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Bloody Ground Script
ACT ONE: ASSEMBLING THE MACHINE
ACT ONE: SCENE 1 - ARROW
April 3, 1810. A frontier clearing in
Kentucky. Inside a log cabin.
(At one window, JAMES RUTTER sights
along his Kentucky Rifle. He FIRES)
RUTTER
Missed. Quickly, George.
(Hands rifle to GEORGE. He hands
RUTTER another rifle. Reloads)
RUTTER (CONT'D)
See anything, Letitia? Up there.
(LETITIA's rifle ROARS)
RUTTER (CONT'D)
(annoyed)
In the knee. Again. How many times --
LETITIA
He's down. Isn't that the point?
(LETITIA exchanges rifles with GEORGE)
RUTTER
In the head, Letitia, in the heart -- kill them. They're
savages.
LETITIA
Father. They're men! How many times --
(A BURNING ARROW flies through the
window. Lands on the bed.
The door BURSTS open. LT. LILBURNE
LEWIS hurls himself through the door.
RUTTER whirls. Points his pistol.
LETITIA leaps to knock it aside)
LETITIA
(knocking his pistol off)
Papa! It's Lilburne.
(The bullet hits the wall. GEORGE
shuts the door. The bed behind them
BURNS. LILBURNE LEAPS on BURNING
ARROW. Snuffs flames with his body.
SOUND of HORSES. GUNFIRE)
LILBURNE
Looks like we're a bit late, Captain Rutter.
(He rolls over. BURNED ARROW in his
hand. ARROW in shoulder. He tries to
rise)
LETITIA
(pushing him down)
Lieutenant. You're hurt. Let me help.
LILBURNE
Please call me Lilburne, Miss Rutter.
(She looks at him. Rips open his
shirt)
LETITIA
Stay where you are, Lilburne.
LILBURNE
I thought you might be -- you had me --
LETITIA
Stay there. We need to get this out.
(The shooting stops. SOUND of horses.
SOLDIER ONE enters)
SOLDIER ONE
(looking around)
Captain Rutter. Miss Rutter.
LETITIA
(to GEORGE)
A bucket of water. Bandages. Hurry!
(GEORGE exits with SOLDIER ONE.
Another SOLDIER enters)
SOLDIER TWO
(To RUTTER)
You're needed out here, sir.
(GEORGE and SOLDIER ONE enter with a
BUCKET and BANDAGES. LILBURNE turns)
RUTTER
Don't worry, Lieutenant. She's been through this before.
(RUTTER and the SOLDIERS exit. GEORGE
leaves. LETITIA prepares the bandages)
LETITIA
How deep did it go?
LILBURNE
You asked to see the arrow. Here it is.
(LILBURNE turns, holding his shoulder.
He grasps an ARROW. Blood everywhere)
LETITIA
You are a fool, Lilburne.
(LETITIA pushes him back down on the
bed. Weak smile from LILBURNE. Little
boy. She reaches for cloth. Cleans
wound)
LETITIA (CONT'D)
But you saved us.
LILBURNE
You would have found a way to save yourselves.
LETITIA
(Bandaging him)
This wound will leave you with a scar
That proves the family's debt to you -- and mine.
LILBURNE
(Teasing)
This rescue was
Set up between the attackers and myself to win your favor.
(LETITIA slaps LILBURNE. He laughs)
LETITIA
You did not need to plan an Indian raid
To gain the favor of my family, Lilburne.
Or myself.
LILBURNE
(Kissing her)
Is this a dream?
LETITIA
Perhaps it is
Perhaps we share the selfsame reverie.
LILBURNE
How did you read my mind?
LETITIA
It takes no dream to read a kiss.
Since you can also read my mind
There are no secrets I can hold from you
And thus you know how great my...admiration is for you.
(She adjusts the bandage. He pulls her
into his arms. They hold each other)
RUTTER (O.S.)
He's just inside -- my daughter is tending his wounds.
(LETITIA pulls away from LILBURNE.
Looks busy. RUTTER and the SERGEANT
enter)
SERGEANT
Lieutenant, sir. The men await.
LILBURNE
Then I must go.
(To RUTTER)
When I return, I ask permission to call upon your daughter.
RUTTER
You are a hero, sir. How could I say no?
LILBURNE
Oh, sir. I would not dare to take advantage --
(LETITIA giggles. Curtsies)
LETITIA
My father's witticisms. I would be honored to receive you.
LILBURNE
(bowing)
Thank you. Please pray for my success.
(He leaves. The SERGEANT follows)
LIGHTING CROSSFADES TO:
ACT ONE: SCENE 2 - TECUMSEH'S CURSE
Late Afternoon. Wind Valley. Western
end.
(A storm has darkened the sky.
Lightning streaks the air. Thunder
rumbles. WIND rips down the Valley,
sweeping everything ahead of it.
CHIEF TECUMSEH and his BRAVE face the
SERGEANT and LILBURNE, who struggle to
remain vertical. The SERGEANT points
his pistol at TECUMSEH)
SERGEANT
Drop your weapon. Surrender!
BRAVE
Never will I let my chief be taken.
(The BRAVE steps forward to shield his
chief with his body. He raises his
axe. TECUMSEH stops him. As he takes
the hatchet from the BRAVE -- BLACKOUT.
In the darkness, a pistol FIRES.
Lights come up dimly. TECUMSEH and the
BRAVE have disappeared. A GIGANTIC
INDIAN MASK appears in midair, glowing.
The SOUND of TECUMSEH'S VOICE. Eerie
MAGNIFICATION. His lines are
punctuated with lightning and thunder)
TECUMSEH'S VOICE
Whoever builds upon this bloody ground
Shall face its earth-bound demons
I curse this man's dark legacy.
(The BRAVE'S AXE appears, glowing with
the same light as the mask. It floats
in the air in front of LILBURNE. The
SERGEANT staggers to his feet)
SERGEANT
Don't touch it, Lieutenant.
(LILBURNE takes the axe. Examines it)
TECUMSEH'S VOICE
The weapon held within his hands will doom him
The houses all around will tumble to the earth
His name will rise like bile in history.
(The ground shakes. The SERGEANT
kneels in awe. LILBURNE drops the axe.
All is BLACK except for the light
surrounding the INDIAN MASK)
TECUMSEH'S VOICE
Upon this bloody ground, I stamp my foot
No more will peace return unto this land
Until this sacred earth be cleansed of evil.
(BLACKOUT. SOUNDS fade to stillness
again. Lighting fades up. It is late
afternoon. LILBURNE and the SERGEANT
look at each other. They are alone)
LILBURNE
Where's the ax?
SERGEANT
I don't know.
(The two men look at each other)
CROSSFADE TO:
ACT ONE: SCENE 3 - WEDDING FEAST
Several weeks later. Tavern inside
Smithtown Inn.
(LILBURNE and the SERGEANT drink with
the Militia Men, who gather around)
SERGEANT
(a little drunk)
I never wanna see a day like that again. Fiends from hell
were present in that valley, men.
LILBURNE
(amused)
Crept right up behind us, didn't they, Sergeant?
(The MEN laugh tentatively with
LILBURNE)
SERGEANT
(not laughing)
That they did, Sir. I'd swear their spittle burned my neck.
LILBURNE
Sure it did, Sergeant.
(Stands)
Well, here's what I think of that: Curses on that bloody
ground, and that whole, godforsaken day. Sergeant, I propose
that we bury the whole event with a shot of whiskey. Far as
I'm concerned, that heathen chief, and his brave, and his
cursed axe can go straight to hell -- thank you very much.
(Bangs his glass)
Barmaid.
(The BARMAID scurries to fill his
glass. It is the only movement in a
room that is dead silent.
The SERGEANT stares at LILBURNE in
horror. Looks up and around as if
expecting a bolt of lightning.
In the silence, RUTTER enters with
LETITIA and GEORGE. He helps her find
a seat. Leaves GEORGE behind to
protect her. Joins the men)
SERGEANT
(examines his empty glass)
Lieutenant, don't talk like that. Scared me straight, that
curse. Swore right off drinking, I did. Knelt down in front
of my wife and prayed. No more weird voices --
RUTTER
Weird voices? What?
SERGEANT
I mean, there was thunder. That infernal mask. That devil
holding up his cursed axe -- like Jonah and the Burning Bush.
RUTTER
What new legend is this, by God?
LILBURNE
(To men)
Next thing you know, he's gonna scare off Captain Rutter.
And his lovely daughter.
RUTTER
(off the MEN'S laughter)
Never.
LILBURNE
If you say so. Drink up, Sergeant. Forget that curse.
SERGEANT
Yes, Sir. Right you are, Sir.
(Holding up glass)
After all, a man can't be holding an empty glass in a bar.
Makes him feel...unmanly. Wife! Whiskey.
BARMAID
(filling his glass)
Coming right up, my husband.
SOLDIER ONE
(raising a glass)
Well, those red devils may have their cursing prophets, but
we've got the one man who can face them down. Battles or
spells -- he never gets frightened.
SERGEANT
And who might this be, my good man?
SOLDIER TWO
Didn't you hear him just now? No fear at all.
MILITIA MEN
He's the Smithtown Hero!
SERGEANT
Oh. Yeah. I'll drink to that.
LILBURNE
Well, I wish he'd show up and help me. I get bloody
exhausted just hearing about all his useless, heroic acts.
(The MEN roar with laughter)
MILITIA MEN
(merry and drunk)
Oh, raise the glass and pour a beer
The Injuns have fled -- the woods breed no fear
The arrows at dawn -- replaced now with cheer
All hail to the Smithtown Hero!
So, how came we to this merry band?
Our battles now done -- our swords rubbed with sand
Rejoice we in peace -- the fireside at hand
All hail to the Smithtown hero!
Yes, drink to the man who forged our way
His raids struck fear -- at break of day
The savages fled at work and at play
All hail to the Smithtown hero!
Oh, pour a beer and raise a glass
Our feast is prepared -- now break your fast
The Injun threat is out on its ass
All hail to the Smithtown hero!
LILBURNE
A round of drinks --
RUTTER
On me. I wish to make a toast.
(RUTTER puts his arm around LILBURNE)
RUTTER (CONT'D)
Your new mayor, men.
MEN
Cheers. Mayor Lewis. Congratulations.
(LETITIA gives LILBURNE a mock-salute)
LILBURNE
Thank you. I too have news. I have begun construction on a
water mill. Beside the river in Wind Valley. This town
needs corn.
(Villagers react in a BUZZ OF VOICES.
LILBURNE and RUTTER walk DS)
RUTTER
Planning to go it alone?
LILBURNE
I do need a partner. Half the funding -- quarter of the
profits. I run the mill.
RUTTER
Where does the other half come from?
LILBURNE
My uncle.
RUTTER
I'm disappointed in you.
LILBURNE
Why?
RUTTER
That you didn't ask me.
LILBURNE
Oh. Well. I didn't want you to feel obligated --
RUTTER
Obligated, by God. No, son. It would be a privilege.
(A portly JUDGE approaches)
JUDGE
(interrupting)
Mr. Rutter, a word with you.
RUTTER
Certainly, Your Honor.
(RUTTER and the JUDGE walk US. LETITIA
approaches LILBURNE. In the ackground,
GEORGE watches)
LETITIA
Too engaged in affairs of State to notice your fiancee?
LILBURNE
How could I help but notice you, Letitia? Where did you get
that dress?
LETITIA
Papa had it shipped from Paris. You don't like it?
(The JUDGE leaves. RUTTER sits.
Observes the couple)
LILBURNE
Of course I do. Has your father said anything to you yet?
LETITIA
(innocently)
About what?
(RUTTER CLAPS his hands. Comes
downstage. The CROWD quiets)
RUTTER
I have an announcement. Or, maybe Lilburne should give it.
LILBURNE
(drily)
Apparently, Captain Rutter wants me to announce that he's
been elected sheriff. Congratulations, Sheriff.
(The CROWD laughs)
LETITIA
(playfully slaps him)
You're not taking this seriously, Lt. Lewis.
LILBURNE
(mock-threatening)
And if you don't watch your behavior in a crowd, Little
Missy, I'll have to show you how serious I can get.
(Laughter. Catcalls and whistles)
RUTTER
Since the bride and groom are too busy courting to let you
all in on their secret, I'll just have to --
(Cheers. LETITIA takes off her left
glove. Her engagement ring flashes)
LILBURNE
(To LETITIA)
You've got it on already?
LETITIA
Papa said I could. Right after you left.
RUTTER
Today, I drink to the marriage of my little girl.
He's a hero -- he's a Jefferson. He courted Letitia proper.
With respect. I wish Letitia's mother, God rest her soul,
were here to see this day.
(The village girls crowd around
LETITIA. LILBURNE sits down. RUTTER
joins him)
RUTTER
(nodding towards GEORGE)
You know he goes with her?
LILBURNE
George? Why?
RUTTER
They shared the same cradle. She tell you that?
LILBURNE
No.
RUTTER
Born at the same time, by God. Down in New Orleans. I
raised them. Like brother and sister. The mother died in
childbirth --
LILBURNE
Letitia's?
RUTTER
(nodding)
About then, we had to leave. Sold all my slaves, by God.
Only kept George. They shared the same cradle, Lieutenant.
Did I mention that?
LILBURNE
You did.
(LETITIA exchanges a look with
LILBURNE. RUTTER sees it)
RUTTER
Ah. Then I'll leave you two be, by God.
(RUTTER exits with GEORGE. The lights
shift, spotlighting LETITIA and
LILBURNE, who meet DSC. They face each
other to recite their wedding vows.
Behind them, the TOWNSPEOPLE gather in
formal clumps, as if at a wedding. The
JUDGE comes to stand behind and between
the couple.
As they give their vows, he wraps a
white silk stole around their hands)
LILBURNE
So when did you decide --?
LETITIA
My heart was yours?
The day you burst into my life
The day you saved us from the fire
The day your rescue forged a link between us.
(Behind them, the tavern morphs into
the plantation. Lighting changes. The
COUPLE stands on the LAWN in the late
afternoon sunshine.
Behind the COUPLE, the TOWNSPEOPLE
stand gathered in small groups. Around
them are tables of food for a wedding
dinner. Upstage is the mansion.
A band is set up UL: banjo, fiddle,
accordion, fife, bugle, drum)
LETITIA
And when did you decide you loved me most?
LILBURNE
The day you looked at me and smiled.
LETITIA
That was the day I met you.
LILBURNE & LETITIA
That day -- how did you know
That you could help me find my heart again?
Show me how to love again?
I didn't.
I only knew I loved you
And always will.
(The COUPLE kisses as lights fade up)
SERGEANT
Come join our revels.
CROWD
Share our feast.
BARMAID
Dance with us.
RUTTER
Be one family.
CROWD
Come now and join the wedding feast.
(GUESTS clap. But the applause dies
rapidly. The COUPLE turns to follow
the GAZE of the CROWD.
ISHAM LEWIS enters, carrying a walking
stick. A black SLAVE GIRL follows him,
carrying a crate.
LILBURNE leaves LETITIA and approaches
his brother)
CROWD
A stranger.
Come from the forest
What is his name
Who is his family
Who is this man?
LILBURNE
(facing him)
After all these years.
ISHAM
Our uncle needed someone reliable.
LILBURNE
So he sent you?
(LILBURNE throws his arms around ISHAM,
welcoming him warmly. TOWNSPEOPLE
crowd around them. RUTTER approaches
with LETITIA.
GEORGE approaches with drinks.
SERVANTS set up a WEDDING TABLE)
ISHAM
The family's also sent you a small gift.
(He gestures to his SLAVE GIRL. She
sets down the CRATE in front of
LETITIA. Opens it. LETITIA pulls out
a crystal wine glass)
LETITIA
Oh. It's beautiful, Lilburne.
LILBURNE
Isham, meet my bride, Letitia.
LETITIA
Welcome, Mr. Lewis.
ISHAM
Pleased to meet you, Miss --
LILBURNE
(correcting him)
Mrs. Lewis.
RUTTER
He just married your no-account brother, Isham. I'm --
ISHAM
Sheriff James Rutter. Honored, sir.
RUTTER
(pulling GEORGE forward)
And this is our servant, George, Mr. Lewis.
(ISHAM stares at GEORGE, insulted)
RUTTER
George, a drink for Mr. Lewis, here.
(GEORGE offers ISHAM a drink. ISHAM
refuses it. RUTTER looks at LILBURNE,
who shrugs. GEORGE retreats.
LETITIA steps into the breech. She
stops the servants, who have begun to
carry off the crate)
LETITIA
Wait, Isham. Lieutenant, let's use this china today -- for
the wedding feast. I want to honor your family.
(LILBURNE nods. ISHAM watches GEORGE
take the china toward the bridal table)
ISHAM
(taking out a money bag)
Lilburne, Uncle Jefferson's package.
RUTTER
Oh, I'll be glad to take care of that for you, Lieutenant.
ISHAM
Sorry, Captain Rutter. My uncle gave me explicit
instructions --
LILBURNE
Captain Rutter is my business partner, Isham.
LETITIA
It's a wedding feast, and you men just want to talk business.
(LILBURNE turns to her. She takes his
arm. They walk to the wedding table.
ISHAM hands RUTTER the money bags.
RUTTER exits. ISHAM starts upstage.
LETITIA whirls back towards him)
LETITIA (CONT'D)
(taking ISHAM's arm)
Come feast with us and share our day.
ISHAM
I have no wedding clothes.
LETITIA
You are my husband's only kinsman here.
(LILBURNE watches his wife and brother.
Drinks. RUTTER joins him)
ISHAM
I have no invitation.
LETITIA
Come. Join our wedding feast.
(RUTTER enters and joins LILBURNE)
RUTTER
The money has been safely stowed
Your brother's visit augers well.
(ISHAM comes downstage. LILBURNE faces
him. Shrugs. Shows him a seat.
GEORGE pours drinks. All raise their
glasses, and join in the chorus)
CROWD
(joining in the argument)
Come join our revels, share our feast
Dance with us -- be his family
Come now and join the wedding feast.
(The CROWD stands in formal groups,
eating from the tables. The wedding
table includes ISHAM, LILBURNE,
LETITIA, and RUTTER)
CROWD (CONT'D)
A toast, a toast!
SERGEANT
(stepping forward)
"To the most fairest of maidens -- and her fearless husband --
here's to a fine voyage into marriage. May it be much
happier than mine."
(His wife, the BARMAID, smacks his ass.
The CROWD laughs. She points to her
face. He kisses her on the cheek)
JUDGE
May all marriages turn out that good.
(The crowd cheers. They drink. RUTTER
pulls out a document. Waves it)
RUTTER (CONT'D)
A toast from President Jefferson: "To my dearest nephew
Lilburne: I cannot attend your wedding, but I know your
bride is an upstanding citizen of Smithtown -- and since we
now are business partners, I wish you joy in marriage in
these our United States." Cheers!
(ISHAM stands. He raises his glass.
Drinks. Gestures to LILBURNE)
ISHAM
My brother and I go way back...to Virginia. We were brothers
under our father the Colonel and our mother the President's
sister -- God rest their souls.
The family's heard stories of the Smithtown Hero -- he's
brought great honor to us...here in Kentucky. So. I toast
my younger brother and his bride. Cheers.
(The CROWD cheers. ISHAM sits down.
Slouches. GEORGE crosses in front of
the table, carrying the wine glasses.
ISHAM sticks out his foot.
GEORGE TRIPS. The glasses CRASH on
floor. They break. LETITIA runs to
GEORGE, kneeling beside him)
LETITIA
Oh, George. Our wedding gift.
LILBURNE
All the way from Virginia.
ISHAM
Back home, careless slaves get whipped. Matter of course.
LETITIA
Oh, no. You can't whip him.
LILBURNE
George, go to the barn.
(LETITIA gestures to GEORGE. He kneels
down. Picks up the pieces)
ISHAM
Doesn't hear real well, Lilburne. Lacks respect.
LETITIA
(to ISHAM)
This is none of your affair.
LILBURNE
George. Explain yourself.
(LETITIA shrugs. Goes around the
table. Kneels beside GEORGE)
RUTTER
Lieutenant, he's a mute. Since childhood. That's why he
uses hand gestures.
LETITIA
(kneeling)
That's all right -- George. No one will whip you.
(GEORGE "talks" to her with his hands.
She stands. Faces LILBURNE)
LETITIA (CONT'D)
We won't be going to the barn, Lieutenant. You want me, you
can come get me.
(They start to leave together)
LILBURNE
(apologizing)
Wait, Letitia. I didn't know -- he was mute.
(LETITIA considers him. Waves GEORGE
on. Takes LILBURNE's hand. Kisses
him. They walk DSR The guests'
chatter returns to normal)
LETITIA
Your observation skills seem...somewhat limited.
LILBURNE
They can be. My brother --
LETITIA
Your brother stuck out his foot -- and George tripped.
LILBURNE
He told you that?
LETITIA
Yes. With his hands.
LILBURNE
Has George ever lied to you?
LETITIA
Never. And I've known him since childhood. You'll have to
trust me. Whatever happened, he didn't mean to disrespect
your family.
(LILBURNE shrugs. They kiss)
LETITIA
Let's dance, my husband.
(LILBURNE gestures to the BAND. They
begin a WALTZ. The COUPLE begin the
first dance. ISHAM rapidly cuts in.
LILBURNE goes to the BAR upstage.
RUTTER cuts in. ISHAM joins LILBURNE)
ISHAM
(watching LETITIA)
A different brand of belle
Than those who grace our Virginia homes
I toast the beauty that you've won.
LILBURNE
I've never loved a woman like her
Letitia's dignity and childlike joy
Have brought me back to life.
ISHAM
I've danced the finest mansions in the South
But I must say, her dance exceeds them all --
I'd lay a wager she could out-dance any slave.
(The music stops. LETITIA and RUTTER
bow to each other in the background)
LILBURNE
I hate your blue-blood ways.
You are my brother
But you will leave at dawn.
(LETITIA and RUTTER approach. They
stop as they see the argument. The
CROWD slowly goes quiet)
ISHAM
How can you decide so quick --?
LILBURNE
The family that we plan to raise
Will gain a name from our bold actions --
Not our past. There is no room here for you.
ISHAM
I'm a trained accountant. I ran the family business.
LILBURNE
Which failed.
You are my brother, Isham
But you are not welcome, sir.
(LILBURNE takes LETITIA'S hand. They
walk to the porch)
LILBURNE
Friends. My wife and I thank you for your presence. We wish
you a safe trip home. It's time for us to...sleep.
(Catcalls, whistles)
Good night.
(GEORGE holds the door open. LILBURNE
turns. Picks up LETITIA. Carries her
across the threshold.
ISHAM watches them go. Then he turns.
Stares at the CROWD as they disperse)
FADE TO BLACK.
ACT ONE: SCENE 4 - FIRST NIGHT
No time has elapsed. Master Bedroom.
The Lewis Plantation. A fire burns in
the fireplace. Mug of wine on hearth.
(LILBURNE carries LETITIA through the
door. Sets her down. DELLA approaches
to help LETITIA undress. LILBURNE
waves her away.
LILBURNE picks up the wine. Drinks.
Shares it with LETITIA. The two sit on
a BEAR RUG in front of the fireplace)
LETITIA
Would you have whipped him?
LILBURNE
Perhaps it should be you I spank
For trying to defend him.
(LETITIA giggles. Kisses him. She
turns her back to him. He begins
undressing her, beginning with her back
buttons)
LETITIA
His role has never been a slave's
It's much more like a son's.
LILBURNE
A son's?
LETITIA
We are like twins
We shared the same cradle.
The way my father tells it
We were each born amidst a raging storm.
LILBURNE
Who reared you?
LETITIA
The same black nanny
Taught us both the wiles of childhood.
We played together
Teased the poisonous snakes
That hung about the grounds
(Our nanny licked us good for that)
We even learned to read.
LILBURNE
Virginia's world would never --
You say that George can read?
LETITIA
The ancient city of New Orleans
Held different views --
LILBURNE
So when your father journeyed here
He brought his new ideas.
LETITIA
He did.
LILBURNE
How did you and George
Create the language of your hands?
LETITIA
I don't recall.
Perhaps it was a game that we created.
LILBURNE
Your servant George
Is quite -- protective of you.
LETITIA
What about your brother Isham?
He told me --
LILBURNE
While you danced --
LETITIA
You know your brother well.
He said you'd never let him stay.
LILBURNE
He's right.
LETITIA
What separates you two?
LILBURNE
It matters little now.
His way from here is planned.
(By now, LILBURNE has stripped LETITIA
of all her clothes but a short, silk
shift. He remains completely clothed
throughout the entire scene)
LETITIA
(seducing him)
That makes no sense
Surely you can tell me
The woman that you love.
LILBURNE
I think it was the dreams that hurt the most.
LETITIA
The dreams?
LILBURNE
My brother had no dreams.
Although he was the eldest son
Destined to carry on the family name.
He often laughed
At my zeal and idealistic fervor.
Was it a hunting expedition?
Yes. The night I shared my dreams with him
I told him of my plans to seek my fortune in the West.
He watched me as he smoked his pipe.
We each had shot a deer
And my buck carried the larger rack of horns.
I think he envied me
Although I did not know it then
I only knew I loved him.
How little did I understand
The clash between his inheritance and nature
My brother's future
Was cast in lead
It weighed him down.
His bride was chosen for him.
Isabel. The cousin that we loved.
The match was clean, I thought.
My father's health had failed.
And Isham was to take his place
As husband of my father's niece.
The morning of the wedding
All the neighbors gathered for the feast
It was a Lewis wedding
The pride of family on display.
But then --
The clock ticked on.
No Isham did appear
Gone hunting, the note said.
It did not tell when he'd return.
Before the family council I was summoned
The power of the eldest would descend to me --
My mother said --
As next in line, and trusted by my family
For the pride and care I showed
In everything I did.
And so I had a bride.
My mother took my father's place
As I was to replace my brother.
It was only there I learned
Of the truth that weighed my brother down
Of the child within my cousin's womb
Of the careless night five months before
Of the wildness in my brother's soul.
The reputation of the family
The birth of the child
Could not wait
Would not tarry
Until the designated son returned.
The nightmare of that scene has come to me
In dreams.
My mother's voice
A whiplash on my conscience
The Court of Ancestors
Comes ringing on my ears
Their accusations sharp and clear.
LETITIA
What happened to poor Isabel?
LILBURNE
I do not know.
But I refused to sacrifice my dreams.
I left Virginia
Joined the military.
Eventually, my way led here.
LETITIA
The first time that you've seen him
Since then
Was today?
LILBURNE
Since he went hunting.
LETITIA
It makes a world of sense
That you elect to keep this secret.
Within this rugged, frontier world
The power of your selfless nature
And your family's reputation
Has earned you the frontier's respect.
There are no strangers here among us
The Lewis name that's given you by your father
Did not negate the bloodline of your mother
You are a Jefferson.
LILBURNE
The blue runs upstream in my blood
My mother's dreams have choked the family tree
Her hopes of dynasty are unfulfilled
Uncrowned -- unborn.
(They KISS. An intimate moment)
Your confidence has helped me find the axe
To cut an oak tree from this forest of democracy
I'll use that wood to carve the nation's cradle
I am a Jefferson.
LETITIA & LILBURNE
Your(My) uncle's vision sent my family to this frontier world
And made us all God's children -- slave and free
It is this dream -- America -- that passes now to you
You are a Jefferson.
LETITIA
Your loyalty to your family
Won my trust.
We all have secrets.
It's why I know
You'll do the right thing by your brother.
I know the blood a family shares
Creates a bond unmatched by any other.
LILBURNE
Some people's acts are so extreme
They cut the throat of their forgiveness.
If I forgive my brother Isham now
He'll just betray again.
LETITIA
Someday it may be you
Who needs a second chance.
LILBURNE
You may be right.
LETITIA
I know I'm right.
LILBURNE
How can you be so young
And yet so wise?
One other thing --
There's no one
Knows this fear of mine.
LETITIA
Yes?
LILBURNE
My brother Isham
Represents the dark luck of my family.
Since leaving them, I've found success.
LETITIA
And if you let him stay?
LILBURNE
I'll lose it all.
(LETITIA looks at him seriously for a
moment. Then begins to laugh)
LETITIA
Your sense of humor
Is quite strange
My dear Lieutenant.
Are you the man
Who laughed in the face of death?
Who faced hell and all its fiends?
Who won heroic status?
And now you tell me --
LILBURNE
How do you know all this?
LETITIA
The Sergeant's stories have been wonderful.
And now you claim to fear
The bad luck in your blood?
LILBURNE
Perhaps you're right.
LETITIA
The past few weeks
You showed your eagerness to trade
Upon your family.
LILBURNE
I traded on the Jeffersons.
LETITIA
You are Isham's only hope.
An overseer would help
Perhaps a loyal brother
Who has learned from past mistakes?
And this would free up time
That you could spend with me.
LILBURNE
You really should have been a general.
LETITIA
I like to win.
LILBURNE
And so do I. Wait. Didn't we establish earlier -- that a
certain stubborn young woman needs to be spanked?
(LILBURNE rises. LETITIA faces him,
pulling down on her short white shift)
LETITIA
(squeals)
No, Lilburne, no. Your idea. Not mine.
(The merry chase begins. It ends on
the hearth, LETITIA bent over his knee,
facing downstage.
She struggles, giggling, as he pulls up
her SHIFT, baring her bottom.
LETITIA (CONT'D)
(laughing)
No. Not fair. Stop. Ouch. I'll do whatever you want --
(LILBURNE spanks her. Then picks her
up. She wraps her legs around his
waist, her arms around his neck. They
kiss as he walks her toward the bed)
FADE TO BLACK.
ACT ONE: SCENE 5 - BABY'S CRY
A few hours later. Master Bedroom.
(BLACKNESS. SOUND of far-away howls.
FLASH of lightning. CLAP of thunder.
LIGHTS FADE UP inside the MILL.
LILBURNE -- dressed only in a WHITE
NIGHTSHIRT -- lies on the floor in a
tangle of covers beside LETITIA.
LILBURNE awakens. Sits up.
Surrounding them is the machinery of
the WATER MILL. Outside, the SOUND of
a WATER WHEEL starts and stops.
LILBURNE looks around. Not far from
him are three BLACK DANCERS: a CHILD,
YOUNG WOMAN, and a CRONE. They gaze at
him. LILBURNE stumbles from bed.
Like dervishes, the DANCERS begin to
haunt his moves. The SOUND of
GRAMOPHONE VOICES fills the MILL, like
a scratchy gramophone player)
CHILD
Stop and go -- go and stop
The Old Man drives the candy shop
The water wheel it slops and slips
Will God and Jesus clean the chips?
(The gears GRIND. The machinery around
him begins to move)
WOMAN
Gravel pits go crunchy crunch
When you gonna lean and hunch
When your mama tears you up
Where you gonna hold your cup?
(Gears GRIND free. Suddenly, the SOUND
of GRAVEL shredding the gears)
CRONE
Hiss and shit, Shit and hiss
The Devil's come to take a piss
In the mouths of twitchy ladies
Who's the tart that had the baby?
BRIGHT WHITE LIGHT.
(The MACHINERY FLIES. LILBURNE stands
in the center of a ROTUNDA with white
pillars.
Before him, lying on the marble floor
in the center is LETITIA, asleep. She
wears only her short white SHIFT. The
bedclothes are gone.
Crouched around LILBURNE are the BLACK
DANCERS. They circle about LILBURNE,
keeping him in their sights.
In front of LILBURNE is the JUDGE'S
BENCH, where his mother LUCY presides.
Sitting and standing behind and around
LILBURNE are the COURT OF ANCESTORS.
LUCY pounds the gavel)
LUCY LEWIS
Your garments are rags
But they'll have to do
The Court is now here
Who prosecutes you?
(JEFFERSON steps forward. LUCY points
the gavel at him)
PRESIDENT JEFFERSON
I beg this great court's leave to represent
Justice here today.
LUCY LEWIS
The court now is pleased
The President speaks.
PRESIDENT JEFFERSON
My nephew has betrayed his kin
Left his cousin shamed.
(LILBURNE reaches for his throat. He
is mute)
PRESIDENT JEFFERSON
His name should be reduced to history's footnote.
LUCY LEWIS
The court now will act --
(LILBURNE waves. Points to his throat.
LUCY points her gavel at him. He steps
forward. The DANCERS crouch about him)
LILBURNE
(finding his voice)
I object.
LUCY LEWIS
Your plea is sustained.
Your self-defense heard.
LILBURNE
My family's legacy is now a sham
Our name bankrupt as the land
If they had heard my voice, they could have saved
Our birthright and their fortune.
The frontier where I live now lies in peace
My leadership insures our wealth and fame
Democracy and freedom are the tools
I'll use to recreate our legacy.
PRESIDENT JEFFERSON
I object.
This poor man cannot divine the future
Only we know that.
LUCY LEWIS
Objection sustained.
(COLONEL LEWIS stands. LUCY points)
COLONEL LEWIS
(gestures to DANCERS)
You soon will face the Fates
Your ego sets the trap.
LILBURNE
(To LUCY)
How can my father now accuse me?
Ambition's steel -- you twisted in my father
His blue-blood legacy -- you trampled in the dust
I will not let your scorn pervert my future.
(LUCY looks at LILBURNE. Sets down
GAVEL. Steps down to face the empty
BENCH. Raises her right hand)
LUCY LEWIS
I now shall recognize
The witness that I give
I am your mother Lucy
And I'll not tell a fib.
(To LILBURNE)
Your marriage is black
Your legacy doomed
Your poor little child
Goes straight to the tomb.
(LUCY takes her place at the BENCH.
Picks up the GAVEL)
LILBURNE
(facing down the court)
Why don't you now admit your hopeless tragedy
The new world spit your dreams back in your face
You planned an aristocracy with power to wield
Instead of royal courts, you got tobacco fields.
PRESIDENT JEFFERSON
Since wisdom is your gift unto us all --
Tell us now, Lilburne,
Why do slaves still run your mill?
LILBURNE
When my new business turns a profit
I plan to free them all and give them --
(A ROAR of laughter as the COURT OF
ANCESTORS approach LILBURNE, laughing
and gesturing at him. LILBURNE falls
to the floor, covering his ears.
The GHOSTS retreat to the edges of the
room. They pose, turning into STATUES
of marble. LILBURNE follows them. The
BLACK DANCERS circle about LETITIA.
LILBURNE rescues LETITIA'S BODY,
pulling it under the towering JUDGE'S
BENCH. He kneels beside her,
protectively. The DANCERS circle them.
Faint SOUND of GRAMOPHONE VOICES)
GRAMOPHONE CHORUS
(lines simultaneously sung)
Stop and go -- go and stop
Gravel pits go crunchy crunch
Hiss and shit, Shit and hiss
GRAMOPHONE CHORUS
(lines simultaneously sung)
The Old Man drives the candy shop
When you gonna lean and hunch
The Devil's come to take a piss
GRAMOPHONE CHORUS
(lines simultaneously sung)
The water wheel it slops and slips
When your mama tears you up
In the mouths of twitchy ladies
GRAMOPHONE CHORUS
(lines simultaneously sung)
Will God and Jesus clean the chips?
Where you gonna hold your cup?
Who's the tart that had the baby?
(Directly across from LILBURNE and
LETITIA, a YOUNG BOY, 7, enters in a
WHITE NIGHTSHIRT. The DANCERS see him
and move towards him, surrounding him.
Lights go to BLACKOUT, except for a the
light on the YOUNG BOY and the DANCERS.
The SOUND of a ROARING FIRE.
Lights FADE UP DIMLY -- the room has
morphed into a SMOKEHOUSE. A roaring
fireplace. SLABS of meat hang. The
BOY looks about him.
The ground shudders, knocking the BOY
off his feet. The DANCERS help him up.
In front of the fireplace is a gigantic
cutting board -- with a slab of bloody
meat. Above it hangs a CLEAVER.
The cleaver slices the meat, again and
again. The DANCERS gesture. The BOY
moves forward. Picks up a square of
meat.
He throws it into the fire. It SPITS
smoke. The DANCERS crouch about the
fire, staring into it. They freeze,
like statues.
The earth SHAKES again. The BOY falls
again. The FIRE goes to black. All
grows still. A door of light opens.
SOUND of a baby crying. The BOY rises
and stumbles towards the light. He
stands, framed by it. SOUND of a MUSIC
BOX LULLABY.
A single GUNSHOT. The BOY falls
through the door)
BLACKOUT.
ACT ONE: SCENE 6 - LADY OF THE HOUSE
Moments later. The Master Bedroom.
(Lights DIM UP to reveal LILBURNE
sitting up in bed. Beside him lies a
sleeping LETITIA, covered by the
bedclothes. He gazes at her.
A knock at the door. LILBURNE rises.
Opens the door. Returns to the
fireplace. Begins to cut a CIGAR.
ISHAM enters, dressed to leave.
LETITIA sits up, holding a blanket to
her chest)
ISHAM
I came to say goodbye.
(LILBURNE lights his cigar. Considers)
LILBURNE
Not so fast.
ISHAM
What --?
LILBURNE
(turning to his wife)
Go back to sleep, my dear
You are the lady of the house
I need to show my brother to his lodgings
And introduce him to the workers he'll direct.
(LETITIA leaps out of bed. Throws her
arms around LILBURNE. The bedclothes
fall away from her. She wears only the
short shift.
ISHAM watches as LETITIA kisses
LILBURNE.
LILBURNE picks her up like a child.
Puts her to bed. Turns. Looks at
ISHAM. Gestures grandly to the door.
The two walk out of the bedroom
together. LETITIA watches them go)
SLOW FADE TO BLACK:
ACT TWO: FIRING THE MACHINE
ACT TWO: SCENE 1 - RUMOR
A year later. July 1811. The
Plantation Gazebo. Behind it, the new
mill is finished in expensive stone --
the plantation house in brick.
(A PREGNANT LETITIA relaxes in the
GAZEBO. GEORGE brushes her hair with
an OLD HAIRBRUSH.
ISHAM comes out of the plantation
house, clad in tweed coat and calfskin
boots. Surveys his handiwork. Slaps
his riding whip against his boot.
He glances over at the GAZEBO. He
strides over)
ISHAM
George! Don't you have work to do?
LETITIA
Mr. Lewis. This is his work. And you?
Don't you have books to balance?
Ignore him, George.
(ISHAM glares. Turns on his heel.
Strides off. GEORGE continues to brush
LETITIA's hair. LETITIA pushes him
away. Stands. Stares after ISHAM)
LETITIA
He grows more arrogant by the day.
(ISHAM climbs the steps up the side of
the mill. Opens the mill office door)
LETITIA
You'd think he'd be more appreciative of my help
A year ago.
(ISHAM enters his office. Closes the
door behind him. LETITIA looks over at
GEORGE. They sit beside each other,
"talking" with their hands)
LETITIA
When the good Lieutenant comes
He'll put his older brother in his place.
(SOUND of MARCHING FEET. LETITIA and
GEORGE get to their feet)
LETITIA
And so he comes.
(GEORGE assists LETITIA up. She moves
to the edge of the GAZEBO as the
MILITIA enters, led by LILBURNE and the
SERGEANT.
The TOWNSPEOPLE enter, mostly women and
children, but also a few old men.
RUTTER joins LETITIA at the GAZEBO.
The MEN come to a full stop, facing the
SERGEANT and LILBURNE)
SERGEANT
Attention.
LILBURNE
Gentlemen. We've fought hard and long together.
We've seen some of our brothers fall.
But we've cleaned the Injun vermin out.
Our people now are safe.
MEN
(shouting)
It was you, sir!
LILBURNE
No. I don't accept the credit.
We've earned this leave, together
And I'm proud of you.
Gentlemen. Smithtown welcomes you home.
(The MILITIA maintains its ranks. The
CROWD bursts into applause. LETITIA
runs to LILBURNE. He pulls her into
his arms, kissing her publicly)
CROWD
All hail to the Smithtown Hero!
(LILBURNE and LETITIA turn to the
CROWD. He gestures, giving his
applause back to the CROWD, and she
curtsies. The CHEERING increases.
LILBURNE turns to the SERGEANT. Nods)
SERGEANT
Collect your pay from the Deputy at the tavern. Our
Lieutenant has awarded each of you a bonus.
(LILBURNE steps forward. Raises his
hand in SALUTE to the SERGEANT. The
SERGEANT returns his gesture in kind.
Behind him, the MILITIA also salutes)
LILBURNE
You're dismissed. A good mission, Sergeant!
SERGEANT
(holding his salute)
Thank you, sir! Dismissed, men!
(The MILITIA break up. GIRLFRIENDS and
WIVES run towards their men and are
swept into their arms.
Surrounded by their families, the MEN
exit. LILBURNE and LETITIA sit down
together in the GAZEBO. RUTTER joins
them)
RUTTER
Welcome home, Lieutenant. We've missed you. The peace
you've brought to this town is welcome, by God.
LILBURNE
Thank you. My men acquit themselves with honor.
LETITIA
The men who ride with Lilburne are invincible.
LILBURNE
But it's good to be home.
(LETITIA grabs her stomach)
LETITIA
This has to be a boy. It kicks too hard -- Ooh -- there.
You see? You feel it, husband?
(LETITIA places LILBURNE'S hand on her
stomach. He looks discomforted. Awed)
LILBURNE
Yes. A boy.
(The SERGEANT approaches)
SERGEANT
Everything's taken care of, sir. I'll be running along now.
LILBURNE
(at ease)
Thank you, my friend. Say hello for me.
SERGEANT
(nodding individually)
Certainly. Sheriff Rutter. Mistress Lewis!
(The SERGEANT strolls away, whistling)
LETITIA
(off another kick in her womb)
Ouch. That hurt. George, why don't you get the men some
drinks.
(GEORGE exits)
RUTTER
(watching GEORGE)
Thanks for taking care of George.
LETITIA
He likes it here.
RUTTER
I miss having him around the house.
LETITIA
I don't know what I'd do without him. Even Isham's said the
same.
RUTTER
Speaking of Isham, I thought I should mention something
before you see him. Regarding the business.
LETITIA
Business.
RUTTER
Hush, daughter. This is important.
LILBURNE
I thought things were going well.
RUTTER
Yes. But how closely have you been watching the accounts?
LILBURNE
Close enough. Isham wrote me each week. Didn't fail me
once. Always gave me good reports.
LETITIA
If there are problems, he's never said a word to me.
RUTTER
Rumor has it people have started going elsewhere.
LILBURNE
Yes. That is a problem. For both of us.
RUTTER
And me. I want my grandson's father to succeed, by God.
LILBURNE
Rumor told you why they stay away?
RUTTER
Two words I heard? "Uppity" and "arrogant."
LILBURNE
Isham.
RUTTER
(gesturing around him)
So the question I've been asking: Where is Isham getting the
money? Judging from the look of things, the mill is barely
grinding any corn at all.
(The office door of the mill opens.
ISHAM steps out, a cigar in hand. He
surveys the grounds. Spots them.
A smile of genuine welcome lights up
his face. He crosses to them, shaking
LILBURNE's hand)
ISHAM
Brother. Welcome home! Mr. Rutter. I was absorbed in our
accounts.
RUTTER
That's just what we've been discussing, Mr. Lewis. The money
you've spent on this...plantation.
ISHAM
The money I've spent?
LILBURNE
Yes, the money you've spent, Isham. Explain yourself.
(ISHAM looks around at RUTTER, LETITIA,
and LILBURNE)
ISHAM
I've spent the money building your business
One that will reap a profit for you.
LILBURNE
I can see that I was right.
I should have sent you home that day
The day you broke into my wedding vows
The day you carried in the bad luck of your family.
ISHAM
My family?
What concerns you most, my brother?
What part of your legacy do you most want to lose?
RUTTER
(placating)
Your building choices have all been fine
That brick was carried all the way from Pennsylvania, I hear.
ISHAM
You see my point.
Strong foundations for my brother's business
All this is part of the Lewis family's legacy.
Surely, we all share the same desire.
LILBURNE
No one doubts your taste, dear brother.
But your choices bear uncanny similarity
To failures you have tried before.
LETITIA
My husband, whence all this anger?
I've seen the hard work that your brother gives
How can you doubt his motives?
LILBURNE
We've had this argument once before, Letitia.
On that night I followed your advice.
And now I face the problems that I feared.
RUTTER
Stirring up bad blood between brothers will not help.
As family all, we share the risk
Our commitment is unshakable
All will turn to good.
ISHAM
Yet how can I continue to advance the business
If my younger brother doubts my judgement?
(To himself)
My anger grows --
The gratitude and leadership he shows to other men
He fails to show to me, his eldest brother
Whence comes this hatred for his kin?
LETITIA
Did I err
In urging him to keep his brother here?
Is the road between their loves impassable?
I thought that I did right
And yet his bitterness to me says otherwise.
LILBURNE
Has my luck now turned?
Are my fears correct?
The curse I scorned -- has it turned towards home
To lodge within my soul
And thus destroy me?
RUTTER
I see before me
The ancient curse of brothers
Assembling itself.
What damage will it do to my investment
What will this do to my family's future?
I must placate my son-in-law
Help him find the love of kin
Within the history of his family.
ISHAM
The dreams I brought into that clearing
A year ago
Are slowly fading.
This brother
The one in which I've vested all my dreams of legacy
Has now turned false.
He shares a different dream
A different legacy.
His bitterness towards me demands a change.
LETITIA
This family split in two by bitterness
Loyalty to kin is trumped by wealth and loss
How much depends upon this child
It is by blood that change will come
A son will bridge the gap between these brothers
Put life into my husband's legacy.
RUTTER
What kind of child will come
From such a bond as this?
I saw her die -- the wife I loved.
I saw the devastation to my family.
There is no future here
Without my help.
LILBURNE
It is this bitterness that blocks my future.
How my brother suffers
I must grant to him the chance I won
Upon this raw frontier.
He is the only ally given me by blood.
This bitterness demands a change.
ISHAM
My brother's distrust now
Has cleaved the bridge of loyalty
That linked my heart to his.
From here on out
I shall not trust another
Except myself.
QUARTET
No(The) chance yet remains
To turn all this around.
(GEORGE enters, carrying drinks)
ISHAM
Consider the facts, dear brother.
Your absence has been long.
And I'll admit I'm not a charming manager.
I have to break some heads sometimes.
(LILBURNE looks at ISHAM. There is a
long silence)
RUTTER
He's right, Lilburne. I must admit, your brother has been
working hard. Let's give it time.
LILBURNE
We'll give it time.
(GEORGE passes around the whiskey
glasses. Not noticing that ISHAM has
not yet been served, RUTTER and
LILBURNE clink glasses)
RUTTER
To my grandson -- and my dear daughter!
(GEORGE hands ISHAM his glass. He
looks at LETITIA who stares adoringly
at her husband and father.
ISHAM drops his glass. It shatters.
The three look towards him. He rises)
ISHAM
Get me a new glass, George. I seem to have dropped that one.
(RUTTER, LILBURNE, and LETITIA watch
ISHAM as he retreats to the mill
office. GEORGE scurries back to the
house for another glass)
ACT TWO: SCENE 2 - STILLBORN
A month later. Night. Second floor of
the mill. The Mill Office. Art and
crystal from Europe.
(SOUND of rain.
ISHAM makes a citation in an accounting
book. Stops. Pours a glass of cognac
from a crystal decanter.
Looks out the window. Suddenly turns.
Slips the accounting book into a secret
compartment. Turns back to the window.
LILBURNE enters, distracted)
ISHAM
What's the news?
LILBURNE
Nothing.
(GEORGE enters)
ISHAM
Well?
(GEORGE mimes a series of gestures.
LILBURNE looks at ISHAM, confused)
ISHAM (CONT'D)
(translating slowly)
The midwife says
You shouldn't worry.
(GEORGE exits. LILBURNE pulls a
whiskey bottle out of the cabinet.
Sloshes it into a tumbler. Downs it.
LILBURNE wanders about. ISHAM watches.
LILBURNE picks up a sculpture. Looks
at all sides. Sets it down. Returns
to the whiskey. Pours another glass.
ISHAM returns the sculpture to its
place. LILBURNE downs the tumbler.
Pours another. Picks up the tumbler.
Looks at the bottle in his other hand.
LILBURNE returns to the window. RUTTER
enters)
RUTTER
(pouring whiskey)
I thought I'd come to join you
What's the news?
ISHAM
None.
(RUTTER joins LILBURNE at the window.
GEORGE enters)
LILBURNE
What happened?
Tell me, slave!
RUTTER
(exploding)
Give him time!
(RUTTER kneels beside GEORGE, as GEORGE
"talks")
RUTTER (CONT'D)
(translating quickly)
Letitia lives
She's safely out of danger
The baby boy is --
LILBURNE
What?
(RUTTER stares at GEORGE. Turns.
Walks over to the window)
ISHAM
The baby boy is stillborn
A deformed child
That is -- all.
(RUTTER turns. Gazes at ISHAM. A
beat.
LILBURNE throws his glass -- smashing
it against the brick wall)
LILBURNE
What kind of twisted fate controls my destiny?
(RUTTER stops him from leaving)
RUTTER
You cannot go to see her --
Not like this
In such a mood --
You must be strong.
She must know you love her more -- not less.
(LILBURNE rushes past him. Exits.
RUTTER turns to GEORGE)
RUTTER
Go to her.
(GEORGE exits)
RUTTER (CONT'D)
(To ISHAM)
You'll let me know
If Lilburne needs my help.
If Letitia needs my presence
You'll let me know?
(ISHAM nods -- RUTTER exits)
CROSSFADE TO
THE MASTER BEDROOM
(ISHAM's SLAVE GIRL cleans up. DELLA
assists her. LILBURNE sits beside
LETITIA. Stares into the fireplace.
GEORGE enters. Delivers a BUCKET.
Stands beside the door.
LILBURNE rises. Moves DSR)
LILBURNE
This torment
How could this be --
I do not understand
My son
Stillborn.
This child
How comes this loss --
His imprint brands my soul
With fire on fire
(LETITIA rises. Like a GHOST, she
moves DSC. RUTTER enters. Moves DSL.
Behind them, TOWNSPEOPLE take their
place behind them in formal groupings)
LILBURNE (CONT'D)
Was it the Fates who cut me down
What is this jagged blade
That rips into my legacy?
RUTTER & LILBURNE & LETITIA
What is the reason for this loss?
This boy who kicked inside the womb
How can a child be not a child?
RUTTER
It's happened now again
This scornful lash
Beneath his whip hand.
Did my judgement fail me there
On that empty street in New Orleans?
This curse that haunts my steps
First the mother
Now the child.
Perhaps I should have stayed outside this bloody valley.
This helplessness I feel
This secret love I cannot show
Which torments me.
Must I always give the key unto the midwife?
The key that locks -- or else unlocks
The path of happiness for my descendants?
LETITIA
This agony
My heart ripped out
And yet it beats
Why do I live
When he lies still?
My love
How can I now go on
I feel your tiny fists
Within my womb
Then nothing.
LILBURNE
Was it the Fates who cut me down
What is this jagged blade
That rips into my legacy?
RUTTER & LILBURNE & LETITIA
How can this love
Just disappear
A part of me is dead
Why do I live at all
When he lies still?
TOWNSPEOPLE CHORUS
Moments that a life can bring
The marriage bond was cut to hold
But few are worse than death
But few are worse than death.
CROSSFADE TO
THE MILL OFFICE
(Lights fade up on ISHAM. He pours a
drink of COGNAC. Smiles.
Crosses to the wall. Looks down at the
broken pieces. Stoops. Picks up a
broken piece of glass. Examines it)
FADE TO BLACK.
ACT TWO: SCENE 3 - WHIP
Three months later. Master bedroom.
(DISTANT SOUND of a baby's cry, wind,
howls. GUNFIRE. CLAP of thunder.
Lighting fades up dimly.
The DANCERS appear, slinking about the
MASTER BED, where LILBURNE and LETITIA
lie asleep.
SOUND of GRAMOPHONE VOICES)
GRAMOPHONE CHORUS
(lines simultaneously sung)
Stop and go -- go and stop
Gravel pits go crunchy crunch
Hiss and shit, Shit and hiss
GRAMOPHONE CHORUS
(lines simultaneously sung)
The Old Man drives the candy shop
When you gonna lean and hunch
The Devil's come to take a piss
GRAMOPHONE CHORUS
(lines simultaneously sung)
The water wheel it slops and slips
When your mama tears you up
In the mouths of twitchy ladies
GRAMOPHONE CHORUS
(lines simultaneously sung)
Will God and Jesus clean the chips?
Where you gonna hold your cup?
Who's the tart that had the baby?
(LIGHTNING SLASHES through the bedroom.
CLAP of thunder. The GROUND shakes.
Light fades up on LILBURNE, dressed in
his nightshirt. He sits up in bed,
wide awake. LETITIA lies in bed beside
him)
LILBURNE
George! Bring a light!
(LILBURNE climbs out of bed. He looks
out the window. Paces the room. He
turns around.
LILBURNE is surrounded by the Court of
Ancestors. They lounge on chairs, the
mantle, the bed, staring at LETITIA)
LILBURNE
Be gone, ghosts. I hate your prophecies.
GHOST CHORUS
Because they're true.
(LUCY sits down beside him in a chair.
Pushes LILBURNE down, a dog at heel)
LILBURNE
George, help! This is a dream --
GHOST CHORUS
How can you be sure?
(LIGHTNING FLASH and CLAP OF THUNDER.
The door CRASHES open. GEORGE enters
in the SERGEANT'S military uniform. He
carries ISHAM's riding whip)
GEORGE
(echoing sound)
You called, Little Man?
LETITIA
(awakening)
Oh George. You can talk.
(She runs to GEORGE. Kisses him
erotically and passionately. Turns.
Looks at LILBURNE)
GEORGE
(echoing sound)
He stares at us.
(LETITIA takes GEORGE's riding whip.
Approaches LILBURNE. George follows.
She looks him over. LILBURNE huddles
beside LUCY)
LETITIA
You're right
He's like a little man
He almost whipped you.
Let's see how he likes it.
(She raises the WHIP. GEORGE grabs her
whip hand. Turns her around.
Takes the whip from her. Kisses her
deeply. She responds.
GEORGE pushes her away. She holds out
her arms -- waiting to be undressed.
With a single motion, GEORGE strips her
peignoir from her. Underneath is
skimpy French lingerie)
LILBURNE
(leaping to his feet)
No. You cannot do this --
(LUCY restrains LILBURNE with her right
hand. They both watch. LETITIA and
GEORGE dance. Their moves are erotic:
challenge and conquest.
The dance ends with LETITIA lying on
flat her stomach, facing downstage on
the bear rug.
GEORGE kneels, his knee between her
legs, hand on her shoulder. They
freeze. LILBURNE stumbles to his feet.
He circles them, crying out)
LILBURNE (CONT'D)
This cannot be.
GEORGE
(echoing voice)
It is your future.
GHOST CHORUS
Before you lies the way
Its surface clean and hard.
(LUCY snaps her fingers. LILBURNE
returns, like a child approaching a
disapproving parent.
Two male ghosts approach LILBURNE.
They strip him of his NIGHTSHIRT. He
turns and crouches down, ashamed.
GEORGE leaves LETITIA stretches out
upon the rug. He approaches LILBURNE.
The DANCERS accompany him.
BEGIN FADE TO BLACK:
GEORGE raises the whip to begin beating
LILBURNE.
The SOUND of the GRAMOPHONE CHORUS)
GRAMOPHONE CHORUS
(lines simultaneously sung)
Stop and go -- go and stop
Gravel pits go crunchy crunch
Hiss and shit, Shit and hiss
GO TO BLACKOUT
(HISS and CRACK of the WHIP)
LILBURNE
No.
LETITIA
Yes.
GRAMOPHONE CHORUS
(lines simultaneously sung)
The Old Man drives the candy shop
When you gonna lean and hunch
The Devil's come to take a piss
(HISS and CRACK of the WHIP)
LILBURNE
No.
LETITIA
Yes.
GRAMOPHONE CHORUS
(lines simultaneously sung)
The water wheel it slops and slips
When your mama tears you up
In the mouths of twitchy ladies
(HISS and CRACK of the WHIP)
LILBURNE
No.
LETITIA
Yes.
GRAMOPHONE CHORUS
(lines simultaneously sung)
Will God and Jesus clean the chips?
Where you gonna hold your cup?
Who's the tart that had the baby?
LILBURNE
No.
LETITIA
Yes.
(HISS and CRACK of the WHIP.
STILLNESS. SOUND of thunder.
Lighting. The stage SHAKES as if from
an earthquake. MONSTROUS CLAP of
thunder. The GROUND shakes again)
LILBURNE
A light! A light! A light!
(Light on LILBURNE, dressed in his
nightshirt, standing by the fireplace.
His shaking hands try to light a match.
LETITIA sits up, still half asleep.
A long moment as LILBURNE lights the
CANDLE.
DELLA enters, followed by GEORGE,
dressed in servant's clothes. Each
also carries a lit candle.
LETITIA climbs out of bed. Her
peignoir is closed)
LETITIA
Lilburne. What's wrong?
(LILBURNE looks at GEORGE and DELLA.
Then at LETITIA. All look concerned)
LILBURNE
Nothing
I just needed light.
LETITIA
Right now?
It's midnight, Lilburne.
(LETITIA gets out and helps him back to
bed. GEORGE approaches. LILBURNE
points to him)
LILBURNE
No. Leave us. Now.
(GEORGE looks at LETITIA. She gestures
for him to leave)
LETITIA
It's all right.
(GEORGE leaves. LILBURNE watches him.
LETITIA gestures to DELLA. She blows
the candles out. Leaves one burn.
Then leaves. LILBURNE watches her go)
LETITIA
(worried)
What happened, Lilburne?
(FAINT SOUND of a BABY'S CRY. LILBURNE
reacts)
LILBURNE
I've never had a dream like that.
I couldn't tell the difference --
Go back to sleep.
(LETITIA falls asleep. LILBURNE gets
up. Goes to the window. Looks out.
Looks back at LETITIA sleeping)
LILBURNE
It's only a dream
It's only a dream
It's only a dream.
BLACKOUT.
ACT TWO: SCENE 4 - MONEY BAG
The next morning. Mill Office.
(LILBURNE faces ISHAM. ISHAM makes
notations in the account book)
LILBURNE
So there I was --
Humiliated in front of this angry businessman.
How can I be assured
That such a scene
Will not occur again?
ISHAM
I can't.
LILBURNE
(dawning comprehension)
You mean he's not the only creditor
We cannot pay?
(LILBURNE charges over to the strong
box. Rattles it. Locked.
He turns to ISHAM. Holds out his hand.
ISHAM hands him a key.
LILBURNE takes it. Unlocks the strong
box. Opens it. Looks inside. Then
pulls the heavy box off its stand and
onto the floor. It clunks. Empty.
LILBURNE (CONT'D)
(towering over ISHAM)
This empty strong box.
How do you intend to pay
Our debts?
(LILBURNE sinks into a leather chair.
ISHAM gets up. Pours him a drink.
Hands it to LILBURNE)
ISHAM
If you will listen to me now
I will explain.
In spite of all our best attempts
The peasants stay away.
LILBURNE
The peasants -- ?
ISHAM
I'm sure our lack of commerce
Doesn't coincide
With rumors of your wife's -- malformed child.
LILBURNE
Whose wagging tongue would disregard my orders?
ISHAM
Besides the midwife --
Whose silence I have commanded
Only George has seen the child.
LILBURNE
Who buried it?
ISHAM
I washed the babe myself.
That night I laid his frame within the earth
With George's help.
To my surprise, I must report --
George was affected deeply
By the little one's demise
And afterwards he spent some time alone with poor Letitia --
They were overcome by grieving, I am sure.
LILBURNE
But George is mute --
ISHAM
Of that I am as sure
As I am sure that Satan has a horn and hoof.
The only ones who know his hand-sign language
Are Rutter and Letitia --
And myself.
LILBURNE
But what has this to do with your accounts?
ISHAM
You want to hear the truth about your wife?
LILBURNE
My wife?
ISHAM
I'm sorry to --
LILBURNE
Just tell the truth.
ISHAM
You will not like it.
(ISHAM goes over to the cognac.
Refills his glass. LILBURNE watches
him. Waits)
ISHAM (CONT'D)
Your wife has always been the apple of her father's eye.
LILBURNE
I know that.
ISHAM
And thus while you were gone away
To do the duties of the Smithtown Hero --
LILBURNE
Go on.
ISHAM
I found it difficult to deny your darling anything.
Her tastes are -- so fine
I just gave up.
LILBURNE
(exploding)
You could have told her no.
Letitia is my wife -- she has no power
But once again you try to shift responsibility
What's next for you -- another flight?
ISHAM
No. Of course not.
I've changed.
But no one has the courage to
Say no. Not you, not me, and not Papa.
Remember what our mother said:
(quoting)
"If you act like a child --
LILBURNE
"You will be treated like a child."
(LILBURNE turns and stares at ISHAM.
The door opens. LETITIA and GEORGE
enter)
LETITIA
(coming to LILBURNE)
Last night, you were so restless
And then you left at dawn
You know I wanted you in bed.
(LILBURNE looks at her. She kisses
him, fully alive)
LILBURNE
I agreed to meet your father in town
And now I'm talking to my brother
He's having problems with the mill.
(LETITIA turns. Sits down)
LETITIA
I get so tired of your constant business
I thought that's why you hired Isham.
LILBURNE
Even an overseer needs time to plan
Where are you going now, my dear --
Dressed up so fair?
LETITIA
Into town.
LILBURNE
Into town.
LETITIA
Yes. I saw an English hairbrush in the window.
LILBURNE
This mill is not a money bag.
LETITIA
All right. Is there anything you need?
ISHAM
Here's the list. It goes on our account.
LILBURNE
Buy only from the list, Letitia.
LETITIA
I will. Come kiss me, husband.
LILBURNE
No. You come kiss me.
(She makes a face at him. RUTTER
enters. He's carrying a money bag)
RUTTER
Good news, gentlemen. Our luck just turned. Our new
investor was feeling generous.
LILBURNE
Thank you, Rutter.
(RUTTER drops the bag on the desk.
ISHAM begins to count it)
RUTTER
I know times have been tough.
LETITIA
Well -- I can tell when I'm not needed. Business.
(She kisses LILBURNE goodbye.
LILBURNE's response is full of promise)
LETITIA (CONT'D)
I'll be home -- as soon as possible, my love.
(He slaps her on the ass. She giggles.
Backs out the door)
ISHAM
I think this will enable us to meet our back debts.
RUTTER
I hear this is the mating season for the sparrows
I heard them warbling in the orchard.
Their glee was disconcerting.
LILBURNE
Well. Birds. You never know.
FADE TO BLACK
ACT TWO: SCENE 5 - HAIRBRUSH
A few hours later. The drawing room.
Plantation House. Fresh-cut flowers in
a vase on the table. A fire burns in
the fireplace.
(DELLA leads a MILITARY COURIER into
the room. He faces LILBURNE)
MILITARY COURIER
(handing him the letter)
From your uncle
He requested I return immediately
With your reply.
(The military courier holds out a
SEALED LETTER. LILBURNE takes it.
Gestures to DELLA)
LILBURNE
Wait for me in the parlor.
MILITARY COURIER
I must return today, Sir.
LILBURNE
I shall read it instantly.
(The messenger follows DELLA out of the
room. LILBURNE breaks the seal. Opens
the letter. Scans it. Sets it down.
He goes to the fire -- flips his cigar
into it. Drops his glass. It
shatters. DELLA appears)
DELLA
Oh, Master Lewis.
(She scurries to clean up the glass.
He doesn't notice her. She curtsies)
DELLA (CONT'D)
Pardon, sir, but the messenger still awaits. Four soldiers
ride with him. Armed to the teeth, they are, sir.
LILBURNE
Send him in to me again.
(DELLA goes. She looks back, worried.
The military courier enters again)
LILBURNE
I have read the President's letter. The Smithtown Inn's
lodgings are good.
MILITARY COURIER
But pardon, sir --
LILBURNE
I understand your haste. But his request will take some
time. Return here on the morning next.
(LILBURNE stares down the Courier)
MILITARY COURIER
Good day to you, Sir.
(The Courier turns on his heel.
Leaves. DELLA starts to follow)
LILBURNE
Della!
DELLA
Sir?
LILBURNE
Another drink. Whiskey. Neat.
(DELLA exits. LILBURNE sits. DELLA
returns. Hands him another TUMBLER)
DELLA
That courier and his men --
(LILBURNE gestures. She leaves. He
paces, letter in hand, drinking)
LILBURNE
"And so the receding tide of my personal fortunes demands
that I recall my investment.
Tales of your success reach me here. Your military
victories, your election as mayor, and your recent, happy
marriage prove that your journey West has allowed you to
dismiss the dark luck of your father's family."
(LILBURNE throws the letter in the
fire. Sits down. The DOOR opens.
LETITIA tip-toes in. She kisses him on
the neck. LILBURNE doesn't move)
LETITIA
Lilburne? What's wrong? Do you have fever?
(GEORGE, DELLA, and SEVERAL MAIDS
enter, carrying PURCHASES)
LILBURNE
No.
LETITIA
Come see what I have bought. Are you concerned about the
messenger? I heard from Della --
(LILBURNE continues to ignore her. She
turns. Directs SERVANTS to shelve
purchases. GEORGE hands her the
HAIRBRUSH. LILBURNE's eyes LOCK on it)
LILBURNE
What is that? The thing within your hand.
LETITIA
This is a hairbrush.
LILBURNE
Did I not rule upon its purchase?
LETITIA
You did. But dear, you spoke before Papa brought --
LILBURNE
And did I change?
LETITIA
He raised the cash that freed you up --
LILBURNE
Letitia, stop. Even maids know disobedience
Will bring immediate chastisement.
(LETITIA backs away from LILBURNE. He
looks. Turns. Picks up a straight
backed chair. Places it. Sits)
LETITIA
(protecting her backside)
My husband, it will --
LILBURNE
Do no good to plead. I've had enough.
Come, Letitia. Bring your English hairbrush.
(LETITIA looks at the door)
LILBURNE (CONT'D)
Your punishment will just be worse.
(LETITIA looks over at the SERVANTS)
LILBURNE
The servants will remain for this.
I'm sure your father chastised you at home
No matter who was present -- did he not?
LETITIA
But I was just a child.
LILBURNE
When you choose to act your age --
Come, my lady, you know what you must do.
LETITIA
I didn't mean to disobey --
(LILBURNE crooks his finger. She walks
towards him. Stands by his knee)
LILBURNE
(Taking the hairbrush)
Drop your pantaloons. Now, Letitia.
(She reaches under her skirt. Unties
her pantaloons. They fall in a heap)
LETITIA
I still don't understand -- I bought a little brush
And for this -- I now receive chastisement?
LILBURNE
This paddling? Look at all the luxuries you've begged Isham
to get. They've driven me to bankruptcy!
(LILBURNE pushes LETITIA over his knee.
She struggles. He begins to pull up
her skirt to expose her buttocks)
LETITIA
I don't understand. Business. I don't know anything. I get
what Isham tells me. He told me you wanted this --
LILBURNE
(freezing)
He told you -- what?
LETITIA
(frantic)
I've been using my old brush. Even when pregnant. This is
the first thing I've gotten. And now you're going to --
(A CRASH. LILBURNE looks up. He lets
LETITIA fall to the floor. GEORGE
kneels amidst broken china)
LILBURNE
George! That's the second time -- and this time Isham --
(He freezes again. Looks back at
LETITIA. She rises. The SERVANTS look
at LILBURNE)
LILBURNE (CONT'D)
(storming out)
What are --? Don't you have anything better to do than-- ?
(LETITIA goes to GEORGE. Kneels.
Picks up broken china. The servants
exit. They both stop. GEORGE puts out
his arms. LETITIA grabs on)
LETITIA
What's wrong with him? It makes no sense. This morning --
(GEORGE kisses her on the forehead. At
this moment, LILBURNE opens the door)
LILBURNE
(entering)
Is she still in here?
(They look over at him. Freeze.
LILBURNE turns. Exits)
FADE TO BLACK.
ACT TWO: SCENE 6 - SATAN'S HOOF
Moments later. Afternoon. Mill
Office.
(ISHAM stands at his desk. He places
the last few coins into a bag. ISHAM
looks at his HEIRLOOM PISTOL lying in
pieces in front of him)
ISHAM
I've heard the hellish gods devised an Engine
Implacable and fatal to man's soul
It could reverse his morals -- white to black
When it exploded in a lethal blast.
(He begins to fit the pieces together)
ISHAM (CONT'D)
When was the moment that I knew my fate?
That I'd embrace the eldest brother's curse
I've always marveled at my younger brother's dreams
Why did he trust his enemies -- and not his soul?
(ISHAM continues to assemble the
pistol. Each piece fits into the next)
ISHAM (CONT'D)
The last few months I've laid my plans with care
Held back the money, cooked the books to show
My brother is a leader -- not a chef
That we were losing business -- who could know?
(ISHAM begins to load. Taps the ball
down the barrel. Shakes powder into
the pan)
ISHAM (CONT'D)
I ram the ball, like this, into the breech
This powder I deposit -- in the pan
The trigger's oiled -- my thumb the hammer holds
Like God's infernal messenger I stand.
(He admires the loaded pistol)
ISHAM (CONT'D)
And now he comes to me to save his dream
A brother's loyalty he now demands
How shall I help him face his troubles?
What would you do, I wonder -- with my plan?
(The LIGHTS LOWER TO DREAM LIGHTING.
ISHAM aims the pistol at the door)
ISHAM (CONT'D)
And now the gun is loaded -- in my hands
It only needs a second to be cocked --
(ISHAM COCKS it. The DOOR bursts open.
SILENCE. Except for the DOOR. It
SWINGS. CREAKS. NO ONE enters. ISHAM
turns)
ISHAM (CONT'D)
But that would be too simple -- no, I'll wait
For Fate's dread engine to deliver up --
The end.
(The DOOR snaps shut. The lighting
returns to normal. ISHAM lays his
pistol on the desk in plain sight.
He closes the bag. Hides it. Sits down
at the desk. LILBURNE crashes open the
door)
ISHAM
I've had enough -- I'm out of time
LILBURNE
I've had enough -- I'm out of time.
(ISHAM looks up. LILBURNE looks at
him)
LILBURNE
Lies, lies, lies --
ISHAM
And how now have I lied to you, brother?
LILBURNE
I've spoken to Letitia. It's now clear
She never had a bit of influence --
ISHAM
Lilburne, listen to yourself. You're hysterical. And you're
focused on the wrong issue.
(ISHAM turns to make another drink.
LILBURNE picks up his pistol)
ISHAM (CONT'D)
The real problem --
(ISHAM turns. Looks down the muzzle of
his pistol)
LILBURNE
Do not speak, Isham.
Are you my brother, sir? Well, then, perhaps
You can explain how you have spent our funds.
ISHAM
Brother -- my only goal was your --
LILBURNE
I didn't want to hire you at all.
(ISHAM picks up his drink. Rises.
Turns. LILBURNE COCKS the pistol)
LILBURNE (CONT'D)
You will explain. Or --
(ISHAM turns. Looks LILBURNE straight
in the eye. Points to his own chest)
ISHAM
Or what? You'll shoot your oldest brother? Here?
(daring him)
Then go ahead!
Take our father's pistol
And shoot his son.
(ISHAM turns back to the window.
LILBURNE releases the hammer of the
pistol. Sets the gun down on the desk)
LILBURNE
Uncle Jefferson has sent his men
They're heavily armed
He wants his funds returned.
ISHAM
What surprises me is -- your wife...
LILBURNE
Go on.
ISHAM
I can't. The last time --
(He stops. Shrugs)
LILBURNE
My blood runs hot
And I am plagued with enemies.
Who can I trust?
ISHAM
This issue has been on my mind
Since first I noticed the...affair.
LILBURNE
Affair?
ISHAM
I know it's hard to hear this.
There is some talk about your wife and --
LILBURNE
-- George?
It's crossed my mind, but what proof have you now?
ISHAM
Two things we know. The first -- their "talk"
There is no precedent within the South
Between a mistress and her slave.
LILBURNE
You said there was a second.
ISHAM
This is hard.
LILBURNE
But I must know.
ISHAM
I speak about her babe.
LILBURNE
You buried him. I did not see the child
And I was glad.
ISHAM
That burial was hard for me to take
Before that day, the puzzle was so dark
So difficult to understand. And then
It all went black.
LILBURNE
The babe was black?
ISHAM
As Satan's leaden hoof.
(A beat. LILBURNE gets up. Holds out
his hand to ISHAM. Who places the
pistol in it.
LILBURNE tucks it in his waistband.
Exits. ISHAM goes to the window.
Watches)
ISHAM
The time has come.
(ISHAM goes to the desk. Pulls out the
hidden bag and puts on his coat. He
crosses the office to the basement
door.
He stops. Reaches into his bag. Pulls
out the BRAVE'S AXE. Places it beside
the door. Exits)
FADE TO BLACK.
ACT TWO: SCENE 7 - AXE
Moments later. Afternoon. Master
bedroom set, stage left.
(Several bags lie on the bed and floor,
USL. DELLA ties each bag. Carries
them out. LETITIA sits at her desk.
Writes a note. GEORGE enters)
LETITIA
The horses -- saddled and prepared?
(GEORGE nods)
LETITIA (CONT'D)
Della
You will go with the carriage
George and I will follow.
DELLA
Yes, Ma'am.
(She continues to carry bags out.
LETITIA turns to GEORGE with the note)
LETITIA
Take this note
Do not wait for his response.
(GEORGE crosses to the door)
LETITIA (CONT'D)
George. Wait.
(GEORGE turns. LETITIA looks at him.
She turns. Walks DSL.
CROSSFADE TO
THE MILL OFFICE
(Lights FADE UP up LILBURNE as he
enters. He walks DSR)
LETITIA & LILBURNE
I don't know what to do
I'm so confused.
Hatred, love --
Which is it that I feel?
How can I feel them both?
My heart (life) is in your hands
I love you so.
My life (heart) I've put into your trust
I knew I should not
And yet in spite of everything, I did.
What should I do?
Please tell me now
The secrets that you've kept from me.
I need to know
I need you so.
CROSSFADE TO
THE MASTER BEDROOM
(LETITIA turns back to GEORGE. He
takes her in his arms. Holds her)
CROSSFADE TO
THE MILL OFFICE
(LILBURNE turns towards where he thinks
ISHAM should be. The desk is empty,
the cabinets stand open)
LILBURNE
Isham? Where are you? Isham?
(LILBURNE goes to the strong box.
Thunderous KNOCK)
DEPUTY
Open, please.
(LILBURNE goes to the door. Opens it.
Turns. Staggers back to the desk. A
SHERIFF'S DEPUTY steps inside)
DEPUTY (CONT'D)
(Reading from Court Document)
To the owner of the Lewis Plantation: The Court of the
County of Livingston has hereby ruled that due to the debts
incurred, and since the owner has been deemed unable to pay,
the deputies bearing this warrant are authorized by the State
of Kentucky to seize whatever assets and items they might
deem valuable.
(LILBURNE sits down on the chair behind
the desk. He pours a GLASS of whisky.
Around him, creditors begin to strip
the office of furniture, art, and
European paintings. They leave only
the desk and chair.
A CRACKED HEIRLOOM cup remains on the
mantle of the fireplace)
CROSSFADE TO
AROUND THE MASTER BEDROOM AND OFFICE
(Small clumps of TOWNSPEOPLE watch the
creditors stream out)
TOWNSPEOPLE CHORUS
The Day of Justice, Day of Grief
When Earth is shaken like a leaf
What Pow'r can stop our disbelief
How shall we act to find relief?
WOMAN
A treacherous wife --
MAN
Financial ruin --
WOMAN
A malformed child --
MAN
A brother who betrays.
TOWNSPEOPLE CHORUS
With rumbling rocks the Earth will rend
Jehovah's rage, our souls to mend
O save me, Christ, the Sinner's friend
When God in wrath his Judgement sends.
MAN
Thunder explodes --
WOMAN
Lightning strikes --
MAN
The rain drowns --
WOMAN
The earth quakes.
TOWNSPEOPLE CHORUS
The Day of Justice, Day of Grief
When Earth is shaken like a leaf
What Pow'r can stop our disbelief
How shall we act to find relief?
(LILBURNE continues to sit)
CROSSFADE TO
THE MASTER BEDROOM
(LETITIA looks around. The room has
been stripped of everything. A
CREDITOR exits with the CURTAINS.
LETITIA paces. GEORGE waits, dressed
in his traveling coat. He holds hers)
LETITIA
Oh, my love --
My words grow scarce
Before this fear
It locks up
Every breath I take.
We loved each other
And still do, I think.
Yet reason has become
A foreigner to you.
When do eternal wedding vows dissolve?
(LETITIA turns. Looks at GEORGE)
CROSSFADE TO
THE MILL OFFICE
(LILBURNE sits, alone. The TOWNSPEOPLE
CHORUS continues around him)
WOMAN
A treacherous wife --
MAN
Financial ruin --
WOMAN
A malformed child --
MAN
A brother who betrays.
(LILBURNE picks up the bottle. Drinks
directly from it -- long and hard.
Stops. Gasps for breath. Chokes.
Recovers his breath)
MAN
Thunder explodes --
WOMAN
Lightning strikes --
MAN
The rain drowns --
WOMAN
The earth quakes.
TOWNSPEOPLE CHORUS
The Day of Justice, Day of Grief
When Earth is shaken like a leaf
What Pow'r can stop our disbelief
How shall we act to find relief?
(Stillness. LILBURNE sits)
CROSSFADE TO
THE MASTER BEDROOM
(The room is empty. Except for two
saddlebags on the floor. GEORGE
watches LETITIA. She paces)
LETITIA
The giant hands
Of anxiety --
They squeeze my heart
Shatter my reason.
I must abandon him.
(LETITIA rises. GEORGE turns. They
look at each other. LETITIA gestures.
GEORGE exits the room with the note)
CROSSFADE TO
THE MILL OFFICE
(LILBURNE sits. An empty cup and half
full bottle of whisky on the desk.
A WHIP lies on the desk to his right.
Beside it, the HEIRLOOM PISTOL. Across
the room, by the basement steps, lies
the BRAVE'S AXE.
LILBURNE grabs the bottle. Crosses the
room to the fireplace. Stands in front
of the chipped cup. The room is still.
Faint sound of the mill's water wheel.
GEORGE opens the door. Enters. Hands
a note to LILBURNE. Turns to go.
LILBURNE moves between GEORGE and the
door. GEORGE stops. LILBURNE opens
the note)
LILBURNE
Wait. How can you leave
Before you hear
What your dear mistress
Has to say about -- you.
(LILBURNE looks at GEORGE)
LILBURNE (CONT'D)
(reading note)
I love you, Lilburne,
But I must return unto my father.
He will understand me.
(LILBURNE looks up. He's going to
torture GEORGE. He takes a long drink
from the whiskey bottle, draining it)
LILBURNE (CONT'D)
Those gentle words she used
To talk about her love for you?
How did you like them, George?
Oh. I see. You got that too?
Not a word about you.
(He turns. Locks the outside door.
Bolts it. Pockets the key. GEORGE
watches him.
LILBURNE turns. Stares at the cup on
the mantle. GEORGE looks from the
basement door to the outside door.
LILBURNE rises. Gazes at the
fireplace. GEORGE follows his gaze)
LILBURNE (CONT'D)
I know. It's hard to be the only one
Who gives true love
You think she'll give her life for you
And then she sends
You stumbling to your death.
(LILBURNE goes to GEORGE. Puts his arm
around GEORGE)
LILBURNE (CONT'D)
You see that cup? The one my mother gave
To me? The one that bears our legacy?
Bring me the cup. And do it quickly, George.
(GEORGE hurries to the fireplace. He
picks up the cup. As he does, LILBURNE
picks up the WHIP and TRACKS GEORGE.
GEORGE turns. Runs into LILBURNE. The
cup falls. It shatters)
LILBURNE (CONT'D)
How could I make it any plainer?
Have I not taught you the importance here
Of pride and care in everything you do?
Discipline is what you need.
(He takes off his coat. The HEIRLOOM
PISTOL sticks out of his waistband.
GEORGE looks at the pistol. LILBURNE
laughs -- and with that laugh, his
insanity begins to emerge in full)
LILBURNE (CONT'D)
You're right. A whupping's too good for you.
(He sets the whip down. Pulls out the
pistol. Points it at GEORGE, who keens
in fear)
LILBURNE (CONT'D)
A sound. And yet they've told me
You're the Devil's Mute.
The basement of this mill
Is just the place to try
A scientific trick or two.
(LILBURNE pushes GEORGE ahead of him.
He opens the basement door. Stops.
Sees the AXE lying beside the door.
LILBURNE picks it up)
LILBURNE
Razor sharp -- I like that, George.
Don't worry.
I'll help you speak
I'll help you tell
I'll help you see the end
Of slaves who disrespect their masters.
(LILBURNE pushes GEORGE down the
basement steps. He picks up the axe.
Shuts the door. The BOLT slams home)
CROSSFADE TO
THE MASTER BEDROOM
(LETITIA paces back and forth. Only a
lantern lights the room. Shadows play
on BARE WALLS. She looks around her.
Empty. Wooden floor. Bare.
Around the edge of the scene prowl the
DANCERS. They move about LETITIA,
close to her -- unseen, watching her.
FAR-AWAY HOWLS. Distant FLASH of
lightning. CLAP of thunder.
In the distance, the WATER WHEEL starts
and stops in rhythm. LETITIA runs to
the window. Opens it.
The GRAMOPHONE VOICES are heard,
faintly)
CHILD
Stop and go -- go and stop
The Old Man drives the candy shop
The water wheel it slops and slips
Will God and Jesus clean the chips?
(The mill's gears GRIND. LETITIA
strains to look out. Blackness)
LETITIA
George. Where are you?
You said you'd come right back
What shall I do?
(Gears BREAK. The water wheel STOPS.
WATER SPLASHES over the wheel)
WOMAN
Gravel pits go crunchy crunch
When you gonna lean and hunch
When your sisters tear you up
Where you gonna hold your cup?
(All machinery STOPS. SILENCE. Then --
DRIP. DRIP. DRIP)
CRONE
Hiss and shit, Shit and hiss
The Devil's come to take a piss
In the mouths of twitchy ladies
Who's the tart that had the baby?
(GEORGE SCREAMS. LETITIA turns. Picks
up the LANTERN. Runs for the door)
CROSSFADE TO
OUTSIDE THE MILL OFFICE
(The BACK WALL of the MILL. The WHEEL
has STOPPED. Water rushes down over
the wheel steps.
On the other side of the door is a
CHIMNEY, narrowing up towards the sky.
Downstage of the WHEEL, upstage of the
CHIMNEY, is a single door. SOUND of
GRAMOPHONE VOICES)
GRAMOPHONE CHORUS
(lines simultaneously sung)
Stop and go -- go and stop
Gravel pits go crunchy crunch
Hiss and shit, Shit and hiss
GRAMOPHONE CHORUS
(lines simultaneously sung)
The Old Man drives the candy shop
When you gonna lean and hunch
The Devil's come to take a piss
GRAMOPHONE CHORUS
(lines simultaneously sung)
The water wheel it slops and slips
When your mama tears you up
In the mouths of twitchy ladies
GRAMOPHONE CHORUS
(lines simultaneously sung)
Will God and Jesus clean the chips?
Where you gonna hold your cup?
Who's the tart that had the baby?
(As the GRAMOPHONE CHORUS plays, the
DANCERS perform a DANCE OF INSANITY.
It concludes with their exit in a
lightning bolt and clap of thunder.
LETITIA enters. She walks center stage
towards the back of the mill. She
carries a lantern.
The back MILL DOOR opens. A CRACK OF
FIRELIGHT streams out into the
blackness. SOUND of a ROARING FIRE)
LILBURNE (O.S.)
What happens to a Devil's Mute?
Can you tell, George?
When he decides to tell his lady love
That he's a man --
When he decides to tell her
That he's a nigger
And he loves the ground she walks upon?
(LETITIA sets down the LANTERN, staring
at the DOOR. Then she races for it.
It slams shut. SOUND of the BOLT
driving home)
LILBURNE (O.S.)
Cook and clean, Clean and cook
The devil's got you on the hook
Daddy's jelly, black and smelly
Mama kissed you in her belly.
LETITIA
(pounding on the door)
No. Let me in, Lilburne
You can't hurt him, Lilburne
You don't understand. You can't --
(LETITIA turns. Silence. She sinks to
the floor. The overwhelming SOUND of
an AXE CUTTING into flesh and wood.
GEORGE's scream of DEATH is overwhelmed
by LETITIA's SCREAM.
SILENCE. LETITIA rises, turning to the
mill. Smoke billows from the chimney.
The only SOUND is that of water
SPLASHING over the dead water wheel.
SLOW FADE TO BLACK:
FLASH of lightning. CLAP of thunder.
SOUND of a MASSIVE EARTHQUAKE.)
BLACKOUT.
ACT THREE: SMOKE FROM THE MACHINE
ACT THREE: SCENE 1 - PASSING
(A week later. The Lewis plantation
lies shrouded in mist. The mill is
gutted by fire. The water wheel lies
cockeyed. The chimney has fallen.
The plantation has also suffered. The
house has caved in.
(RUTTER enters, wearing a SHERIFF'S
STAR. The SERGEANT, and NINE SOLDIERS
attend him. They are heavily armed.
Weapons at the ready.
The men look around. Amazement)
SERGEANT
By all things holy --
SOLDIER ONE
I thought the courthouse damage was bad --
SOLDIER TWO
Not nearly this --
(The SERGEANT gestures. The MEN take
up defensive positions)
SOLDIER ONE
Five died in Smithtown. Fourteen next town over.
SOLDIER TWO
This looks worse. Think anyone's alive here? Doesn't seem
to be.
RUTTER
Who knows? Once we're sure Lilburne's still alive, we'll
look for George.
SERGEANT
Don't worry, Sheriff. We'll find him.
RUTTER
I hope. Maybe Letitia's lied, just this once. Ready,
Sergeant? We'll get to the bottom of this, by God.
SERGEANT
(all business)
Let's do it.
RUTTER
Lilburne Lewis. Show yourself --
(LILBURNE steps out. He leans on his
rifle. Pistol in his waistband)
LILBURNE
You sure do take your time, Sheriff
It's good this weren't no Injun camp you sneaked
Blood and brains would be spread out --
SERGEANT
Take him, men.
(TEN RIFLES COCK at once. LILBURNE
eyes track from SHOOTER to SHOOTER)
LILBURNE
Brought the boys, I see --
Perhaps to see the actions of their hero.
RUTTER
(aiming his pistol)
Where is he, you mad dog?
(LILBURNE stares him straight in the
eye. No fear. Soot streaks LILBURNE's
face -- bandaged. Bruised right eye.
RUTTER COCKS his pistol. LILBURNE
holds out his arms -- no resistance)
LILBURNE
What yo talkin' 'bout -- Cap'n?
(RUTTER stares at him. Lowers his
pistol. Turns away from LILBURNE. Two
men disarm LILBURNE.
The soldiers hand LILBURNE's heirloom
pistol to RUTTER. He checks its load.
Puts it in his waistband)
SERGEANT
All right, men. Search the grounds. We're here to find the
boy.
(The MEN exit to search the grounds,
two by two. LILBURNE watches RUTTER.
TWO SOLDIERS remain on guard)
LILBURNE
You think this town ain't figured out
This boy's no ordinary slave?
The way your daughter dotes on that nigger, you'd think he
was her husband, 'stead of me --
(RUTTER turns. Whips around. SMASHES
LILBURNE's face. SOLDIERS step in)
LILBURNE
(laughing wildly)
Ooh! Ooh! Ooh! The truth hurts, dudn't it, Capt.?
RUTTER
You think that hurt, Lieutenant?
LILBURNE
Nothing you could do could match the pain
Your daughter caused me.
RUTTER
My daughter? Do you have any idea how much she --
LILBURNE
Are you blind, old man?
RUTTER
It took Letitia seven days before she'd tell what happened
here. Why she protected you, I do not know.
LILBURNE
Or perhaps she was afraid you'd find the truth
About daddy's little girl --
RUTTER
What truth are you talking about? Letitia couldn't tell a
lie if she wanted to. Oh yes, she told me all about your
games, your sick, disgusting bedroom play --
LILBURNE
And did she also tell you of the babe --
So black?
I've seen my wife and George play patty cakes
That Devil's Mute can cough up sound when asked
Upon the sharp blade of an axe --
RUTTER
If you harmed a hair of my son's head, by God, Lilburne.
I'll split your head with the same axe --
LILBURNE
Your son, Rutter? What are you saying? You're saying --
that George is your --
RUTTER
My son.
LILBURNE
You said they shared a cradle at their birth --
RUTTER
They did.
LILBURNE
They were born -- both on the same day --
RUTTER
They were.
LILBURNE
But then I thought -- that they had different mothers --
RUTTER
And I loved their mother. She was my favorite slave. I
freed her -- and then she died in childbirth --
LILBURNE
And so this means, that they are kin
The love they shared
That seemed suspicious --
RUTTER
Was the love of twins. But he was black, she was white.
LILBURNE
So when Letitia had the babe --
RUTTER
It was born with all her mother's marks.
LILBURNE
She was white -- yet really black -- so she was --?
(RUTTER turns to LILBURNE. Grabs him.
Enraged, he shakes him like a rag doll)
RUTTER
Passing, Lilburne. Passing.
(RUTTER drops LILBURNE, who falls to
the ground)
SOLDIER TWO (O.S.)
Saints deliver us --
(The SERGEANT enters)
SERGEANT
I think you'd better come see this, Sheriff.
(RUTTER takes a few steps. Looks back.
LILBURNE huddles on the ground, rocking
back and forth)
SLOW FADE TO BLACK:
LILBURNE
(singing)
Stop and go -- go and stop
The Old Man drives the candy shop
The water wheel it slops and slips...
FADE TO BLACK.
ACT THREE: SCENE 2 - CONFESSION
(A month later. A courtroom.
Smithtown Courthouse. Livingston
County, Kentucky.
(LILBURNE, dressed in his Lieutenant's
uniform, sits at a table. His DEFENSE
ATTORNEY sits with him.
On the other side of the courtroom,
LETITIA sits with RUTTER. LETITIA does
not look at LILBURNE.
The SERGEANT is on the witness stand.
The PROSECUTING ATTORNEY questions him)
PROSECUTOR
Was there anything unusual about the boy's head?
SERGEANT
Yes. The head had been chopped off his body.
PROSECUTOR
(holds up Brave's Axe)
With this?
DEFENSE ATTORNEY
Objection. Requires speculation.
JUDGE
Sustained. Restate.
PROSECUTOR
(setting down the axe)
What did the marks reveal?
SERGEANT
Must have been some axe. The rest was pretty chopped up too
- the pieces half-burned.
PROSECUTOR
Did something interrupt the killing?
SERGEANT
Best we could tell, the earthquake. Entire chimney fell down
-- just a heap of stone. Murderer too busy trying to get out
-- didn't worry about burning all the --
PROSECUTOR
Did you find a weapon?
SERGEANT
(pointing to the axe)
That axe. That's the one.
DEFENSE ATTORNEY
Objection. Speculating.
JUDGE
Sustained.
PROSECUTOR
Where did you find it?
SERGEANT
At the far end of Wind Valley. Lying on a rock pile.
PROSECUTOR
Thank you. Your witness.
(The DEFENSE ATTORNEY rises)
DEFENSE ATTORNEY
Couldn't the axe have been left there by an Indian?
SERGEANT
Could have. Wasn't.
DEFENSE ATTORNEY
What makes you sure?
SERGEANT
Blood too fresh. Bits of black flesh --
DEFENSE ATTORNEY
(turning away)
No further questions.
SERGEANT
Don't cut me off. I was saying --
DEFENSE ATTORNEY
We all heard what you said.
SERGEANT
No Indians have attacked in Livingston County for over a year
-- not since the Smithtown Hero cleaned them out.
DEFENSE ATTORNEY
Thank you.
JUDGE
You may stand down.
(The JUDGE gestures to the DEFENSE
ATTORNEY and the PROSECUTOR.
The three of them confer. The DEFENSE
ATTORNEY argues. Gives in. The CROWD
murmurs. Tense. The ATTORNEYS return)
JUDGE
In all my years of jurisprudence, I have never known a
decision like this. I have also never seen a crime like
this.
By common practice, a wife does not testify against her
husband. However, in the case before us, Mrs. Lewis has sued
for divorce -- due to "extreme cruelty."
Because the suit has merit, I have ruled that she must
testify about the night of December 15 last. The night her
slave disappeared.
Jurymen. This is a hostile witness. For the sake of truth,
I have required that she testify.
PROSECUTOR
I call Mrs. Lewis to the stand.
(RUTTER helps LETITIA to the stand.
Returns to his seat)
BAILIFF
Do you swear to tell the truth, the whole truth and nothing
but the truth, so help me God?
(LETITIA tries to speak. She can't.
She gives up. Nods)
JUDGE
(sympathetically)
Her nod signifies assent. The witness has been sworn.
BAILIFF
(writing)
So ordered. So noted.
(The JUDGE nods to the PROSECUTOR, who
approaches LETITIA)
PROSECUTOR
Mrs. Lewis, I understand that this is very difficult for you.
But we really need you to tell us what you saw the night of
December 15.
(LETITIA stares ahead. The PROSECUTOR
looks at the JUDGE. He gestures)
PROSECUTOR (CONT'D)
Mrs. Lewis. Tell the truth. What did you see that night?
(LETITIA looks at the PROSECUTOR.
Opens her mouth. No sound. Mute. She
reaches for her neck)
LILBURNE
(standing)
I confess. I murdered George.
(The DEFENSE ATTORNEY tries to dissuade
him. But LILBURNE looks at LETITIA)
LILBURNE (CONT'D)
I'll tell you everything. Only don't make her --
(LETITIA looks at LILBURNE for the
first time)
JUDGE
You may stand down, Mrs. Lewis.
(LETITIA stands. LILBURNE gazes at
her. His ATTORNEY sits)
LETITIA
(to the JUDGE)
Thank you.
(LETITIA stands up straight. RUTTER
comes to assist. LETITIA gestures him
away. She walks towards LILBURNE)
BEGIN SLOW FADE TO BLACK
(She stops in front of him. Looks at
him for a long moment. Then she turns.
Leaves the courtroom alone. RUTTER and
LILBURNE watch her go)
BAILIFF
The court calls Mr. Lewis to the stand.
FADE TO BLACKOUT.
ACT THREE: SCENE 3 - BREATH OF HELL
Drawing room of the Lewis Plantation
House. The fireplace mantle has fallen
down. The brick hearth is dirty.
The room is empty. There is a large
window, broken, looking offstage. A
door leads upstage center. It is
twilight.
(The SERGEANT, carrying a torch,
enters. He lights a candle. Sets it
on the hearth.
Several MILITIA MEN follow him,
escorting LILBURNE in chains. RUTTER
nods to the men. They unchain
LILBURNE. Exit.
The SERGEANT paces the room. LILBURNE
watches him. There is an emptiness in
LILBURNE. The daemon has evaporated)
SERGEANT
Never gave me a straight answer about that day, Lieutenant.
The earth shaking. That devil. The axe floating in mid-air.
It was an axe, wasn't it? That old man stamping his foot --
I thought I felt the ground shake. Probably my mind playing
tricks on -- what did it mean, Lieutenant?
LILBURNE
I've often thought about it. That curse I laughed at. I too
felt the breath of hell that day, Sergeant.
SERGEANT
(considering him)
I think you did.
(LILBURNE looks back out the window.
The SERGEANT withdraws the Heirloom
Pistol. Places it on the floor between
them. Stands back. Waits.
LILBURNE turns back. Spots the weapon.
Picks it up. Checks its charge)
LILBURNE
Loaded, Sergeant?
SERGEANT
Yes, sir.
LILBURNE
This is no execution?
SERGEANT
No, sir. It was given to me that way, sir.
LILBURNE
I see.
(Outside, a horse WHINNIES)
SERGEANT
It's not a bad choice, sir. Better that, perhaps, than the
town square. The raucous crowd -- a broken neck. This way,
it's quiet, sir. And afterwards, the men can think...of
other days. The days before --
LILBURNE
(overcome)
All hail to the Smithtown Hero.
SERGEANT
We haven't sung that song in months. Perhaps the men will
sing it again sometime. They voted for this, you know, all
of them.
LILBURNE
I scarcely can believe --
SERGEANT
They all decided you should take the quiet path out of town.
LILBURNE
(parsing this)
Even Rutter?
SERGEANT
You got his vote today. Good judgement, sir. Like before --
(LILBURNE sets the pistol down. Steps
away from it. Looks at the SERGEANT)
SERGEANT (CONT'D)
That's your mission, sir. Any other, I'd follow you to hell.
But this one --
LILBURNE
(conceding)
Is mine.
(LILBURNE faces him. Straightens. The
two MEN face each other formally)
LILBURNE (CONT'D)
You're dismissed. A good mission, Sergeant.
(They exchange salutes. The SERGEANT
turns. Takes the torch. Walks to the
door. Turns back)
SERGEANT
A real honor serving with you, Lieutenant.
(He leaves. The door shuts. The
CANDLE burns beside the pistol.
LILBURNE stares out the window.
HORSES gallop away. Twilight. The
CANDLE blows out. SOUND of a ROARING
FIRE. The YOUNG BOY appears beside the
DOOR.
LILBURNE turns. The YOUNG BOY opens
the door a crack. FIRELIGHT. The
SOUND of FIRE grows louder. The BOY
slips through.
LILBURNE stumbles after him. The door
BLOWS OPEN, revealing a BLAST OF LIGHT,
turning LILBURNE into a silhouette.
LILBURNE falls through. A BABY'S CRY)
CROSSFADE TO
BLACKOUT
(CLAP OF THUNDER. CRACK OF LIGHTNING.
HOWLS. A BABY'S CRY)
LILBURNE (O.S.)
Letitia. Letitia. Letitia.
LIGHTS FADE UP ON
WIND VALLEY - LATE AFTERNOON
(LILBURNE lies crumpled on the ground.
He gets up. Before him towers the ROCK
WALL -- TECUMSEH stands in front of it.
Beside TECUMSEH is the rock pile. The
DANCERS crouch upon it, at rest.
Surrounding TECUMSEH are the ghosts
from LILBURNE's dreams. GEORGE and
LETITIA stand in front. LILBURNE
approaches TECUMSEH)
LILBURNE
This is no dream. The curse was given here.
(TECUMSEH holds the AXE)
TECUMSEH
(normal voice)
Today, the prophecy has been fulfilled.
Yours is the only soul which yet remains.
(The Indian brave hands GEORGE the
heirloom pistol.
LETITIA steps forward. Gestures
LILBURNE to her. He crawls forward.
Clutches her knees, kneeling, like a
little boy.
She sings a simple lullaby to the music
box tune heard in the first dream)
LETITIA
Sleep and rock, Rock and sleep
Gentle cradle, gone your grief
Mama's got you in her arms
Never more to feel alarm.
(LETITIA kisses him on the forehead.
Turns to GEORGE. Gestures. LILBURNE
turns. Bows his head. GEORGE points
his pistol at LILBURNE's head)
BLACKOUT
(A GUNSHOT. Lights fade up on an empty
Wind Valley. Stillness. Upstage
right, the decrepit plantation house
and water mill loom in the distance.
LILBURNE sprawls across a rock pile in
front of a wall, center stage. His
right hand clutches the PISTOL)
CURTAIN.
THE END.