UC, fpr[7s Saint Subber presents 1600 PENNSYLVANIA AVENUE A musical play about the problems of housekeeping Music Book and lyrics by by Leonard Bernstein Alan Jay LernerThe play is presented as a rehearsal and takes place on a bare stage against a neutral backdrop, with Perhaps one or two masking legs on either side. During the play the facade of the White House as it changes through the years appears in the dark behind the drop as if suspended in mid-air. Whenever possible, the actors enter from and exit to rehearsal benches on either side of the stage. The time of the rehearsal is the present. The time of the play is from 1792 to 1902.PRINCIPAL CHARACTERS THE PRESIDENT THE PRESIDENT'S WIFE LITTLE LUD BIG LUD LUD'S WIFE The Servants at 1600 Pennsylvania Avenue HENRY RACHEL JOBY JOSEPH MARY SALLY The British ADMIRAL COCKBURN PIMMS BARKER ROSS PRATT SCOTT GLIEG ORDWAY BUDGEN HARRIET BUCHANAN MRS. MEANS MR, CUNNINGHAM MR, HENRY SLAVE AUCTIONEER SENATOR ROSCOE CONKLING FRENCH JEAN ARCHITECT THE STAGE MANAGER ENSEMBLE(THEY do so) PRESIDENT (Struggling with teeth) Why couldn't I find a role 1 could get my teeth into? STAGE MANAGER Are you ready, "George"? PRESIDENT (Struggling) Go on. Go on, STAGE MANAGER Scene: A conference room in Philadelphia. ‘the President is listening to suggestions, Curtain, HE exits) NORTH souTH THE NORTH IS WHERE THE CAPITAL THE SOUTH IS WHERE THE OUGHT T0 BE , CAPITAL SHOULD BE... sourH NORTH Cee e OTH IS WHERE THE caProar, THE NORTH IS WHERE THE OUGHT TO BE...) CAPITAL MUST BE... 1 THE COMMONWEALTH oF MASSACHUSETTS NOBLE NORTHERN MASSACHUSETTS (Simultaneousiy) BREW YORK'S OUR ATHENS, ROME AND MECCA neck, JERUSALEM AND CARTHAGE PENNSYLVANIA (Simultaneously) ) ) ) ) ) ) ) ) ) ) ) NEW YORK ) ) ) ) ) ) ) ) ) } AND WHY NOT stay Ti PHILADELPHIA )14 PENNSYLVANIA (Continued) LOVELY NORTHERN PHILADELPHIA, é NEW HAMPSHIRE (Simultaneous 1y) Eyp_DAMPSHIRE T PROPOSE NEW HAMPSHIRE EXE-BEHOLDING IS THE WONDER ROR Et AAMPSEIRE'S NORTHERN MEADOWS ANYGHERN HILLS AND NORTHERN VALLEYS ANYONE WHO LOVES HIS counTRY (Simultaneously) RHODE ISLAND, FLOW'R OF NEW ENGLAND MINISCULE IN MEASURE ONLY RHODE ISLAND ... THE CHOICE OF aNy srarr PROVIDING T's NO? A SOUTHERN STATE AND 80 I SAY ConnECricur ... NEW JERSEY (Simultaneously) NEW JERSEY, I PROPOSE NEW JERSEY ) ) ) ; ) ) ) ) ; ) ) ) ) ) RHODE ISLAND ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) } T WOULD SaY NEW JERSEY 'g ee ) MASS. : MASSACHUSETTS! WHERE THE CAPITAL oucuT 79 BE! N.Y. NEW YORK'g WHERE THE CAPITAL OUGHT To BEI PENN. +: PENNSYLVANIA's WHERE THE CAPITAL OUGHT TO BEI N-H. 2 NEW HAMPSHTRR'g WHERE THE CAPITAL oucHT 79 BEI BI. : RHODE ISLaND'g WHERE THE CAPITAL oucHT To BE! CONN. 3 CONNECTICUT'S WHERE THE CAPITAL ouGHT To BEL NJ. NEW JERSEY 'g WHERE THE CAPITAL oucHT To BE! WASHINGTON Very nicely put, (To the sourH) Gentlemen, can you be equally succinct? s 8 5 e a E so gi 5 : 5crawling and planning, oblivious to the OTHERS) MARYLAND I live in Maryland. VIRGINIA I in Virginia, MARYLAND A free city between! VIRGINIA We'll never be safe. NEW YORK Freedom is never safe. MARYLAND My slaves in Maryland May hear of this city. NEW YORK (Cheerfully) They may hear you now. VIRGINIA They will flee. NEW YORK Let us hope. MARYLAND They will desert. MASSACHUSETTS Let us pray, VIRGINIA They will escape! RHODE ISLAND Oh, what bliss! WASHINGTON IMAGINE SOUTHERN SKIES FILLED WITH NORTHERN LIGHTS, SOUTHERN GRANDEUR AND NORTHERN RIGHTS, CONGRESS THERE WILL HAVE A HOME, WITH A MAGNIFICENT DOME, (OH, I DO INSIST IT HAVE A DOME) ALL ON TEN SQUARE MILES BY THE POTOMAC RIVER ...1-10 SOUTH (Defiant ly) WITH GEORGIA PEACHES GROWING ... NORTH (Equally so) AND MAPLE SYRUP FLOWING ... ALL ON TEN SQUARE MILES BY THE POTOMAC RIVER, WE'LL KEEP A WATCHFUL EYE ON THE EAGLE IN THE SKY. (The LIGHTS begin to dim on the GROUP during the end of the above, and dim out at the conclusion, As they dim, SLAVES are seen running, obviously escaping, Then a SMALL BOY in rags, named LUD SIMMONS, age 12 or 13, enters in terror. An OFF-STAGE CHOIR is heard) OFF-STAGE CHORUS LUD! LUD! LUD SIMMONS! WE'RE COMIN' FER YOU, LUD MY NAME AIN'T LUD ... OR SIMMONS .., OFF-STAGE CHORUS OH YES IT Is, TOO. WD... 1 LUD IF I WUZ A DOVE AN’ MY FEATHERS WUZ WHITE I'D LOOK FER WHITE BLOSSOMS AN' SLIP OUTTA SIGHT. DEN WHY CAIN'T A DARKIE HIDE OUT IN DE DARK? IF I WUZ A SNAKE AN' MY SKIN IT WUZ GREEN, I'D LIVE IN DE GREEN GRASS AN' NEVER BE SEEN. BUT WHY CAIN'T A DARKIE HIDE OUT IN DE DARK? DERE'S SOMEWHERE TO HIDE IF YOU'RE GREEN ER YOU'RE WHITE. BUT A BLACK BOY CAIN'T HIDE IN DE BLACK, BLACK NIGHT. (A COACHMAN, a New England Yankee, named BROOM, enters carrying a lantern)1-ll ROOM (Seeing Lup) You there! LUD Z,give upl_ I didn't mean to run away I belong to Mister Dennison in Baltimo! A fine, fine gentleman .,, T wuz sleep walkin' an’ got lost, BROOM Sleep walking?! 11 the way from Baltimore? ABIGAIL (Off-stage) Broom! Where are you? BROOM (Holding up his lantern) Here, Mrs. Adams, ABIGAIL (Enters) Whom are you talking to? (SHE is a forthright, modestly Attractive, very human lady ix her early fifties, The moment LUD sees her, HE falls to his knees) Lup Please, ma'am ... Mister pennison over in Baltimo' ... he funnies 24x and legal. He's a fing gentleman. I ain't runnin' away, ABIGAIL Stop that babbling and stand up. LUD (Bafflea) Stand ... up? ABIGAIL Of course, stand up. the only place to be on your knees is at church. Before God, nok man, (HE rises) Now, what is your name? Lup Lud, ma'am, ABIGAIL Lud?1-12 LuD Yes, ma'am. It's short fer sumpin' longer but I dunno what. I wuz named fer my pappy but my mammy died havin! me and my pappy pnoomoniad to death when I wuz three and I never done find out. ABIGAIL (amused) I see. Lup Whatcha gwyne to do wid me, ma'am? ABIGAIL Ask for your help, if you don't mind. LUD (The sun coming up) No, ma'am. I doan mind at all. Ask me anythin’, ABIGAIL Can you tell me where we are? LUD Yes, ma'am. Dis here is Maryland. ABIGAIL Oh, dear. Is it still Maryland? I left Philadelphia yesterday morning in that coach. (SHE indicates off~stage coach) This morning I arrived in Maryland. And I have spent the entire day desperately trying to leave Maryland. Do you know where Washington is? LUD He's dead, ma'am, (SEE looks at him, controlled) Ain't he? ABIGAIL Well, he had a glorious funeral so presumably he is. But then again, as my husband said, the general's real talent was for acting so one cannot be too sure, No, I'm referring to the city of Washington. LUD (Eyes popping) De free city, ma'am? Is dat whar you're headin'? ABIGAIL Is that where you're heading?1-13 LUD (Retreating) Me? No, matam. I... I jis' heard about it. Dey's buildin' a palace dere fer de President, you know ... ABIGAIL, I know. LUD I'm gwyne to Baltimo' .., Mister Dennison ... he's a fine gentleman ... but he kin swing a mean whip if he finds a body missin’. ABIGAIL Have some of his "bodies" been missing lately? LUD Yes, ma'am. Lotsa bodies. ABIGAIL Oh good. I am pleased, Lup (Puzzled) You is, ma'am? ABIGAIL Oh yes. In fact, nothing would make me happier than to have that fine gentleman wake up one morning and find all his bodies gone. I hope none of his missing bodies have been deluded into seeking refuge in that so-called free city of Washington. LUD (Aghas t) Ain't it free ... ma'am? ABIGAIL (With a touch of bitterness) Only if your freedom is granted or purchased. Then you are free. LUD (Shattered) You mean ... jis' gittin' dere ain't enuff? ABIGAIL I am afraid not, LuD (Crushed -~ but braving it) I... I didn't know dat, ma'am. ABIGAIL Tf by chance you had been on your way to that city, in1-14 ABIGAIL (Continued) which direction would you have gone? LUD (Still crushed) Dat way, ma'am, (Indicates) Doo west. Dere's a ribber ABIGAIL It ain't far. Thank you. (SHE starts off, followed by BROOM. Then SHE stops and looks back at LUD) Young man? Lup Yes, ma'am? ABIGAIL Why don't you come with us and show us the way? My husband is President Adams ... LUD You is ... you is ... ? ABIGAIL I is. And unhappily it has fallen upon us to be the first tenants of that “palace." My poor husband moved in a few days ago and I cannot even find the wretched place. You would be doing your President a great service by delivering his wife to him. LUD Yes, ma'am .., But Mister Dennison ABIGAIL Oh, the devil with Mister Dennison! ‘The last place he'll look for you is in the carriage of the wife of the President of the United States. (SHE motions for him to come) wp Yes, ma'am! (THEY move to exit. The LIGHTS dim out quickly. In the dark, behind the rear transparency, there appears the facade of the lonesome, gray Executive Mansion as it was when first opened. VOICES are heard singing in the dark as the LIGHTS come up on the House)1-15 VoIcEs - ON TEN SQUARE MILES BY THE POTOWAC RIVER THEY CHOPPED AWAY A CLEARIN' AND CHIMNEYS ARE APPEARIN', ON TEN SQUARE MILES BY THE POTOMAC RIVER THEY SAY IT'S GONNA BE SOMETHIN' TO SEE, ON TEN SQUARE MILES BY THE POTOMAC RIVER A MIRACLE IS RISIN' 10 DAZZLE THE HORIZON. ON TEN SQUARE MILES BY THE POTOMAC RIVER THE NATION'S HOME WILL BE CALLED WASHINGTON, D.C. (At the climax of the CHORUS, the LIGHTS black out on the House and on the stage ABIGAIL, BROOM and LUD are discovered standing, looking around. The only light is still provided by BROOM's lantern ... and two candles held by TWO SERVANTS, HENRY and RACHEL, black and in their twenties and dressed in something thrown over their night clothes, With them are FOUR to SIX OTHER SERVANTS, similarly dressed but without candles. ONE of them is a very large LADY named JOBY. There is a large basket of laundry at one side of the stage) SERVANTS WELCOME HOME, WELCOME HOME, WELCOME HOME, MIZ ADAMS, YOUR HUSBAND AIN'T ABOUT. HE MOVED IN TUESDAY NIGHT AN’ WEDNESDAY MORNIN' HE MOVED our. OH, DE ROOF'S A LITTLE LEAKY, BUT ONLY WHEN IT RAINS. DERE'S BOLTS FER ALL DE WINDERS, ALL WE NEEDS IS WINDER PANES. BUI IF YOU CAN STAND DE WIND, YOU'LL LOVE DE VIEW. WELCOME HOME, MIZ ADAMS, WELCOME TO You, BROOM Shall we leave, ma'am? (ABIGAIL restrains him with a gesture and "graciously" smiles at the STAFF as THEY continue)1-16 HENRY YOU'LL BE MIGHTY GLAD TO LEARN WE GOT KERESENE TO BURN AN' DE LAMPS IS COMIN' IN A WEEK OR MORE, RACHEL YOUR BEDROOM'S JIS' ABOVE, WHICH WE KNOW DAT YOU WILL LOVE; ‘CEPT DERE AIN'T NO STAIRS UP TO DE SECOND FLOOR. HENRY BUT DEM WORKMEN GUARANTEES ... ABIGAIL Just a moment, if you please! Are you saying there are no means of reaching the second floor of this house other than by outside ladder? HENRY Oh no, ma'am. De back stairs is all put up. You jis' have to come t'rough de kitchen, dat's all. RACHEL BUT DE WOOD IS ALL IN STOCK; AN' DEY START TO PUT DE FRONT STAIRS UP IN THE MORNIN’. HENRY SIX O'CLOCK! ALL WELCOME HOME, WELCOME HOME, WELCOME HOME, WELCOME HOME, MIZ ADAMS. DE SERVANT BELLS AIN'T IN, BUT HOLLER IF YA NEEDS US AN‘ WE'LL PIND YA IP WE KIN. OH, DE CELLAR'S FULL OF WATER BUT ALL DE WELLS IS DRY. DE SMELL O' PAINT'S SO AWFUL DAT DE RATS LAY DOWN AN' DIE, BUT DIS HOUSE AIN'T BEEN A HOUSE FER VERY LONG AN' THINGS GO WRONG, "CUZ THINGS IS NEW; AN' WE IS, TOO. BUT WELCOME HOME, MIZ ADAMS. WELCOME TO YoU. Thank you ... ABIGAIL (Begging his name) HENRY Henry, ma'am. An‘ dis is my wife, Rachel. an’ dis here is de staff,1-17 ABIGAIL How do you do? (THEY ALL bow and/or curtsey with a "Ma'am", Wearily) Thank you for your welcome. It was both heartwarming and chilling, Broom, tell the servants to bring in the luggage. BROOM All of it, Mrs. Adams? ABIGAIL Please. BROOM But you can't stay here, Mrs. Adams. You've heard the condition this house is in. ABIGAIL It doesn't compare to the condition I'm in. Bring in the luggage. BROOM But, Mrs. Adams ... ABIGAIL I doubt if it will be for long. (BROOM exits) May I ask where the president is? HENRY At Tunicliffe's Hotel, ma'am, ‘cross de way. He say to let him know de moment you arrives. ABIGAIL Henry, this is the moment. HENRY (Action) Yes, ma'am. (To a SERVANT named SAMSON) Samson, take de coach an' tell de President his wife jis' dis moment arrive, (SAMSON exits quickly) ABIGAIL Thank you, (Noticing the laundry basket) May I also ask why this basket of laundry is in the entrance hall?ABIGAIL Fekete, That's more of a solution than an answer. May 1 borrow your candle? HENRY Yes, ma'am, (HE hands it to her. sHE starts off right) Miz Adams, none o' de rooms is finished at de West End. It's a mess, ABIGAIL Of course, (SHE moves to exit left and stops) And the East End? HENRY Tt's a mess, too, ma'am, But it's finished, (SHE exits left) RACHEL (To Lup) What's your name, 1'i1 boy? LUD Lud Simmons, RACHEL How come you'se wid Miz adame? You sho' don't look like no Bostonian to me. Lup I wuz de guide, (BROOM enters with THREE MALE WHITE SERVANTS and TWO FEMALE. ALL carrying Szrious sizes of wooden trunks. Sov f the BLACKS help them put them down) Lup I'm from Maryland, HENRY Miz Adams stop off an‘ buy you jis’ to show her de way? Lup I was pooty cheap. HENRY1-19 LUD I doan right know. HENRY What kin you do? LUD Dunno. But jis' ask me an' I'11 do it somehow. (ABIGAIL returns. There is a clearer look in her eyes) ABIGAIL The house is beautifully situated. Through a window at the end of the hall -- and the wind is much stronger in Massachusetts -- I could see the river glistening like a tiara over the trees, It's quite romantic. JOBY Miz Adams, would you care fer a hot cuppa tea? ABIGAIL Oh, indeed I would. JOBY Yes, ma'am. (SHE exits) ABIGAIL Rachel, there is an immense room at the end of the hall ... RACHEL De reception room, ma'am. ABIGAIL Z would think so, Take that basket of laundry to the reception room and hang it up to dry. RACHEL Yes, ma'am. (Surprised and delighted with ABIGAIL, SHE picks up the basket and exits) ABIGAZL (To the BLACK SERVANTS) Would some of you be kind enough to help my servants take the baggage to the kitchen. To the stairs, that is. (THREE or FOUR nod a "Yes, ma'am") BROOM All the trunks, Mrs. Adams?1-20 ABIGAIL All but that one, Broom. (Indicates one) Take that to the kitchen and open it, There are candles in it. Each of you light up as many as you can hold. We cannot let the President come into a tomb. He'll go straight back to Tunicliffes. (BROOM nods and THEY all exit with the trunks except HENRY and LUD. To HENRY) This is a big house, Henry. HENRY Yes, ma'am, ABIGAIL Much too big. But it's built for ages to come. And as long as it has fallen upon the President and me to be the first tenants, I suppose I must at least try to make it livable. As for those ten square miles of mud called the city, if I were the head of a foreign government and were invited to build an embassy here, I would regard it as an act of war. Henry, how many working fireplaces are there in the house? Or should I say, are there any working fireplaces in the ouse? HENRY (Happy to have a positive answer) Dey's thirteen, ma'am, ABIGAIL Light them all. HENRY Yes, ma'am, (HE exits. Now EVERYONE is gone but LUD. For a moment SHE doesn't notice him. Then SHE does. SHE stares at him for a second) ABIGAIL You ... LUD Yes, ma'am. Me, ABIGAIL Would you like to work here? Lub Yes, ma'am!!1-21 ABIGAIL We need a servant bell. Lud, you will be the bell, stay near and whenever I need something you will carry the news to the kitchen. (Something captures her attention and SHE moves away, looking around with a strange look in her eyes) LUD (after a moment) Is you ringin', ma'am? ABIGAIL (Distracted) No. LUD You look like you is lookin’ fer sumpin', ABIGAIL No. Something is looking at me, LUD (Seeing nothing, a little frightened) What's dat, ma'am? ABIGAIL Hope. (SHE beckons to LUD. HE comes next to her) [Verse to be added:] TAKE CARE OF THIS HOUSE. KEEP IT FROM HARM. IF BURGLARS BREAK IN, SOUND THE ALARM, CARE FOR THIS HOUSE. SHINE IT BY HAND. AND KEEP IT SO CLEAN THE GLOW CAN BE SEEN ALL OVER THE LAND, BE CAREFUL AT NIGHT. CHECK ALL THE DOORS. IF SOMEONE MAKES OFF WITH A DREAM, THE DREAM WILL BE YOURS. TAKE CARE OF THIS HOUSE. BE ALWAYS ON CALL. FOR THIS HOUSE IS THE HOPE OF US ALL. You may not understand now, but someday you will. So promise me you'll do as I say,1-22 LUD Yes, ma'am, ABIGAIL TAKE CARE OF THIS HOUSE. LUD YES, MA'AM, I SWEAR. ABIGAIL IF BURGLARS BREAK IN ... LUD I'LL BE RIGHT DERE, ABIGAIL CARE FOR THIS HOUSE. SHINE IT BY HAND. AND KEEP IT SO CLEAN THE GLOW CAN BE SEEN ALL OVER THE LAND. BE CAREFUL AT NIGHT. Lup CHECK ALL DE DOORS. ABIGAIL IF SOMEONE MAKES OFF WITH A DREAM, THE DREAM WILL BE YOURS. ABIGAIL & LUD TAKE CARE OF THIS HOUSE. BE ALWAYS ON CALL. FOR THIS HOUSE IS THE HOPE OF US ALL. (HENRY enters) HENRY Miz Adams, de president's coach is comin‘. (BROOM and ALL THE OTHERS enter, carrying lighted candles) ABIGAIL Oh, good. (SHE straightens her dress and pats her hair, RACHEL enters) RACHEL Miz Adams ... the coach ....1-23 ABIGAIL Yes, I know, (LUD, HENRY and RACHEL take candles from the OTHERS) Lud, why don't you open the door for the President? LUD Yes, ma'am! (HE exits. Whatever LIGHT that is on the stage dims out leaving only the candle- light. The MUSIC of "TAKE CARE OF THIS HOUSE" swells and then stops abruptly. Offstage LUD'S VOICE is heard) LUD'S VOICE (Offstage) Welcome, Mr. President ... (The candlelight goes out. The stage is in darkness. In the instant of the darkness, a military tattoo is heard. A CHORUS stands on the sides of the stage) STAGE RIGHT CHORUS WHO IS BLOWING ON THAT HORN ON THIS QUIET SABBATH MORN? STAGE LEFT CHORUS THE MARINE BAND! (THE MARINE BAND!) (The MARINE BAND marches on) STAGE RIGHT CHORUS WHO'S THAT MARCHING FOUR BY FOUR THROUGH THE PRESIDENTIAL DOOR? STAGE LEPT CHORUS THE MARINE BAND! THE MARINE BAND! (GUESTS are entering) AMERICAN GUESTS MR. JEFFERSON TODAY IS HAVING A BUFFET;1-24 AMERICAN GUESTS (Continued) AND HE THOUGHT THE BUNCH WHO CAME TO LUNCH WOULD LIKE TO HEAR THEM PLAY ... THE PRESIDENT JEFFERSON MARCH. THE PRESIDENT JEFFERSON LUNCHEON MARCH THE PRESIDENT JEFFERSON LUNCHEON PARTY MARCH ... THE PRESIDENT JEFFERSON SUNDAY LUNCHEON PARTY MARCH. (GUESTS continue entering, a ribbon, a turban or the like indicating the foreign element. JEFFERSON is discovered) JEFFERSON ADDING RHYTHM TO RAGOUT HERE IN WASHINGTON IS NEW. AND I'VE MADE MY SHARE OF CULINAR - Y INNOVATIONS, TOO. I BROUGHT WAFFLES HOME FROM HOLLAND; AND THEY'RE GOING LIKE HOTCAKES EV'RYWHERE. I BROUGHT ICE CREAM BACK FROM PARIS; FROMAGE, DE BRIE, GRUYERE AND CAMEMBERT. AND FROM ROMA I BROUGHT HOME A QUALCHE COSA DELIZIOSA CALLED SPAGHETTI, BUT MY FAVORITE OF ALL IS THE SAVORY I LIKE TO CALL BROWN BETTY, SO LET'S ADD A BIT OF CHEER TO THE SABBATH ATMOSPHERE. AND IF GOD AT TIMES IS SICK OF CHIMES, HE SHOULD BE PLEASED TO HEAR ... THE PRESIDENT JEFFERSON MARCH ... THE PRESIDENT JEFFERSON LUNCHEON MARCH ... THE PRESIDENT JEFFERSON LUNCHEON PARTY MARCH .., THE PRESIDENT JEFFERSON SUNDAY LUNCHEON PARTY MARCH. LADIES CAKES AND ALE AND BUTTERED RUM ‘TO THE DRUMMING OF THE TYPANNUM ... FOIE DE VEAU AND CAVIAR 0 THE BOOMING OF THE OOMPA-PA, VAROOMPA-PA ...1-25 LADIES (Continued) EGGS COCOTTE AND PICKLED EEL TO THE TINKLE OF THE GLOCKENSPIEL ... CREPES SUZETTES AND HAL 'VAH TO THE BOOMING OF THE OOMPA-PA OOMPA-PA ... "SKOAL", "SALUD" AND MANY MORE YOU CAN HEAR FLOATING BY. OOMPA-PA ... "PROOST, MEIN HERR", “BON APPETIT", AND "HERE'S MUD IN YOUR EYE". SO DRINK YOUR GLASS OF ANISETTE ‘TO THE TOOTLE OF THE CLARINET ... BURGUNDY AND BOUILLABAISE TO THE DRUMMINGS OF THE DUM-DE-DUMMING OF THE ... BUM-DE-BUMMING OF THE ALL PRES- IDENT JEFFERSON MARCH . THE PRESIDENT JEFFERSON LUNCHEON MARCH ... THE PRESIDENT JEFFERSON LUNCHEON PARTY MARCH ... THE PRESIDENT JEFFERSON SUNDAY LUNCHEON PARTY MARCH! (The Parade continues choreographically to the conclusion. The LIGHTS black out and come up on LUD, sitting at a table in the corner of the stage. HE is cleaner and writing a letter with great difficulty. HE pauses to read aloud what HE has written so far) LUD (Reading) Dear Miz Adams ... How are you? .., Ththis is my fust letter ... (HE is learning to say "th" instead of "de" and accents it each time HE comes to it) Mister Smothers who you may not remember cuz he wuzn't here when you wuz has opened a school for small colored folk which is me an' I been go-in' ...1-26 LUD (Continued) (uz is learning "Going" instead of "Quyne", and makes two syllables of it) Mr, Jefferson he want all us in the kitchen to learn to read an' write which we is all doin’ ‘cept some of us ... Miz Adams ... you should see how Washington has growed up since you lef"... an' how pooty the house ... (Looks up -- to no one in particular) Is there two "o's" in “pooty" or one? (Reads on) s+ how pooty the house is gettin' to be. Today Mr. Jefferson is throwin' a big shebang in the garden fer all them furriners who's livin’ here now an' you never heard so many funny lang'ages. An' Mr. Jefferson he speak ‘em all... Oh, Miz Adams, I have good news fer you. The bells fin'lly come «.. (The LIGHTS come up on what is presumably the pantry as a bell is heard ringing. It is during the party and the pantry is a bee-hive. Among the BLACK SERVANTS are a large lady named JOBY; RACHEL, pregnant; HENRY; and arraging platters at a center table, a very pretty girl in her twenties named SALLY. Next to her is a cradle, presumably occupied) SERVANT (fxiting with a tray of glasses as bell rings) Doan dem furriners git nuffin’ to drink at home? gOBY (at the platters) Henry, is dey ready fer de dead animals? HENRY Mr. Jefferson wanna look at ‘em fust. (Activity continues silently as LUD reads on) LUD Rachel had a baby las’ year called Joseph an' now she's all puffed up again an' tryin' fer Mary. (JEFFERSON enters and nodding graciously to EVERYONE, examines the platter and nods his approval. HE pauses briefly to look into the cradle and smile to SALLY before HE exits)LUD (Continued) Sally who come with Mr, Jefferson from Virginny, she baby almos' the same day as Rachel. I doan know who Pappy is but I'm pooty sho there is one ... Her name Thomasina. Miz Adams, I doan know how God thinks up them different faces ... (MUSIC begins) +++ but he sho made this one special ... (Sings slowly as HE writes) EACH PIECE HE PUT IN RIGHT. AN! JIS' SO FOLKS'LL NOTICE HER HE MADE HER KINDA LIGHT. (Continues singing, looking up) WONDER WHAT SHE'LL BE LIKE WHEN SHE GROWS. WONDER WHAT WE'LL BOTH BE LIKE ... WHO KNOWS? WHO KNOWS ... ? (During the last of the above, the LIGHTS dim out on the rest of the stage. THE MUSIC continues, LUD THE MAN.enters and stands next to LUD THE BOY) LUD THE BOY (Looking up at him) Is you ... me? (LUD THE MAN nods. LUD THE BOY slowly backs off, almost. LUD THE MAN watches his childhood go. The BOY stops for a moment) Good luck ... (HE exits. The LIGHTS come up on the rest of the stage. Where the cradle was, now stands a BEAUTIFUL YOUNG GIRL, named SEENA. SALLY remains, older. RACHEL is gone. LUD takes a breath and turns to look at SEENA. SHE does not see him) LUD THE MAN SEENA THOMASEENA ... I KNEW HER SO LONG, MY SWEET LITTLE SEENA. I KNEW HER BEFORE SHE WAS CRAWLIN' ON THE FLOOR. THEN ONE DAY THIS WEEK HER HAIR BRUSHED MY CHEEK -- AND NOW I DON'T KNOW EER NO MORE, 1-27 had a the is all1-28 LUD THE MAN (Continued) I KNEW HER SO WELL, MY SWEET LITTLE SEENA. I KNEW EVERY POUT, EVERY TWINKLE THAT SHE WORE. THEN ONE DAY HER SMILE LIT THE SKY FOR A WHILE -- AND NOW I DON'T KNOW HER NO MORE. OH, I USED TO KNOW IF HER TEARS WERE REAL, BUT I DON'T KNOW NOW. ALL I DO IS FEEL. AND I USED TO KNOW WHERE HER THOUGHTS WOULD FLY; BUT I DON'T NO MORE, ALL I DO IS DIE WITH LOVE AND WANT HER SO AND THAT'S ALL I KNOW ... SEENA ... WE LAUGHED AND WE PLAYED, ME AND LITTLE SEENA. WE RAN THROUGH THE YEARS, THROUGH THE TREES, BY THE SHORE. BUT GONE IS THE PAST. I MET HER AT LAST, AND NOW I DON'T KNOW HER NO MORE. NO, NOW I DON'T KNOW HER NO MORE. (LUD turns to SEENA who now returns his look, Their eyes hold. JEFFERSON appears chatting amiably with someone who does not seem to be there) JEFFERSON War again with England? Impossible, sir. As short-sighted as nations may be, neither England or the United States would be blind enough to stumble into another war. (The STAGE MANAGER enters) STAGE MANAGER Hold it! Jefferson" ... ? (The PRESIDENT stops) You're supposed to be Madison. We're going straight to the war. PRESIDENT What?1-29 PRESIDENT (Continued) (Remembers) Oh! I'm sorry. That's right. (HE exits) STAGE MANAGER Places. The war, Curtain, (HE exits. Guns and drums are heard in the distance, SALLY is on stage. HENRY rushes in. RACHEL a few moments after, BOTH are older. RACHEL, needless to say, is no longer pregnant. LUD and SEENA remain) HENRY Rachel! Rachel! SALLY What's happenin'? HENRY Whar dey come from? JOBY (gntering) What's dat noise? HENRY Someone say General Cockburn his'self .., LUD Who? HENRY General Cockburn ... Someone say he landed wid de whole British army an' dey's comin' on Washington, JOBY Oh, Lawd! What we gwyne to do? Lup Where's the President, Henry? HENRY He's gone to be wid the troops somewhere. Lup Where's Miz Dolley? HENRY on de roof.1-30 LUD On the roof? HENRY Dat's what dat French seckatary say. Lup (To SEENA and ALL) Wait! Wait heret (HE exits as the LIGHTS black out. ‘The LIGHTS come up on DOLLEY MADISON peering through a spy-glass. Her French Major Domo, JEAN-PIERRE SIOUSSAT enters) FRENCH JEAN (As HE was known) Madame ... 1 DOLLEY (Looking in all directions) Have they lost their hearts or their minds? American soldiers, wandering aimlessly as if they had no spirit to fight for their own firesides. FRENCH JEAN Madame, I have a message ... from the President, DOLLEY Open it. (HE does and hands it to her. SHE reads it impassively and then returns to her spy-glass) LUD (Entering) Miz Madison ... { (FRENCH JEAN motions for him to be quiet) DOLLEY (Quietly) The President has ordered us to abandon the house immediately. LuD Leave ... leave the house ... ? DOLLEY (Her composure incredibly intact) The British army is on the outskirts of Washington.1-31 DOLLEY (Continued) Jean-Pierre, pack all Presidential papers and every object of value in this house and begin loading the wagons. FRENCH JEAN Madame, if the enemy is coming, I suggest we do not leave this house for them, DOLLEY What would you have us do, take it with us? FRENCH JEAN In France, madame, we would destroy it. Blow it up. DOLLEY In France you would discuss it until the enemy arrived. Now hurry! PRENCH JEAN (Starting to exit) Yes, madame, (Stops) Madame! (SHE looks at him) You are having a dinner party this evening! The table is set! There are even hors d'oevres ... DOLLEY Be sure and take the portrait of Washington. and feed my parrot. LUD (Worried) Miz Madison, where's the President? DOLLEY I don't know, Lud. Somewhere out there. But I shall find him, Pack all the silver, the china and the glassware LUD Yes, ma'am. DOLLEY Fill every wagon you can find and be sure that everyone is out of this house. I would estimate you have less than two hours. Put my favorite spoons in a sack and leave them in my room, I will take them myself, LUD Yes, ma'am.1-32 DOLLEY And don't forget the service on the dining room table. LuD Yes, ma'am, Miz Madison, who gonna pack you outta here? DOLLEY I will be out on time, Lud. Have no fear. No British officer will add me to his trophy room. (LUD exits, hating to leave her. SHE continues peering) Oh, my dear Mr. Madison Please don't try to lead the army! You know you have no gift for strategy. And you're so shy with horses (The LIGHTS dim out quickly. The guns crescendo and then stop abruptly. The LIGHTS come up on the dining table, set and laden with food. THREE BRITISH OFFICERS named ORDWAY, PIMMS and BUDGEN are entering. EACH stops with astonish- ment when his eyes behold the table) ORDWAY By Jove! PIMMS Egad! BUDGEN God's teeth! ORDWAY Have I gone around the bend or Is that appetizing splendor Really there or just a gastronomic ghost? PIMMS For a leader with a talent For conspicuous ungallant- Ry, this Madison is quite a decent host. (THREE MORE BRITISH OFFICERS, GLIEG, BARKER and MAITLAND enter) MAITLAND By Jove! GLIEG Egad!1-33 BARKER (Who stutters) G-G-c- What a 1-1-1-libation! (To FIRST THREE) You'll g-get a commendation P-f-for v-v-valor at the stove! ORDWAY Silly pigeon-head, we found it. BARKER You £-f£-f£-found it? BUDGEN Yes, we found it, BARKER You £-£-£-£- (ADMIRAL COCKBURN strides in followed by ROSS, PRATT and SCOTT) COCKBURN (Who is slightly deaf) By Jovel Egad! God's teeth! I say! What a spifgy epicurean display! ORDWAY It was left here, sir, uneaten, COCKBURN You were once a chef at Eton? ORDWAY (Very loud) Sir, uneaten, sir; not Eton, sir, I said. COCKBURN Must you mumble in your tea cup? I will thank you, sir, to speak up. ORDWAY (Loudly) Very good, sir. COCKBURN ‘Tis a spiffy-looking spread! (HE takes a bottle of wine from a cooler and holds it up for inspection) I have never seen a clearer More exuberant Maderia, What a jolly bit of juice to leave behind th1-34 COCKBURN (Continued) Pity Jamie is unable To be with us at the table But he's dining with his troops -- if he can find them. (HE loves his "joke" and laughs. The REST join) Barker, fill the beakers for a toast before we sup. BARKER (Taking a bottle and doing so) Vevevery g-9-9-9-g-9- COCKBURN Oh, shut up! Where are all the fuzzies -~ or the blackies, as they say? Not a servant anywhere. Ah, Pimms, and by the way ... Just before we landed you were certain every fuzzy Would rise up against his master and unite with us -- but does he? No! We landed and where was he? Your fuzzy ... He rose to fight against us; Flung his jungle might against us And so much for your poor oppress-ed fuzzy. Which obliges me to mention That your basic comprehension Of the fuzzy Is fuzzy. PIMMS By your leave, sir, ‘twas a failure. COCKBURN You are leaving for Australia? PIMMS (Louder) I agree with your contention That my basic comprehension Of the fuzzy Was fuzzy ... sirl COCKBURN Failure noted. Pardon granted. Now if the wine has been decanted ... (Glass up) Gentlemen! Be upstanding! ALL (Glasses up) Sir... 11-35 COCKBURN To the King! ALL To the King! COCKBURN And to Eng... | (LUD and SEENA enter. LUD is carrying a large wicker crate. THEY are as stunned to see the BRITISH as the BRITISH are to see them) ORDWAY By Jovet PIMMS Egad! MATTLAND God's teeth! COCKBURN Mister Pimms, your calculations Did not tot'lly miss the mark. dust when all is lost -- behold! a ray of dark! (THEY ALL sit. LUD discreetly puts down the crate and motions to SEENA to get food from the kitchen, SHE exits. LUD goes and fill COCKBURN's glass. To LUD as HE does) Blackie, to reward you for your laudable sedition, You are serving the commander of the British expedition. LUD General Cockburn! COCKBURN (Horrified) General "Cockburn"?! LUD Iwas told, sir ... COCKBURN Stop at once! Tis "admiral" not "general", you pre-historic dunce! Tis 'Co'burn" and not "Cockburn" -- though for that you are excused, Tis spelled c-o-c-k but only half the cock is used.1-36 (SEENA enters with a platter of beef, LUD takes it and goes to serve COCKBURN. Throughout the rest of the scene, when- ever THEY can, THEY steal a knife here and a fork there and conceal it on their person or place it silently in the crate. If possible THEY do the same with glasses and plates) ORDWAY (To SOMEONE) Pass the bread. PIMMS (To BUDGEN) You're a glutton. ROSS (To MATTLAND) How's your wife? COCKBURN Gorgeous mutton! MAITLAND (To Ross) Last I heard, Lost a tooth. How is yours? ROSS Lost her youth. ORDWAY So did mine. COCKBURN Pass the wine. (A rumble is heard in the distance. ALL, except COCKBURN, turn and look out front through an imaginary window. LUD and SEENA do, too, grief stricken by the sight) ORDWAY Egad! BUDGEN God's teeth! PIMMS Hel-lo! The building on the hill's begun to glow,1-37 MAITLAND The capitol's ignited, sir. ORDWAY The fire has been lighted, sir. BARKER Tis like the d-d-d-dawn-dawn in the sky. COCKBURN Barker! Lup It's on fire, sir, The capitol's on fire! COCKBURN Barker, pass the wine. LuD But ... ORDWAY (To COCKBURN) Another bit of pie? LUD But ... why? COCKBURN (Gaily, gorging himsel#) Why? Simple. Primo, I have ordered it and were it not aflame, The officer in charge would leave here deader than he came. Secundo, not a finer torch or beacon could there be, For Blackie, by tomorrow morning Washington, D.C. Will be Washington, deceased. (I say, this is a feast!) (LUD and SEEN gasp. HE continues serving, but tears glisten on their cheeks) COCKBURN Tis time to make it hot for all these Yankee demagogues; With capitol and residence to burn instead of logs- And residence the last. (Egad, what a repast!) Lup Burn this house .,. How can you do it? PRATT How can we?1-38 ORDWAY How can we? MAITLAND How can we? PIMMS Nothing to it. Kindling is required but there's more than one could want. PRATT Chop every bit of wood work and furniture you see. ORDWAY Second, spread a layer of rocket powder on't. PIMMS Third, apply the torch. And flee. GLIEG Hear! Heart BUDGEN Good show! ROSS Well done! ALL Top hot COCKBURN (Rising) NOW LET US TO THE WINDOW FOR THE SWEETEST DISH I KNOW CALLED WASHINGTON FLAMBEE; TAKEN FROM A RECIPE WHICH I LEARNED SOME TIME AGO WHILE VISITING POMPEII. LET'S FESTOON THE NIGHT WITH MUSIC AS WE BRITISH HAVE OF OLD WITH VOICES HARMONIZED; AND SING A DEAR AND ANCIENT SONG THAT LATELY I AM TOLD THESE YANKS HAVE PLAGARIZED. ALL (After warming up, clearing the throat, etc.) GATHER 'ROUND BY THE FIRE WITH YOUR BEAKER IN HAND . WITH YOUR BEAKER IN HAND ... AND THERE LET US MERRILY BESOT OURSELVES THOROUGHLY; IMBIBE TILL WE VERILY BURST OUR ATTIRE.1-39 ALL (Continued) FOR WHAT MORE PLEASING CUSTOM OF OUR OWN NATIVE LAND . OF OUR OWN NATIVE LAND ... THAN A CHAP WITH HIS CHAPS, A CHAP AMONG CHAPS, A CHAP BETWEEN CHAPS BENDING OVER THE FIRE, HOW BLISSFUL TO GAZE THROUGH CINDER AND HAZE ... 1 THROUGH CINDER AND HAZE HOW BLISSFUL TO GAZE AS VISIONS OF HOME GATLY DANCE IN THE BLAZE. OH, I NE'ER CAN RECALL A MORE HEART-WARMING SIGHT THAN SENATE AND CONGRESS ... THAN SENATE AND CONGRESS BURNING MERRY AND BRIGHT. (The MUSIC continues but begins to dramatize the horror of the burning of the city. The LIGHTING reflects the growing flames as the orchestra swells. Through it all, the MEN calmly, slightly drunkenly, sit staring at the "spectacle" with glassy-eyed contentment) COCKBURN (Holding out his glass) Barker, some wine. BARKER Yes, s-s-s- ... (HE stops himself before COCKBURN does it for him. HE fills COCKBURN's glass. ‘The orchestra crescendoes, the flames grow more intense. Suddenly, there is a sharp blink of lightning and a shatter- ing clap of thunder. The LIGHTS black out. ‘The sound of rain is heard. Then slowly, very slowly, the LIGHTS come up on the gutted House standing scarred and blackened. The House fades out as the LIGHTS come up on stage revealing dozens of BLACKS and WHITES staring tragically in the direction of the House.1-40 Suddenly there is a whispering in the CROWD. IT separates and DOLLEY MADISON is discovered standing with FRENCH JEAN who is holding a sack. MORE enter and exit sadly. LUD enters and indicates DOLLEY to SOMEONE offstage. MADISON enters. EVERYONE falls back, aware of his presence) MADISON (With controlled emotion, very softly spoken) Mrs. ... Madison? (SHE sees him, THEY go to each other, HE kisses her on the cheek) DOLLEY Are you in one piece? MADISON (BOTH controlling the intensity of their feelings) I am now. DOLLEY I went to Shelby's Inn, You had gone. MADISON I had not arrived. I was trying to cross the river. DOLLEY I had crossed the river looking for you. Then I heard the English had been put to flight. MADISON But, alas, not by us. The storm. The wind unhorsed more British soldiers than we were able to. DOLLEY (Their eyes still on each other) What a strange freak of weather. So much rain on such a clear night. Perhaps God was trying to save ... our house. MADISON (Gently) Perhaps. DOLLEY Did he? MADISON I'm afraid not.DOLLEY (after a moment) Then we must begin again. (THEY wait. Finally) Then we must begin again. PRESIDENT You said that. DOLLEY I know I did. It's your turn, I saved the china and silver- ware. Now you do something. PRESIDENT (Calling) Line! (The STAGE MANAGER enters) STAGE MANAGER (From the script) “She takes his arm and they turn to leave. (SHE does) “Suddenly, he stops." (THEY do. The PRESIDENT remembers and waves him off. HE exits) PRESIDENT Where are we going? Where shall we live? DOLLEY The Octagon House, I have made arrangements. (THEY continue off, followed by FRENCH JEAN. The sack HE carries jingles with spoons, LUD and SEENA find each other in the CROWD and go into each other's arms. The MUSIC swells and the LIGHTS dim out. In the darkness, a MAN, later identified as REVEREND BUSHROD, Bible in hand, solemnly crosses the stage and finds a chair. The LIGHTS come up around him. It is the kitchen. JOBY, RACHEL, HENRY and OTHER SERVANTS are engaged in dinnertime activity. suddenly LUD bursts in)1-42 Lup (To MUSIC) They doan have to pull it down! They doan have to pull it down! Mr. Hoban say the walls is solid And they doan have to pull it down! JOBY (Bostatic) Is dat true, honey? Is dat true?! LUD Mr. Hoban say he can fix it all up dJus' like it was. Gonna take a long time. Maybe three years. But we gonna move back ... We gonna move back ... And into our house! HENRY Ain't dat sumpin'! goBy But de walls is burned. Dey all burned black ... LUD Mr, Hoban say if you paint 'em all white ... Paint the whole house white You won't see nothin’ . But a big white house | (SALLY entexs) SALLY Reverend Bushrod ... ? BUSHROD (Rising) All ready, Miz Sally ... (WE takes LUD by the arm and gently leads him to the center of the stage and stands him on stage right of BUSHROD who is facing out. OTHERS take their places on either side. LUD is too excited to be aware HE is being placed) Lup (As HE goes) You hear that, Joby?1-43 LUD (Continued) Gonna paint it all white And we're movin’ back Back to our house! Where's Seena? I gotta tell ... (SEENA enters. SHE wears a bridal veil. LUD suddenly realizes HE is about to be married) 1 (The MUSIC begins under and SEENA walks slowly toward LUD and BUSHROD) Good afternoon, Reverend. BUSHROD Good afternoon, Lud. DE RAIN IT MAKE DE RIVER RUN. TOO MUCH RAIN IT OVERFLOW. DE SUN IT FILL DE FIELD WID CORN. TOO MUCH SUN AND NOTHIN' GROW. DE WIND IT SEND DE SHIP TO SEA. TOO MUCH WIND DE SEA TOO ROUGH. BUT TOO MUCH LOVE, TOO MUCH LOVE, TOO MUCH LOVE IS JUS' ENOUGH. TOO MUCH GOLD DE SOUL, CAIN'T TAKE. TOO MUCH FRUIT DE BRANCHES BREAK. JUS' TWO THINGS CAIN'T BE TOO MUCH OF: TOO MUCH FAITH AN' TOO MUCH LOVE. (To LUD) DO YOU TAKE DIS WOMAN TO BE YOUR PRECIOUS BRIDE, TO CHERISH, LOVE AN' KEEP HER FOREVER AT YOUR SIDE? LUD I do. BUSHROD (To SEENA) TO HIM WHO STAND BESIDE YOU DO YOU PLEDGE YOUR HEART, AN' SWEAR TO LOVE AND COMFORT TILL GOD SAYS YOU MUST PART? SEENA I do. (LUD puts the ring on her finger)1-44 BUSHROD WHO DE LAND DONE MAKE AS ONE AIN'T NO MAN CAN MAKE UNDONE. SO IN HIS NAME FOR ALL YOUR LIFE I NOW PRONOUNCE YOU MAN AN' WIFE. (Following the wedding, there is a celebration consisting of a cake-walk -- a dance contest in which the winning couple receives as prize the first piece of the wedding cake after the bride and groom. The choreographic activities reach a climax and the cake is cut. Suddenly the LIGHTS come up on a downstage corner of the stage. A SLAVE AUCTIONEER is chanting. As HE does, the LIGHTS dim to half on the center stage and in a corner on the opposite side from the AUCTIONEER, the LIGHTS come up on a small GROUP OF BIDDERS. ‘The auction stops the nuptial gaiety in its tracks. EVERYONE stares at it in horror and fear) AUCTIONEER FEMALE ... AGE, THIRTY ONE WITH OR WITHOUT INFANT SON DO I HEAR SIX HUNDRED? SHE COOKS AND SEWS SKILLED IN TENDIN' LADIES' CLOTHES ... SIX HUNDRED -- SIX -- NOT A LOT ... MAN 3 JUS' THE WOMAN, SIX YOU GoT. MAN 4 FIFTY MORE, MAN 5 SEVEN YOU GOT. AUCTIONEER WITHOUT THE CHILD ... SEV'N I GOT. DO I HEAR EIGHT? MAN 3 YOU HEAR EIGHT. AUCTIONEER I HEAR EIGHT AND I CAN'T WAIT,1-45 AUCTIONEER (Continued) EIGHT ... BIGHT ... GOIN’ ONCE EIGHT .,. EIGHT ... GOIN’ TWICE... IS EIGHT THE PRICE? EIGHT'S THE PRICE ... (During the above, the LIGHTS come up on the indicated office of PRESIDENT MONROE. Discovered are MONROE, a soft-spoken, humorless gentleman; MR. CUNNINGHAM, a charming middle-aged Southerner -- and ELIZA MONROE, English, fortyish, strikingly attractive, who bursts in upon them and begins talking over the auctioneering) ELIZA (Not noticing CUNNINGHAM) James! I cannot stand those wretched slave markets another minute. You must stop them! You simply must! (MONROE comes downstage and closes an imaginary window. “The auction- eering ceases abruptly) ELIZA (In outraged disbelief) Is that all the President of the United states can do about slavery, close the window? MONROE It's more decisive action than you'll get from the Congress, my dear. Mr. Cunningham, may I present Mrs. Monroe? ELIZA (Suddenly aware of him) Oh! Forgive me. CUNNINGHAM (Coming to her) T am deeply honored, ma'am. ELIZA (Acknowledging him) (Calmer) I apologize for interrupting. (To CUNNINGHAM) But those slave markets . Just when I am receiving. Sir. They always begin at tea time! CUNNINGHAM I share your feelings, ma'am. And we shall remove this tragic blight.1-46 MONROE (Easily) Mr. Cunningham is president of the American Colonization Society. (BLIZA does not understand) CUNNINGHAM I proposed to the president today ... MONROE (Easily) We must not burden Mrs. Monroe with our deliberations, sir. You will hear from me shortly. CUNNINGHAM Thank you, Mr. President. (Bowing) Ma'am. (HE turns to go) YONROE Oh, Mr. Cunningham, The Executive Mansion has finally been restored and we shall be opening the doors for the first time on New Year's Day. Mrs. Monroe and I would be delighted if you could attend. CUNNINGHAM That is most kind, sir, (Bowing again) Ma'am. (HE exits. ELIZA stares at MONROE with that same sardonic look, HE notices it) ELIZA James, I do wish you would stop inviting people for New Year's Day. I doubt if we shall even be moved in, despite Lud's assurances. The furniture is still lying on that dank, putrescent dock in Baltimore! MONROE What furniture, my dear? ELIZA Our furniture from Paris, my dear. It's been lying there five days, being assaulted by humidity and slime. The wood is simply not up to it. James, New Year's Day is less than two months away. Can we not postpone the reception? MONROE Alas, no. Eliza, the house is now far in excess of the budget, which Congress will discover when they reconvene1-47 MONROE (Continued) in January. They will never swallow it unless we wash it down for them with a little champagne and national pride. (Waxmly) I know it is a formidable task. But I have unbounded faith in you. ELIZA I wish you did not. There is nothing more unfeminine than dependability. (SHE tums and her eye is caught by the activity outside the imaginary window) Just look at them out there, What a hideous spectacle! i'm so embarrassed in front of my European friends. I try to pretend it's a quaint native custom ... but ... I thought slave trading was forbidden in Washington. MONROE It is. ELIZA Well ... ? You took a vow to execute the law. Execute it. MONROE If I did, Eliza, it would arouse a clamor to repeal it, and to repeal it would arouse a clamor that would shake the country. I'm afraid in this case my duty lies in executing the law of reason. ELIZA In this case! As far as I can see, in every case. Whatever its merit. I'm beginning to think Reason is where a man's Convictions go to die. (Quickly) I'm sorry. That was unkind. Forgive me. MONROE Of course. ELIZA It was a horrid thing to say. MONROE (Unruffled) It was a little. ELIZA Then why are you not provoked? MONROE (Off balance) Eh?1-48 ELIZA Provoked? Or indignant? Or furious? Or something? Why didn't you at least glare? MONROE Because, my dear, I have a favor to ask of you and that would hardly be a gracious way to begin. ELIZA (With weary affection) Oh James, What is the favor? MONROE I would like you to find a new staff. ELIZA I beg your pardon. MONROE I would like you to find a new staff. ELIZA Find ... a... new ... staff? MONROE Before we move into the house. A white staff. ELIZA A... white ... staff? MONROE Yes. ELIZA (small craft warnings going up) Including the eyes and hair? MONROE (again off balance) Eh? ELIZA Or would pink for the pupils and apple green for the hair satisfy you aesthetically? James, I cannot move into that house in two months or two years without my staff. If you wish the servants to match the color of the walls, tell Mr. Hoban to paint them, MONROE Eliza, the only cure for this country's racial disease is black emigration. Liberia. ELIZA (Mystified) Liberia?!1-49 MONROE I have guaranteed its independence and Cunningham's society is trying to raise the money to buy the slaves out of bondage and transport them to Liberia, Our servants are free men, but he has suggested I set an example by offering them the opportunity to go. I have no doubt they will all joyfully accept. ELIZA James, you are superb! By piously advocating the impossible you cleanse your Virginia soul and at the same time preserve the status quo. Reason triumphs again! Do you know what T wish? That one dark night you would commit a crime of passion. (Starts to go and stops) What a callous idea! To send our decent, devoted servants to an unspeakable, unreachable mudhole in Africa while I am trying to move. MONROE Eliza, I ask you to do this for reasons of national conse~ quence, ELIZA And I refuse for reasons of domestic consequence. You look after the country, James. I will look after the house. (And out SHE goes) MONROE (As SHE goes) The house is the country! (For a moment, HE stands motionless. Then HE goes to the "window" and opens it. The moment HE does, the LIGHTS come up on the AUCTIONEER in the audience and the LIGHTS go down on the stage. HE is auctioneering off a young, MALE SLAVE) AUCTIONEER (Instantly) NEEDS NO BED. SLEEPS ON THE FLOOR. DO I HEAR FOUR? DO I HEAR FOUR? MAN 1 YOU HEAR TWO, NOT A PENNY MORE. AUCTIONEER TWO HUNDRED AIN'T NO PLACE TO START. AIN'T NO ONE OUT THERE GOT A HEART? DO I HEAR THREE? DO I HEAR THREE?1-50 (The LIGHTS black out on the AUCTIONEER and come up on the stage. Twin beds occupy the center of the stage. ELIZA MONROE is in one of them. MONROE is slipping into a nightshirt over his clothes. HE gets into bed, looks at ELIZA as if HE is about to say something, doesn't -- and lies back. A moment later HE sits up) MONROE ELIZA, ELIZA ... ARE YOU SLEEPING? ELIZA Yes, MONROE ("Winningly") ELIZA, I HAVE SOMETHING TO CONFESS. LIKE A CHILD I SAY MY PRAYERS AT NIGHT. IMAGINE! A PRESIDENT NO LESS WHO PRAYS FOR REASON TO BE HIS GUIDING LIGHT. REASON, ELIZA, REASON ... HOW SHORT IS THE SUPPLY! REASON, THE RULER OF MY LIFE. (Passion emerging) IT IS NOT WHERE MY CONVICTIONS GO TO DIE! My tutor used to say: IN TIME OF CRISES DO NOT FOLLOW DIONYSUS BUT APOLLO! (Looks) ARE YOU SLEEPING? OR DO YOU REALLY THINK IT WISER BEING RECKLESS AND ... ELIZA? ... ELIZA? ... ELIZA? ELIZA (Without moving) GO TO SLEEP, DEAR. GO TO SLEEP. IT WILL KEEP, DEAR. IT WILL KEEP. THE DAYS ARE LONG, DEAR; FULL OF CARES AND STRAINS. SLEEP, GO TO SLEEP, DEAR. GO TO SLEEP. THE STAFF REMAINS ... DEAR. MONROE (tying back) Staff? Who spoke about the staff? Reason, Eliza ... Reason!1-51 MONROE (Continued) (sitting up) REASON! IT WAS OF REASON I WAS SPEAKING ON BEHALF. IN HOPES YOU MIGHT EMPLOY IT WHEN WE TALK ABOUT THE STAFF. (Proud and pompous) WERE REASON NOT TRIUMPHANT THIRTY YEARS AGO IN THAT PHILADELPHIA HALL THERE'D BE NO CONSTITUTION, NO UNITED STATES AT ALL. (Glances, Nothing) I WAS THERE, WAS I NOT? (Glances, Nothing) I WAS THERE. IT WAS HOT. (Still nothing) ‘WAS COMPROMISE AND REASON THAT FIN'LLY ALTERED THE BALANCE OF THE SCALE ... WITH A BILL OF RIGHTS ELIZA (Still lying down) FOR WHITES AND FOR BLACKS A BILL OF SALE. WAS IT NOT? MONROE IT WAS HOT. BUT THAT WAS THIRTY YEARS AGO AND THERE WERE FIFTY MEMBERS IN THE HALL. YOU COULD NOT PLEASE THEM ALL. WITH FIFIY DIFFERENT MINDS WRITING LAWS THERE WERE BOUND TO BE SOME FLAWS. ELIZA GO 10 SLEEP, JAMES MONROE THERE ARE FLAWS .., ELIZA IT CAN KEEP, JAMES ... MONROE IN THE Laws. IF ON OCCASION JUDGMENT WENT ASTRAY . ELIZA SLEEP, GO TO SLEEP, JAMES. Go TO SLEEP. THE STAFF WILL STAY ... JAMES.1-52 MONROE Staff!? Who's speaking of the staff? Reason, Eliza ... ELIZA (Bolt upright) REASON! THAT OVER-USED WORD, THAT MUCH ABUSED WORDL REASONI HAL WAS REASON THE NAME OF THE GENIUS WHO DREW THAT GLORIOUS ARTICLE ONE, SECTION TWO? THAT LITTLE WHITE LIE? MONROE WHAT LITTLE WHITE LIE? ELIZA THAT ALL MEN ARE EQUAL EXCEPT YOU-KNOW-WHO? DID REASON SUPPLY THAT LITTLE WHITE LIE? MONROE, YOU HAVE TO KNOW WHY. ELIZA HA! DID REASON OR COMPROMISE HELP YOU TO WRITE A NEGRO SHALL EQUAL THREE-FIFTHS OF A WHITE? MONROE THREE-FIFTHS OR TWO-THIRDS? ELIZA STOP PLAYING WITH WORDS OR JAMES, YOU WILL SLEEP ON THE SOFA TONIGHT. YOU CANNOT DENY THAT LITTLE WHITE LIE. MONROE T SHAN'T EVEN TRY. FOR SLAVERY SEEMED TO US ALL AT THE TIME A MINOR CONCESSION AND HARDLY A CRIME; PRE-DESTINED TO DIE. ELIZA PRE-DESTINED TO DIE! I'D LIKE TO KNOW WHY THAT LITTLE WHITE LIE WAS DESTINED TO DIE? MONROE YOU WERE NOT IN THAT CHAMBER THIRTY YEARS AGO AND YOU DO NOT KNOW THE FACTS. WE WHO FRAMED THE CONSTITUTION FRAMED THE LOFTIEST OF ACTS.1-53 ELIZA YOU WHO FRAMED THE CONSTITUTION, FRAMED THE BLACKS! IT WAS WRONG AND, JAMES, YOU KNEW IT, YOU KNEW IT, YOU KNEW WHEN YOU WERE WASHINGTON HOW WRONG IT WAS TO DO IT. YOU KNEW WHEN YOU WERE ADAMS. YOU KNEW IT. YOU KNEW IT. AS JEFFERSON YOU KNEW IT! AS MADISON YOU KNEW IT! AND NOW THAT YOU'RE MONROE, YOU SURELY OUGHT TO KNOW! SO CHANGE THE LAW! REPEAL IT! REMOVE IT! IF YOU BELIEVE IN LIBERTY, THEN PROVE IT! PROVE IT! AND I WILL SEND MY STAFF BY CAMEL OR GIRAFFE TO LIBERIA OR SYRIA OR ANYWHERE YOU SAY, BUT TILL THAT BLESSED DAY, MY ANSWER WILL BE NOI NO! NOL DO YOU HEAR THAT, JAMES MONROE?! MONROE (Desperately) GO TO SLEEP, DEAR. ELIZA Do you hear me? MONROE GO T0 SLEEP. IT CAN KEEP, DEAR, IT CAN KEEP. THE DAYS ARE LONG, DEAR. TIME TO SAY AMEN, SLEEP. GO TO SLEEP, DEAR. GO TO SLEEP. WE'LL TALK AGAIN. (SHE settles back. HE goes to the end of the bed and sits there, hopelessly) MONROE GO TO SLEEP. GO TO SLEEP. IT CAN KEEP . (After a moment) THE MARK OF A MAN, WHERE DOES IT SHOW? IN THE FORCE OF THE SWORD IN HIS HAND DEFYING THE FOE? IN FIRNNESS OF MIND? THAT BURNS THROUGH HIS EYES?1-54 MONROE (Continued) FOREVER SECURE ON THE THRONE OF REASON ALONE, IS THAT WHERE IT LIES? THE MARK OF A MAN , THE MARK OF A MAN . BUT WHAT OF THE MAN WHO PACES THE NIGHT, FUMBLING AND STUMBLING AND GROPING AND HOPING TO DO WHAT IS RIGHT? 10 DO THE RIGHT THING WHATEVER THE TOLL . NOT HEEDING THE CRIE: OF THE CLEVER AND WISE BUT ONLY HIS SOUL? BUT ONLY HIS SOUL ... 1 ELIZA (sitting up, obviously having been listening, tenderly) TRY TO SLEEP ... MONROE TO DO THE RIGHT THING THE BEST THAT HE CAN ... DOES THIS NOT DESERVE TO BE CALLED THE MARK OF A MAN? (BLIZA comes next to him) ELIZA YES, WHAT OF THE MAN WHO PACES THE NIGHT, FUMBLING AND STUMBLING AND GROPING AND HOPING TO DO WHAT IS RIGHT? ELIZA AND MONROE T0 DO THE RIGHT THING WHATEVER THE TOLL ... NOT HEEDING THE CRIES OF THE CLEVER AND WISE BUT ONLY HIS SOUL? BUT ONLY HIS SOUL. (ELIZA returns to bed) ELIZA (Gently) COME TO SLEEP, JAMES MONROE.