One Last Thought

 [Originally written in August, 2013 for 31 Plays in 31 Days (all posted on this site) this play was adapted for The Lacuna Works LEXiCON Festival in Faversham, Kent (between London and Canterbury) and won first prize among six finalists at the event on March 16, 2014.]

One Last Thought

At LIGHTS UP, we discover PROFESSOR GEOFFREY dictating to  his amanuensis, TIMMS. GEOFFREY stands, like a lecturer at a university (which he is) at a table, set with a couple of convenient volumes of reference, a pitcher with a half-full glass of water, and a vase of flowers. TIMMS is taking dictation in a notebook, as fast as he can.

GEOFFREY: (dictating)
“…that afternoon when he had discovered the surprising import of a tea in Tottenham, for it was this chance encounter that occasioned the next phase of John Aubrey’s extraordinary academic career.”

TIMMS labors to catch up, and after a moment of scribbling, with GEOFFREY waiting patiently, he does so.

TIMMS:
“…extraordinary academic career.” Got it.

GEOFFREY:
Well, that finishes out the chapter. And that should do it for today, Timms. You’ll type that up and bring me the proofs this evening?

TIMMS:
Yes, Professor.

TIMMS rises to go. GEOFFREY forestalls him.

GEOFFREY:
Stay a moment, Timms.

TIMMS:
Certainly, Professor.

TIMMS sits back down.

GEOFFREY:
You’ll forgive me, Timms, but you seem… distracted this afternoon. Are you feeling quite right?

TIMMS:
Oh, quite alright, sir. I got a bit of exercise this morning, a walk in the gardens, and then got in a bit of gardening myself, in my own little…

GEOFFREY:
“Domain.” If I may.

TIMMS:
“Domain” is a word would do nicely, sir, for the thought I had in my head. That’s why you’re the professor.

GEOFFREY:
And may I enquire after Mrs. Timms?

TIMMS:
Oh, Mrs. Timms is grand, sir. A bit of the rheumatism, now and then, since the accident, but she committed herself to a walk in the garden this morning, and though I often enjoy the solitude I was certainly grateful for her company.

GEOFFREY:
She’s a tad young for rheumatism, if you don’t mind the observation.

TIMMS:
Oh, no sir. And yes, I don’t know if that’s the proper medical term for it. Aches and pains still, since the accident, you know, but I don’t have that from a doctor.

GEOFFREY:
I see.

TIMMS:
She’s taken up needlepoint. It helps with the rheumatism. She sews flowers, while I pot and plant ‘em.

GEOFFREY:
“When Adam delved / And Eve spun / Who then was / the gentleman?”

TIMMS:
I beg pardon, sir?

GEOFFREY:
An old aphorism. Horn-book wisdom from centuries past. Might make a good embroidery.

TIMMS:
Can you elucidate, sir? I lack your scholarship.

GEOFFREY:
An old style saying, for the needlepoint. It would parse out something like this: “When the first man was    a farmer, digging in the earth to feed his wife and sons, and the first woman was a domestic worker in her own cottage industry, plaiting fibers to make fabric with which to clothe the couple –which person, in that situation, occupied the exalted status of the upper class?”

TIMMS:
I’m afraid I don’t know the answer to that, sir.

GEOFFREY:
It’s a rhetorical question, Timms. There’s really no answer to it. No one, really. That’s the point, isn’t it?

TIMMS:
I’m sure I don’t know, sir. May I go now, sir?

GEOFFREY:
Yes.

TIMMS starts to go, but GEOFFREY catches him
before TIMMS is well out of his seat.

One last thought. Take this down.

TIMMS:
Of course, sir.

GEOFFREY: (dictating)
Dash. “A phase of Aubrey’s career that would lead him to question the very foundations of his life’s work, an epoch marked by bitter disappointment and, perhaps because of it, to a renewed commitment that enlivened and enlightened Aubrey’s latter days and lent new meaning to his… his…

TIMMS:
You’ve already used “life,” sir.

GEOFFREY:
Yes, I know.

TIMMS: (reading it back)
Leading him to “…question the very foundations of his life’s work.”

GEOFFREY:
Yes, yes, I know.

TIMMS:
I’ve annoyed you, sir. I’m terribly sorry.

GEOFFREY:
No, Timms, it’s not you. I simply can’t think of a word. A man who has given his life to the life of words, and I can’t think of a simple synonym.

TIMMS:
Well, sir, I’m no scholar, sir, but… there’s really no synonym for life, is there.

GEOFFREY:
Well, of course there is, Timms!

TIMMS:
I’m sorry, sir. I spoke out of turn.

GEOFFREY:
No, no. I apologize.

TIMMS:
Oh, no sir. I’m sorry, I’m sure. There’s no two ways about it. Perhaps the thesaurus?

GEOFFREY consults the thesaurus. He thumbs through the index, muttering to himself, before he finds the entry and reads it.

GEOFFREY:
Life, life… Life of the party… Life of Riley… lifeless, life-giving, life’s blood… Ah! Life! Life: A being, affairs, biography… Existence 1.1

(looking at the first page of the book)

No help.

(back to the index, reading)

Lifetime. 110.5

(flipping to that page)

Existence.

(looking a tad embarrassed, but hiding it well)

Let’s try that one, shall we?

TIMMS:
Yes, sir.

GEOFFREY:
Would you read that back to me, Timms?

TIMMS:
Yes sir: “…enlightened and enlivened Aubrey’s latter days, and lent new meaning to his… existence.

GEOFFREY holds out his hand for the notebook
which TIMMS gives him. He stares at the page.

GEOFFREY:
That’s not quite the same, is it.

TIMMS:
No, sir.

GEOFFREY:
A bit flat, that is.

TIMMS:
Yes, sir.

GEOFFREY tosses the thesaurus on the table in disgust.

GEOFFREY:
Roget, you’re damn useless.

TIMMS:
Well, sir, he was a Frenchman.

GEOFFREY stares at TIMMS for a moment, for this
unexpected temerity. Then he bursts out laughing,
quite enjoying the unexpected humor.

GEOFFREY:
Very good, Timms! Yes, a fine scholar, but not without his limitations.

TIMMS:
Perhaps, sir, if I may, the fault is not with Monsieur Roget, but with Mister Aubrey.

GEOFFREY:
Eh? What do you mean?

TIMMS:
Well, sir… You’re attempting to delineate the life a man who encountered… frustrations, I suppose.  Or disappointments, as you said. And then went on to assimilate that… that lesson –that life gave him. Before he went to his Maker. Having learned what he’d been put on earth to do.

GEOFFREY:
Yes?

TIMMS:
So, sir, perhaps the gift was not in the realization, but in the travail that produced it. Life being not the result of living, but the engine of it. If you see what I mean.

GEOFFREY:
Yes.

TIMMS:
Mister Aubrey was –like you, sir— a brilliant scholar. But, perhaps, like all men, he came to question…

GEOFFERY:
Yes?

TIMMS:
Well, sir, forgive me, but –What’s the point?

GEOFFREY:
I beg your pardon.

TIMMS:
I’m speaking for myself here, sir. This morning, walking with the missus in the gardens, I felt so— so very small. I mean, I’m only a clerk to a man who’s a magnificent scholar, acknowledged by all as a brilliant man, the brilliant biographer of a brilliant man.

GEOFFREY: (blushing, false modesty)
Well…

TIMMS:
Himself a brilliant biographer of brilliant men. But when I expressed this thought to Mrs. Timms on our walk today, she said: Well, who’s he when he’s at home? She gets a bit querulous when she’s particularly ailing, but for all that, she has a point. I mean, you yourself are beholden to Mister Aubrey for your life’s work, its inspiration and even much of its substance, and Mister Aubrey before you, beholden to Bacon and Shakespeare and so forth, who also sat at the feet of another, and they at another’s, and so on, back to old Cain and Abel, and Adam himself.

GEOFFREY:
Well?

TIMMS:
So if I’m just a small period, a punctuation mark, in the book of another man’s life, so is he, and he before him –Mister Aubrey, I mean. And all before him, back to Adam, who was just a bit of a part in the book of the Almighty Himself.

GEOFFREY:
Get to the point, Timms.

TIMMS:
Well, sir, I’m no scholar, but I had a bit of learning at school, and I believe Mrs. Timms, in her plain way, expressed it. There’s a difference between life and existence, isn’t there. Life is growth, like flowers in the garden. And each phase of that growth requires the acknowledgement that we’re not there yet. That no thought is our last thought, really, until our final thought. Until the Great Gardener deems us worthy of a place at his table, perfectly formed.

GEOFFREY is speechless for a moment.

GEOFFREY:
Good God, Timms. You’re a poet.

TIMMS:
No sir. This was all Mrs. Timms on the subject. She has quite a lot of time to think on things, you see.

GEOFFREY hands the notebook back to TIMMS.

GEOFFREY:
Let’s hold off on transcribing that last chapter, Timms. I’d like some time to consider it.

TIMMS:
Yes, sir.

TIMMS rises to go. GEOFFREY forestalls him.

GEOFFREY:
One last thought.

TIMMS conceals a sigh as he drops gently back in his chair,
prepared for further dictation when he’d like to get home
to his garden and his missus.

TIMMS:
Yes, sir?

GEOFFREY:
Would you do me the honor of joining me for tea tomorrow? You and Mrs. Timms.

TIMMS:

Why, yes sir. Yes sir, we’d be delighted.

 

GEOFFREY:

If it doesn’t impose on Mrs. Timms too much.

 

TIMMS:

Oh no, sir. I’m sure she’d quite enjoy it.

 

GEOFFREY:

Well, then.

 

TIMMS:

Thank you, sir.

 

GEOFFREY:

No, no, Timms. Thank you. Until tomorrow?

 

TIMMS:

Yes sir. Good night, then.

 

GEOFFREY:

Yes. Good night.

 

TIMMS exits. GEOFFREY remains standing by the table. He starts to pick up a book, but his hand strays to the flowers.

TABLEAUX. LIGHTS FADE TO BLACK. END OF PLAY.

Water on Stone

Water on Stone

 

IN THE BLACK, we hear water dripping in an echo chamber. Then we hear the sound of a man laboring and breathing.  The first light we see is a flashlight, upstage and down low.

 

 LIGHTS UP slowly as we discern it is on the helmet of DAVE VAN FLEET, dragging himself along the floor of a narrow passage and into a subterranean cavern.

As he stands, we see him more clearly: A man in his 50s,  fairly fit, equipped for caving, with a colored utility suit,  detachable tool belt,     coil of rope, grappling hooks, etc.

DAVE:

You alright?

 

CHRIS: (off)

Right behind you. Give me a minute.

 

DAVE:

If I can get through, you certainly can.

 

CHRIS: (off)

Give me a minute, Dad. This is tight!

 

 We see a second flashlight now as CHRIS VAN FLEET enters  in the same manner. He’s in early 20s, similarly equipped.  DAVE steps back as CHRIS looks out into the chamber, downstage.

 

CHRIS:

Whoa!

 

DAVE:

What’d I tell you?

 

CHRIS:

Shhh.

 

CHRIS steps downstage and snaps his fingers. We hear it reverberate as an echo. Then he claps his hands. Again, it echoes.

 

CHRIS:

Daaamn. How big is it?

 

DAVE:

We haven’t mapped it yet. The cartographic team is on their way from the Czech Republic.

 

CHRIS:

It must be immense!

 

DAVE:

Pretty darned impressive, huh?

 

CHRIS:

Look at those speleothems!

 

DAVE:

Yeah.

 

CHRIS: (pointing up)

Soda straws. Helictites.

 

DAVE: (pointing down)

Look down. Rimstone. Calcite rafts. Cave pearls.

 

CHRIS:

It’s got it all.

 

DAVE:

I told you.

 

CHRIS:

How big’s your team?

 

DAVE:

At any one time? Forty, fifty people. Well, you know how it goes. People fly in and fly out. The government puts limits on the number of visitors to the karst at any one time.

 

CHRIS:

You haven’t greased the right palms?

 

DAVE:

No, not graft. They’ve got rebels in the hills here. Not enough to mount an offensive, but they occasionally kidnap tourists for ransom. The government’s pretty serious about it. No tourism in the karst. Which is a good thing. But it was work getting permission to fly you in.

CHRIS:

So, I’m the only tourist here.

 

DAVE:

No, son. You’re part of the team.

 

Something lower down captures CHRIS’ attention.

 

CHRIS:

Look at that rimstone. Layers of it.

 

DAVE:

The hydrology people are all over this. We got several of those. Americans, from Indiana.

 

CHRIS:

I can imagine.

 

DAVE:

The biology is a little thin. Your mother was disappointed. Hardly any arthropods at all so far. Some pretty interesting chemotrophic bacteria. The chemists are having a field day!

 

CHRIS:

And you?

 

DAVE:

Yeah, son. I’m pretty happy. I think I may have stumbled onto something pretty special here.

 

CHRIS:

Look at those draperies.

 

DAVE:

We get some lights down here, you wouldn’t believe their colors. But I didn’t want to bring a whole team. Just you and me.

 

CHRIS:

It’s beautiful. Thank you.

 

A pause as CHRIS admires the cavern in silence, and DAVE looks at CHRIS.

 

DAVE:

How’s school?

 

 

CHRIS:

Oh, you know.

 

DAVE:

No, I don’t. I didn’t go to Harvard. Declared a major yet?

 

CHRIS:

I got to soon. Next year.

 

DAVE:

What are you thinking?

 

CHRIS:

I haven’t decided yet.

 

DAVE:

Archeology?

 

CHRIS:

I haven’t decided yet.

 

DAVE:

Maybe Physical Anthropology.

 

                                                            CHRIS says nothing, stares at the cave.

 

DAVE:

Well, you know, whatever you pick, that’s fine by me. As long as you’re happy.

 

CHRIS:

Yeah.

 

DAVE:

What’s wrong?

 

CHRIS:

Nothing, I just… Well, I don’t deal well with pressure.

 

DAVE:

Hey, nobody’s pressuring you. Whatever you decide.

 

CHRIS:

Yeah.

 

A pause. We hear a drip reverberate.

 

DAVE:

The draperies are so delicate. The calcium carbonite content has to be just so, balanced against the limestone in solution, and all at just the right inclination. Somewhere between twenty and sixty. The colors come from the amount of iron in it. It’s just beautiful, isn’t it?

 

A pause.

 

CHRIS:

What if I didn’t pick a science?

 

DAVE:

Well, son, everything’s a science. I hear you need statistical analysis to get an advanced degree in just about anything. Political Science, Sociology, History…

 

CHRIS:

What about Art.

 

DAVE:

Art?

 

CHRIS:

Or Art History.

 

DAVE:

Wow.

 

CHRIS:

Yeah.

 

DAVE:

Art History.

 

CHRIS:

Yeah.

 

A beat.

 

DAVE:

Why?

 

 

 

CHRIS:

I took a course in it. You said explore, I explored. I was telling my professor about all the places I’d visited, that you took me to when I little –Lascaux, and Altamira— and about the work you did at Arnhem. And… and I was more excited about that than I ever was about any metrics or statistical analysis.

 

DAVE:

Well, that’s science too. Parietal images.

 

CHRIS:

“Parietal images.” Nobody ever talks about it as art. These people, the men who made those images, they experienced the same wonder you do. They came down into these places, places few people or none had ever been, and left a mark to show they’d been there. It’s awesome. It’s… it’s what I want to do.

 

A pause. We hear the drip reverberate.

 

DAVE:

And you think I won’t understand that?

 

CHRIS says nothing, just nods.

 

DAVE:

You know how I got into caving?

 

CHRIS smiles, shakes his head.

 

DAVE:

I was taking a class in political science, and we were reading Plato. God awful boring stuff, the Greeks. But we read this one Dialogue, The Allegory of the Cave. All about how most of us go through life watching shadows on the wall, but the philosophers –the scientists, I thought— are the ones who see the forms behind the shapes, can look directly at the essence of reality.

 

Spring Break, a bunch of us drove down from Palo Alto to stay in a cabin in the foothills. There are caves all over the Sierras, of course. And I started going to them. At first, because I was curious, then because I was interested, then because I was obsessed. Like an artist.

 

CHRIS:

Like your father.

 

DAVE:

We’re not that different.

 

CHRIS:

You and your father?

 

DAVE:

You and me. Or, yeah, me and my dad. Music was everything to him.      What a pair we made. The artist and the scientist. But he understood,      you know?

Scientists flatter ourselves that we’re not looking at shadows, but right at the heart of reality. But a real scientist will tell you, it’s all projections.

We’re all part of a process, bigger than ourselves. It’s an accretion. Like water on stone. In terms of what makes you happy, science or art, it’s the same as anything else.

You delve. You see what’s down there. You pay attention ‘til you find something special.

 

A pause. We hear the drip reverberate.

 

CHRIS:

You missed your calling, Dad. You should have been a psychologist.

 

DAVE:

Naw. I’m right where I need to be. We both are.

 

The two men smile, put their arms around each other, look out at the cavern.  We hear the drip reverberate.

 

                                                            LIGHTS FADE TO BLACK. END OF PLAY.