IF THERE ARE ANY HEAVENS
________________________
A Play in Three Acts
by
Donna Barrow-Green
© 2014
[email protected]
donnabarrowgreen.com
Cast of Characters
Rose:
Widow to WWII Soldier. Early to Mid 30’s.
Jeff:
Artist and Professor. Mid to Late 30s.
Charlie:
Rose’s son. Early adolescent.
Male:
To play several small parts in silhouette.
Carmen:
Rose’s close friend. 30s.
Setting: Sellwood, Oregon. Act 1: most scenes take place in Rose’s house. The stage is separated into three sections in the first act. In the center is the living room, which is larger than the other two sections. To one side, is the kitchen, smaller typical for the period with a small table and chairs. To the other side is an empty stage with a screen of some sort. The funeral parlor will be set in this space. Scenes will also be projected on to the screen to depict different settings, most of the time the garden will be projected in this area: each scene will describe the garden at that point. The garden obviously represents the tenor of the scenes and the emotional life of Rose.
Time: 1943-1944
ACT I, Scene 1
(A foyer in a funeral parlor dimly lit, no caskets. )
ROSE MILLER enters dressed dark grey clothes, gloves, carrying a stack of sketches. Scene is dreamy (projections, music, scrim).
(ROSE begins crying, silently.)
(Enter JEFF LAMBERT from the back of the stage, wearing clothes appropriate for the period --white color man (e.g. trousers, tie, white button down shirt))
JEFF
(Waits for a moment, quietly walks towards Rose.)
Hello, are you Mrs. Miller?
ROSE
(regaining composure)
Yes...Mr. Lambert?
(JEFF approaches ROSE. Shakes her hand, holds it longer than would be expected.)
ROSE
It’s very nice to meet you. (pause) I’m very sorry about your mother, Mr. Lambert.
JEFF
Would you like to talk somewhere else? Away from here?
ROSE
Oh thank you, but this should be fine. It won’t take long— I have some sketches. I’d be happy to lay them out here on the piano.
(opens her portfolio, balances it on table or piano, etc.)
I was thinking Lilies of the valley and baby’s breath. You said, peaceful. Natural? They’re delicate, typical funeral arrangements. They should be lovely.
JEFF
It’s the Burgundy room. Not to be crass, is it typical to match the room? -- Where the wake is held? Let me show you.
(ROSE hesitates.)
JEFF
Is something wrong, Mrs. Miller?
ROSE
It’s all right. I am very sorry to be so personal (pause) My husband died—His wake was here. Not too long ago.
JEFF
I did know that, somehow I knew that your husband died. It was in the paper—one of the soldiers--I’m sorry for--
ROSE
He was here—his wake was...
JEFF
In burgancy room?
ROSE
No. No...it was another one, down the hall there--
JEFF
Would you like to leave? We could walk over to the coffee shop?
ROSE
No. I’m sorry, this will be fine. Here are the sketches.
(ROSE removes sketches from the portfolio. JEFF leans in and looks at them.)
JEFF
Are you the artist?
(pause, inspecting)
These are lovely...just--
ROSE
Yes—I wouldn’t-- I’m not an artis--No, I—these are so you can get a sense of the flower arrangements that I do. Usually, I bring the flowers—but, this time of year, I can’t get most of them.... I quickly sketch them that way I can give customers and idea--
JEFF
--I’ve heard of your gardens, you know—that’s how I knew of your arrangements (long pause). It seems everyone knows of you.
ROSE
Oh—well Portland is a small town in some ways.
JEFF
All good. I assure you. You have a reputation for your talent both in gardening and designing arrangements. You’re notorious here in Sellwood.
ROSE
Oh, my. Well, I’m sure I’m--
JEFF
--That came out wrong—I’m still getting used to the small town rules--- You have are well respected. I’ve heard about your garden. Seen pictures in the Bee. I have seen you at the garden club meetings. At the community house--
ROSE
Yes. I believe I’ve heard some about you too, Mr. Lambert. From what I know you are an artist—you’re a teacher at the Art Museum—Although I didn’t know you were a gardener, I don’t think I have seen you at the community house meetings...
JEFF
No. No, not me. Mrs. Lambert--
ROSE
Your mother? Perhaps, I have seen her—That is why you wante--
JEFF
--No. my wife, Mrs. Lambert. She’s sat in, once or twice--She doesn’t—you probably didn’t notice her. It was some time ago.
(He turned back to the drawings)
Well, they’re beautiful. I think these will be fine. My mother would have appreciated them. Very much. I think she would have liked these. Which of these (pauses, examining sketches) have you chose for the wake?
ROSE
I was thinking this one here, lilies. Carnations. White Roses, of course--
(stops for a moment)
You know, they say each carry meaning. When I selected them for your mother, I tried to tell a story or at least honor the person who has passed—Of course, I didn’t know your mother.
JEFF
How so? What’s the story you’ve told here?
ROSE
The flowers are symbols. In this arrangement, the Lili represents sympathy, majesty, purity. Some say it is the innocence returning to the soul--
JEFF
And why carnations?
ROSE
Pure love and innocence—the white ones. The roses, the white roses, are reverence, humility, youthfulness.
(Pause)
I feel--it seems funerals, death, have a sort of meaning-- My friend gave me three dark red roses from her garden when my husband died. At first...Well at first, I felt it was irreverent. But, I came to see that was right.
JEFF
What did they symbolize—to you, Mrs. Miller?
ROSE
The three represented myself, my husband and my son—...and a red rose means respect, love and courage when someone dies. As most people know it also means passion.
JEFF
How do you know this all of this?
ROSE
You must know that it goes back to ancient times, myths – religion.
JEFF
Yes-- I did know, but it’s very fascinating to me that you would know--
ROSE
Oh.
(After a moment).
So, I’ll bring them on Friday.
(ROSE turns to leave, then stops.)
It all happens so quickly, doesn’t it, Mr. Lambert? How time plays tricks after someone dies—One moment you feel strong as if you have finally, as if it is ov--
JEFF
(Looking at the sketch she has left with him seemingly lost in thought, but then abruptly)
--Yes. That’s fine. If I’m not here then, Andy will let you in on Thursday. Just put them where you think they should go.
(Lights dim. End scene.)
Act I, Scene 2
In the dim light, two chairs are set as though in a principal’s office. ROSE and MAN are seated, facing each other in the empty portion of the stage.
ROSE
I can’t understand—Why would he do such a thing?
MAN
We don’t know. Several teachers saw him.
ROSE
Is there a problem with the other children? Or is he not feeling well? What exactly are they saying?
MAN
They said he – a couple of teachers saw Charlie –after school he was tearing up, pulling out the hedges around the school, and tearing low branch--
ROSE
--That is not so odd for a thirteen-year-old boy--
MAN
It is the way he is doing it, Rose. Several days in a row, he has gone out there by himself. and by the time the teacher is out, he’s pulled them all out by their roots. That is not easy to do, as you know being a gardener. It takes a certain amount of strength that can only be described as drawn from anger-- I think it is because. Because of his father. Because of Nick’s, your family’s tragedy–how long has it been?
ROSE
(stiffening)
I don’t understand why you called me here. Or why Charlie has been suspended. This is not about his father or--
MAN
Rose, I’ve known you since high school. I’m not accusing you—I want to help because I care—it’s hard for you both, I’m sure. How could it not be Are you all right?
ROSE
(softens)
I’m getting along, Mr. Malden. (long pause) That’s what I say isn’t it?--what I always say (pause). Life’s moving forward. It takes time to accept, to adjust...No. I’m not all right. Charlie isn’t all right, but he will be. -- Somehow I --What do you think I should do about him, Mr. Malden?
MAN
Sometimes, sometimes, our children just hurt. (pause) You’re a good mother, Rose. I have known you since you went to school here. I knew your parents. You’re good people. He’s just a sad boy, he’s having trouble getting over-- It just takes time. How can we understand what he feels?
ROSE
Yes. I think that’s probably true.
MAN
But, I feel something must be done. I called you here because he is getting to the age—his behavior could be misunderstood. He is a young man, not a boy. That’s the reason more than anything that he can’t be so reckless. He’s nearly a teenager.
ROSE
He’s not always like this. At home he is fine. He is content to do his models or read. He is not so angry at home.
MAN
No?
ROSE
No--of course, yes. Of course he was sad when Nick left—died. (pause) He’ll be all right. I’ll have Nick’s father talk with him, we are very close with them. His grandfather has a lot of influence over him since Nick was killed.
MAN
I just wanted you to know what’s going on at school, why he’s suspended.
(End scene)
Act 1, Scene 3
Lights down. Somber music. In dim shadows on the empty side of the stage, a female figure is seen on a ladder trimming rose bushes. CARMEN gently untangling each cane and pruning back gingerly. Then, tossing the pruned wood to the ground
CARMEN’s VOICE:
Three of them, one for each of you. (pause) I’m sorry—he loved you so much—always.
(Lights come up. ROSE is approaching her house. A figure is seen on her porch (JEFF LAMBERT)
ROSE
(breathless from rushing)
Mr. Lambert—hello...can I--
(catching her breath)
JEFF
--I hope I am intruding on your--
ROSE
No. Not at all. I saw you from the corner. I didn’t know if someone was here with news—I didn’t know it was you—I thought it was bad news--
JEFF
--Your address.
(Holding up the sketches)
It was on the back of the sketches--
(Both stand awkwardly for a moment.)
ROSE
Did I forget something this afternoon?
JEFF
No. No you didn’t—I
(looks up at the sky and back to ROSE)
I wanted to change the arrangement, if its not too late.
(Awkward moment)
ROSE
The flowers?
JEFF
You had asked me about my mother. I realized after you left that I…To answer your question, no she wouldn’t want white lilies…
ROSE
My question?
JEFF
If my mother would like white, peaceful, innocence?
ROSE
Oh. I didn’t mean…
(A gust of wind blew and Rose reached for her hair.)
Why don’t you come inside. Its getting cold out here. You can tell me about the changes.
(walking into the house)
JEFF
(Letting out a heavy sigh of relief.)
Yes, thank you. Rose. May I call you Rose, Mrs. Miller?
(JEFF follows her up the porch stairs.)
ROSE
I’m afraid I don’t know how much I can change. I have already ordered the flowers.
(starting for the door)
Please, come on in.
(ENTER house. Stand in living room entry. Off to one side of the stage is a kitchen, typical of the time. )
Mr. Lambert. Can I take your coat?
JEFF
Really, you can call me Jeffery. Or Jeff.
ROSE
(a bit flustered)
Oh...Jeff. I suppose that would be fine.
JEFF
You have a pretty house.
ROSE
It was my parents’ home. I grew up here.
JEFF
Really? This seems like a nice house to grow up in.
(looking around).
It’s a really lovely, tasteful place. The colors are spectacular. The light coming through the windows, it’s glorious--
ROSE
Yes. It’s hard for me to appreciate after being here so long.
JEFF
Well, it’s something. The dark wood, and things are so tasteful--Is this your doing—the furniture, the touches?
(still looking around)
Where are your parents now? Moved somewhere with a warmer climate, I’m guessing?
ROSE
They both passed away some time ago. Just my son and I live here now.
JEFF
That was rude of me—I’m--
ROSE
No. no...Really, it’s all right. It was a long time ago.
(ROSE walks and motions towards the kitchen.)
ROSE (continued)
I’m sorry Jeff, did you say tea? Or coffee?
JEFF
What are you having? I don’t want to be any trouble. Whatever you are making.
(They both enter the kitchen. Rose puts a perculator on the stove and lets it heat for a moment. )
ROSE
It’s no bother. How’s coffee? I can heat up some from lunch. Please sit down, Jeff. Make yourself at home. I’ll fix you a coffee.
JEFF
How are you getting along?
ROSE
Me? I’m all – you mean with the flowers? They’ll be ready by Friday. I am not sure we can change. As I said, I have to order out this time of year. My garden won’t produce flowers for a couple of months still—I’m being silly. I told you this before.
(She sits down across from him and places the down on table.)
ROSE
(holding sugar bowl ready to serve him)
Sugar or milk?
JEFF
Black is fine. None for you?
ROSE
(places the coffee in front of him.)
No. I won’t sleep.
JEFF
After you left, I was thinking about my mother and what you said. Our conversation.
ROSE
Oh really?
JEFF
About the flowers. I went to the library afterwards. Found a book on flowers and realized--I realized she wouldn’t want white lilies. No that’s not her at all. I think she too would like deep black-red roses as you talked about. And tall, red gladiolas.
ROSE
I don’t remember what gladiolas symbolize--
JEFF
--Strength. And integrity. That was my mother. Passionate and strong. A woman of her word. She was a college professor you know.
ROSE
No. I didn’t.
JEFF
Yes. She taught literature for many years. She published several books. Mostly critical analyses of the English Romantics.
ROSE
That is something. She must have been a very interesting person (pause). Very intelligent.
JEFF
She was. She definitely was. (pause) About the flowers. I will pay for the order—if you can have a new arrangement in time for the wake on Friday.
ROSE
Roses and gladiolas will be easy to get in time, but I don’t think they will allow me to cancel the original order.
JEFF
As I said.
(takes out his wallet, removes some bills)
I’ll pay for those too. How much were they?
ROSE
Oh, please not now. I haven’t gotten the bill yet.
JEFF
You’ll let me know?
(pause and looks out of the window. His eyes filled.)
It would have meant something to her, I think. There’s a poem by E.E. Cummings. It’s called If There Are Any Heavens. It ran through my head after I talked with you today. Do you know the poem?
ROSE
No, I’m sorry. I don’t know much about poetry –
JEFF
The strangest coincidence, our conversation. My mother loved that poem. The pacing of the writing. It was as if he recreated the void. The inexplicable silence (pause). That loss. I couldn’t get it out of my thoughts. After you left, whatever you said about the lilies.
JEFF (continued)
Made me think of...the appropriateness of -- I know my mother would want black-red roses.
(after a moment)
Hell, that’s what I want.
(long pause, finishing coffee).
He says ‘if there are any heavens, my mother will...all by herself have one…’ He says ‘a heaven of black red roses.
(pause, looking down).
Now it seems uncanny. Our conversation this afternoon.
ROSE
Well, I can find a way to have a new arrangement ready. I know these things are important. I do.
(ROSE looks down and fiddles with her engagement ring.)
JEFF
You’re very kind, Rose. I apologize for coming here and being so...so familiar. Telling you so much. I suppose. You must think this is quite morbid--
ROSE
Not at all, Mr. Lambert. I understand. It isn’t morbid—I don’t find it morbid--
JEFF
--Unless you have been through it—it makes unlikely—it makes people somehow kindred doesn’t it? She was sick for a long time. That’s one of the reasons we moved here. Her sister was here back then, moved here many years ago. Her husband was actually involved in building the Sellwood Brige.
ROSE
Is that so?
JEFF
(He looks out of the window into the yard).
After she retired, my mother kept an enormous garden. I mean, it was something. Acres. I grew up in Napa California, out in the country. She tended to it all on her own.
ROSE
You’re from California?
Yes. I lived in Boston for a number of years. Went to school and stayed on for some time, teaching and curating (pause). Rose, may I be honest?
ROSE
Honest? Of course, Mr. Lambert.
JEFF
Rose, I’ve heard so much about your gardens. I was wondering if I could have a tour? I’m working on a series of sketches. Again it was such a coincidence the way you talked about the symbolism of the flowers. I’ve been doing ink and watercolor, some oil--and I suppose—I had without knowledge been inspired by their symbolism, but your saying it today and bringing it to the surface, that ignited a new. Some new interest in me. A different kind of interest.
ROSE
Oh, well, thank you-- and thank you for the compliments on my garden. I am afraid there is nothing to see, right now-- things are a mess. Honestly.
JEFF
The series I am putting together, the botanical prints — they are meant to be evocative.
ROSE
Of?
JEFF
Feelings. Even if it were bramble. There may be something there. In the stark beauty-- Would you take me through? Quickly.
ROSE
I really don’t--
JEFF
-- I like wild beauty. I’d like to just observe it, understand... I’d like to sketch some ideas...It won’t take long.
ROSE
(after a moment)
Mr. Lambert, now is not a good time. And perhaps it would be better if you brought Mrs. Lambert along too.
(Rose waits for him to say something, but he doesn’t.)
JEFF
That’s fine. Probably a good idea.
(Long pause. Awkward moment.)
ROSE
Mr. Lambert, I hope I am not impolite or--
JEFF
--About?
ROSE
The garden. If I can confide in you. I’m not myself these days and really not up to much. I hope that your interest in seeing the garden is not part of your mourning. I would feel terribly selfish. I’m not prepared-- (pause). I know this must be hard for you. Even coming here and talking with me about the flowers, the garden--I know there is never anything to say…the right thing. I just wanted to be alone after...
(after a moment)
This is rather personal, but after my husband died. I had the worst feeling that if I called his name it fell into an empty blackness. As you described in the poem. I felt that way years ago.. when I lost my mother I felt that void too--
JEFF
That’s so much to lo--
ROSE
--For me, after losing Nick, my husband, it’s as though one life has been replaced by the next, by this one. That blackness is there, the emptiness--
(regain composure. Deep breath).
Oh, I—can I get you more coffee?
JEFF
No. Go on.
ROSE
I’m sorry, I’m rather tired. The flowers. I can manage the change to roses.
JEFF
(rising)
I appreciate that and your sympathy. Helping me. It’s very kind--
ROSE
Certainly. I am honestly glad to be able to do something for your family.
JEFF
And thank you for coffee.
(Both rise. JEFF sarts out. oh and would it be all right if I kept the couple sketches you left with me of the roses and lilies?)
ROSE
Of course. By all means.
JEFF
And, come spring, when your things are in bloom and you are feeling more yourself, you’ll let me into your garden?
(Lights. End of Scene.)
Act I, Scene 4
Same kitchen. Rose and Charlie in the kitchen. Charlie putting together a model and Rose sketching. Quiet for a moment.
CHARLIE
This thing is a piece of garbage.
ROSE
What is?
CHARLIE
(frustrated)
I need help!
ROSE
Let me help you ...
CHARLIE
(after a moment)
What would you know? You don’t know anything!
ROSE
Don’t say that. Don’t speak to me that way.
CHARLIE
Ok, tell me than. How do you fix a carburetor?
ROSE
What?
CHARLIE
Or glue this wheel axle? Or do anything that dad used to do?
ROSE
I’m not a mechanic, but I can help you.
CHARLIE
How mom? How can you help me?
ROSE
Let me see it.
(Rose reaches for it to look)
CHARLIE
(pulls it away sharply and it falls)
Do you want to ruin everything in my life?
ROSE
I didn’t do this, Charlie! This isn’t my fault!
CHARLIE
You can’t ever do what dad did. Why didn’t you stop him. You could have. But you wanted him to go--
ROSE
That isn’t true!
CHARLIE
You made him go! They didn’t even tell him to go--
ROSE
How can you say that? Stop it! We need to --
CHARLIE
Just like you went to see Mr. Downey and got me suspended. I saw you there, crying. Telling him your side of the story!
ROSE
I don’t have a side—I’m on your side! I didn’t make your father go! There is a war, it wasn’t my fault!
(CHARLIE sits on the floor and puts his head in his hand.)
ROSE
(tenderly)
Charlie, I’m sorry. I want to help you.
(A moment passes.)
CHARLIE
Grandma asked me if I wanted to stay with her for a while.
ROSE
What? Why would she ask you that?
CHARLIE
She said so I can be with Grandpa. She thought he could help me.
ROSE
What do you mean a while? Help you with what? Does she think I can’t take care of you?
CHARLIE
(starts to cry, shaky voice.)
I want to—I need for Grandpa--
ROSE
Charlie. You’ll snap out of this. You miss your father. That’s normal. Charlie, I don’t understand. You can go over there whenever you want but, you can’t leave here.
CHARLIE
I just want to go for a little while. I can walk to school--
ROSE
You can walk to school from here. You can walk to grandma and grandpas from here-- I can’t have you leave here. This is your home.
CHARLIE
Please? Let me, mom.
ROSE
No. (long pause) I need to speak with your grandmother for even suggesting. Why would you go there?
CHARLIE
I told you. Grandpa--
(CHARLIE stands and walks over to Rose)
ROSE
No.
CHARLIE
You can’t tell me what to do any more! You aren’t even alive any more. You want me to stay in this house with dad’s things and with you? You are as good as dead?
ROSE
Charlie!
CHARLIE
I’m going to pack some things. I’m going to walk over to grandma and grandpas.
ROSE
No you’re not! (pause) I don’t understand what is happening with you these days. You are trying my patience! I will not let you go!
CHARLIE
I’m not talking to you.
(CHARLIE rushes out of the house.)