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1. the Arrangements

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1. the Arrangements 1. THE ARRANGEMENTS 2. ACT ONE Upstage right is TIME. TIME appears through colors, flowers signifying seasons and change. Images of flowers, petals; written name of a flower, or a flowers description. A whiteboard can be used or images can appear right on the wall; whatever works so long as TIME is the backdrop stage right. Stage left is MEMORY. Memory shows through flashes of pictures and/or scenes on a projector screen; clips or pictures will consist of people we know collectively (LeBron James, Michael Jordan, playing basketball, for example) but also pictures or flashes from the lives’ of the character’s in the form of photos, Snapchats, Instagram pics or updates; [**hopefully (rights TBD) bits and pieces from a wheelchair basketball documentary,"The Rebound," are included.] Images and words appear, disappear, flash. Audio can or does not have to be included. It is up to director (and to some extent actors) in a particular production to decide how aware or not the characters are of TIME and MEMORY. The director also has creative license to add necessary images or words particular to their production. Either way, TIME and MEMORY should not overwhelm. They are background, running, not in a conscious way. If audience misses some of the images or words, it doesn’t matter. The experience is collective over the course of the action. One way to imagine is almost subliminal: noise we carry with us in our heads--images, voices, pictures, colors, memories--of experience. Unconscious, not linear. The FLOWER SHOP stands CENTERSTAGE. Around which all else grows. Present tense. Scene 1: EARLY SEPTEMBER Small, quaint flower shop. Brooklyn, early fall. All of the action of the play takes place in the flower shop as if it is the only place that exists. The heartbeat. A counter and a register. A small table and chair to the side. A small couch. TIME SR opens early autumn orange. Can change or deepen. Flowers, petals, maybe. 3. "Remember Your Name and Address" sung by Sara Hickman (words by Irving Caesar, music by Gerald Marks,1965, Morlong Music Corp.; a song from a series of 1930’s "Songs of Safety") plays as lights rise. A kid, CODY, seventeen, long hair hanging, parked behind the counter earbuds affixed, reads "The New Biographical Dictionary of Film: Fifth Edition, Completely Updated and Expanded." On MEMORY screen SL the song lyrics are projected as the song plays. "Remember your name and address/And telephone number, too/And if someday you lose your way/You know just what to do/Walk up to the kind policeman/The very first one you meet/And simply say, "I’ve lost my way, I cannot find my street/But I know my name and address/And telephone number, too"/Then he’ll be kind and help you find/The dear ones who wait for you/The dear ones who wait for you." When the song ends, phone numbers flash which eventually morph into nonsense series of numbers flashing. Then the words: DONT. GET. LOST. Can stay or disappear. Cody glances to the lone customer, male, forty-seven maybe, KEVIN: graying but a full head of hair, well-cut suit, tall, handsome, out of place, holding a Starbucks cup. Wanders, ostensibly taking in the flowers, he touches nothing. Removes sunglasses, looks at them, puts them on, takes them off, pockets them. One to two awkward minutes. CODY Hey, chief, looking for something? KEVIN Oh. Pause. Yes. What are these? He points to a bucket of pale yellow flowers without looking. CODY Peonies. 4. KEVIN Peonies. CODY Want ’em? KEVIN How do you buy them? CODY How’d ya buy that? Gestures to Starbucks cup. Kevin looks at the cup as if he’s never seen it. KEVIN I have that--app on my phone, they uh, scan-- CODY Wallet-- KEVIN Exactly. Yes. Makes it.. convenient. CODY Current day commerce. Astonishing. KEVIN You don’t take it,...right? Wallet. CODY Standard American cash or credit customer to vendor protocol. Nothing sexy here. KEVIN Do you, I, buy them by the...bunch-- CODY Is that a technical term? KEVIN Bouquet, I mean, is that the word for a bunch of flowers? Boutonniere? CODY In the market for a boutonniere? Going to prom? On MEMORY a prom picture, a couple, happy, beautiful, eighties hair, snapped happy in a photograph. 5. KEVIN Do I look like I’m going to prom? CODY You look like Mad Men. KEVIN I meant do, do you buy the flowers separately, or mix them with other flowers, make an arrangement-- Suddenly, inexplicably, Kevin puts his face into the flowers, breathing, visibly moved, almost to tears. As if he is suddenly awake. They smell amazing. God, like life. So fresh! So alive! Free... On TIME appears, "Floriography--the meaning of flowers--inspired by women of Ottoman Empire who used flowers to convey messages that they could not say aloud." Petals might appear. CODY (unimpressed) No, chief, they’re not free. They cost something. You know that. KEVIN (startled) I know that? CODY Look at your suit. Everything costs something. Even freedom isn’t free. KEVIN I see what you mean. Kevin backs away from the flowers and TIME goes blank. Throws the SBX cup in a trash can near the doorway, turns to the door. CODY Come in straight from the city? KEVIN Why do you say? CODY Manhattan all over you. KEVIN How’s that? 6. CODY How it is. KEVIN Is that so? CODY You catch that movie, Steve Carrell, Ryan Gosling--nominated for everything, hell of a movie, stock market home equity crash biopic--The Big Short? Catch it? On MEMORY flashes Ryan Gosling, Steve Carrell, a trailer for "The Big Short." Dollar bills. KEVIN Sure. Clever. CODY Frantic suits. Sunglasses. Glints of sweat glaze upper lips. Roller coaster hum underneath seat. The sheen of success, but desperation, isolation. KEVIN Sure-- CODY That’s you. MEMORY screen goes blank. KEVIN You don’t know me. You’ve got a good imagination, I’ll give you that. CODY I don’t and I do. KEVIN Thanks for the help. Kevin turns to go. Cody surprises himself by speaking. CODY I know it’s 4:30 on a Friday and by Friday, workadays like you sometimes go something like crazy. Get on the subway. Mean to head home, somehow never get there. Appear instead in Brooklyn flower shops to loiter for about half an hour. Figure at least a few minutes respite of "just browsing" if the help seems at all millennial--self-absorbed, apathetic--and who else is going to work at a flower shop?--but they’ve 7. CODY forgotten the obvious, so nose on the face: who browses in a flower shop? Go to a flower shop, you know what you’re buying. Someone just died, got promoted, an anniversary. Reliable specificity inherent in flowers. Part of their beauty. A semblance of direction. Now I don’t know what, chief. But that’s a detail: you’re up to something. KEVIN Up to something? CODY Right. KEVIN Maybe I just like peonies. CODY You didn’t know what they were. On TIME a picture of a pink peony blossom. The meaning words, "romance, prosperity, compassion" flash and stay or disappear. KEVIN Flowers in general. CODY Which suggests you’re a novice. KEVIN I know peonies. I just didn’t remember. CODY What kind of peony is this? The peony on TIME flashes. Cody bolts with surprising energy from behind the counter and pulls a flower from the basket, challenging. His book lands on the floor. KEVIN What’s your problem? CODY As he speaks, he walks toward Kevin, until he is in Kevin’s face, has him backed against the door, flower to his nose. TIME shows a flower blooming and closing over and over again about three or four times faster than real. Colors change or stay static. 8. Fragrant, chief. Herbaceous peonies sold as cut flowers, among the most popular garden plants. Thirty-three species. Fucking plethora. A beautiful nymph Paeonia attracted the attention of Apollo. When Paeonia realized Aphrodite was watching, she got shy, turned bright red. Aphrodite, enraged, transformed the nymph into a red peony. That is how the peony came to symbolize bashfulness. He steps back but stays close. You don’t know a goddamn thing about peonies, dickwad. Why don’t you have some balls and cop to why you’re really here. KEVIN I’m not here for peonies. CODY How did you find out where we were? She doesn’t want to see you. KEVIN Who? CODY You know. KEVIN What do I know? Kevin pushes Cody away from him with surprising strength. Cody isn’t ready, knocked ass backward in the middle of the store. CODY What the fuck, dude- On MEMORY flashes a picture of two little twin boys in blue caps and overalls, a school picture of Cody as a little boy. KEVIN I’m sorry, I didn’t mean to hurt you. You were just. JANE, forty-seven maybe, thin and frail, short dark hair and pretty, enters from the back, behind the counter. She’s lovely. Real and upbeat. People lean in. Her natural smile turns confused by what is in front of her. JANE Cody? What are you doing on the floor, honey? 9. Cody stumbles to his feet, glowering but embarrassed. CODY This asshole just knocked me down is what. JANE (genuinely confused, but laughing) What do you mean? KEVIN It was an accident. I-he-was in my space.
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