“THE ZULU AND THE ZAYDA” SONGBOOK p THEODORE MANN and DORE SCHARY 7 present MENASHA SHLINIK THE uu SRE CRYOR HOWARD Da SILVA FELIX LEON “Music and Lyries by HAROLD ROME DORE SCHARY MANUSCRIPT ONLYThe Zulu and The Zayda % SONGBOOK * Masic & Lyrics by HAROLD ROME Jor the play by HOWARO DaSILVA & FELIX LEON based on « story by Dan Jacobson MANUSCRIPT ONLY Contents pee 1. Teanauza 238 2. Caocooite Wire 6 3. I's Goon To Be Auiva e 4, Tun Warck Wrans Down Tuo Stone 2 3. Rivens Or TeAns “4 6. Line THe Busezs Brows ” 7. Our Or Tis Wont 2 8. Some Tunes. 26 9. Zu.u Love Sone 2» 10. May Youn Hear Star Youne 33 11, How Coto, Coup, Coup AN Emery Room. . 37 FLORENCE MUSIC COMPANY, INC. CHAPPELL & CO., INC,, sole selling agent G4 Boru Avcouti, New YousThe Zulu and The Zayda Produced by THEODORE MANN snd DORE SCHARY, Fit performance November 10,1963 the Cort Theat, New Yatk Dineied by DORE SCHARY Sesings and Lighting by Wenn av Jean Eoeant Cont: by Beans THOHPON Manic Sapevtin & Orcheirains by Mecen KuPrennan (Orcheive Condaied by MICHAGL SPIVASOWSKY Produsion Stage Managers J Senne ano Harty YOUNG Cast of Characters tte deo gpvnone) Jones sie ws eo jee it Manny Gross See Sve een cnowwae Sacinorneghn daemon nose Palip Veet Daw Gros . ihe Plaeue fue hc Reap oe Zara enshe S ovr view evman Be Pass “ann Got Woven wr Baty Csnnce un est Poucian Dard ors Pres Peet Dede yore Yerbe Kone fou inte Speer wnuan Eos Warten Gres Noort os Lowa hemp Crowrenin eben Hei Dreracow Mocs Nounvee Shion tot Nome Sader KentPhe Balu And The Zo! Tkambuza (Zulu Hunting Song) Words aud Music by HAROLD ROME Fiercely (with marked rhythn) fe Voice Piano too - on, Tee am- bu ma is here, might - y Th um- bu = 2a Kan. The iy on ‘Chippel & Ce Internationst Copyright Tate om 5A ALL'RIGHTS RESERVED eluding pubic pfrmsice foe pot fey copying. stangng cr minting thn work withut the Foiest Of the owner a an infringement ef copyrightIe = mpi will throw his spear! Have wo foul 1 EFFon—— head arena yy might = y, hunt = er king! Might - y, might - y Wi ow kill = er! Might = y, might-y ‘Tk-am- bu- 2a, that’s met“the Balu dnd The Zaye! 6 Crocodile Wife Words aud Music by HAROLD KROME Piano Refrain F ef: ehh hth fe =] S]] 552554 f= thor. he wr = rik urath= eres hem = ried > me abot mes riod é es +--+ Ee SS SSS == cn? F cm? croc-0 -dile wife, th? Mar- ried. uw crue-o-dile, wife, tk th, My chick-y chick wife, th, Mar - ried. 4 chick- y chick wife, tk tk. My night-in-gale wife, th, Mar > sled. a night in-gale wife, tk Uk, But Srmgue etek copyright © 1008 & Hou by Harald Rome Froreuce Manic Company, Ine onucr of Poles end sled rights troupe Ue world ‘aig sen Internat ake tab ALU KIGHTS RESERVED inclusng pole ptfeance Cor pati Wor adaping of thie werk without he consent ofthe one is a agement of copyrightF car fu + tere he mar rie a etme 0 - dle wife, thy ruth - er he mur - rid chick = y chick wifey th, me ab omine i a night - in - gale wife, ty aia tf F cm7 Mar = ried a erue = 0 ile wife, te = tk, that Mar - ried a chick - y chick Wife, tk = tk, that Mar + ried = 2 night - a = gale pelle thet thee iat Fu cat yeo ies ma- ma yes le + mas mu yer mt bites! plek sings, bites, bitest_— picks, Wieks sings, sings! —“Phe fate dnd The Zap It’s Good To Be Alive Words and Music by HAROLD ROME, Lively Piano Refrain - Brightly a % Dm At F isn-18 Florence Muse Comey, Ine, oe ‘Chopra International Cppyright Seeded ALL RIGHTS RESERVED Including public vs ranging oF adapting ef this work without the content10 AT ny coda ™ Gn The alr The sky gee“ for you and me. ex with Test for nora with you and me. bless, a a | ee 8 D.S.ai Coda % for seen - er = y. Ayal I tgs new, Ayel Its ot ge oe ty Agel Tes IIT F TF D.S.al Cada % Flor et i Coda Dm a Da. a Da AT Da Gut Tah-ke leben is gui! Tah-ke good to be a - livel__ = ——. eas sen-an"The Lala And The Zope” = the Water Wears ‘Down The Stone Words und Music by HAROLD ROME “Moderato gaily Refrain ¢ Dm wears down the stone, wears down the Ail me,F And tite trier rt F Life Di a rTt as ee rye F 6 = wears down et Life preryirre lf ri rh reia "Phe Babe dnd Phe Zeya" Rivers Of Tears Words and Music by HAROLD ROME Moderato ta. Piano wv cn Fa 4. If there is no darkness, then where isthe Light? 2. If we had no weak ones, then who would. be strong? B.With no dust be - neuth us,’ which way is__ the sky? =—— Fn or Cm It there are no shad-ows, what cor - ner_ is. bright? With-out room for qui - et,’ how could there. be song? Who knows what the truth is, with ruth - Inga We?How cin yeo - ple climb up, with no - where. to fal? How cin hearts be mend-eé, if they rev = er break? If there are no stran-gers, then isa friend? or Who is. the gis ant, if all men are tall? With sleep for noone, then how do. we wake? Where be ginning, if there is no end? Refrain (expressively) 7 Fre Lu- lee la laste + le lu, That the way of the world a — aby ® or cr God in his wis-dom, the way of the world. tT46 Fm o == of tears ean-nut =~ Ty, Thats the way thatmeno" Tike The Breeze Blows “ Words and Music by HAROLD ROME, Brightly (Like tke provee) (ugg the breese blows) ete =F aa Piano Refrain (with a tively rhythm) Bin? a Bia? B Bin? 4.You east stop the breete from blow-ing, the sun from bumn-ing. (2/Yer) cant stop the rain des - cend-ing, the stars from glow- ing. att step the days from go - ing, You cafh step the night from end - ing, copyrient © 1968 ty Harold Rome Fletence Music Company, Ine ,awnt of publicetion and alled right throughout the werld ‘Chappu & Co International Copyright Sec Maken 5. ALL RIGHTS RESERVED Incl eases for polit [Any eopving, vangog or udgptng of thie work wthout the consent ofthe ewser la an lnfragemant ef cemycahtturn - ing! show - ing! — You cult stop 4 dream “) a Bint a Bh B Bin? of men from grow ~ ing, — of + ver the world from growing, the49 » a —— fi ete = a jot Pea i Z = breeze blows, it will. come! Like the sun burns, it will — rain falls, it will come! Like the stary glow, it will Be Bin? B Bin B Ria? — come! Like the days’ go by and the tide must tun, You come! «Like the night smust end and the dawn mast break, You EB Bhat B abn B Bn? cart stop ream in the hearts of men from grow-ing.— sont22 e108 B Bm? B Bore? B In the bearts of men all - ver Brow ing, grow- ing, grow- ing Bb Bint a Bhat a Bbm? (grow- ingi— Bim? the worldpe Daly And Phe Leys" 28 Out Of This World (Oisgetaaichnet) Words und Music by HAROLD ROME Moderate (gatiy) or lit = the plea- sures, Like a stra. del, stuffed with borseht ur sehav, Ona hot day, or * bread that bakes, Or 8 hot bath when your ards you win, A glass selt = ger af - ‘ter # Prauvuasut"Opngehuatbac” copyrint © 188 by Hs Forse Musie Company fne,,eenetolpobestion a sonas ‘Chappel & Coy iene International Copy eee UES.A. texmuace for profit ‘nfeigement of copyrightBs ca Fa Ee == = £ 2 é + man y Tho yours ture the world iso - ing. wn cantor durv-ner, like Ca - ru > su, hut pas - tra ul Tye, bones are aching, Af - ter work, a wel - come glass of sehnayp a Mg din-ner Bit - ing on ripe and juic - y peach, See a = tri Ev - ry it~ tle while soine - thing comes a ~ Jong: Or 2 trate -ke - le com = ing bounc- ing by. Or an ach ing tooth when it fint~ Uy stops Or some - one 10 scratch where you ean - not reach > = ee tPF x Refrain c = ge teaioh - neti Qis - ge teaich - neti t25 Ois = ge- trick - net a Ty] Co ce Te Dance Fine ina ae ‘Teans-la-tlon: Out of this worldl— = > oo > wn9-28ptt str tat : Some Things Words and Music by: HAROLD ROME Slow and steady ve 2 16 Refrain-Quietly with great com cB c Gut bars same harmony) as uweh as meat and bread 157 F Some things & man must have "ECF Tr | f= 5 == = = 5 Some things 3 nan must have wo bo can lit he baad, és = = ea Pie TP oe erp SS SS Fal = SF = —— Copyright © 108 & 16 vy Harold Rome erence Mus Campy, lney xref plication aud Chappll Colne, soe cling gust Hinde ts 65.8 tor prot Is talngerent of copyra International Copyright Secured ALL RIGHTS RESERVED including plc perforin Any eopyingwtenting singing of tit wark without the eonnet ofSeine things 2 man must keep so that his soul may _livet Some things beyond a price to all mea tonsSome things aman must cherish, Some things man tnust have,Sume things, fesA) Sume things, (xAd Some things! PRE sorv-au“The Eola dud The Zoya” ° Zulu Love Song Words und Mune by (Wait For Me) HARULD ROME, With an easy rhythm Ke + mem - ber Piano Af African drum thythm throughout simile c Last time to Coda ® = your fas Ger walt, # tong Copyright © twos & 1986 by Harold Ros fT agement Sedo Ute (ew etectettnt Seortat seated eect tak ASE RIONEY AEEEORED at pane gutta ei Any og nung ty a 0 wo bt ob te 0-98 Flores Mosie Coan 4.1 have 2 Far from B.Wide and Omit 14 time ~2ud tine ring Q-third tine sing Q and @ c c home! did 1 wan = der Hal long——— have 1 tur elled Hat hun - dred maid - ens,Hike thee! ‘Tk none! Tk tk none! Re-mem- ber my)‘Phe Late dnd Tho Zoya’ al May Your Heart Stay Young (L'Chayim) Words and Music by HAROLD ROME Moderato Anr Ane Voice == Lo chay % Piano life, Hold your iF it # sare-ay Couyredt © 19054 1968 by Hare Rome Floesce Music Company, uuleatign a alleg rgh Coughs the world Intern Secu late tn SA. ALL HIGHTS RESERVED including public pectormasce fr pret ‘Any copying, at2ngiag oF alain thin work without the consent of the owe nen infslagement of copyrightAmTa Cone © fay Amt im! May your tart stay As the years There is soraSo while to - day | —— fades 8s way, Now is the — time a Now is the time,Now is the — time ss E D.S.at Coda % T- 5% 2. 8.n1 Conta} ne Em? Emon 7 1 heart stay ser your ‘As the years ga rush - ing prety al rall.e din e008"Yow Cold, Cold, Cold An Empty Room Words and Music by Moderato HAROLD ROME cm Voice Piano wv - 7 Sadly and reflectively Fr i ald, cold, cold, 18F) BF Coser.) an emp = ty room) _— ‘Any copying, senoging ot sping 9 hie work witht tht Ihe ura ie an inllngement of copyighted house, Fn? Jone-ly und bare. How wold, cold, cult an emp = y TEP CBCERD BER EF BFE’ Gumecm + to spring! — ness since youre Com(ass.4) cm = ness since youre — gone! 2 SS = >Far Cm SSS SS Ss wen took k= rund, a Pod, seek Ps 4 | I 3 J # ES — “ER EP ee } e PEP a er you ey -'ry - where cold, cold, cold an enp - ty eS oie Crus. 4) cm Fav room. — How cold, cold, SS SS Te eF FF 7H? Tee ey PEP REFTHE ZULU AND THE ZAYDA oe sora se coer et BASED ON THE SHORT STORY BY DAN JACOBSON ‘MUSIC AND LYRICS BY HAROLD ROME * * DRAMATISTS PLAY SERVICE INC.© Corrnicie, 1966, ay Howann Ds Siuva ano Fruix Leow © Corycir, 964, vy Howaao Da Sinva axo Frux Leow (a8 As0 UNPUBLISHED WoRK, UNDER THE TITLE “Tae Zutu ano TE Zee") [Basen ow itn Dav JAconson stonr stony “Tig Zutu ano 7s Zst08.” Lyrics from the musical compositions: IT'S GOOD TO BE ALIVE, RIVERS OF TEARS, LIKE THE BREEZE BLOWS, OUT OF THIS WORLD (Oisgetzaichnet), Copyright © 1965 by Harold Rome. Lyrics from the masieal compositions: TKAMBUZA (Zula Hunting Song), CROCODILE WIFE, SOME THINGS, ZULA LOVE SONG. (Wait For Me), MAY YOUR HEART STAY YOUNG (L'Chayin), HOW COLD, COLD, COLD AN EMPTY ROOM. Copyright © 1955 and 1966 by Harcld Rome, Florence Music Company, Inc, New York, N. Y., owner of publication and allied rights ¢hroughout the world. Chappell & Co, Ine, soe sling ‘gent. Lyrics used by permission, CAUTION, Professionals and amateurs are hereby warned that THE ‘ZULA AND THE ZAYDA is subject to a royalty. It is fully protected lnder the copyright laws ofthe United States of America (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention land the Universal Copyright Convention, and of all countries with ‘which the United States has reciprocal copyright relations. All rights, inchuding professional, amateur, motion picture, recitation, lecturing, public reading, radio broadcasting, television, and the rights of trans Tasion into foreign languages, are strictly reserved, Particular emphasis is laid on the question of readings, permission for which must be secured from the author's agent in writing All inquiries concerning rights (other than amateur rights) should be ‘addressed tothe author's agent, Miss Audrey Wood, c/o Ashley Famous ‘Agency, Inc, 1301 Avenue of the Americas, New York, N. ¥. 10019, without whoie permission in writing no performance of the play may be made ‘The amateur production rights of THE ZULA AND THE ZAYDA jn the United States and Canada are controlled exclusively by the DRAMATISTS PLAY SERVICE, INC, 440 Park Avenue South, New York, N.Y. 10016. No amateur performance of this work may be given in this territory without obtaining in advance the written per- mnission of the DRAMATISTS PLAY SERVICE, INC, and paying the requisite fee aos “The Service can furnish copies of the piano and voice music of all of the songs used in this play at $3.75 pec set, which price includes pack ing and regular shipping charges.‘THE ZULU AND THE ZAYDA was fist presented by Theodore Mann and Dore Schary at the Cort Theatre, in New York City, on November 9, 1965. Ie was directed by Mr. Schary; settings and lighting were by William and Jean Eckart, and the costumes by Frank Thomp: son. Musial supervision and orchestrations were by Meyer Kupferman, and the orchestra was conducted by Michael Spivakowsky. The Pro- duction Stage Managers were Jeb Schary and Harry Young. The cast in order of appearance, was a follows: Jonas Koorex Hassy Grosssian Haxey Grossmass Annaun Grossaut Davio Grossias Ene Zavon ‘Tommy Lavron Prunus Woman wins Basy Cansiacs Pourcesatt Perea Jou Jom Wasa, Me. Lass Mas. Lanes Growiwate Drexs0om Mounnin Nuase Time: ‘The Present Ossie Davis James Higgins Joe Silver Sarah Cunningham Philip Vandervort John Pleshette John Randolph Jones Menasha Skate [Norman Burrs Louis Gossett Sandra Kent David Mogde Peter DeAnda Yapher Kotto Christine Spencer Ed Hall Charles Moore Ella Thompson Robert Hewitt Max Jacobs Salem Ludwig Sandra Kent Place: Johannesburg, Republic of South Africa 3Scene 8—Dining room, Scene Hill ‘Scene 10--Green Meadows act it Scene 1—Jail ‘Scene 2—Cemetery ‘Scene 3—Porch ‘Scene 4—Dining room ‘Scene $—Nurs station Scene 6—Alley ‘Scene 7—Outsde of hospitalTHE ZULU AND THE ZAYDA ACT I The bouse lights dim. Before the curtain rises, we bear distant drums which beat out a constant rhythm. ‘The curtain rises and tbe lights come up on the Botanical Gardens. The area is usb and colorful. ‘We see Jobannes, (one foot on a bench) singing bis song “TKAMBUZA.”” JOHANNES. SAY BYE BYE TO LION. ‘TKAMBUZA IS HERE, MIGHTY TKAMBUZA! SAY BYE BYE BYE TO LION. ‘TKAMBUZA, HUNTER KING, INKOSILEMPI 1S HERE. “AWUYELELE-MA-MA! (Policeman enters R., comes up to Jobannes.) POLICEMAN. Your pass. (Jobannes bands his pass over, The policeman glances at it and reiurns it) What are you doing here in the park? JOHANNES. Waiting for baas. He talk on telephone. (Policeman nods and walks off L. Jobannes watches bim, then starts to sing again.) SAY BYE, BYE, BYE, BYE TO LION. ‘TKAMBUZA WILL THROW HIS SPEAR! HAVE NO FEAR! SPEAR WILL FLY! LION DIE! VERY DEAD! STAND ON HEAD! YOU WILL SEE!MIGHTY, MIGHTY, HUNTER KING! MIGHTY, MIGHTY’ LION KILLER! MIGHTY, MIGHTY TKAMBUZA, THAT'S ME! (obannes finishes song with a flourish, then comes down to the footlights and addresses the audience.) [ am not Tkambuza, Mighty Hunter. I am Johannes, mighty houseboy. (Bows) My baas is Harry Grossman. He talk on telephone. His father, the Zayda, lost again. Oh . . . in Yiddish, Zayda mean “grandfather.” In Zulu, wwe say “Ubsbs Mihulu.” . That Zayda, he hard to ind hhe a runner! He don’t give Baas Grossman a minute's rest! That Zayéa don't give ME a minute's rest! He don't give anybody a minute's rest! He old, but he spry like monkey. He in Johannes burg two month, but I bet he see more of Joburg than I see in two ‘year. This week he get lost four times. Tuesday, he sneak in con trol tower airport . . was something! Wednesday, he erawl down into old gold mine |. . (Points to slag pile.) was something get him up again! Yesterday, he visit native coffee shop . . order tea in glass! Was something, something! And today he disappear in park, HARRY'S VOICE. Johannes JOHANNES. Coming, baas, coming . . . we go home now— (Jo ‘audience.) I think I have idea! Excuse... (He exits, During Johannes’ narration, the Scene bas been sbifting to the terrace. Lights come up on the terrace. Helen is on stage, Arlbur comes stunning in.) HELEN. Anything? ARTHUR. No. Someone at the Marina said they saw an old man wading in the boat basin, but that was in the morning and he left around noon, (David comes running in. He shakes bis head.) DAVID. No one saw him atthe Bus Station HELEN. Maybe we ought to try the Railroad yard DAVID. Maybe the Bantu Men's Club again. (Harry now enters with Jobannes. He looks at the others, wbo shake their beads 'no.") HARRY. Well? Nothing, ch? Nota sign of him. Where could he ‘be? He's not in the park. Not in the Flea Market. Where could he be? I don’t know what P's going to do with him. Unless! Tock him up and chain him JOHANNES. I thinking, baas, Old Zayda, he get lost all the time. 6Suppose you find someone else get lost with him, but that someone else know way back home. HARRY. No, Johannes, the missus needs you around the house. JOHANNES. Not me—that someone else my brother Paulus. He protect Zayda HARRY. You never told me you had a brother. JOHANNES. Yes, Paulus! He gente, like gentle woman—and he smart—in village, all kinsmen come to Paulus for advice. He know ‘what make grass grow, how to take care of sick, which herb to eat and HARRY. Whereis he working now? JOHANNES. He back home in kral. I say come and he come HARRY. Does he speak any English? JOHANNES. Paulus, Zulu, he leam quick. HARRY. No, no, forget it. (He gives Jobannes bis coat and bat and Jobannes exits. To others) 1 simply cannot go on like this. ‘cannot take time off from the store every day to look for him. The last four days, every day! HELEN. Did you talk to him about the Golden Age Club again? HARRY. Yes, I did, He thinks the Golden Age Club is a good idea. He says hell be happy to join—when he gets old enough! For a ‘while T thought | would send him back to London, but I can’t. After all, he's not getting any younger. It was diferent when Mama was alive. She watched him like a hawk, A gentle hawk, she was, my mother—how could he take care of himself in Lon- don? ARTHUR. tt would help if he didn’t insist on talking Yiddish to everybody. HELEN. Well, he’s proud. He’s a prond man. DAVID. That im't why he talks Yiddish, He doesn’t want anybody to understand him. ARTHUR. Dad, | think it would be a good idea for Zayda if he went to a home like Beth Davi. HARRY. Stop that ARTHUR. Well, at least you'd know where he was. HARRY. | don't want to hear aboot it. ARTHUR. Institutions for the aged have changed since Dickens’ ‘time. Beth David has two social workers, an occupational therapist, registered nurses 7DAVID. They even have a cricket feld—not regulation, but it's a field HARRY. That's enough. I am not sending Zayda to an old age home. (Eric, a big beefy Afrikaner policeman, enters with the Zayda asleep in bis arms. He caries a spear [assegai] as well.) Papa! What happened to him? ERIC. Shh. Shh. Quiet, He's asleep. HARRY. Asleep! Where did you find him? ERIC. A native bus he was riding HARRY. Didn't they see he was European? How did they let him ERIC. | don’t know. He carry this assegai . . . maybe they think coubaas fom Kral. (He laughs.) HARRY. That's all he needed, an assegai! HELEN. Harry, don't stand there with that thing, take Zayda! ERIC. Inside, I bring him. HELEN. David, show Eric to Zayds’s room. ERIC. know the way already . . . blindfold. (He goes into house ) HARRY. He knows they have separate busses here for Africans and Europeans! I old him twenty times. | went through the whole ‘igamarole! ARTHUR. And where did he get an assegai? HARRY. (Shrugs, almost absentmindedly, looks at assegai) 1 don't know . . . made in Japan! (They all laugh.) David, Arthur, get rid of this and don't tell Zayda where. (David and Artbur fake assegai and go into the house as Eric comes out.) Ob thank ‘you, Eric. ERIC. You tll him better for old man in the garden to sit. Tsotsies catch him after dark, they... (Makes motion of slitting throat. ‘Be exits 1.) HARRY. Fill ell him. (Jobannes comes in with drinks.) Oh, Helen, what 2 day! JOHANNES, After hard day, you need drink. Long, hot day and Zayda lost again... . (Gives drirk to Helen and Harry who ad ib "thank. you's") HARRY. Johannes . JOHANNES. Yes, baas. HARRY. Tell me more about your brother. JOHANNES. It's like they made for each other . . . (Harry looks 8at bim skeptcally.) Zayda old . . . Paulus young, Zayda weak Paulus strong. This land strange to Zayda . . . Paulus knows like back of hand, Zayda need help shave, wash, dress... Paulus there all the time . . . smiling HARRY. (Tentatively.) Maybe JOHANNES. You think | recommend someone to baas who not good houseboy like me? Paulus net stret loafer. He not thief. He not drinker, He strong, hard worker. And his head full of wise things. Baas, if I not say truth about my brother, you tell me. . Hamba! Hamba! HARRY. I'm satisfied with you, I'm not chasing you away. JOHANNES. Give him a chance, baas. I teach him all the things of the house and garden. You hire him to take care of Zayda, he help out in many way . . . I promise . . « HARRY. (Stands, paces.) How long would it ake him to come here from Pondoland? JOHANNES. Oh, long long walk One . . . wo months HELEN. How Tong isthe train ride? JOHANNES, Only eight and a half hour, Miss. HARRY. Look, I'm not making any guarantees... but if he were to come in the next few days, | would pay the fare. JOHANNES. I write Paulus and sell him come quick. HARRY. Wait, wait, wait... wait a minute. . did you tell sme Paulus speaks only Zulu? JOHANNES. That's right, baas, but 1 ell you—he lesmn—quic. HARRY, (Still undecided.) That may be a problem. JOHANNES. Baas . .. it not make much difference if Paulus not speak English. Zayda not speak English either. They have a Jot in common. (Blackout. The lights come up on the £ + G bard sware store. Tommy Layton, Herty’s partner, is checking the tally roll of the register. Harry enters from the rear.) HARRY. No one’s waiting at the side door TOMMY. You know what we did today? . . 486 rands, 7 shi Tings. The equivalent day last year we took in 322. Pd call that a good healthy gain in percentage. HARRY. (Who hasn't been listening, comes D.) By tonight he should have been here. TOMMY. By tonight he should have been here. Harry, haven't you learned yet that these Zulus have absolutely no concept of the passage of time? 8HARRY. (Pacing.) Don't be so sure. (A beat.) The brother didn’t have a pass . . . maybe they got picked up. (The phone rings.) TOMMY. Now you'l find out for certain HARRY. (Crossing and taking phone.) Hello, L & G hardware. Oh, Mrs. De Groot, how are you. Yes. Yes. (Harry looks at Tommy who pantomimes driving a truck.) It's on its way. Iell be there any minute. Yes, certainly, Thanks for calling. Oh, my fa- ther’s fine. Yes, I will. Goodbye. He bangs up.) All her life she didn't have a washing machine. Now if she doesn’t get it the next ten minutes, the world comes to an end. (There is a beat, then Harry chuckles) TOMMY. What i it? HARRY. Remember when Papa first came here we let him help ‘out in the store and Mrs. De Groot came in and he said to her: “How is it that a beautiful woman like you doesn’t own a washing machine?" TOMMY. He was fun—I liked having the old man around HARRY. (Laughs) So did Mrs. De Groot! (As Herry laughs Paulus enters the store. He is a tall, ean, young, bearded Zulu dressed in a blue sbirt and denim shorts. Wis shoes are mede of rubber tires. ‘Wooden plugs are in bis earlobes. Harry goes 10 im.) Oh—hello ... (Paulus smiles) Did your brother send you? (Paulus smiles.) Are you the one who... (Crosses to Tommy.) Tommy, how am | going to talk to him? TOMMY. Aye, Harry, you're in luck you chose a bit of ali for a partner. Let me handle him. (Crosses to Paulus) Ufanani? (otto voce to Harry.) That means, “What do you want?” Paulus smiles) Looks to me as if he doesn't understand Zulu! (Jo Paulus.) Speck up, my lad! Khuluma! Kuluma! PAULUS. Unfowethu ungithume lapha TOMMY. (Motioning him to stop.) Take it easy. Hold your horses now! HARRY. Ask him about Johannes. PAULUS, Johannes, baas, umfowetha. HARRY. What did he say? TOMMY. I don’t know. HARRY, Well, try something, TOMMY. (Carefully) Jo-hann-es PAUILUS. Gust as carefully.) Um-fo-weth, (Harry and Tommy shrug. Tommy walks away. Paulus looks around then points 10 10two watering cans and indicates thet the fist is “wmfowelbu” of the second) TOMMY. They're the same . i that i? PAULUS. (Pointing 10 himself.) Johannes, Paulus, umfowethu Unowetha TOMMY. You're the same! Oh, they're brothers! Umio- wethu, Harry. HARRY. Well, [knew that! Ask bia, “Where is Johannes?” TOMMY. (Motions to Paulus who gos to him) Johannes hamba phi PAULUS. Johannes avi lapha. HARRY. What did he say? TOMMY. 1 think he said "Johannes isnot here.” HARRY. Well, that's. pretty obvious! (Shrugs, then examines Paulus closely.) Ask him how old hei TOMMY. I can't HARRY. How come? I thought you Kerrymen could do every- thing TOMMY. | can sell hardware in Zulu. But to sell a Kafir a pot, there's no necessity of knowing his age. HARRY. (Crosses to Paulus, Coudly:) How old are you? (Paulus smiles) Some conversation! TOMMY. You can speak to him in Zulu! Ni, chat means °T” Baas Grossman. PAULUS. Ngi Paulus, baas. HARRY, No, Ngi Baas Grossman, PAULUS. (Smiling.) Ngi Paulus, baas. ‘TOMMY. You see . . . he talks .. . khuluma! PAULUS. Hau umfowethu uthe anisaci isi Zulu kuble sizozwana fans HARRY, What did he say? TOMMY. Ah, this lad speaks a complicated Zulu HARRY. He looks strong TOMMY. And he's smart .. . you saw that business with the watering cans. HARRY. Il see if I can find out what happened to Johannes. (Jo Paulus.) Johannes . . . (He patomimes “wbere?") PAULUS. Npi Paulus. (Pointing to Harry) Johannes HARRY. No. I'm Baas Grossman. PAULUS. Patiently.) Johannes .. . (Jo Tommy.) Paulus "HARRY, Ob, | think he wants me to pretend 10 be Johannes. (Paulus takes a pass out of bis sbirt pocket and gives it to Harry.) ‘This is your brother's pass. (Paulus points 1o Harry and points to pass.) V'm Johannes and this is my pass. (Paulus indicates that be bas no pass. but that Jobannes gave bim bis.) And Johannes gave you his pass. (Paulus nods. He pantomimes policeman. Jobannes didn't want to meet one since be bad no pass, so be went home.) ‘Johannes gave him his pass. Then, so as not to get picked up by the police, he's gone home. Wel, that’s clear! TOMMY. That's what I was trying to tell you! (A beat.) What's wrong? HARRY. I don’t know . - . if I can’t take proper care of Papa, hhow is he going to manage? He can't even speak one word. TOMMY, Oh, don’t you worry. He's a smart lad. In a few weeks, they'll be chattering away like a couple of magpies. HARRY. And in the meantime? (The phone rings. Tommy crosses to phone. Paulus follows the sound ) TOMMY. Hello! L & G hardware, Yes, Helen, He's stil here ‘One moment, Harry, Your wife. (Tommy holds phone out, Paulus reaches for it, Tommy pulls it back.) HARRY. Excuse me. (Goes to phone.) Hello, (Tommy crosses to Paulus and they stand examining each otber.) What? What po: iceman? What does Papa need a license for? He's selling pins? (On the street? I'll be right over. Yes, goodbye. TOMMY. Your father is selling pins? HARRY. Can't discuss it now. TOMMY. What about hima? (Horry is undecided.) HARRY. Well, as long as he's here, we might as wel give it a go. 1 might need him. T'm going to have to break the news about him to Papa, Would it be al right if | left him here and you brought him to my house in about an hour? (Jommy nods.) Thanks, Tommy. (Harry exits quickly. Paulus goes to the phone, lifts the receiver, listens and is amused.) PAULUS, ISITOLO ESIHLE IMPELA. NAKU SENSIBONA NEMISHINI YENHLOBO NHLOBO BABEQUINSILE KANTI NNGEZIMANGA ZASEGOLI. TOMMY. Really? (Tbe lights go out quickly. The lights come up ‘again on the Grossman dining room. Helen is arranging a vase of flowers. Harry is pacing.) 1HARRY. He has to sell pins on the street! Cheap, gaudy, two shil- ling pins! HELEN. Harry, don't make so rauch of it! 1 wouldn’t have called you at all if | thought you'd make such a fass! HARRY. Pins! Where did he get pins inthe first place? HELEN, I've no idea, But i's nothing to get so upset about. He just wants something to occupy himself with, that’s all, It was just ‘such a surprise when I came out of the baker's and there he was with his litle stand in front of the greengrocer’s. And then the Police Officer came up and asked to see his license! HARRY. What did you do? HELEN. | explained it to the Officer and he said that it would be all right if i didn’t happen again. HARRY. Why did he pick on pins? Why didn’t he sell pickles? (Or herring? Or old clothes? Or pretzels? If he's going to make us ashamed to look a person in the eye, he might as well sell pick- Jes! Or pretzels! I'm such a failure, I'have to send my poor old father out on the streets to sell pins! (The Zayda enters. He is a pry little bearded man, well dressed.) ZAYDA. Hello, (Cooks at Harry and Helen and sees that they are ‘angry. Goes to table) Ich bin hungrig. (Sits down.) HARRY. You can be hungry a minute longer, Papa. I have to talk 10 you. ZAYDA. Nu? HARRY. You've been selling pins ZAYDA. Du gibst mir mazel tov? HARRY. No, I am not giving you congratulations. But Papa, you can't do this ZAYDA. Schweig. Ich bin hungrig. (He breaks a piece of bread.) Die breyt is nie frisch. HELEN, What? HARRY. He says the bread’s not fresh HELEN. | bought it less than two hours ago! Just as it came out of the oven, HARRY. Helen zugt sie hut es gekayft blois 2vay stunden aurick. ZAYDA, Zvay stunden und schayn alt! HARRY. Only ‘vo hours and the bread’s already stale! Now Papa, | HAVE TO TALK WITH YOU . . . in English. ZAYDA. Ich bin sehr hungrig. HARRY. Engl BZAYDA. Ich bin very hungrig. (Belen looks at Harry, who gives up and nods. 2.LLULUlUL—— hhannes comes in quickly with the soup. Jobannes serves Helen then Zayda) ZAYDA. Hello, Johannes. JOHANNES. Good evening, Zayda. Soup? ZAYDA. Soup. I like soup. Qobannes is now about to serve Harry.) HARRY. Oh, Johannes... (Almost whispering.) did they come yet? (lobannes shakes bead “ro.") As soon as they do JOHANNES. I come tell. (Jobannes starts to exit. The Zayda ‘rps bis soup greedily) HARRY. Papa! (The Zayda does not answer. He continues eat ing.) Papal ZAYDA. (te continues eating as if this were the last plate on earth, Then to Jobannes who is on bis way out.) Gute 2up, Jo: hhannes. I like soup. I like soup! Qobannes says “thank you" and exits) HARRY. Papa! (The Zayda is @ long time in replying.) ZAYDA. Yoh? Excuse me—yes? HARRY. Far vos hust du gepeddel . ZAYDA. English! HARRY. Papa, why did you peddle pins? (The Zayda smiles and elurns to bis soup.) Nu? ZAYDA. Busines. HARRY. (Under bis breath.) Some business! (The Zayda finishes bis soup and holds up his plate for more.) ZAYDA. I could eat another plate soup. HELEN. Papa, save room forthe roast. HARRY. Papa, don't I give you enough money? You have to sell pins? ZAYDA. Gist mir genug. (He starts on another piece of bread.) HARRY, He admits I give him enough money. ZAYDA. Vos du gist mir, farshpend ich. HARRY. What I give him, he spends. ZAYDA. Und vos ich fardeen, steck ich aveck far die alte yohren. HARRY. Oh, Goa! HELEN, What? What did he say? “4HARRY. And what he earns, he puts away for his old age! Papa, want to talk with you about something important . . . Johannes comes in quickly and whispers with Harry.) Go, I'll call you. HELEN. They're here? (Harry nods "yes.") ZAYDA. Who? Who's here? Who? HARRY. (Jo Zayda.) Papa . . . 1 got a surprise for you. ZAYDA. Vos fur a surprise? HARRY. A servant. A dienst boy. (Tbe Zayda ents) Hell help ‘you, Papa, He'll wash you, he'll shave you, he'll take care of you Hell be good to you. (Zayda keeps eating) Come on, Papa ‘YOU UNDERSTAND ME! ZAYDA. (A Tong pause.) | understand. A dienst boy I don’t need HARRY. He's very smart, ZAYDA. Eh . . . beh. HARRY. Papa, you'll like him . .. he's Johannes’ brother. ZAYDA. Oh. . a schwartzer . HARRY. Papa, don't use that word. Of course he's a Zulu, But you don’t need to be afraid ZAYDA, Me? Me afraid? For a Zulu? (He walks around, bis at titude indicating be fears notbing.) All right, CALL HIM AREIN! HARRY. (Stands and calls) Johannes... Cobannes enters fol lowed by Paulus, who bows to Helen, then abproaches the Zayda The Zayda retreats.) Paulus. . this my father... this Oubaas Grossman. Papa, this Paulus. (Gestures to them to talk to each other. Paulus nods to Harry. The Zayda circles Paulus warily, examining every detail. Paulus discretly examines the Zayda, Toe Zayda moves close to Paulus, clears bis throat.) ZAYDA. Farshtayst Yiddish? JOHANNES. Uyagonda Yiddish? PAULUS. Ngi gondana isi Zulu JOHANNES. He not understand language your tribe, oubaas Only know his own HARRY. Papa, er sugt er ret nur Zulu... (Then burriedty.) but he learns quick ZAYDA. (Jo Harry.) Shh. Shh. Ich versheay .. . ich vershtay. He points to wooden plugs in Paulus’ earlobes, and pantomimes, ‘what are those?” Paulus pantomimes, “you wear a tie pin for Aecoration, 1 wear ear lobe plugs forthe same reason.” The Zayda is impressed. He pantomimes to Harry that Paulus is smart) HARRY. Papa . . . tome you can speak. 15ZAYDA. (Tapping bis own brow in approval) Klug! (The Zayda 4g more concerned with Paulus. He stares at bim trying to think of an opening.) JOHANNES. Baas, oubaas want something, I tell Paulus. HARRY. Papa, ob du vllt eppes ZAYDA. Shih... shh. (He points to Paulus’ shoes. Paulus pan tomimes that bis shoes are made of automobile tires. Zayda panto mimes tbat bis shoes are made from the bide of a cow. They are more desirable. Paulus pantomimes that be can run and stop on a dime, Toe Zayda points to Paulus’ shoe.) Vos is dus? PAULUS. Isicathulo ZAYDA. (To Harry. explaining.) Schich is isicathulo, PAULUS. (He holds up bis band. Points to the Zayas left shoe. Holds up one finger) Nye isicathulo, (Points to Zayda's right shoe, holds up one finger) Nye isicathulo, (Pantomimes "bow many” The Zayda shrugs. Paulus raises two fingers) Nye aye. bil. ZAYDA. (Crosses to Harry) Nye. . . (Pointing to Jobannes;) Nye... (Pantomimes “bow mary?") PAULUS. Bil (The Zayda nods vigorously. Holds up two fin- gers.) ZAYDA. Tavay' Bill .. . tavay! PAULUS. Tzvay . . | (The Zayda nods vigorously. They look at cach other) ZAYDA. Pantomiming, “bring me a glass of water.") Gay zum tisch giess oon a gluz wasser. Bring es 2u mir. (Jobannes takes glass from table, Paulus does to table, takes it and gives it to the Zayda.) PAULUS. Nawa amanzi. JOHANNES. He say. . “here is water.” HARRY. Er sugt, “ut is vasser.” ZAYDA. Ompatiently) Ich vayss! Ich vayss! You think 1 don't know what “nawa amansi” is! (He bolds the glass aloft as in a toast) Nawa amanai! (He drinks, gives Paulus the glass. Jobonnes takes the glass from Paulus and puts it on table. Zayda strides to the window—pointing.) Vos is dus? PAULUS. Ifastela ZAYDA. (Again in explanation to the others.) A fenster is ifas tela (Thinks for a moment, then gestures “open.”) Elfen die ifastela! Paulus opens the window. The Zayde laughs with de- 16Hight. Then pantomimes “close.”) Farmach die ifastela! (Paulus closes the window. The Zayda is even more delighted ) | didn’t know 1 can tale Zulu! (Zayda looks for anoiber object, goes to table, picks up a knife.) PAULUS. Umese. ZAYDA. (Startle) Vos? PAULUS. Umese JOHANNES. Umese mean knife. ZAYDA. (Surprised, to Jobanmes.) By me, knife—messer! HARRY. (Jo the others.) The same word in Yiddish and Zulu! (The Zayda holds up the knife again) ZAYDA. Messer. PAULUS. Umese. ZAYDA. A Galitzianer! (The Zayda and Paulus continue to ex: famine each other. Harry and Jobannes are being excluded. Paulus points to the Zayda's watch chain. The Zayda takes the watch out of bis pocket and is about to flip it open. Paulus stops him. He {oes to the window, looks atthe sky and returns bolding up seven fingers. The Zayda opens bis wach, looks at it, and laughs de- lightedly. Jo Harry:) LOOK! LOOK! Zieben azeiger! HARRY. (A little piqued by their easy camaraderie.) All right, Papa! All right! Thats fine, so he can tell ime, don’t get s0 ex- cited ZAYDA. (Dismissing Harry.) You could go, And take Johannes can talk to him alone. (Tbe Zeyda turns away from bim eager to get back to Paulus. Toe Zayda points to Paulus’ beard and strokes his own. They botb laugh at the thought that they bave similar beards. The Zayda looks up at the towering figure of Paulus and gauges the distance to the beard. Zayda feels the texture of Paulus’ beard.) Vos is dus? PAULUS. Injebe ZAYDA. Me to, injebe. (Zayda holds up bis hand to Harry and smiles benignly.) | like him! I lke him! (The lights dim. The lights come up again on Jobannes in the corner of the garden a week later. He is trimming a bedge with a pair of clippers. He sings “CROCODILE WIFE.”) JOHANNES. MY FATHER. HE MARRIED A CROCODILE WIFE, 7K. MARRIED A CROCODILE WIFE, TX JK. 7MY FATHER. HE MARRIED A CROCODILE WIFE, 7K. MARRIED A CROCODILE WIFE, JK IX, ‘HAT BITES, BITES, BITES! AWUYELEMAMA BITES, BITES, BITES! AWUYELEMAMA (Gre walks to footights and addresses the audience.) Vos mache ihe? Ole grins at the audience.) I bet you surprise | say in Yiddish. Don’t be surprise. I know eight language Sotho... Kwena. . . Benda... Xosa ‘Towana . . . English. Yiddish just another language. Every night when 1 teach Paulus English, he teach me a new word in Yiddish He sharpens the clippers) Last night I learn “nayn"” mean “no” ay aveck” .. . "go away"; I eam doombup; chaleria—fever; mishpocha—family; chutzpah . . . you know what “chutzpah” ‘mean in Yiddish? Man drown in river | jump in and save man, he say: ‘Zulu not allow swim here.” Funny language, Yiddish. That Zayda, he a runner. Before Paulus come, he run from house every day. Now he run from Paulus. He ol, but he run like gazelle. He like Paulus . .. but he run! Last Tuesday, Paulus lose him in park. Three hour, Paulus sweat. He think Zayda gone for good. Bur he find him. Paulus try to understand what make Zayda run, Bur he baffle, Paulus save by one thing . . two thing - .. leg. When he litle boy, we nickname him “Imilenzi Emide.” Mean “Long Legs.” Zayda say “graysse polkes.” Zayda he go like wind, but take short step. Omitates Zayda taking short steps.) Paulus, he take step like giant . . . Cmilates Paulus taking giant steps ‘The Zayda comes by like « house on fire.) Vos macht ihr? (The Zayda does not reply but veers sharply to ibe left and disappears.) Well, the day start! Paulus leaps on taking giant sleps.) More ing, Paulus. (Paulus does not take time to reply as Jobannes points ‘out the direction Zayda took and Paulus is off like a sbot. Jo audience:) See what I mean! (He pantomimes long strides.) Imi lensi emide! (He exits nas the lights fade. The lights come up. ‘We are at the Botanical Gardens again. There are two empty benches. The only occupant is a woman with a baby carriage. The Zayda enters 1. sill walking fas but now be is limping slightly ‘He sees the woman with the baby carriage and goes to her.) ZAYDA. Nice baby. (Makes cooing sounds to baby.) | like babies. (Paulus comes running on, stends watching the Zayda who now goes to bench 1, sits doum and starts rubbing his foot. Paulus squats down near Zayda.) 18PAULUS. 1 help? ZAYDA. No. (Paulus returns to squat, The Zayda massages bis foot. The Zayda then looks inside bis shoe and makes a great dis covery.) Nail! PAULUS, (Smiling) Nice ZAYDA. Nice, sugt er! Nice! (Pantomimes.) Nemm arois! PAULUS. (Examines shoe) YOU nemm arois! You have Pantomimes nail clipper.) ZAYDA. Oh, clipper, | have clipper. (The Zayda finds bis nail clipper. He gives Paulus the shoe and the nail clipper, expecting bm to drow out the nail, But Paulus returns the nail clipper, sits on the bench and holds the shoe so that the Zayda may insert the clipper.) What? PAULUS. Grab! Pull! (Tbe woman with the carriage notices the scene and stares at them.) ZAYDA. Can't grab. (Paulus motions, “don't worry.” He takes the nail clipper, fastens it to the rail. and returns the whole thing to the Zayda) PAULUS. Pull! (The Zayda tries but is not successful.) ZAYDA. (Wiping bis brow. He spits on bis bands, and then tres to pull again.) Can't. (Paulus indicates that be hold tight. He grabs the shoe with one band and the Zayda's arm witb the otber and pulls. At this point, the woman with tbe baby carriage gets up twalks past them, norts and goes of quickly.) PAULUS. Again. (He pulls again. The nail clipper quickly comes cout with the nail and Paulus releases the Zayda's arm. The sur- prised Zayda is holding the clipper in bis hand. Paulus points to the nail, For a moment the Zayda is not sure whether Paulus is claiming on assist) ZAYDA. J did it. Myself. (Paulus accepts this. The Zayda ex- amines the nail carefully, then puts it in bis change purse. He then starts to put on his shoe.) PAULUS, First . . . rub foot, Ole massages the Zayda's foot.) ZAYDA. Oy! PAULUS. I hurt? ZAYDA. No. PAULUS. Why you say “oy”? ZAYDA. Sometimes “oy” means it hurts—sometimes means feels 00d. PAULUS. Oy . . . good word, 19ZAYDA. You ever worked ina schvitzbud? PAUILUS. Nit vershtay. ZAYDA. Steam. . hot water... bath PAULUS. Schviezbud? ZAYDA. Yes. If you go there, you feel good—they rub you, make Yyou sweat, all your troubles disappear. But if you stay too long in a schvitzbud, you could disappear. (A Park Attendant comes by and stands observing them.) ATTENDANT. That's a nice cosy scene! (Jo Paulus) Get up! (Paulus jumps up. Sarcestically.) You brothers? PAULUS... boy . . . of ATTENDANT. Oh . . . he's your father! (Jo Zayda) You his father? ZAYDA. (Sweetly.) Hub di PAULUS. Shah . . . shah! ATTENDANT. Who gave you permission to sit on the bench? ZAYDA. I did! ATTENDANT. Oh . . . he understands English! (Quickly to Paulus.) Your pass! (Paulus gives bim the pass. The Attendant reads it.) PAULUS. Pass, baas. ATTENDANT. It says here you work for Harry Grossman. Is that him? PAULUS. He, oubaas ATTENDANT. Listen, I'm leting you go this time, because this is the frst rime I caught you sitting on a bench. But just to make sure you don't do it agein, your baas (Putting pass back in pocket.) is going to have to pick this up tomorrow from the Park Directors office in the Administration Building. You gor that? PAULUS. Not know. ATTENDANT. Baas . . . tomorrow . . . Park Director's of- fice. . . Administration Building. Now . . . hamba! Hamba! Quick! (The Attendant pushes Paulus who sees that the Zayda is cout to do battle with the Attendant. He grabs Zayda’s belt and half pulls bin, half cajoles bim away. They move 0. Zayda is still anxious to put up a battle but Paulus is anxious to avoid further trouble. He finally quiets Zayda.) ZAYDA. Are you all right? (Paulus nods “yes.") PAULUS. How we tell baas pick up pass? 20 bud.