e n o t t a k e n s o s e r i o u s l y a s Z o e t a k e s t h e m . T h e y m a y b e f u n n y a n d l u d i c r o u s . T h e b e a t s u s t a i n s t h e a t m o s p h e r e a n d t h e c o n t r a s t t o t h e e a r n e s t n e s s o f t h e p r e v i o u s a c t . B e a t 4 5 Z o e a s k s f o r some a t t e n t i o n . P r e d k i s s e s h e r a n d p u t s h i s a r m a r o u n d h e r a n d p r o d s S i d i n t o d o i n g t h e s a m e . He c r e a t e s a s i t u a t i o n o f w a r m t h a n d s e c u r i t y f o r Z o e s o t h a t t h e y m a y s t e a l a w a y f o r t e a . I n d e m a n d i n g a t t e n t i o n Z o e b e c o m e s a n u i s a n c e t o P r e d a n d S i d . B e a t 4 6 : Q u e s t i o n M i s s ? S c r i v e n s b r e a k s i n t o Z o e ' s q u i e t . S h e q u e s t i o n s h i m a b o u t h e r l i f e . He t r i e s t o p l a c a t e h e r i n o r d e r t o g e t o n t o h i s n e x t c l i e n t . W h e n t h i s u p s e t s h e r , h e t r i e s g e n u i n e l y t o s h o w h e r h o w u n n e c e s s a r y h e r f r u s t r a t i o n i s . Z o e u n d e r s t a n d s a n d , w i t h g o o d h u m o r , l e a v e s h e r q u e s t i o n s b e h i n d h e r . I l l B e a t 4 7 : P a p e r m e m o r i e s i n t w o c o l o r s . E d g a r a r r i v e s a t t h e g r a v e w i t h G r a n n y . He d o e s n o t r e c o g n i z e t h e g i r l s t a n d i n g t h e r e . He r e m i n i s c e s a b o u t Z o e a n d t h e m e m o r i e s b e c o m e g r o t e s q u e a s h e r e l i v e s t h e i r l a s t e n c o u n t e r . B e a t 4 8 ; Y o u r f a c e i s f a m i l i a r . G o d f r e y a r r i v e s a n d d o e s n o t r e c o g n i z e Z o e . T h e y " c h a t " a b o u t t h e d e a d g i r l . T h e m o o d o f t h i s b e a t i s g e n t l e s a d n e s s a s t i m e c l o u d s o v e r t h e m:emory o f Z o e f o r t h o s e who k n e w h e r . B e a t 4 9 : T h e r e w a s n o t h i n g a n y o n e c o u l d d o . A g n e s a n d D a v i d a r r i v e . A g n e s i s u p s e t a n d e d g y a n d G o d f r e y ' s a t t e m p t t o p o l i t e l y t a l k t o h e r t u r n s i n t o a n a r g u m e n t . A g n e s t r i e s v e r b a l l y t o c o m f o r t D a v i d a n d t h e o t h e r s . S h e d o e s n o t n o t i c e Z o e . B e a t 5 0 : Who's t h a t ? D a v i d n o t i c e s Z o e . G o d f r e y i n v i t e s h e r t o j o i n t h e m b u t s h e r e f u s e s . S h e i s e n t i r e l y a l i e n a t e d f r o m t h e f a m i l y a n d t h e i r g r i e f . B e a t 5 1 ; T h e f i n a l a n d c l o s i n g s t a g e . S c r i v e n s a r r i v e s . S i d a n d P r e d l o w e r t h e c o f f i n i n t o t h e g r a v e . A g n e s a n d D a v i d s a y t h e i r r e s p e c t i v e g o o d b y e s t o Z o e . E d g a r h y s t e r i c a l l y p u s h e s G r a n n y t o w a r d t h e g r a v e . D a v i d t a k e s t h e m o u t . A g n e s b e c k o n s t o G o d f r e y a s s h e l e a v e s b u t h e r e m a i n s t o s a y h i s g o o d b y e t o Z o e . P r e d a n d S i d b e c o m e i m p a t i e n t t o f i n i s h t h e j o b b u t Z o e s t a v e s t h e m o f f f o r a f e w m o r e m i n u t e s . S h e c o m f o r t s G o d f r e y a n d s e n d s h i m o n h i s w a y . B e a t s 4 7 t o 5 1 a c c u m u l a t e t h e e v a p o r a t i o n o f Z o e ' s m e m o r y i n t h e m i n d s o f t h o s e who k n e w h e r . E a c h m e m b e r o f h e r f a m i l y r e t a i n s a d o m i n a n t i m p r e s s i o n b a s e d o n h i s o r h e r e x p e r i e n c e o f t h e p e r s o n , Z o e - E d g a r h a s g u i l t ; A g n e s , e s t r a n g e m e n t ; D a v i d , i n e f f e c t u a l i t y ; G o d f r e y , a f f e c t i o n a n d c o n f u s i o n . T o P r e d , S i d , a n d S c r i v e n s s h e m e r e l y r e p r e s e n t s a n -o t h e r j o b t o b e d o n e a n d c o m p l e t e d . T h r o u g h h e r f i n a l c o n f r o n t a t i o n w i t h h e r f a m i l y , Z o e c o m e s t o a c c e p t h e r e s t r a n g e m e n t i n t h e i r m e m o r i e s . S h e h e l p s G o d f r e y t o s e e h e m u s t c o n t i n u e n o w a n d n o t l i n g e r w i t h h i s t h o u g h t s o f h e r a n y l o n g e r a n d , f i n a l l y , s h e m a y g o i n t o h e r g r a v e w i t h t h e p e a c e f u l n e s s o f t o t a l a c c e p t a n c e . B e a t 5 2 P r e d a n d S i d h e l p Z o e i n t o t h e g r a v e . T h i s b e a t i s t h e c l i m a x o f t h e a c t . I t i s a n e m o t i o n a l c l i m a x r a t h e r t h a n o n e o f p l o t s t r u c t u r e . I t i s t h e p o i n t 113 o f 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 our a c c u m u l a t e d i m p r e s s i o n s and f e e l i n g s about Zoe and h e r d e a t h and Saunders' v a r i o u s images and p h i l o s o p h i c a l v i e w -p o i n t s c u l m i n a t e . Beat 5 3 F r e d and S i d have a c i g a r e t t e and d e c i d e t o have t e a b e f o r e f i l l i n g i n t h e g r a v e . The 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 been c o m p l e t e d . F o r F r e d and S i d , who b e g i n and end t h e p l a y , i t has been t h e c y c l e o f d a i l y r o u t i n e w h i c h w i l l c o n t i n u a l l y be r e p e a t e d and w h i c h i n no r e a l way r e l a t e s t o t h e c y c l e o f a l i f e . D E T A I L S OP P R O D U C T I O N INSERTS FOR MASS IN ACT I I I n s e r t 1: P r i e s t : I f you 0 Lord mark i n i q u i t i e s 0 Lord, who can stand? Out of the depths I cry to you 0 Lord. Response: Lord hear my v o i c e . P r i e s t : Let your ears 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 . P r i e s t : I f you 0 Lord mark i n i q u i t i e s . Response: Lord, who can stand. P r i e s t : But w i t h you i s f o r g i v e n e s s . Response: That you may be revered. P r i e s t : 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: P r i e s t : E t e r n a l r e s t Response: Grant unto her 0 Lord P r i e s t : And l e t p e r p e t u a l l i g h t shine upon her. Response: I f you 0 Lord mark i n i q u i t i e s 0 Lord, who can stand? P r i e s t : Let us pray. 0 Lord we commend to you the s o u l of your servant Zoe t h a t having departed from t h i s w o r ld, she may l i v e w i t h you through C h r i s t our Lord. Response: Amen. I n s e r t 3: P r i e s t : E t e r n a l r e s t R e s p o n s e : G r a n t u n t o h e r 0 L o r d P r i e s t : A n d l e t p e r p e t u a l l i g h t s h i n e u p o n h e r . I n s e r t 4-: P r i e s t : A n d l e a d u s n o t i n t o t e m p t a t i o n R e s p o n s e : B u t d e l i v e r u s f r o m e v i l P r i e s t : P r o m t h e g a t e o f H e l l R e s p o n s e : R e s c u e h e r s o u l 0 L o r d . P r i e s t : M a y s h e r e s t i n p e a c e . R e s p o n s e : A m e n . I n s e r t 5: P r i e s t : E t e r n a l r e s t R e s p o n s e : G r a n t u n t o h e r 0 L o r d P r i e s t : A n d l e t p e r p e t u a l l i g h t s h i n e u p o n h e r . I n s e r t 6: P r i e s t : 0 L o r d , h e a r my p r a y e r R e s p o n s e : A n d l e t my c r y come u n t o y o u . P r i e s t : T h e l o r d b e w i t h y o u R e s p o n s e : A n d w i t h y o u r s p i r i t . P r i e s t : L e t u s p r a y . 0 G o d , who a l o n e a r e e v e r m e r c i f u l a n d s p a r i n g o f p u n i s h m e n t , h u m b l y we p r a y o n b e h a l f o f t h e s o u l o f y o u r s e r v a n t Z o e . 1 1 6 I n s e r t 7: P r i e s t : 0 L o r d we i m p l o r e y o u t o g r a n t t h i s m e r c y t o y o u r d e a d s e r v a n t t h a t s h e who h e l d f a s t t o y o u r w i l l b y h e r i n t e n t i o n s m a y n o t r e c e i v e p u n i s h m e n t i n r e t u r n f o r h e r d e e d s . Y o u r m e r c y m a y u n i t e h e r w i t h t h e c o m p a n y o f t h e c h o i r s o f a n g e l s i n h e a v e n t h r o u g h C h r i s t o u r L o r d . R e s p o n s e : A m e n . I n s e r t 8: P r i e s t : 0 A l m i g h t y G o d , m a y t h i s s a c r i f i c e p u r i f y t h e s o u l o f y o u r s e r v a n t Z o e w h i c h h a s d e p a r t e d f r o m t h e w o r l d t o d a y . G r a n t t h a t o n c e d e l i v e r e d f r o m h e r s i n s , s h e m a y r e c e i v e f o r g i v e n e s s a n d e t e r n a l r e s t t h r o u g h J e s u s C h r i s t y o u r s o n , o u r L o r d , who l i v e s a n d r e i g n s w i t h y o u i n t h e u n i t y o f t h e h o l y s p i r i t , G o d , f o r e v e r a n d e v e r . P r o m : T h e R i t e P o r C h r i s t i a n B u r i a l : I am t h e R e s u r r e c t i o n a n d t h e L i f e . T h e L i t u r g y P o r C h r i s t i a n B u r i a l . ( C o l l e g e v i l l e , M i n n e s o t a : T h e L i t u r g i c a l P r e s s , 1 9 6 6 . ) L I G H T P L O T I n o r d e r t o s i m p l i f y a d e s c r i p t i o n o f t h e l i g h t i n g c u e s , t h e s t a g e w i l l b e r e f e r r e d t o b y n i n e a r e a s a s i n d i c a t e d b y t h e f o l l o w i n g d i a g r a m . A l l l i g h t s w e r e g e l l e d w i t h s t e e l a n d / o r c h o c o l a t e a n d s p e c i a l s w e r e g e l l e d a s i n d i c a t e d . Two f i l l l i g h t s w e r e u s e d v a r i o u s l y a s g e n e r a l i l l u m i n a t i o n a n d s p e c i a l s . T h e a c t u a l i n s t r u m e n t p l o t i s i n c l u d e d w i t h t h e o t h e r w o r k i n g d r a w i n g s t o f o l l o w . 4 L i g h t i n g a r e a s : C Y C 7 8 9 4 5 6 1 2 3 S p e c i a l s : S e t t e e s p e c i a l - o n s e t t e e i n A c t I - s t e e l E d g a r s p e c i a l - i n a r e a 1 - s t e e l a n d c h o c o l a t e Z o e s p e c i a l A - o n S E p r o s c e n i u m - s t e e l Z o e s p e c i a l B - o n S L p r o s c e n i u m - s t e e l Z o e s p e c i a l C - i n a r e a 5 b e s i d e c o f f i n i n A c t I I c h o c o l a t e A l t a r s p e c i a l s - i n a r e a 8 i n A c t I I - c h o c o l a t e G r a v e s p e c i a l s - a r e a 5 - A c t I I I - g o b o s o f t r e e b r a n c h e s - s t e e l a n d c h o c o l a t e L i g h t C u e s : Q l : P r e s e t : s e t t e e s p e c i a l u p d i m t o l i g h t s e t a s t h e a u d i e n c e a r r i v e s . Q2 : B l a c k o u t s p e c i a l a n d h o u s e l i g h t s . Q3 : M u s i c c u e : s e t t e e s p e c i a l d i m s u p v e r y s l o w l y , e y e l i g h t s d i m u p t o l o w c o n s t a n t r e a d i n g . Q4 : M u s i c c u e : A r e a s 7, 8, 9» 5 , . 6 , 2, 3 u p f u l l . Q5 : C r o s s f a d e 1, 4 u p , 8, 9 d o w n . Q6 : Q u i c k c r o s s f a d e t o f i l l s u s e d h e r e a s S c r i v e n s s p e c i a l . Q7 : Q u i c k c r o s s f a d e b a c k t o Q5 r e a d i n g . Q8 : A r e a s 1 , 4 d o w n . Q9 : A r e a s 1 , 4, 7 u p . Q 1 0 : A l l o u t e x c e p t a r e a 5; E d g a r s p e c i a l u p . Q l l : A r e a 5 o u t . Q 1 2 : P a d e u p a r e a s 1, 2, 3, 4, 5, 6, 8, 9. Q 1 3 : A r e a 7 u p . Q 1 4 : A l l q u i c k l y o u t l e a v i n g o n l y E d g a r s p e c i a l . Q 1 4 a : D i m s e t t e e s p e c i a l u p f o r G o d f r e y ' s l i n e ; t h e n o u t . Q 1 5 : A r e a s 1 , 2, 3, 4, 5, 6 u p ; l o s e E d g a r s p e c i a l . Q 1 6 : A r e a s 3, 6 o u t . Q 1 7 : S n e a k u p a r e a 3 d i m l y . Q 1 8 : C r o s s f a d e a l l o u t ; E d g a r s p e c i a l u p . Q 1 9 : D i m u p a r e a s 2, 3, 5, 6. Q 2 0 : E d g a r s p e c i a l o u t ; b e g i n s l o w d i m u p Z o e s p e c i a l A . 1 1 9 Q 2 1 : A r e a 4 u p . Q 2 2 : D i m o u t a r e a s 4, 5, 6. Q 2 3 : Z o e s p e c i a l A o u t ; t h e n a r e a 2 a s Z o e c r o s s e s o u t o f i t . Q 2 4 : D i m o u t a r e a 2. Q 2 5 : Z o e s p e c i a l B d i m s u p a s Z o e m o v e s t o p r o s c e n i u m . Q 2 6 : A l l a r e a s u p f u l l . Q27: Z o e s p e c i a l B o u t . Q29: B l a c k o u t ; h o u s e l i g h t s u p . Q 3 0 : A l t a r s p e c i a l s a n d e y e l i g h t s g r a d u a l l y d i m u p t o l o w c o n s t a n t r e a d i n g a s P r e d l i g h t s a l t a r c a n d l e s . Q 3 0 a : H o u s e l i g h t s o u t . Q 3 1 : D i m u p a l l a r e a s t o l o w g e n e r a l r e a d i n g . Q 3 2 : P a d e u p Z o e s p e c i a l B. Q 3 3 : R e a d i n g u p o n a r e a s 1 , 2, 3, 5, 6, 9 . Q 3 4 : A r e a 9 o u t . Q 3 5 : A r e a 6 o u t . Q 3 6 : A r e a 4 u p . Q 3 7 : A r e a 3 a n d Z o e s p e c i a l B o u t . Q 3 8 : C r o s s f a d e a r e a s 1 , 2, 4, 5 o u t ; Z o e s p e c i a l C u p d i m l y . Q 3 9 : A r e a s 5, 6 u p . Q 4 0 : C r o s s f a d e a r e a s 5, 6 o u t ; Z o e s p e c i a l C u p . Q 4 1 : A r e a 6 u p . Q 4 2 : A r e a s 2, 3, 5 u p ; s n e a k o u t Z o e s p e c i a l C. Q 4 3 : D i m u p a r e a 1 . 1 2 0 Q 4 4 : A r e a s 5, 6 f a d e o u t . Q45 : A r e a 4 u p . Q 4 6 : A r e a 3 o u t a s Zoe c r o s s e s o u t o f l i g h t . Q 4 7 : A r e a 5 u p . Q 4 8 : Dim o u t a r e a s 1 , 2 , 4. Q 4 9 : A r e a 1 d i m s u p . Q 5 0 : Zoe s p e c i a l B b e g i n s t o s l o w l y d i m up a s Zoe c r o s s e s t o a l t a r . Q 5 1 : A l l o u t e x c e p t a l t a r s p e c i a l s a n d e y e l i g h t s . Q52: House l i g h t s u p . Q 5 3 : A l t a r s p e c i a l s a n d e y e l i g h t s g r a d u a l l y d i m o u t a s P r e d e x t i n g u i s h e s a l t a r c a n d l e s . Q 5 4 : H ouse l i g h t s o u t . Q 5 5 : Dim up g r a v e s p e c i a l s a n d e y e ; h o l d m o m e n t a r i l y o n t a b l e a u o f P r e d a n d S i d ; d i m up a r e a 5. Q 5 6 : Dim up a r e a 4. Q 5 7 : Dim o u t a r e a 4. Q 5 8 : Dim up a r e a 4 a n d f i l l s . Q 5 9 : D im u p a r e a s 6, 7, 8, 9. Q 6 0 : Dim up a r e a 1 . Q 6 1 : Dim o u t a r e a s 2, 3, 4, 6, 7, 8, 9. Q 6 2 : Dim o u t a r e a s 1 , 5 a n d f i l l s . Q 6 3 : S l o w l y d i m o u t g r a v e s p e c i a l s a n d e y e . Q 6 4 : A r e a s 1 , 2, 3 b a n g up a n d b l a c k o u t f o r c u r t a i n c a l l s . Q 6 5 : House l i g h t s u p . 1 2 1 SOUND PLOT Three r e c o r d e d p i e c e s o f music were u s e d : "Coming Back To Me", S u r r e a l i s t i c P i l l o w , J e f f e r s o n A i r p l a n e ( R C A . V i c t o r ) ; Bach's T o c c a t a , A d a g i o , and Pugue i n C M a j o r p l a y e d by Helmut Walcha ( A r c h i v P r o d u k t i o n ) ; " C h a r l e s t o n " , Yes S i r , T h a t ' s My Baby, Ben P o l l a c k (RCA; V i c t o r ) . The f i r s t was used as i n t r o d u c t o r y m u s i c a t t h e be-g i n n i n g o f A c t I ; t h e second, t o open and c l o s e t h e mass i n A c t I I ; t h e t h i r d , as background music f o r t h e C h a r l e s t o n scene i n A c t I . A t r i a n g l e was used f o r t h e sound o f v e s p e r b e l l s i n A c t I I , and a g l a s s - b r e a k i n g box f o r t h e sound o f t h e garage window b r e a k i n g i n A c t I I , Q l : Opening music b e g i n s . Q2:> M u s i c s l o w l y f a d e s ; out by F r e d ' s f i r s t words. Q3: • C h a r l e s t o n f a d e s i n . Q4-: C h a r l e s t o n c u t s o u t . Q 5 : Mass mu s i c b e g i n s . Q6: Mass music f a d e s ; out by P r i e s t ' s f i r s t words. 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 music b e g i n s and c o n t i n u e s u n t i l F r e d has e x t i n -g u i s h e d t h e c a n d l e s a f t e r A c t I I . 122 P R O P E R T I E S ' L I S T P r e s e t P r o p e r t i e s S t a g e L e f t s e t t e e , c o f f i n t a b l e c o f f i n 9 f u n e r a l b o u q u e t s w i t h c a r d s ( l i l i e s , c a r n a t i o n s , w h i t e r o s e s a n d 6 a s s o r t e d o t h e r s ) b o t t l e o f l i n s e e d o i l 2 c h a m o i s c l o t h e s b r u s h c r u c i f i x 2 c a n d l e s t i c k s a n d c a n d l e s h o l y w a t e r s p r i n k l e r c e n t r a l a l t a r w i t h p u r p l e a l t a r c l o t h s i d e a l t a r m a d o n n a g l a s s w i t h w a t e r p i l l b o t t l e w i t h p i l l s ( r e d g e l a t i n c a p s u l e s ) 2 k n e e l i n g c u s h i o n s f u n e r a l m a s s a l t a r b o o k c i g a r e t t e s a n d m a t c h e s c o f f i n s u p p o r t s (2 b o a r d s p l a c e d a c r o s s g r a v e ) d e c k o f p l a y i n g c a r d s c o f f i n r o p e s 1 s i n g l e w h i t e r o s e 1 2 3 P r e s e t P r o p e r t i e s S t a g e R i g h t w h e e l c h a i r a n d G r a n n y (dummy) c i g a r e t t e s a n d m a t c h e s c i g a r n e c k l a c e ( c r u c i f i x o n c h a i n ) t h u r i b l e w i t h c h a r c o a l a n d i n c e n s e 2 b o o k s b i c y c l e w i t h s a d d l e b a g b i c y c l e t o o l s ( 2 t i r e l e v e r s , 2 s p a n n e r s , r u b b e r s o l u t i o n , p a t c h e s , b i c y c l e p u m p ) l a r g e b a n d a g e 1 t a p e r P l a c e m e n t o f P r o p e r t i e s  A C T I s e t t e e ( s e t u p - r i g h t ) c o f f i n t a b l e ( d o w n - l e f t ) c o f f i n ( P r e d a n d S i d ) b o t t l e o f l i n s e e d o i l ( S i d ) 2 c h a m o i s ( P r e d a n d S i d c l o t h e s b r u s h ( S c r i v e n s ) w h e e l c h a i r a n d d u m m y - G r a n n y ( U n c l e E d g a r ) c i g a r e t t e s a n d m a t c h e s ( G o d f r e y ) c i g a r ( U n c l e E d g a r ) n e c k l a c e ( Z o e ) 1 2 4 ACT I I t a p e r ( F r e d ) c e n t r a l a l t a r ( s e t u p - c e n t e r ) 2 c a n d l e s t i c k s a n d c a n d l e s ( o n c e n t r a l a l t a r ) h o l y w a t e r s p r i n k l e r ( o n c e n t r a l a l t a r ) a l t a r b o o k ( o n c e n t r a l a l t a r ) t h u r i b l e ( S c r i v e n s ) s i d e a l t a r ( s c r e w e d t o p r o s c e n i u m d o w n - l e f t ) m a d o n n a ( s e t o n s i d e a l t a r ) b o t t l e o f p i l l s ( o n s i d e a l t a r ) g l a s s o f w a t e r ( o n s i d e a l t a r ) 2 k n e e l i n g c u s h i o n s ( o n b o t t o m a l t a r s t e p d o w n - l e f t a n d d o w n - r i g h t c o r n e r s ) b i c y c l e w i t h s a d d l e b a g ( G o d f r e y ) 2 b o o k s ( i n b i c y c l e s a d d l e b a g ) b i c y c l e t o o l s a n d p a t c h i n g k i t ( G o d f r e y ) c i g a r e t t e ( A g n e s ) l a r g e b a n d a g e ( Z o e ) b o u q u e t o f w h i t e r o s e s ( s e t o n t o p o f c o f f i n ) A C T I I I c o f f i n ( s e t c e n t e r s t a g e o v e r o p e n g r a v e ) c o f f i n s u p p o r t s ( o v e r g r a v e a n d u n d e r c o f f i n ) c o f f i n r o p e s ( t h r o u g h c o f f i n h a n d l e s ) 1 w h i t e r o s e ( o n f l o o r a t d o w n - r i g h t e d g e o f c o f f i n ) d e c k o f p l a y i n g c a r d s ( S i d ) c i g a r e t t e s a n d m a t c h e s ( F r e d a n d S i d ) p o c k e t w a t c h ( S c r i v e n s ) COSTUME PLOT ACT I ACT I I ACT I I I Zoe G o d f r e y E d g a r g r e e n jumper b e i g e t u r t l e -neck p a n t y hose b e i g e shoes c r u c i f i x w h i t e s h i r t g r e y f l a n n e l p a n t s g r e e n p u l l o v e r d a r k t i e s o c k s shoes s p o r t j a c k e t and p a n t s l o u d bow t i e g r e e n s h i r t g r e e n f e l t h a t s o c k s shoes s c a r f d a r k s u i t d a r k t i e dark shoes w h i t e s h i r t d a r k s u i t d a r k t i e o v e r c o a t o v e r c o a t 126 Agnes b l a c k c o a t -d r e s s p e a r l s b l a c k shoes D a v i d d a r k s u i t w h i t e s h i r t d a r k t i e s o c k s shoes S c r i v e n s m o u r n i n g s u i t t o p h a t w h i t e s h i r t g r e y g l o v e s d a r k shoes s o c k s P r e d and S i d p a n t s f l a n n e l s h i r t s o v e r a l l s work shoes t o o l s , b e l t , cap b l u e d r e s s navy and r e d s t r i p e d t i e f u n e r a l v e s t m e n t s b l a c k v e s t m e n t s s u r p l u s b l a c k c o a t -d r e s s b l a c k l a c e v e i l p u r s e & g l o v e s d a r k t i e o v e r c o a t b o w l e r h a t as A c t I as A c t I work j a c k e t s P L A Y COST R E P O R T R o y a l t i e s H a r o l d P r e e d m a n B r a n d t & B r a n d t 8 1 . 8 3 P u b l i c i t y M a m o o k s (AMS) 1 B a n n e r & 2 5 P o s t e r s 3 3 . 2 5 T h e U b y s s e y - 8 a d s ( 1 c o l . x 2") 29.60 E x p r e s s P r i n t i n g L t d . - 2 0 0 h a n d b i l l s 2 . 5 0 U B C R a d i o S o c i e t y - U s e o f s o u n d c a r 2 . 5 0 T i c k e t s 1 R u b b e r S t a m p f o r t i c k e t s ( A S c e n t o f F l o w e r s ) 1 . 6 8 S C E N E R Y & M I S C . I t e m s U s e d f r o m S t o c k 1 2 - 1 0 0 W a t t l a m p s a n d 8 f l a s h l i g h t b a t t e r i e s ( S t o r e s # 8 1 6 6 ) 4 . 6 4 S t o r e s # 7 8 2 3 6 4 s q . f t . % F i r P l y w o o d 1 2 . 7 2 2 0 l i n . 2 x 6 P i r Common 2 . 2 4 4 0 0 s q . f t . v i s q u e e n 4 . 2 4 2 5 0 f t . l a m p c o r d 6 .65 1 g a l . e x t . l a t e x 5.09 4 B a r n D o o r P u l l s 1 . 6 0 7 0 0 s q . f t . v i s q u e e n 7 . 4 2 1 B a r n D o o r P u l l . 4 0 1 s h e e t 4' x 1 0 ' B e a v e r B o a r d 4 . 2 0 1 P k g . G e s t e t n e r W h i t e P a p e r 8 3 & x l l - # 3 2 4 P r o g r a m 2 . 2 2 P E T T Y C A S H E X P E N S E S X e r o x i n g o f p l a y s c r i p t s - ( J . P r e i m a n 1 1 . 2 0 Wax ( S . H a r g r a v e ) . 9 2 S c e n e r y m a t e r i a l ( B . A r n o t t ) 2 . 4 9 P r o p e r t i e s ( D . B e l s h a w ) 4 . 2 4 S e t & C o s t u m e s ( S . G i b s o n ) 6 . 0 5 B a l a n c e F o r w a r d O U T -OF-POCKET E X P E N S E S S c r i p t s , p i c t u r e s , & a c t o r s ' e x p e n s e s ( J . F r e i m a n ) V a n c o u v e r T e x t i l e s - 1 0 0 y d s . C o t t o n P E E - B i l l P a l m e r - H o u s e M a n a g e m e n t T i c k e t S a l e s : P r o f i t : 4 8 2 . 0 5 1 5 7 . 6 9 BOX O F F I C E R E P O R T T o t a l S e a t i n g : 1 0 5 D a t e U n s o l d S o l d 1 . 5 0 S o l d C o m p s T O T A L S t u d e n t s 1 . 0 0 Wed. J a n . 3 1 8 1 9 2 8 . 5 0 2 6 2 6 . 0 0 5 0 54-. 5 0 T h u r s . NOON F e b . 1 2 2 6 9 . 0 0 6 8 6 8 . 0 0 7 7 . 0 0 T h u r s . F e b . 1 3 8 5 7 . 0 0 55 5 5 . 0 0 1 1 2 . 0 0 F r i . F e b 2 0 4-4-6 6 . 0 0 5 3 5 3 . 0 0 1 1 9 . 0 0 S a t . F e b . 3 0 4 7 7 0 . 5 0 4-9 4-9.00 1 1 9 . 5 0 3 5 154-2 3 1 . 0 0 2 5 1 2 5 1 . 0 0 7 5 4-82.00 2 / 6 / 6 8 D e p o s i t : 4-82.05 S A M P L E PROGRAM U.B.C. Theatre Department presents An M.A. Thesis P r o d u c t i o n *-3 h o y / . / /. < L 'fS? J*''" r j ) i by James Saunders d i r e c t e d by J u d i t h Freiman Set and L i g h t i n g Design by B r i a n A r n o t t Costume Design by Susan Gibson CAST ( i n order of appearance) Zoe .Mariko Van Campen Pred. ? r • • • •.Mark Pa r r y S i d . . . . . . . . . . . . . . . . . . . . . . . . . . . B e r n i e B a r t l e t t Godfrey........................Brian Bueckert S c r i v e n s . Torn Byrne Edgar............................Peter Burgis Agnes.; .Gerry Claman David. Ron Knott TIME the present, the past SPACE Ac t I - a room Ac t I I - a church A c t I I I - a cemetery i SAMPLE PROGRAM PRODUCTION Stage Manager, . i . . . . . . . . . . . . . ..... .George P l a w s k i L i g h t i n g Execution...............Josephine P a t r i c k A s s i s t a n t to the D i r e c t o r . . . . . . . . E s t h e r Blumanfald Sound .Bob Wallace P r o p e r t i e s Diana Belshav Set C o n s t r u c t i o n . B r i a n A r n o t t Lynda ¥eston Costumes .Susan Gibson .Joan Sukava Product i o n A s s i s t a n t . . . . . . . . . . . . . . . . . . . L a n a Stoney House Manager. B i l l Palmer P u b l i c i t y . Maureen Molloy With s i n c e r e thanks t o : MA.IHEW-SHERWOOD FLOWERS LTD. Rev. C. Lemieux, C.Ss.R Ouir Lady of Pe r p e t u a l Help Church S t . Mark's College Martha M i l l e r Jay B a n c r o f t Jack Darcus Donn E l l i o t t Vancouver Sun Vancouver Province CHQM, CKLG, CFUN, CJOR. The Ubyssey The Peak U.B.C. THEATRE DEPARTMENT N E W S P A P E R R E V I E W ( l ) The VANCOUVER SUN: Thur., Feb. 1, 1968 Scent of Flowers Very Successful By JACK RICHARDS I suppose, that, in a play directed , as an M.A. thesis production, the important thing is the work of the aspirant to the degree. On that basis, Judith Frei-man, who directed James Saun-ders's A Scent of Flowers at the Frederic Wood Studio Theatre on 'the University of B.C. campus Wednesday night, was entirely successful. She most certainly did not make it easy for herself in choosing Saunders's play. It misses being' pure melodrama by the merest fraction and K all over in two acts with one still to go. That Miss Freim'an and her cast managed to maintain the degree' of believability they did was quite wonderful. As a director, she steered most deli-cately along the edges of some most improbable situations and conversations, retaining the best of the sensitivity and avoiding the maudlin as much as possible. GOOD CASTING < Good.casting certainly helped.. Mariko Van Campen.as Zoe, the ftbrtured heroine; was excellent.' She has a passionate delicacy that worked well. Brian Bueckert as Godfrey (Gogo, she actually called him) Z o e ' s step-brother; Gerry Claman as Agnes, • her step-mother; Peter Burgis as Uncle Edgar (who struck the final dastardly b l o w ) and Tom Byrne as Scrivens, gave ex-cellent support. Mark Parry as Fred and Bernie Bartlett as Sid were fine in their numerous roles they had. The only real disappoint, ment was Ron^Knott as David; Zoe's'father.' DREAMY PACE J He failed to live up. Jo his role as the well-bred, self-centred David and -appeared merely doltish rather than sensitive but inarticulate. The pace was as dreamy as a Victorian novel.' There were suggestions of - T h o r n t o n Wilder's Our Town in the flashback method of beginning with: a dead Zoe and!getting her buried. • And at times they found real emotion though, at others, they skated perilously close to be-coming ludicrous. But it was the writing that was at fault and : their sincerity always managed to save it in-the hick of time. It was done with-meticulous care throughout and will run in the Studio Theatre at 8:30 .each night through Saturday as a ifine example of the work! possible by young directors- whoj care. Drama T/fOtZSDAHj F'EBRUfiidtj i} THE: VAUCOU\/££ P&Ci/tAfC& 1 of Flowers— B y J A M E S B A R B E R Choosing a p lay for a thesis product ion at U B C is a ma-jor p r o b l e m , complicated by budget, avai lable cast, and the l i m i t a t i o n s of the Studio Theatre . M o r e and more it becomes apparent that it is not what you do, but the m a n n e r of doing it that mat-ters. J u d i t h F r e i m a n c h o s e J a m e s Saunders ' A Scent, of F l o w e r s for last night's pro-duction, w h i c h seemed to' be a pity,, for the play is not easy—its m a i n difficulty lies rave in its d r a m a t i c deficiencies, rather than production prob-lems. There is none of the tightly-writ ten irony of last year ' s Saunders play, N e x t T i m e I ' l l Sing to Y o u , which -the A r t s Club produced. There is also^Iittle of the lightness or l y r i c qual i ty of- w r i t i n g , although the content is so l y r i c a l as to border on the r o m a n t i c . : It is a g i m m i c k p lay , a ro-.. m a n t i c think-piece- w h i c h tip-toes round : and r o u n d the graveside of a suicide a s k i n g , and never answering, the i n - . t e r m i n a b l e questions of rea l -ity of existence, m i x i n g - theol-ogy, philosophy and "one never knows, does o n e ? " , It is an actors p lay , 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 or r e a l i s m . M o s t ac-tor 's p lays create diff iculties for the director i n holding down the cast, but M i s s F r e i -man 's problem appeared to be that o f ' g e t t i n g them up, and then keeping them there. A t t imes, there was an un-deniable dialogue w i t h the audience, the soft a n d deli-stuff • cate unreal feeling of contact between the dead and the l iv-i n g , the r e a l and the rose col-ored m e m o r y , despite u n - , ; avoidable outside t r a f f i c noises. • ' ' But also there were too m a n y moments of i r r i t a t i n g impatience, when voices be-c a m e unnatural ly , restrained and the obvious conclusion seemed to retreat further a n d , further into nowhere, and the characters , almost ent irely dependent on voices, lost any semblance of consistency or r e a l i t y . ' M a r i k o v a n C a m p e n , the f ragi le g i r l , : the memory", the catalyst of the whole ques'tion of identity, p a r t i c u l a r l y need-ed this understanding of the strength of - weakness. L i k e the other l i tt le g i r l , when she was good,- she was very very good, but somehow I felt that I was supposed to want to c r y for her, and I never d i d — although when I needed - to smi le she always supplied the motivat ion. G e r r y C l a m a n ' s Agnes, her rea l i s t ic mother, was consis-tent and important , but we needed more than just two characters to m a k e Saunders say m u : h more than has been s a i d over and over about l i fe •in death; !2i CQ H ro H ro 133 P R O D U C T I O N P H O T O S "And I love her, yes I love her . . . J " 134 1 3 5 "My Snow P r i n c e s s / "s* *t it • " I s t h a t b e t t e r ? " / " W e ' r e m i s s i n g o u r t e a b r e a k . " Mr. S c r i v e n s ? 136 WW 148 t._i L.£> C3 ©I ©I ,©1 © ! •®\ 0 ®\ : © <3\ I© ® j© i © 0 •U» 150 . i Si. i • » i i. i i o I N ft.; • ! i i I 5w; U i / " W '• ' i ' : ! ; i 0 a OS 3 - 5 o « o . ^ ' 4 <*J_ ^ W $— fi> 0 « - i 5 I o'cj a o !o o: QdOo, oo o o! o 0Q & S o o 3 « o 0 f; 2 2 El • - r\ /! <~ : J3 Wr9 S N :^ ^ ^ d - * -2 ^Cl ^47 ^ _ .-i, rr{ i« -J; V ~ CGG ~; . -T ' ' «/>.-S'_T ^ . o,» V <N ri-J N <v <^<V ^"J 

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            data-media="{[{embed.selectedMedia}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
https://iiif.library.ubc.ca/presentation/dsp.831.1-0104072/manifest

Comment

Related Items