King and I -- Part 2

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. A Chinese artist is painting the face of one. Others are receiving last minute touches from two seamstresses. The faces of the wives are powdered white. Lady Thiang enters. She has a Western bodice and a penang.

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

A WIFE: Lady Thiang, what is this costume? (Pointing to penang) Here is East-- (Pointing to bodice) Here is West!

THIANG: Have too much work to do! Cannot move fast in swollen skirt.

ANOTHER WIF: Lady Thiang, why must we dress like this for the British?

THIANG: Whatever Mrs. Anna want us to do is wise and good, but this-- (Indicating hoopskirts) is a puzzlement.
(She sings)
To prove we’re not barbarians
They dress us up like savages!
To prove we’re not barbarians
We wear a funny skirt!

WIVES:
To prove we’re not barbarians
They dress us up like savages!
To prove we’re not barbarians
We wear a funny skirt!

THIANG:
Western people funny,
Western people funny,
Western people funny,
Of that there is no doubt.
They feel so sentimental
About the oriental,
They always try to turn us
Inside down and upside out!

WIVES:
Upside out and inside down!

THIANG:
To bruise and pinch our little toes
Our feet are cramped in leather shoes--
They’d break if we had brittle toes,
But now they only hurt!

WIVES:
To bruise and pinch our little toes
Our feet are cramped in leather shoes--
They’d break if we had brittle toes,
But now they only hurt!

Western people funny,
Western people funny,
Western people funny,
Too funny to be true!

THIANG:
They think they civilize us
Whenever they advise us
To learn to make the same mistake
That they are making too!

ALL
They think they civilize us
Whenever they advise us
To learn to make the same mistake
That they are making too!

THEY MAKE QUITE A FEW!

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

THIANG: Thank you.

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

KING: What shall be trouble now?

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

KING: Undergarments! (He claps hands and the WIVES rise) Of what importance are undergarments at this time?

ANNA: Of great importance.

KING: Are you wearing undergarments?

ANNA: Of course, Your Majesty!

KING: (Indicating hoopskirt) That a woman has no legs is useless to pretend. Wherefore, then, swollen skirt?

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

KING: This is necessary? Englishmen are so aggressive? I did not know.

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

KING: These undergarments--they are devised in symbolic, elaborate and ornamental manner?

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

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

ANNA: Why, yes. Do you like it?

KING: This is what all the other visiting ladies shall look like?

ANNA: Most of them…I believe.

KING: You are 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…

KING: Ah, yes. But is different! They do not wear so many covering up on other parts of body, etcetera, etcetera, and therefore…

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

KING: Is different.

ANNA: I am sorry His Majesty does not approve.

KING: I do not say I do not approve, but I do say…

PHRA ALACK: (Entering, prostrating himself) The English--they are in palace.
(This causes immediate confusion among the WIVES who huddle in a frightened group)
THARA: The will eat us!

ANNA: They will do nothing of the kind!

KING: (Calling ANNA to him, he gives her a piece of paper) Herewith shall be list of subjects you shall try to bring up for talk. On such subjects I am very brilliant, and will make great impression. You begin with Moses.

ANNA: Now remember, Your Majesty--Courtwright is the editor of a newspaper in Singapore…
(She is interrupted by the entrance of SIR EDWARD RAMSAY, who has wandered into the room by mistake. One WIFE screams in fright)

ANOTHER WIFE: (Indicating SIR EDWARD’S monocle) Oh, evil eye! Evil eye!
(The WIVES in an uncontrollable stampede throw their hoopskirts over their heads and rush out. From the look on SIR EDWARD’S face, it is clear that they should have been supplied with undergarments)

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

KING: (Furious) Why have you not educated these girls in English custom of spying glass?

SIR EDWARD: Ah, my monocle. Was that what frightened them? Hello, Anna, my dear.

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

ANNA: Your Majesty, may I present Sir Edward Ramsay?

SIR EDWARD: (Bowing) Your Majesty. (He turns to ANNA) How are you, Anna?

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

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

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

SIR EDWARD: I shall be delighted. (To KING) How many children have you, Your Majesty?

KING: Seventy-seven now, but I am not married very long. Next month expecting three more.

SIR EDWARD: No problem at all about an heir to the throne, is there? (This falls flat with the KING, 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 His Majesty I mean, of course…

SIR EDWARD: It was your postscript to His Majesty’s letter that…

KING: Postscript?

ANNA: His Majesty was most happy when you decided to accept his invitation…weren’t you, Your Majesty?

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

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

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

ANNA: (To KRALAHOME) You have met?

KRALAHOME: (Bowing) Your Excellency. (He goes off. A waltz is being played offstage)

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

ANNA: Thank you, Edward.

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

ANNA: Not very often.

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

ANNA: Edward, I think we’d better…

SIR 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.

KING: (Interrupting, furiously) Dancing-
After dinner!

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

KING: It was my impression Mrs. Anna would be of help for seating guests at dinner table, etcetera, etcetera, etcetera.

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

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

ANNA: (After a quick look at the paper the KING has given her) His Majesty 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 Palace grounds.
TUPTIM enters and crosses the stage, looking back furtively. She starts as she sees LADY THIANG.

THIANG: Princess Tuptim, diner is over. King and his English guests are on way to theater pavilion. Should you not be there to begin your play?

TUPTIM: I came out here to memorize my lines.

THIANG: (Stopping her as she starts to go) I think not, Princess. I have seen you and Lun Tha together. I do not tell King this. For his sake. I do not wish to hurt him. But your lover will leave Siam tonight.

TUPTIM: Tonight?

THIANG: Now go to the theatre, Princess.
(TUPTIM exits. THIANG starts off, stops as she sees LUN THA enter, looks at him with stern suspicion, then exits. LUN THA crosses to the other side, and calls off, in a whisper)

LUN THA: Tuptim!

TUPTIM: (Entering) Turn back and look the other way. (LUN THA 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 will leave Siam tonight, but I don’t believe her.

LUN THA: It is true, Tuptim. They have ordered me onto the first ship that leaves for Burma, and it is tonight.

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

LUN THA: You are coming with me!

TUPTIM: I!

LUN THA: You have been a slave long enough! Secret police will all be at the theater. Meet me here, after your play. Everything is arranged.

TUPTIM: I cannot believe it.

LUN THA: 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.

TUPTIM:
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

TUPTIM AND LUN THA:
What it’s like to be loved by you--
I will love being loved by you.

(ANNA enters. TUPTIM runs to her)

TUPTIM: Mrs. Anna!

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

TUPTIM: 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 kneels, 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 TUPTIM)

LUN THA: Mrs. Anna, we are leaving tonight.

ANNA: Leaving? How?

LUN THA: Don’t ask me how. It is better if you don’t know. We shall 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” Before a curtain two attendants carry on a drum and a gong. The drummer takes his place. The royal singers enter ceremoniously and take their places at the opposite corner, TUPTIM enters ad stands in front of the singers. The curtain opens, revealing royal dancers dressed in traditional costumes, their faces painted chalk-white.

TUTPTIM: Your Majesty, and honorable guests, I beg to put before you “Small House of Uncle Thomas.”
(A tiny cabin is brought on)

CHORUS:
Small house of Uncle Thomas!
Small house of Uncle Thomas!
Written by a woman,
Harriet Beecher Stow-a!

TUPTIM: House is in Kingdom of Kentucky, ruled by most wicked king in all America---Simon of Legree. (The gong is struck. The dancers make a traditional gesture denoting terror) Your Majesty, I beg to put before you loving friends…Uncle Thomas!

(He enters from cabin)

CHORUS:
Dear old Uncle Thomas.

TUPTIM:
Little Eva.
(She enters from cabin)

Chorus:
Blessed Little Eva.


TUPTIM: Little Topsy
(She enters from cabin)

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

TUPTIM: Happy people. Happy people. Your Majesty, I beg to put before you on who is not happy--the slave, Eliza.
(Eliza enters from cabin)

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

TUPTIM:
Eliza’s lord and master
King Simon of Legree.
She hates her lord and master.
(The gong and cymbal combine in a frightening crash, and the dancers again pantomime terror according to the traditional gesture)
And fears him.
(Gong and cymbal again)
This King has sold her lvoer
To far away province of Oh-hee-o
Lover’s name is George.

CHORUS:
George

TUPTIM:
Baby in her arms
Also called George.

CHORUS:
George
(Eliza enacts what TUPTIM describes)

TUPTIM:
Eliza say she run away and look for lover George.

CHORUS:
George.

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

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

TUPTIM:
Poor Eliza running
And run 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)
Comes a mountain.
(The mountain is formed by three men)

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

TUPTIM:
Hide, Eliza!

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

TUPTIM:
Eliza very tired. (ELIZA exits wearily) Your Majesty, 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 in the manner of the subjects of the King of Siam)

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

TUPTIM: Simon clever man. He decide to hunt Eliza, not only soldiers, but with scientific dogs who sniff and smell, and thereby discover 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!

TUPTIM:
Eliza come to river,
Eliza come to river.

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

CHORUS:
Poor Eliza!

TUPTIM:
Who can save Eliza?

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

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

CHORUS:
Buddha make a miracle!
Praise to Buddha!
(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)

TUPTIM:
Angel show 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 token of his love,
Buddha make a new miracle.
(As TUPTIM describes this new miracle, the CHORUS keeps singing)

CHORUS:
Praise to Buddha!
Praise to Buddha!

TUPTIM:
Send from heaven stars and blossoms, Look 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 cross the river,
Hidden by this veil of lace.
(TUPTIM steps down a few feet)
Forgot to tell you name of miracle--snow!
(Suddenly ELIZA looks terrified, and no wonder!)

TUPTIM AND CHORUS:
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 silk is made to wave, and the two men carrying it lift it up and start to envelop SIMON and his party in its folds)
TUPTIM: What happened to the river?

TUPTIM AND CHORUS:
Buddha has called out the sun,
Sun has made the water soft.
Wicked Simon and his slaves
Fall in 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 silk is wrapped around SIMON and his party, and they are dragged off in it, drowned as they can be)

TUPTIM: On other side of river is pretty city, Canada, where Eliza sees lovely small house--guess who live in 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.

TUPTIM:
Little Eva.
(She enters)

CHORUS:
Blessed Little Eva.

TUPTIM:
Little Topsy.
(She enters)

CHORUS:
Mischief-maker, Topsy.

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

CHORUS:
Faithful lover George.

TUPTIM:
Who is looking like angel to Eliza.
(A chord is struck)
They have all escaped from
Wicked King and make happy reunion.
(They do a brief dance)
Topsy glad that Simon die,
Topsy dance for joy.
(She dances a few steps, then strikes a pose)
I tell you what Harriet Beecher Stowe say
That Topsy say:
(Cymbal crash)“I specks I’ sede wickedest critter
In de world!”
(Another cymbal crash. TUPTIM 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. TUPTIM’S emotions are running away with her)
And, Your Majesty,
I wish to say to you…
Your Majesty--
(A chord is struck. TUPTIM collects herself)
And honorable guests…
I will tell you end of story…
(The dancers look relieved. She is back in the make-believe tale of “Uncle Thomas”)
Is very sad ending.
Buddha has saved Eliza
But with the blessings of Buddha
Also comes sacrifice.
(Gong. Buddha is again revealed)

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

TUPTIM:
Is Buddha’s wish
That Eva come to him
And thank him personally
For saving of Eliza and baby.
And so she die
And go to arms of Buddha.
(EVA, bowing her sad adieux to the audience, turns and climbs the steps to Buddha’s high throne)

CHORUS:
Praise to Buddha,
Praise to Buddha!

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

SCENE FOUR

The KING’S study.
ANNA is seated on a pile of books beside the throne-table. The KING is walking up and down, smoking a long cigar, SIR EDWARD is standing, center, and the KRALAHOME is in the shadow to his left. It is night, after the banquet.

SIR EDWARD: The evening was a great success, Your Majesty. I enjoyed Princess Tuptim’s play immensely.

KING: This play did not succeed with me. It is immoral for King to drown when pursuing slave who deceive him. (Pacing angrily) Immoral! Immoral! Tuptim shall know my displeasure.

SIR EDWARD: Your conversation at dinner was most amusing.

KING: I was forced to laugh myself. I was so funny.

SIR EDWARD: Her Majesty, Queen Victoria, will be very glad to know that we have come to such “felicity of agreement” about Siam.

KING: And very happy I am thereof. Very happy.

SIR EDWARD: I think now, with your permission, I should take my leave. (He bows. The KING extends his hand in a manner clearly showing how unfamiliar he is with this Western amenity. SIR EDWARD shakes his hand, then bows to ANNA) Goodbye, Anna, my dear. It was lovely to see you again.

ANNA: Goodbye, Edward. (He goes out, escorted by the KRALAHOME. The KING turns to ANNA) Well, Your Majesty…

KING: 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 KING 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.

KING: (Trying not to be too sentimental about this) I am aware of your interest. I wish to say you have been of great help to me in this endeavor. I wish to make gift. (He takes a ring from his finger and holds it out to her across the table, not looking at her) I have 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: Your Majesty, I do not know what to say!

KING: When one does not know what to say, it is a time to be silent! (There is a pause. Both are embarrasses. The KING makes small talk) A white elephant has been discovered in the forests of Ayuthia.

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

KING: Yes. Everything going well with us.

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

KING: Who, who, who?

KRALAHOME: (Offstage) It is I, Your Majesty.

KING: 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!

KRALAHOME: (Entering and bowing) Your Majesty…

KING: Well, well, well?

KRALAHOME: Secret police are here. They would make report to you.

KING: (As ANNA rises) You will wait here.
(He goes out)
ANNA: Secret police?

KRALAHOME: Your finger shines.

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

KRALAHOME: 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.

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

ANNA: Thank you, Your Excellency. I don’t understand what you mean, but…

KRALAHOME: No, but that does not matter--and I do not think he will rise your salary, anyway.

KING: Ha! Good news and bad news come together. (To KRALAHOME) You will please to stay up all night until we have further report on item of Tuptim.

KRALAHOME: I had intended to do so, Your Majesty.
(He bows and goes out)

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

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

ANNA: Is there something wrong with Tuptim?

KING: I do not know, nor do I consider this the most important thing I must tell you. It is of greater interest that the English think highly of me. Secret police have served coffee after dinner, and listen as they talk and report conversation of British dignitaries.

ANNA: You have been spying on our guests?

KING: How else can one find the truth. It appears I have made excellent impression. It is clear they do not think me barbarian.

ANNA: This is what we intended to prove.

KING: What we intended to prove! (Suddenly switching to the second item) Tuptim!

ANNA: What about her?

KING: She is missing from palace. You know something of this?

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

KING: That is the last time anyone has seen her. She never speaks to you of running away?

ANNA: I knew she was unhappy.

KING: Why unhappy? She is in palace of King. What is greater honor for young girl than to be in palace of King?

ANNA: Your Majesty…If Tuptim is caught, shall she be punished?

KING: Naturally. What would you do if you were King like me?

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

KING: Hmph.

ANNA: Your Majesty, of what interest to you is one girl like Tuptim? She is just another woman, as a bowl of rise is just another bowl of rice, no different from any other bowl of rice.

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

ANNA: You have been reading poetry, Your Majesty?

KING: Out of curiosity over strange idea 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--

KING:
They are sick!

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

KING: Naturally.

ANNA: Why naturally?

KING: Because it is natural. It is like old Siamese rhyme. (He sings)
A girl must be like a blossom
With honey for just one man.
A man must live like 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, Your Majesty?

KING: Certainly. But listen to this, from your own poet Alf-red Tenny-sone. (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) Your Majesty, 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.

KING: I am King.

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

KING: This is sickly idea.

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

KING: Young girl? They dance, too? Like I see tonight? In arms of men not their husbands?

ANNA: Why, yes.

KING: 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 me
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 KING 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)

KING: Why do you stop? You dance pretty. Go on! Go on! Go on!

ANNA: Your Majesty, 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.

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

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

KING: (Pause) Good! We dance together. You 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--”

KING: One two three and.

ANNA: (Singing)
Shall we dance?

KING:
One two three and.

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

KING:
One two three and.

ANNA:
Shall we dance?

KING:
One two three and.

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

KING:
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?
(KING 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 KING by his hands)

KING: One two three--one two three--(He stops) What is wrong? I know! I know! I forget “And.” This time I remember.

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

ANNA: That’s splendid, Your Majesty!

KING: Splendid. One two and--(He stops and protests petulantly) You have thrown me off count! (They start again) One two three and, one two three and. (They circle. Suddenly he stops) But this is not right!

ANNA: Yes, it is. You were doing…

KING: No! No! No! Is not right. Not the way I see Europeans dancing tonight.

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

KING: No!…Were not holding two hands like this.

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

KING: 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.

KING: 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 do better.

ANNA: Very well, Your Majesty.
(They dance again, but only for a few whirls before a gong crashes, and the KRALAHOME burst in)

KRALAHOME: Your Majesty…
(He prostrates himself. ANNA and the KING stop and separate quickly)

KING: (Furious) Why do you burst though my door without waiting?

KRALAHOME: We have found Tuptim.

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

KRALAHOME: Secret police are questioning her.

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

KING: (Now miles away from her) I will do--what is usually done in such event.

ANNA: What is that?

KING: When it happens you will know.

(TUPTIM dashes on, falls on her knees at ANNA’S feet and clings to her skirt. Two GUARDS run after her, two more and the INTERPRETER take positions at the door)

TUPTIM: 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)

KRALAHOME: She was found on Chinese sailing ship. See! She wears disguise of priest!

KING: (Shouting down at TUPTIM’S prostrate, quivering figure) Who gave you this robe? Who? Who? Who?

KRALAHOME: It is believed she was running away with man who brought her here from Burma.

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

KRALAHOME: He was not found on boat.

KING: (To TUPTIM) Where is the man?

TUPTIM: I do not know.

KING: You will tell us where we will find him! You will tell us!

TUPTIM: I do not know.

KRALAHOME: It is believed you were lovers with this man.

TUPTIM: I was not lovers with this man.

KING: Dishonor. We will soon have truth of this man.
(He signals the GUARDS. They tear the priest robe off her, leaving her back bare. One of them unwinds a stout whip)

TUPTIM: Mrs. Anna!

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

KING: (Coldly to ANNA) It would be better if you understand at once that this matter does not concern you.

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

KING: You waste my time.

ANNA: She’s only a child. She was running away because she was unhappy. Can’t you understand that? Your Majesty, 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.

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

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

KING: You do not 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!

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

ANNA: You are a barbarian!

KING: Down! Down! Down! (The GUARDS hold TUPTIM down) Am I King, or am I not King? Am I to be cuckold in my own palace? Am I to take orders from English schoolteacher?

ANNA: No, not orders…

KING: Silence!…(He hands the whip to the KRALAHOME) I am King, as I was born to be, and Siam to be governed 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 the KRALAHOME) Barbarian, you say. There is no barbarian worse than a weak King, and I am strong King. You hear? Strong.

(He stands over TUPTIM, 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, the KRALAHOME claps his hands, and the GUARDS yank TUPTIM to her feet. They are about to drag her off when the INTERPRETER crawls forward and speaks to the KRALAHOME)

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

TUPTIM: Dead…Then I shall join him soon…soon.
(The GUARDS drag her off. The INTERPRETER follows. The KRALAHOME turns and looks at ANNA scornfully)

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

KRALAHOME: You! You have destroyed him. You have destroyed King…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 King.

ANNA: The next boat that comes to the port of Bangkok--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 His Majesty!

(The KRALAHOME takes it. This is the final humiliation for his KING to suffer)

KRALAHOME: (Shouting, with heartbroken rage) I wish you have never come to Siam!

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

INTERMEDIATE SCENE

The Palace grounds.
Townspeople and children come on, eagerly watching offstage for the approaching procession. CAPTAIN ORTON enters and meets PHRA ALACK.

PHRA ALACK: Captain Orton! Your ship has docked in time! We are welcoming elephant prince to Bangkok.

ORTON: While elephant, eh? So, that’s it. I just passed the young prince. Where is the King? I didn’t see him in the procession.

PHRA ALACK: (His face clouding) The King 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 CHULALONGKORN enters, accompanied by Amazons carrying ceremonial umbrellas. When the PRINCE reaches the center of the stage, the INTERPRETER runs on and bows before him. The PRINCE halts)

INTERPRETER: Your Highness! Go no further! Go no further!

PRINCE: What is this you say?

INTERPRETER: Your father! Your father is worse!

PRINCE: Worse?

INTERPRETER: You are to return to palace at once.

PRINCE: (Turning to those who are near him) Go on with the procession.
(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, an oriental coffee table, and another chair. As the curtain rises LADY THIANG is seated, looking thoughtful and worried.

PRINCE: (Entering) Mother! The Prime Minister told me you were here. I think Mrs. Anna and Louis have already left for the boat.

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

(The PRINCE walks slowly toward his mother and stands before her)

PRINCE: Mother, what is it with my father?

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

PRINCE: Mother, I am frightened. I am frightened because I love my father and also because if he dies, I shall be King, and I do not know how to be.

THIANG: Many men learn this after they become kings.

PRINCE: I have been thinking much on things Mrs. Anna used to tell us in classroom…Of slavery, etcetera, etcetera, and I think also on what she has said of religion, and how it is a good and noble concern that each man find for himself that which is right and that which is wrong.

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

LOUIS: (Entering) Chulalongkorn!
(They shake hands. LOUIS bows to LADY THIANG)

ANNA: (Entering after LOUIS) Lady Thiang! 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.

THIANG: Mrs. Anna, I did not come only to say goodbye. I come for one who must see you. (ANNA, guessing whom she means, turns away) You must go to him, Mrs. Anna…When he heard that you were sailing, 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)

PRINCE: Please to 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 perhaps I die. This heart, which you say I have not got, is a matter of concern. It occurs to me that there shall be nothing wrong that men shall die, for all that shall matter about man is that he shall have tried his utmost best. In looking back, I discover that you think much on those people who require that you live up to best of self. You have spoken truth to me always, and for this I have often lost my temper on you. But now I do not wish to die without saying this gratitude, etcetera, etcetera. I think it very strange that a woman shall have been most earnest help of all. But, Mrs. Anna, you must remember that you have been a very difficult woman, and much more difficult than generality.” (Tears come into ANNA’S voice. She looks up at THIANG) I must go to him! (She starts out) Come, Louis!
(They go, followed by THIANG and CHULALONGKORN)

INTERMEDIATE SCENE

A Palace corridor.
ANNA enters, followed by LADY THIANG, CHULALONGKORN and LOUIS.

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

LOUIS: Mother, I thought you and the King 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 king as he could have been?

ANNA: Louis, I don’t think any man has ever been as good a king 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 KING’S study.
The KING lies on his bed, his head propped up slightly. His eyes are closed. LADY THIANG kneels beside him. CHULALONGKORN is crouched on the floor in front of her, and above the bed the KRALAHOME kneels and never takes his eyes from the KING’S face. Shortly after the rise of the curtain LOUIS enters and bows formally toward the KING. He is followed by ANNA, who curtseys and seats herself on a pile of books at the foot of the KING’S bed. The KING’S eyes open. Presently he addresses ANNA.

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

ANNA: Oh, no. Your Majesty.

KING: This is not scientific, Mrs. Anna. I know if I die or do not die. You are leaving Siam? (ANNA nods) When?

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

KING: You are glad of this? (ANNA can find no answer) People of Siam--royal children, etcetera, etcetera, are not glad, and all are in great affliction of your departure.

ANNA: I shall miss them.

KING: 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) Why is your head above mine? (ANNA rises, and LOUIS removes one of the books from the pile. As ANNA sits again, LOUIS kneels beside her) I am not afraid of that which 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 Chulalongkorn. Chulalongkorn teach me… “Make believe you brave”-- is good idea, always.

ANNA: You are very brave, Your Majesty. Very brave.

KING: (Taking from his finger the ring he has given her once before) Here is--something belonging 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, accompanied by the Amazons. LADY THIANG rises hastily to quiet the children. The KING hears them) My children? Tell them to come here. (They hurry in and prostrate themselves before their father) Good evening, my children.

CHILDREN (Together) Good evening, my 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!

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

KING: (He has watched the children with interest) It is all right, Lady Thiang. It is suitable. (The children settle on the floor around ANNA) Was it not said to me that someone has written a farewell letter to Mrs. Anna?

THIANG: Princess Ying Yaowalak has composed letter to Mrs. Anna. She cannot write. She only makes up words.
(PRINCESS YING YAOWALAK stands up)

KING: Speak letter now. (The PRINCESS is uncertain) Say it! Say it! Say it!

YING YAOWALAK: (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, Princess Ying Yaowalak.
(ANNA, rises, unable to speak, rushes to the little girl and hugs her)

CHILDREN: (As ANNA looks uncertainly at the KING) Tell us then, Mrs. Anna. What to do when afraid? You 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.

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

(ANNA whistles. The KING 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)

KING: Silence! (At the note of anger in his voice, the children, wives, LADY THIANG--all fall prostrate) Is no reason for doing of this demonstration for schoolteacher realizing her duty, for which I pay her exorbitant monthly salary of twenty…five pounds! Further, this is disorganized behavior for bedroom of dying King! (To CHULALONGKORN, who has remained crouching below the bed) Chulalongkorn! Rise! (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--next King. (LADY THIANG lifts her head as the KING continues to the momentarily tongue-tied PRINCE) Well, well, well? Suppose you are King! Is there nothing you would do?

PRINCE: (In a small, frightened voice) I…would make proclamations.

KING: Yes, yes.

PRINCE: First I would proclaim for coming New Year--fireworks. (The KING nods his approval) Also boat races.

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

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

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

PRINCE: Regarding custom of bowing to King in fashion of lowly toad. (Her starts to pace, very like his father) I do not believe this is good thing, causing embarrassing fatigue of body, degrading experience for soul, etcetera, etcetera, etcetera…This is bad thing. (He crosses his arms defiantly) I believe. (He is losing his nerve a little) You are angry with me, my father?

KING: Why do you ask question? If you are King you are King. You do not ask questions of sick man--(Glaring at ANNA) Nor of woman! (Pointing an accusing finger at her) This proclamation against bowing I believe to be your fault!

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

PRINCE: (Clapping his hands twice) Up! Rise up! (A few rise. The others raise their heads, but are uncertain whether they should obey him)

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

PRINCE: (His voice stronger and more decisive) No bowing like toad. No crouching. No crawling. This does not mean, however, that you do not show respect for King. (The KING’S eyes close) You will stand with shoulders square back, and chin high…like this. (ANNA turns and notices that the KING’S eyes are closed. The KRALAHOME, 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. CHULALONGKON 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 KING’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 dip, as in Europe. (He starts to show them a curtsey, but cannot) Mother--

(LADY THIANG 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 KING, a gesture of allegiance to the new one)

Curtain