General King and I -- Part Two

ACT II SCENE ONE

The schoolroom.
It has been converted into a dressing room for tonight. The floor and tables are littered with dressmaking materials. The wives are all dressed in their new hoopskirts, mostly finished, but all are uncomfortable in the unaccustomed clothes. Others are receiving last minute touches from two seamstresses. MISS LARA enters.

LARA: Ladies! Ladies! Clear everything away! Quickly now!
(The wives and seamstresses clear away the materials)

SARA: Miss Lara, what is this costume? (Pointing to the dress) Here is South-- (Pointing to bodice) Here is North!

LARA: We have too much work to do! Can’t move fast in swollen skirt.

EMMIE: Miss Lara, why we have to dress like this for these guests?

LARA: Whatever Mrs. Anna wants us to do is wise and good, but this-- (Indicating hoopskirts) it’s a puzzlement.

ANNA: (Entering) Miss Lara, here are the napkins for dinner. Will you put them on the table?

LARA: Thank you.

ANNA: Thank you. (MISS LARA goes out) Now, ladies, turn around and let me see how you look. (The LADIES spread out and turn so that ANNA can see their backs. The GENERAL enters. They immediately prostrate themselves, the hoops flying up behind them. ANNA sees the horrid truth) Oh, my goodness gracious!

GEN: What’s the trouble now?

ANNA: I forgot! They have practically no--undergarments!

GEN: Undergarments! (He claps hands and the WOMEN rise) How important are undergarments?

ANNA: Of great importance.

GEN: Are you wearing undergarments?

ANNA: Of course, General!

GEN: (Indicating hoopskirt) That a woman has no legs is useless to pretend. Why a swollen skirt?

ANNA: The wide skirt is symbolic. It is the circle within which a female is protected.

GEN: This is necessary? Northern men are so aggressive? (Laughing) I did not no.

ANNA: (Going to the seamstresses, who help her remove her smock) I said it was symbolic.

GEN: These undergarments--they’re made in a symbolic, elaborate and ornamental manner?

ANNA: Sometimes.
(Her gown now revealed, the WOMEN gasp their admiration)

GEN: (Looking at her bare shoulders) This is what you are going to wear?

ANNA: Why, yes. Do you like it?

GEN: This is what all the other visiting ladies will look like?

ANNA: Most of them…I believe.

GEN: You’re certain this is customary? (Indicating her bare shoulders) Etcetera, etcetera, etcetera…

ANNA: Yes, I am certain it is customary. What is so extraordinary about bare shoulders? Your own ladies…

GEN: Ah, yes. But it’s different! They do not wear so much covering on other parts of their body, etcetera, etcetera, and therefore…

ANNA: (Irritated, like any woman who, displaying a new dress, meets unexpected criticism) Therefore what?

GEN: It’s different.

ANNA: I am sorry the general does not approve.

GEN: I didn’t say I don’t approve, but I did say…

SECRETARY: (Entering, saluting the General) Our visitors--they have arrived.
(This causes immediate confusion among the WIVES who huddle in a frightened group)

GEN: (Calling ANNA to him, he gives her a piece of paper) Here is a list of subjects you should try to bring up for discussion. On these subjects I’m quite brilliant, and will make a great impression. You’ll begin with Moses.

ANNA: Now remember, General--Courtwright is the editor of a newspaper in Washington and has great influence with…
(She is interrupted by the entrance of EDWARD RAMSAY, who has wandered into the room by mistake)

MELANIE: (Seeing SIR EDWARD and indicating his monocle) What’s that on your eye?
(The WIVES in an uncontrollable stampede throw their hoopskirts over their heads and rush out. From the look on EDWARD’S face, it is clear that they should have been supplied with undergarments. The ladies are quite embarrassed and run out of the room)

ANNA: Ladies! Ladies! Come back! Don’t! Come back! Oh, dear! Edward! Oh, sir, this is dreadful!

GEN: (Furious) Why have you not educated these girls on Yankee eyeglass?

EDWARD: Ah, my monocle. Hello, Anna, my dear.

GEN: (Before they can complete their handshake) Who? Who? Who?

ANNA: General, may I present the Secretary of War, Edward Ramsay?

EDWARD: (Shaking hands) General. (He turns to ANNA) How are you, Anna?

GEN: I regret, sir, my ladies have not given a good impression.

EDWARD: On the contrary, sir, I have never received so good an impression in so short a time. You have most attractive pupils, Anna.
(The GENERAL is clearly annoyed by the intimacy between ANNA and EDWARD)

ANNA: Tomorrow, you must meet my younger pupils--the general’s children. They are making wonderful progress.

EDWARD: I’d be delighted. (To the GENERAL) How many children do you have, sir?

GEN: Eleven now, but I am hoping for more.

EDWARD: No problem at all about an heir to the throne, is there? (This falls flat with the GENERAL, so he turns to ANNA, but it doesn’t amuse her either) I--er--I suppose I should apologize for wandering into this room. The rest of the party were ahead of me and…

ANNA: I’m so glad you decided to visit us--to visit the General I mean, of course…

EDWARD: It was your postscript to the general’s letter that…

GEN: Postscript?

ANNA: The General was most happy when you decided to accept his invitation…weren’t you, sir?

GEN: (Trying to figure it out) I was… happy.

COL. HOLMES: (Entering) General, dinner is about to be served, and I would first like to present your guests to you in the reception room.

GEN: (Clapping his hands happily, and going off) Dinner, dinner, dinner!

ANNA: (To COL. HOLMES) You have met?

COL. HOLMES: Sir. (He goes off. A waltz is being played offstage)

SIR EDWARD: Anna, my dear, you’re looking lovelier than ever.

ANNA: Thank you, Edward.

EDWARD: Found a job to do, eh? People you can help, that’s it isn’t it? Extraordinary how you become attached to people who need you. (Listening) Do you hear that? Do you know we danced to that once? (She nods) London. Still dance?

ANNA: Not very often.

EDWARD: You should. (He puts his arm around her waist and they dance)

ANNA: Edward, I think we’d better…

EDWARD: Are you sure you don’t get homesick?

ANNA: No, Edward. I told you, I have nothing there--no one.
(The KING enters and watches them)

EDWARD: Anna, do you remember that I once asked you to marry me--before Tom came along?

ANNA: Dear Edward.

GEN: (Interrupting, furiously) We’ll save dancing for
after dinner!

EDWARD: Oh, sorry, sir. I’m afraid I started talking over old times.

GEN: It was my impression Mrs. Anna would be helping to seat our guests at the dinner table, etcetera, etcetera, etcetera.

EDWARD: In that case, we’d better be going in, Anna.(He moves towards her, offering his arm)

GEN: (Coming between them, offering his arm) Yes, better be going in…Anna.
(She takes the GENERAL’S arm, and they start off, EDWARD following)

ANNA: (After a quick look at the paper the GENERAL has given her) The general made an interesting point about Moses the other day when he was reading the Bible. It seems he takes issue with the statement that…
(They are off)

SCENE TWO

The Mansion grounds.
THERESA enters and crosses the stage, looking back furtively. She starts as she sees MISS LARA.

LARA: Theresa, dinner is over. The general and his guests are on their way to the theater pavilion. Shouldn’t you be there to begin your play?

THERESA: I came out here to memorize my lines.

LARA: (Stopping her as she starts to go) I think not. I have seen you and Mr. Taylor together. I haven’t told the general this. For his sake. I do not wish to upset him. But your lover will leave Kentucky tonight.

THERESA: Tonight?

LARA: Now go to the theatre, Theresa.
(THERESA exits. LARA starts off, stops as she sees LUCAS TAYLOR enter, looks at him with stern suspicion, then exits. LUCAS crosses to the other side, and calls off, in a whisper)

LUCAS: Theresa!

THERESA: (Entering) Turn back and look the other way. (LUCAS instantly does so) I am here in the shadow of the wall. I will stay here until she turns the corner… She has told me you’re leaving Kentucky tonight, but I don’t believe her.

LUCAS: It’s true, Theresa. They have ordered me onto the first boat that leaves for Alabama, and it’s tonight.

THERESA: (Running to him) What will we do?

LUCAS: You are coming with me!

THERESA: Me!

LUCAS: You have been a slave long enough! They’ll all be at the theater. Meet me here, after your play. Everything is arranged.

THERESA: I can’t believe it.

LUCAS: I can. It will be just as I have pictured it a million times.(He sings)
I have dreamed that your arms are lovely,
I have dreamed what a joy you’ll be.
I have dreamed every word you’ll whisper
When you’re close
Close to me
How you look in the glow of evening
I have dreamed, and enjoyed the view.
In these dreams I’ve loved you so
That by now I think I know
What it’s like to be loved by you--
I will love being loved by you.

THERESA:
Alone and awake I’ve looked at the stars,
The same smile that smiled on you;
And time and again I’ve thought all things
That you were thinking too.

I have dreamed that your arms are lovely,
I have dreamed what a joy you’ll be.
I have dreamed every word you’ll whisper
When you’re close,
Close to me.
How you look in the glow of evening
I have dreamed, and enjoyed the view.
In these dreams, I’ve loved you so
That by now I think I know

THERESA AND LUCAS:
What it’s like to be loved by you--
I will love being loved by you.

(ANNA enters. THERESA runs to her)

THERESA: Mrs. Anna!

ANNA: Theresa, they are looking for you at the pavilion. I guessed you were both here. I ran out to warn you. I do think you’re being rather reckless.

THERESA: Yes, I will go. (She starts away, then turns back and surprises ANNA with a suddenly serious tone in her voice) I must say goodbye to you now, Mrs. Anna.

(She kisses ANNA’S hand impulsively, and runs off)

ANNA: Gracious! Anyone would think that she never expected to see me again.

(He looks at her steadily, and catching his look, she crosses to him, looking after THERESA)

LUCAS: Mrs. Anna, we are leaving tonight.

ANNA: Leaving? How?

LUCAS: Don’t ask me how. It’s better if you don’t know. We’ll never forget you, Mrs. Anna (He kisses her hand) Never.

ANNA: (As he goes) God bless you both! (Alone, thoughtfully, she sings)
I know how it feels to have wings on your heels
And to fly down a street in a trance.
You fly down a street on the chance that you’ll meet,
And you meet--not really by chance.
Don’t cry, young lovers, whatever you do,
Don’t cry because I’m alone.
All of my memories are happy tonight,
I’ve had a love of my own.
I’ve had a love of my own, like yours,
I’ve had a love of my own.

(She starts off as the curtain closes)

SCENE THREE
The theater pavilion.
BALLET: “The Small House of Uncle Thomas” It is performed in the manner of a fairy tale. The costumes and sets are reflect the fantastical theme.

THERESA: General, and distinguished guests, I will now put before you “The Small House of Uncle Thomas.”
(A tiny cabin is brought on)

CHORUS:
The Small house of Uncle Thomas!
The Small house of Uncle Thomas!
Written by a woman,
Harriet Beecher Stowe!

THERESA: The Small House is in the Kingdom of Kentucky, ruled by most wicked king in all of America---Simon of Legree. General, I give you…Uncle Thomas!

(He enters from cabin)

CHORUS:
Dear old Uncle Thomas.

THERESA:
Little Eva.
(She enters from cabin)

Chorus:
Blessed Little Eva.


THERESA: Little Topsy
(She enters from cabin)

CHORUS:
Very happy people.
(The happy people dance)

THERESA: Happy people. Happy people. General, I put before you--the slave, Eliza.
(Eliza enters from cabin)

CHORUS:
Poor Eliza, poor Eliza,
Poor unfortunate slave.

THERESA:
Eliza’s lord and master
King Simon of Legree.
She hates her lord and master.
(The drums and cymbal creates a frightening crash, and the dancers again pantomime terror)
And fears him.
(Drum and cymbal again)
This King has sold her lover
To a far away province of Oh-hi-o
Her lover’s name is George.

CHORUS:
George

THERESA:
There’s a baby in her arms
Also called George.

CHORUS:
George
(Eliza enacts what TUPTIM describes)

THERESA:
Eliza says she’ll run away and look for her lover George.

CHORUS:
George.

THERESA:
So she bid good-bye to her friends and start on her escape. “The escape.”
(Eliza now dances and mimes “the escape.”)

CHORUS:
Run, Eliza, run Eliza!
Run from Simon.

THERESA:
Poor Eliza running
And runs into a rainstorm.
(The rainstorm is depicted by dancers waving scarves. After the “storm” is over, ELIZA gives her “baby” a shake to dry it off)Then comes a mountain.
(The mountain is formed by three men)

CHORUS:
Climb, Eliza!
(After climbing the “mountain” ELIZA rubs her feet)

THERESA:
Hide, Eliza!

CHORUS:
Hide, Eliza, hide from Simon!
Hide in forest.
(The trees of the forest are dancers holding branches)

THERESA:
Eliza’s very tired. (ELIZA exits wearily) General, I regret to put before you King Simon of Legree.
(SIMON, wearing a terrible, three-headed masque, is borne on by attendants. His slaves prostrate themselves before him.)

CHORUS:
Because one slave has run away
Simon’s beating every slave.
(SIMON dances down an aisle of quivering slaves, slashing at them with his huge sword)

THERESA: Simon’s a clever man. He decides to hunt Eliza, not only with soldiers, but with vicious dogs who sniff and smell, and find all who run away from King.

(Now the chase ensues. Dancers with the dog masques portray bloodhounds who “sniff and smell” and pick up poor ELIZA’S scent. ELIZA runs from one side of the stage to the other always followed by the dogs, and by more of the KING’S men in each episode, and finally by the horrible SIMON himself. And the pursuers keep getting closer to her)

CHORUS:
Run, Eliza, run!
Run, Eliza, run!

Run, Eliza, run, run.
Run from Simon, run, run!

Eliza run,
Eliza run from Simon, run!
Eliza run,
Eliza run from Simon, run!

Eliza run,
Eliza run,
Run, run!

Simon getting closer…
Eliza getting tired…
Run, Eliza,
Run from Simon,
Run, Eliza, run!

THERESA:
Eliza come to river,
Eliza come to river.

(Two dancer run on with a long strip of blue fabric which they wave to indicate a flowing river, ELIZA stands before the “river” in frustrated horror)

CHORUS:
Poor Eliza!

THERESA:
Who can save Eliza?

CHORUS:
Only Jesus,
Jesus, Jesus, Jesus!
Save her, Jesus
Save her, Jesus, save her!…
What will Jesus do?
(Cymbal crash. The curtains part at back revealing JESUS on a high throne)

THERESA:
Jesus makes a miracle!
(An ANGEL with golden wings enters)Jesus sends an angel down.
Angel makes the wind blow cold.
(The ANGEL blows in the “river” through a golden horn. The strip of fabric, indicating the “river,” is made to lie flat on the stage. It no longer ripples. The “river” is frozen!)
Makes the river water hard,
Hard enough to walk upon.

CHORUS:
Jesus makes a miracle!
Praise to Jesus!
(ELIZA looks down at the river, somewhat puzzled. The ANGEL puts away her horn, then joins ELIZA, takes her hand and proceeds to teach her how to slide on a frozen river)

THERESA:
Angel shows her how to walk on frozen water.
(ELIZA and the ANGEL now do a pas de deux in the manner of two skaters. ELIZA picks it up quickly and seems to like it)Now, as a token of his love,
Jesus makes a new miracle.
(As THERESA describes this new miracle, the CHORUS keeps singing)
CHORUS:
Praise to Jesus!
Praise to Jesus!

THERESA:
Send from heaven stars and blossoms, Looks like lace upon the sky.
(Several men enter with long poles like fishing rods, and from the lines dangle large representations of snowflakes)
So Eliza crossed the river,
Hidden by this veil of lace.
(THERESA steps down a few feet)
I forgot to tell you the name of the miracle--snow!
(Suddenly ELIZA looks terrified, and no wonder!)

THERESA AND CHORUS:
All of a sudden she can see
Wicked Simon of Legree,
Sliding ‘cross the river fast,
With his bloodhounds and his slaves!

(Now SIMON and his slaves enter and ELIZA runs away. The ANGEL, too, has disappeared at the wrong moment. Now, while SIMON and his followers start to slide and skate on the “river,” very much as ELIZA had, the “river” begins to activate again. The strip of fabric is made to wave, and the two men carrying it lift it up and start to envelop SIMON and his party in its folds)

THERESA: What happened to the river?

THERESA AND CHORUS:
Jesus has called out the sun,
The sun has made the water soft.
Wicked Simon and his slaves
Fall in the river and are drowned.

(This is true. The ANGEL has come back with a huge sun, which he holds and directs upon the river. The fabric is wrapped around SIMON and his party, and they are dragged off in it, drowned as they can be)

THERESA: On other side of river is pretty city, Canada, where Eliza sees a lovely small house--guess who lives in the house? (A small replica of the first cabin is brought on, but this one has snow on the roof and ice on the windowpanes) Uncle Thomas.
(He enters as before)

CHORUS:
Dear old Uncle Thomas.

THERESA:
Little Eva.
(She enters)

CHORUS:
Blessed Little Eva.

THERESA:
Little Topsy.
(She enters)

CHORUS:
Mischief-maker, Topsy.

THERESA:
Lover George.
(The ANGEL enters, but this time without wings)

CHORUS:
Faithful lover George.

THERESA:
Who is looking like angel to Eliza.
(A chord is struck)
They have all escaped from
The Wicked King and made a happy reunion.
(They do a brief dance)
Topsy’s glad that Simon‘s dead,
Topsy dances for joy.
(She dances a few steps, then strikes a pose)
I tell you what Harriet Beecher Stowe says
That Topsy says:
(Cymbal crash)“I specks I’ sede wickedest critter
In de world!”
(Another cymbal crash. THERESA frowns, an earnest, dramatic not comes into her voice. She steps forward)But I don not believe
Topsy is a wicked critter.
Because I too am glad
For death of King.
Of any King who pursues
Slave who is unhappy and tries to join her lover!
(The dancers look frightened. THERESA’S emotions are running away with her)And, general,
I wish to say to you…
Sir, with respect--
(A chord is struck. THERESA collects herself)
And honored guests…
I will tell you the end of the story…
(The dancers look relieved. She is back in the make-believe tale of “Uncle Thomas”)
It’s a very sad ending.
Jesus has saved Eliza
But with the blessings of Jesus
Also comes sacrifice.
(Cymbal crash. Jesus is again revealed)

CHORUS:
Poor Little Eva,
Poor Little Eva,
Poor unfortunate child.
(EVA comes to center, weeping)

THERESA:
It’s Jesus’s wish
That Eva come to him
And thank him personally
For saving Eliza and the baby.
And so she dies
And goes to the arms of Jesus.
(EVA, bowing her sad adieux to the audience, turns and climbs the steps to Jesus’s high throne)

CHORUS:
Praise to Jesus,
Praise to Jesus!

(The music mounts in loud and uplifting crescendo. The curtain closes on the tragic tableau. The singers and dancers perform bows in front of the curtain)

SCENE FOUR

The GENERAL’S study.
ANNA is seated on a pile of books beside the GENERAL‘s desk. The GENERAL is walking up and down, smoking a long cigar, EDWARD is standing, center, and the COL. HOLMES is in the shadow to his left. It is night, after the banquet.

EDWARD: The evening was a great success, sir. I enjoyed Theresa’s play immensely.

GEN: This play did not succeed with me. It’s immoral for a man to drown when pursuing a slave who deceives him. (Pacing angrily) Immoral! Immoral! Theresa will hear about this.

EDWARD: Your conversation at dinner was very amusing.

GEN: I was forced to laugh myself. I was very funny.

EDWARD: The President and the governor will be very glad to know that we have come to such “felicity of agreement” about Kentucky.

GEN: And I am very happy as well. Very happy.

EDWARD: I think now, with your permission, I should take my leave. (EDWARD shakes his hand, then nods his head to ANNA) Goodbye, Anna, my dear. It was lovely to see you again.

ANNA: Goodbye, Edward. (He goes out, escorted by COL. HOLMES. The GENERAL turns to ANNA) Well, sir…

GEN: It is all over.(He puts his cigar in a bowl, very glad to be rid of it)

ANNA: May I remove my shawl? It is a very hot night. (She does so. This makes the GENERAL vaguely uneasy. He closes his own jacket across his bare chest as if to compensate for ANNA’S lack of modesty) I am pleased about everything.

GEN: (Trying not to be too sentimental about this) I am aware of your interest. I want to say that you have been a great help to me in this endeavor. I would like to give you a gift. (He takes a ring from his desk and holds it out to her across the table, not looking at her) I hope you will accept. (She takes it slowly and gazes at it) Put it on finger! (Still stunned, she does not move or speak) Put it on! Put it on!
(His voice is gruff and commanding. She obeys him, slowly putting the ring on the index finger of her left hand)

ANNA: General, I do not know what to say!

GEN: When one does not know what to say, it’s a time to be quiet! (There is a pause. Both are embarrassed. The GENERAL makes small talk) There was a rainbow over the river this morning after the rain.

ANNA: You regard that as good luck, don’t you?

GEN: Yes. Everything is going well with us.

ANNA: (Warmly) Everything is going well with us.
(A gong sounds off left)

GEN: Who is it, who is it?

COL. HOLMES: (Offstage) It’s me, sir.

GEN: Wait, wait, wait! (He goes to ANNA with a vaguely guilty manner and amazes her by replacing her shawl around her shoulders, then he calls offstage) Come in! Come in!

COL. HOLMES: (Entering and bowing) General…

GEN: Well, well, well?

COL. HOLMES: Sergeant West is here. He has a report for you.

GEN: (As ANNA rises) You will wait here.
(He goes out)

ANNA: Sergeant West?

COL. HOLMES: Your finger shines.

ANNA: Yes. The General. I did not know what to say. Women in my country don’t accept gifts from men. Of course, he’s the general…Actually, it places me in a rather embarrassing position. I was intending to ask him for a rise in salary. And now…

COL. HOLMES: And now it will be difficult to ask.

ANNA: Very. I don’t suppose you would speak to him for me--about my rise in salary, I mean.

COL. HOLMES: I think I’ll do this for you, because this is a strange world in which men and women can be very blind about the things nearest to them.

ANNA: Thank you, Colonel Holmes. I don’t understand what you mean, but…

COL. HOLMES: No, but that does not matter--and I don’t think he will raise your salary, anyway.

GEN: Ha! Good news and bad news have come together. (To COL. HOLMES) I need you to stay up all night until we have further report on Theresa.

COL. HOLMES: I had intended to do so, sir.
(He bows and goes out)

ANNA: (Rising) Perhaps I had better go, too.

GEN: No! No! No! I wish to talk with you.

ANNA: Is there something wrong with Theresa?

GEN: I do not know, nor do I consider this the most important thing I must tell you. It is of greater interest that certain parties in Washington think highly of me. My spies have served coffee after dinner, and listened as they talked and have reported the conversation of our Yankee visitors.

ANNA: You have been spying on our guests?

GEN: How else can you find the truth. It appears I have made quite an impression. It’s clear they don’t think I’m a barbarian.

ANNA: This is what we intended to prove.

GEN: Yes, exactly! (Suddenly switching to the second item) Theresa!

ANNA: What about her?

GEN: She is missing from the grounds. You know something about this?

ANNA: (Frightened) The last time I saw her, she was at the theater pavilion.

GEN: That is the last time anyone saw her. She never spoke to you of running away?

ANNA: I knew she was unhappy.

GEN: Unhappy? What is greater honor for a young girl than to be in the service of such a family?

ANNA: General…If Theresa is caught, shall she be punished?

GEN: Naturally. What would you do if you were me?

ANNA: I believe I would give her a chance to explain. I think I would try not to be too harsh.

GEN: Hmph.

ANNA: General, of what interest to you is one girl like Theresa? She is just another woman, as an ear of corn is just another ear of corn, no different from any other ear of corn.

GEN: Now you understand about women! (He picks up a book from the table) But British poets…

ANNA: You have been reading poetry, Your Majesty?

GEN: Out of curiosity over these strange ideas of love, etcetera, etcetera. I tell you this poetry is nonsense, and a silly complication of a pleasant simplicity. (He sings)
A woman who is a female who is human,
Designed for pleasing man, the human male.
A human male is pleased by many women,
And all the rest you hear is a fairy tale.

ANNA:
Then tell me how this fairy tale began, sir
You cannot call it just a poet’s trick.
Explain to me why many men are faithful
And true to one wife only--

GEN:
They are fools!

ANNA: (Speaking) But you do expect women to be faithful.

GEN: Naturally.

ANNA: Why naturally?

GEN: Because it is natural. It’s like the old rhyme. (He sings)
A girl must be like a blossom
With honey for just one man.
A man must live like a honey bee
And gather all he can.

To fly from blossom to blossom
A honey bee must be free,
But blossom must not ever fly
From bee to bee to bee.

ANNA: You consider this sensible poetry, sir?

GEN: Certainly. But listen to this, from your own poet Alfred Tennyson. (He reads from the book)
“Now folds the lily all her sweetness up,
And slips into the bosom of the lake…
So fold thyself, my dearest, thou, and slip
Into my bosom…
(He looks sternly at ANNA) English girls are so--acrobatic?

ANNA: (Laughing) General, I don’t know if I can ever make it clear to you…We do not look on women as just human females. They are…Well, take yourself. You are not just a human male.

GEN: I am a general, the king of my castle.

ANNA: Exactly. So every man is like a King and every woman like a Queen, when they love one another.

GEN: This is a foolish idea.

ANNA: It is a beautiful idea, sir. We are brought up with it, of course, and a young girl at her first dance…

GEN: Young girls? They dance, too? Like I see tonight? In the arms of men not their husbands?

ANNA: Why, yes.

GEN: I would not permit.

ANNA: It’s very exciting when you’re young, and you’re sitting on a small gilt chair, your eyes lowered, terrified that you’ll be a wallflower. Then you see two black shoes--white waistcoat--a face…It speaks! (She sings)
We’ve just been introduced,
I do not know you well,
But when the music started
Something drew me to your side.
So many men and girls are here in each other’s arms--
It made me think we might be
Similarly occupied.
(The KING sits on his throne table watching ANNA, a new interest coming into his eyes)Shall we dance?
On a bright cloud of music shall we fly?
Shall we dance?
Shall we then say “good night” and mean “goodbye”?
Or, perchance
When the last little star has left the sky,
Shall we still be together
With our arms around each other
And shall you be my new romance?
On the clear understanding
That this kind of thing can happen,
Shall we dance?
Shall we dance? Shall we dance?

(ANNA, carried away by her reminiscent mood, dances around the room until she glides by the GENERAL and realizes that he is looking at her very much as he might look at one of his dancing girls. This brings her to an abrupt stop)

GEN: Why did you stop? You dance well. Go on! Go on! Go on!

ANNA: General, I--I didn’t realize I was--after all, I’m not a dancing girl. In England we don’t--that is, a girl would not dance while a man is looking at her.

GEN: But she will dance with a strange man, holding hands, etcetera, etcetera?

ANNA: Yes. Not always a strange man. Sometimes a very good friend.

GEN: (Pause) Good! We’ll dance together. You can show me. (ANNA looks a little uncertain) You teach! You teach! You teach!
(He holds out his hands and she takes them)

ANNA: It’s quite simple, the polka. You count, “one two three and one two three and one two three and--”

GEN: One two three and.

ANNA: (Singing)
Shall we dance?

GEN:
One two three and.

ANNA:
On a bright cloud of music shall we fly?

GEN:
One two three and.

ANNA:
Shall we dance?

GEN:
One two three and.

ANNA:
Shall we then say “goodnight” and mean “goodbye”?

GEN:
One two three, and. (He sings)
Or perchance,
When the last little star has leave the sky

ANNA:
Shall we still be together,
With our arms around each other,
And shall you by my new romance?
(The GENERAL sings the word “romance” with her)On the clear understanding
That this kind of thing can happen
Shall we dance? Shall we dance? Shall we dance?
(The orchestra continues and ANNA continues her lesson) One two three, and--
(She leads the GENERAL by his hands)

GEN: One two three--one two three--(He stops) What’s wrong? I know! I know! I forgot “And.” This time I’ll remember.

GEN AND ANNA: (Counting together as they resume dancing) One two three and, one two three and, one two three and…

ANNA: That’s splendid, sir!

GEN: Splendid. One two and--(He stops and protests petulantly) You’ve thrown me off count! (They start again) One two three and, one two three and. (They circle. Suddenly he stops) This isn’t right!

ANNA: Yes, it is. You were doing…

GEN: No! No! No! It’s not right. It’s not the way I saw everyone dancing tonight.

ANNA: Yes, it was. It was just like that.

GEN: No!…You weren’t holding hands like this.

ANNA: (Suddenly realizing what he means) Oh…No…as a matter of fact…

GEN: It was like this. No?
(Looking very directly into her eyes he advances on her slowly and puts his hand on her waist)

ANNA: (Scarcely able to speak) Yes.

GEN: Come! One two three and, one two three and…(They dance a full refrain and dance it very well indeed, rhythmically and with spirit, both obviously enjoying it. They stop for a moment, stand off and laugh at each other. Then he wants more. He goes back to her slowly) Good! Come! We try again. This time I’ll do better.

ANNA: Very well, sir.
(They dance again, but only for a few whirls before a gong crashes, and COL. HOLMES burst in)

COL. HOLMES: General…
(He prostrates himself. ANNA and the GENERAL stop and separate quickly)

GEN: (Furious) Why do you come barging in without waiting?

COL. HOLMES: We have found Theresa.

GEN: (A pause. He folds his arms, suddenly stern. His speech is cold and deliberate) Where is she?

COL. HOLMES: Sgt. West is questioning her.

ANNA (Terrified for THERESA) Now you have found her, what will you do with her?

GEN: (Now miles away from her) I will do--what is usually done to a runaway slave.

ANNA: What is that?

GEN: When it happens you will know.

(THERESA dashes on, falls on her knees at ANNA’S feet and clings to her skirt. Two GUARDS run after her, SGT. WEST and the LIEUTENANT take positions at the door)
THERESA: Mrs. Anna! Mrs. Anna! Do not let them beat me! Do not let them!
(The GUARDS silence her roughly and drag her away from ANNA)

COL. HOLMES: She was found on a ferry trying to cross the river into Ohio. See! She wears the disguise of a nurse!

GEN: (Shouting down at THERESA’S prostrate, quivering figure) Who gave you this disguise? Who? Who? Who?

COL. HOLMES: We believe she was running away with the man who brought her here from Alabama.

GEN: (Deep humiliation in his voice) Dishonor. Dishonor. Dishonor.

COL. HOLMES: He was not found on the boat.

GEN: (To THERESA) Where is the man?

THERESA: I do not know.

GEN: You will tell us where we to find him! You will tell us!

THERESA: I do not know.

COL. HOLMES: It is believed you were lovers with this man.

THERESA: I was not lovers with this man.

GEN: Dishonor. We will soon know the truth of this matter.
(He signals the GUARDS. They tear the nurses disguise off her, leaving her back bare. One of them unwinds a stout whip)

THERESA: Mrs. Anna!

ANNA: (Throwing herself on the man with the whip) Stop that! Do you hear me? Stop it!

GEN: (Coldly to ANNA) It’d be better if you understand right now that this matter does not concern you.

ANNA: But it does. It does, dreadfully…because of her and even more because of you.

GEN: You’re wasting my time.

ANNA: She’s an only a child. She was running away because she was unhappy. Can’t you understand that? General, I beg of you--don’t throw away everything you’ve done. This girl hurt your vanity. She didn’t hurt your heart. You haven’t got a heart. You’ve never loved anyone. You never will.

GEN: (Pause. The GENERAL, stung by ANNA’S words, seeks a way to hurt her in return) I’ll show you! (He snatches the whip from the GUARD) Give it to me!

ANNA: I cannot believe you are going to do this dreadful thing.

GEN: You don’t believe, eh? Maybe you will believe when you hear her screaming as you run down the hall! (Pause)

ANNA: I am not going to run down the hall. I am going to stay here and watch you!

GEN: Hold this girl! (Two GUARDS grab THERESA’S arms) I do this myself.

ANNA: You are a barbarian!

GEN: Down! Down! Down! (The GUARDS hold THERESA down) Am I the master, or am I not? Am I to be a cuckold in my own house? Am I supposed to take orders from an English schoolteacher?

ANNA: No, not orders…

GEN: Silence!…(He hands the whip to COL. HOLMES) I am a man and I will rule in my way! (Tearing off his jacket) Not English way, not French way, not Chinese way. My way! (He flings jacket at ANNA and takes back the whip from COL. HOLMES) Barbarian, you say. There is no barbarian worse than a weak leader, and I am a strong leader. You hear? Strong.

(He stands over THERESA, raises the whip, meets ANNA’S eyes, pauses, then suddenly realizing he cannot do this in front of her, he hurls the whip from him, and in deep shame, runs from the room. After a moment of silence, COL. HOLMES snaps his fingers, and the GUARDS yank THERESA to her feet. They are about to drag her off when the LIEUTENANT comes forward and speaks to COL. HOLMES)

LIEUTENANT: The man--the lover has been found. He is dead.

THERESA: Dead…Then I will join him soon…soon.
(The GUARDS drag her off. The LIEUTENANT follows. COL. HOLMES turns and looks at ANNA scornfully)

ANNA: I don’t understand you--you or your General. I’ll never understand him.

COL. HOLMES: You! You have destroyed him. You have destroyed the general…He cannot be anything that he was before. You have taken all this away from him. You have destroyed him. (His voice growing louder) You have destroyed the general.

ANNA: The next boat that comes to the port of Louisville--no matter where it goes, I shall be on it. (She takes the ring from her finger and holds it out to him) Give this back to him!

(COL. HOLMES takes it. This is the final humiliation for the GENERAL to suffer)

COL. HOLMES: (Shouting, with heartbroken rage) I wish you had never come to Kentucky!

ANNA: So do I! (She sobs) Oh, so do I! (She runs off)

INTERMEDIATE SCENE

The Mansion grounds.
Townspeople and children come on, eagerly watching offstage for the approaching procession. CAPTAIN ORTON enters and meets the GENERAL’S SECRETARY.

SECRETARY: Captain Orton! Your ship has docked in time! We are just starting our Independence Day parade.

ORTON: Where is the general? I didn’t see him in the parade.

SECRETARY: (His face clouding) The general is very ill. Very ill.

(The procession now crosses the stage. Cymbal players, banner bearers, girls carrying huge oversized heads, and finally a dragon weaves on with four pairs of human legs propelling it. Girls dressed as strange birds dance around it. Finally CHARLIE enters, accompanied by several other members of his family. When CHARLIE reaches the center of the stage, the LIEUTENANT runs on and bows before him. The CHARLIE halts)

LIEUTENANT: Charles, you have to stop!

CHARLIE: Why?

LIEUTENANT: Your father is worse!

CHARLIE: Worse?

LIEUTENANT: You should hurry home as fast as possible.

CHARLIE: (Turning to those who are near him) Go on with the parade.
(He starts off and then quickens his pace, deeply worried. The procession continues, but with all its gay spirit gone. The lights fade)

SCENE FIVE

A room in ANNA’S house. It has been dismantled except for a few pieces of furniture. There is a crate, up center, a Victorian chair, a coffee table, and another chair. As the curtain rises MISS LARA is seated, looking thoughtful and worried.

CHARLIE: (Entering) Mom! The colonel told me you were here. I think Mrs. Anna and Louis have already left for the boat.

LARA: No, Charles. Some of their boxes are still here. The servant said they would be back soon.

(CHARLIE walks slowly toward his mother and stands before her)

CHARLIE: Mom, what’s wrong with father?

LARA: It is his heart. Also, he does not seem to want to live.

CHARLIE: Mom, I’m scared. I’m scared because I love him and also because if he dies, I’ll be the head of the family, and I don’t know how to be.

LARA: Many men learn this after they become the head of a household.

CHARLIE: I have been thinking a lot about the things Mrs. Anna used to tell us in her classroom…Of slavery, etcetera, etcetera, and I think what she said about religion, and how it is a good and noble concern that each man find for himself what is right and wrong.

LARA: These are good things to remember, my son, and it will be good to remember the one who taught them.

LOUIS: (Entering) Charlie!
(They shake hands.)

ANNA: (Entering after LOUIS) Miss Lara! How nice of you to come to say goodbye! I was down at the ship seeing that all my boxes were on. Captain Orton must sail with the tide.

LARA: Mrs. Anna, I did not come only to say goodbye. I’ve come for someone who must see you. (ANNA, guessing whom she means, turns away) You must go to him, Mrs. Anna…When he heard that you were leaving today, he started to write this letter. (She unrolls a sheet of paper she has been holding) All day he has been writing. It was very difficult for him, madam--very difficult. He has commanded that I bring it to you.
(Anna takes the letter)

CHARLIE: Please read it to all of us. I would like to hear what my father has said.

ANNA: (Reading) “While I am lying here, I think maybe I’ll die. This heart, which you say I haven’t got, is a matter of concern. It occurs to me that there should be nothing wrong that men will die, for all that matters about a man is that he should have tried his best. In looking back, I discover that you think much on those people who require that you live up to the best of yourself. You have spoken the truth to me always, and for this I have often lost my temper with you. But now I do not wish to die without expressing this gratitude, etcetera, etcetera. I think it’s very strange that a woman has been the most important help of all. But, Mrs. Anna, you must remember that you have been a very difficult woman, and much more difficult than the average woman.” (Tears come into ANNA’S voice. She looks up at LARA) I must go to him! (She starts out) Come, Louis!
(They go, followed by LARA and CHARLIE)

INTERMEDIATE SCENE

Mansion corridor.
ANNA enters, followed by MISS LARA, CHARLIE and LOUIS.

LARA: I will see if he is awake. I will tell him you are here.
(She goes out with CHARLIE)

LOUIS: Mother, I thought you and the general were very angry with each other.

ANNA: We were, Louis.

LOUIS: Now he’s dying--does that make you better friends?

ANNA: I suppose so Louis. We can’t hurt each other any more.

LOUIS: I didn’t know he hurt you.

ANNA: When two people are as different as we are, they are almost bound to hurt each other.

LOUIS: He always frightened me.

ANNA: I wish you had known him better, Louis. You could have been great friends. (Smiling down at him) In some ways he was just as young as you.

LOUIS: Was he as good a man as he could have been?

ANNA: Louis, I don’t think any man has ever been as good a man as he could have been…but this one tried. He tried very hard.
(Pause. LOUIS studies her)

LOUIS: You really like him, don’t you, Mother?

ANNA: (Barely controlling her tears) Yes, Louis. I like him very much. Very much indeed. (Looking offstage) We can go in now. (They start off as the lights fade)

SCENE SIX

The GENERAL’S study.
The GENERAL lies on his bed, his head propped up slightly. His eyes are closed. MISS LARA kneels beside him. CHARLIE is crouched on the floor in front of her, and above the bed COL. HOLMES kneels and never takes his eyes from the GENERAL’S face. Shortly after the rise of the curtain LOUIS enters and formally salutes the GENERAL. He is followed by ANNA, who curtseys and seats herself on a pile of books at the foot of the GENERAL’S bed. The GENERAL’S eyes open. Presently he addresses ANNA.

GEN: Many months…Many months I do not see you, Mrs. Anna. And now I die.

ANNA: Oh, no. Sir.

GEN: This is not scientific, Mrs. Anna. I know if I’m dying. You are leaving Kentucky? (ANNA nods) When?

ANNA: Very soon, sir. In fact, I can stay only a few minutes more.

GEN: Are you happy about this? (ANNA can find no answer) The children, etcetera, etcetera, are not glad, and all are very sad for your departure.

ANNA: I shall miss them.

GEN: You shall miss them, but you shall be leaving. I too am leaving. But I am not walking onto a boat with my own feet, of my own free will. I am just…leaving. (His eyes close, but he has seen where ANNA is sitting) I am not afraid of what is happening to me. (He whistles the melody of the “Whistling Song.” ANNA looks at him with quick surprise. He smiles and explains)You teach Charlie. Charlie teaches me… “Make believe you’re brave”-- it’s a good idea, always.

ANNA: You are very brave, sir. Very brave.

GEN: (Taking from his finger the ring he has given her once before) Here is--something that belongs to you. Put it on. (He holds it out to her) Put it on! Put it on! Put it on! (Then, for the first time in his life, he puts a plea in his voice) Please…wear it. (ANNA takes it, unable to speak, and puts it on. After a moment, the children enter. MISS LARA rises hastily to quiet the children. The GENERAL hears them) My children? Tell them to come here. (They hurry in and surround their father) Good evening, children.

CHILDREN (Together) Good evening, father. (Then they rush to ANNA, clustering around her, hugging her, greeting her in overlapping speeches) Oh, Mrs. Anna. Do not go! We are happy to see you. We have missed you so much, Mrs. Anna. Will you stay, Mrs. Anna? Do not go away!

MISS LARA: Stop! Stop this noise! Did you come to see your father or Mrs. Anna?

GEN: (He has watched the children with interest) It is all right, Miss Lara. It‘s fine. (The children settle on the floor around ANNA) I believe someone has written a farewell letter to Mrs. Anna?

LARA: Margaret has composed letter to Mrs. Anna. She cannot write. She only makes up words.
(MARGARET stands up)

GEN: Speak. (MARGARET is uncertain) Say it! Say it! Say it!

MARGARET: (Reciting her “letter”) Dear friend and teacher: goodness gracious, do not go away! We are in great need of you. We are like one blind. Do not let us fall down in darkness. Continue good and sincere concern for us and lead us in right road. Your loving pupil, Margaret King.
(ANNA, rises, unable to speak, rushes to the little girl and hugs her)

CHILDREN: (As ANNA looks uncertainly at the GENERAL) Tell us, Mrs. Anna. What to do when we’re afraid? Teach us.

ANNA: (With a great effort to control her tears, she sings)
Whenever I feel afraid
I hold my head erect
(The children hold their heads up in imitation of her)And whistle a happy tune
So no one will suspect
I’m afraid.
While shivering in my shoes
I strike a careless pose
(Her eyes go to LOUIS, who strikes the “careless pose.” All the children imitate him)
And whistle a happy tune
And no one ever knows
I’m afraid.

GEN: (Speaking over the music) You see? You make believe you’re brave, and you whistle. Whistle! (The children look at him, not comprehending. He addresses ANNA) You show them!

(ANNA whistles. The GENERAL motions to the children. They all try to whistle, but cannot. Finally, something like a whistle comes from the twins. This is too much for ANNA. She kneels and throws her arms around them, weeping freely. The sound of a boat whistle is heard off in the distance)

LOUIS: (Crossing to ANNA and tapping her shoulder) Mother…It’s the boat! It’s time!
(The children look at her anxiously. She rises)

CHILDREN: Do not go, Mrs. Anna. Please do not go.
(Pause. Then, suddenly, ANNA starts to remove her bonnet)

ANNA: Louis, please go down and ask Captain Orton to take all our boxes off the ship. And have everything put back into our house.
(LOUIS runs off eagerly. The children break into shouts of joy)

GEN: Silence! (At the note of anger in his voice, the children, wives, MISS LARA--all fall prostrate) It’s no reason for doing of this demonstration for schoolteacher realizing her duty, for which I pay her exorbitant monthly salary of twenty…five pounds! Furthermore, this is disorganized behavior for the bedroom of dying General! (To CHARLIE, who has remained crouching below the bed) Charles! Up! (The boy rises) Mrs. Anna, you take notes. (He hands her a notebook, and she sits on the pile of books) You take notes from--the next man of the house. (MISS LARA lifts her head as the KING continues to the momentarily tongue-tied CHARLIE) Well, well, well? Is there nothing you would do?

CHARLIE: (In a small, frightened voice) I…would give commands.

GEN: Yes, yes.

CHARLIE: First I would give a command for the coming New Year--fireworks. (The GENERAL nods his approval) Also boat races.

GEN: Boat races? Why would you have boat races with the New Year celebration?

CHARLIE: I like boat races. (His confidence is growing. He speaks a little faster) And, father, I would give a second order.
(He swallows hard in preparation for this one)

GEN: Well, go on! What is second proclamation? Make it! Make it!

CHARLIE: Regarding custom for non-military persons of bowing to salute the General. (Her starts to pace, very like his father) I do not believe this is a good thing. It causes much embarrassment fatigue of body, degrading experience for soul, etcetera, etcetera, etcetera…This is a bad thing. (He crosses his arms defiantly) I believe. (He is losing his nerve a little) You’re angry with me, father?

GEN: Why do you ask question? If you are leader you do not ask questions of a sick, old man--(Glaring at ANNA) Nor of a woman! (Pointing an accusing finger at her) This command against saluting I believe to be your fault!

ANNA: Oh, I hope so, sir. I do hope so.
(Music of “He Can Be Wonderful” starts to be played here--very softly)

CHARLIE: (Snapping his fingers) Up! Rise up! (A few rise, uncertain whether they should obey him)

GEN: Up! Up! Up! (They all rise quickly) Two lines, like soldiers. (They line up) It has been said there shall be no saluting for showing respect. It has been said by one who has…been trained for leadership.
(His head sinks back on the pillow, and his voice on the last word was obviously weak)

CHARLIE: (His voice stronger and more decisive) No saluting, but this does not mean, however, that you do not show respect. (The GENERAL’S eyes close) You will stand with shoulders square back, and chin high…like this. (ANNA turns and notices that the GENERAL’S eyes are closed. COL. HOLMES, knowing that he has died, crawls on his knees to the head of the bed, and crouches there, heartbroken, and not wishing other people to see that he is weeping. CHARLIE continues his instructions) You will bow to me--the gentlemen, in this way, only bending the waist. (As he shows them and continues speaking, ANNA glides to the head of the bed, and feels the GENERAL’S hand. Then she comes around the foot of the bed and sinks to the floor beside him, taking his hand and kissing it) The ladies will make a dip, as in Europe. (He starts to show them a curtsey, but cannot) Mother--

(MISS LARA crosses to the center and drops a low curtsey before the women. As the music swells, all the women and girls carefully imitate her, sinking to the floor as the curtain falls, a final obeisance to the dead GENERAL, a gesture of allegiance to his son)

Curtain