THE SECOND HORSEMAN by Lou Buttino A full-length play in six acts about war, starts with the remarkable seventh-generation prophecy of Lakota chief Crazy Horse, which got played out at the Standing Rock protests of 2016 and 2017, to a post-apocalyptic world (2050), where Jesus comes back, as he does in Fyodor Dostoevsky’s “The Grand Inquisitor,” and is savaged by a ruthless global tyrant for not accepting Satan’s three temptations in the desert. Depicted in in the Book of Revelations, Chapter 6, Verses 1-8, the four horsemen symbolize what accounts for the end times. The “second horseman” (6:4) is described in this way: “Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make men slay each other. To him was given a large sword.” The second horseman refers to the terrible warfare that will break out in the end times Lou Buttino, M.A., M.A., PhD
Transcript
THE SECOND HORSEMAN
by
Lou Buttino
A full-length play in six acts about war, starts with the remarkable seventh-generation prophecy of Lakota chief Crazy Horse, which got played out at the Standing Rock protests of 2016 and 2017, to a post-apocalyptic world (2050), where Jesus comes back, as he does in Fyodor Dostoevsky’s “The Grand Inquisitor,” and is savaged by a ruthless global tyrant for not accepting Satan’s three temptations in the desert.
Depicted in in the Book of Revelations, Chapter 6, Verses 1-8, the four horsemen symbolize what accounts for the end times. The “second horseman” (6:4) is described in this way: “Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make men slay each other. To him was given a large sword.” The second horseman refers to the terrible warfare that will break out in the end times
The Book of Revelations (Chapter 6, Verses 1-8) describes the Four Horsemen of the apocalypse. The “second horseman” (6:4) is described in this way: “Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make men slay each other. To him was given a large sword.”
A Special Note about the PlayI have supplied the director, actors and the theatre’s press office with endnotes clarifying certain historical moments focused on in the play. I am an academic and these seemed important, since much of the play is rooted in historical fact. Two acts (“Hard Rain,” and “Secrets of the Soul”) are based on my own experiences.
Most acts contain audio and video clips, as a way of enhancing the stories. Copyright clearance and/or a pre-paid fee make these clips royalty free.
The play is divided into six different acts.
Act I“The Seventh Generation Prophecy of Lakota Chief Crazy Horse”The imagined night Crazy Horse said it would take seven generations for the Red Nation to rise again, a prophecy played out in the Standing Rock protests of 2016 and 2017.
Act II“The Night Willie Lincoln Died”The time is February 20, 1862, and the beloved Willie Lincoln is dying, his best friend Bud Taft by his side. Though lost to history, Willie’s death inspired the chronically depressed President into a humility and magnanimity—little known but still evident in the Gettysburg Address and in his Second Inaugural.
Act III“The “36th Ulster”The Battle of the Somme rages near a Catholic convent, which has been hurriedly converted into a makeshift hospital. Sister Diana cares for a young Protestant Irish soldier who in all likelihood will die by morning. “Da,” the boy’s father, appears as a spirit, chastising his son and condemning the nun. This, and the horrors that rage outside the convent window, compels Sister Diana to walk into “no man’s land,” as a way to end all wars. (The 36th Ulster were the first to reach the German lines and were nearly wiped out.)
Act IV“Brot—The German word for bread”
It’s March 1946 and Hitler’s second in command, Hermann Goering, is testifying at the Nuremburg Trials. At the climax of the play, the troubled son of a prosperous German baker confronts his father, in the presence of his brother and mother, with his discovery that the father designed and profited by the giant ovens used at the concentration camps.
Act V“A Hard Rain”A twenty-something graduate student in a rural part of New York State confronts the draft board over his application for conscientious objection status. He’s an atheist but seeks conscientious status on religious grounds. Based on a true story—mine.
Act VI“Secrets of the Soul”It’s the mid-1980s, and the world is closer to a nuclear war than at any time since the Cuban Missile Crisis. A journalist sets out to find whether the eminent psychologist Robert Jay Lifton is correct in saying that people are “psychically numb,”—that they can’t accept their own individual death so how could they possibly conceive of the death of the planet. He travels the country and asks people questions such as, “What would you do if the missiles were launched;” What would you miss most about the world after a nuclear war?The play is based on actual interviews I conducted in the mid-1980s and includes pictures of real people who responded to my questions.
A Special Note about the Play
I have supplied the director, actors and the theatre’s press office with endnotes clarifying certain historical moments focused on in the play. I am an academic and these seemed important, since much of the play is rooted in historical fact. Two acts (“Hard Rain,” and “Secrets of the Soul”) are based on the playwright’s personal experiences.
Audio and video clips accompany the stories. Copyright clearance and/or a fee makes them royalty free. While I could argue that I think these enhance the play, in truth (and I suppose because I am a filmmaker), I saw and heard these things as I wrote.
Act VII“The Grand Tyrant”
The last act is a revised version of Fyodor Dostoyevsky’s “The Grand Inquisitor.” The year is 2031 and after the apocalypse a ruthless tyrant has gained control of most of the world. But as in Dostoevsky’s
story, Jesus comes back and is discovered performing miracles. The despot has him thrown in jail, and berates him for an entire night about how he should have accepted the three temptations the Devil makes in the desert. The despot complains that it has fallen upon him to correct the mistakes of Jesus.
Most recent act has been added. 8.20.17. End notes need to be frixed.Finish four, and add other hyperlinks. Not done yet.
Act I
“The Remarkable Prophecy of Lakota Chief Crazy Horse”1
23
TIME18774
PLACEA small, forest clearing in the Black Hills.5
SETTING
Night; a tree is center stage. Shadowy images of bushes, etc. surround it.
CHARACTER DESCRIPTIONSHANBLECIYA A Native American girl, dressed in American schoolgirl clothes of that
era. In her early teens; her vibrant black hair is cut short.
MOTHER In her forties and in traditional Native American dress.
CRAZY HORSE Wears no headdress; carries a rifle. A sheathed knife is attached to his belt. His war paint consists of a yellow lightning bolt down the left side of his face.6
[1] A Lakota chant fades in, along with the beat of a drum, followed the ambient sounds of nature. The latter includes a wolf howling, a screeching owl, and assorted sounds of bullfrogs and crickets. The music dies and the only sound, briefly heard, is that of nature.
A spot, which comes up on Hanbleciya, represents a full moon. She stands, her hands tied around the tree at center stage. She looks around and then up at the moon. She does not appear to be afraid.
HANBLECIYACanwapekasna wi.7
Grandmother moon, watch over me.(she looks around, senses somebody’s presence)
Somebody’s here. Won’t you come out of the shadows and speak to me?Or are you wolf? Snake?
Crazy Horse appears down stage, a spot on him. He looks around, and also senses another’s presence. He moves near Hanbleciya. Seeing him she gasps. The two spots conjoin. Crazy Horse says, as he’s sets down his rifle and stands again,
CRAZY HORSE The animals and birds will not trouble you unless you provoke them.
HANBLECIYAI know who you are. I saw your picture at the reservation school.
CRAZY HORSEThere are no pictures of me.
HANBLECIYAMaybe it was a drawing then. (Pause)
How can I provoke the animals if my hands are tied?
CRAZY HORSE
They smell fear. (examining the rope)
This I do not understand.
HANBLECIYAAt the school they said you were involved in many killings. Many wars--including the
massacre of General Custer and his men at…at...
CRAZY HORSELittle Bighorn…
He holds her chin, is close to her face. Sternly.
It is called a massacre when we win, and a great victory when the White Man wins.We fight hard and are called savages;
Win or lose they are made into heroes.
HANBLEICYAPlease, cut this rope.
I feel powerless--like a captured bear.
CRAZY HORSE (grunts a laugh)
Cub maybe. But no bear.
HANBLEICYAIt is also said you never laugh.
Or even talk much among the people.Except for children.
CRAZY HORSE(referring to the rope)
This is strong medicine and it’s best that I do not interfere. (pause)Maybe you are supposed to feel powerless.
MOTHER(Rising; she’s been part of shadows that look like bushes)
She’s being punished!
Crazy Horse jumps; Hanbleciya is also startled.
HANBLECIYAMother! What are you doing here!
MOTHER(To Crazy Horse)
She’s questioned the wisdom of our people.
HANBLEICYAMother, please!
MOTHERShe annoyed the Elders and they meted out this punishment.
I have since learned that it used by a northern tribe to teach the young the sacredness of the living world.8
HANBLEICYA(tugging at the rope)
It’s to humble me. Force me to be silent.It’s to make me go back to cooking, gathering up the harvest, tanning the buffalo hide.
CRAZY HORSEThings necessary for survival.
MOTHERShe’s changed since she’s been going to that school.
HANBLEICYAI’ve always been this way. You know that.
(pause, more lightly) Maybe a little more so now.
CRAZY HORSE(to Mother)
You have your hands full.
MOTHERHands, arms, and a mule-drawn wagon full!
CRAZY HORSEThe purpose of this is to make you feel the power in this one tree.
Especially a tree that stands alone. (nodding) It is a very courageous tree.
HANBLEICYAOh, it’s not that.
MOTHERTell him then.
HANBLEICYAI will, Mother, if you give me a chance.
CRAZY HORSE(Shaking his head)
Children...
HANBLEICYAI am not a child.
CRAZY HORSEBut you are not yet woman, isn’t that so?
MOTHERSoon enough. (to her daughter)
Crazy Horse is a mystic and chief who is entitled to your respect.
HANBLEICYAAnd who respects me?
MOTHERHanbleciya!
HANBLECIYAAt the school they make fun of him. Mock him because of his name.
CRAZY HORSEIt is my horse that was said to be crazy, not me. But even that is not true.
I had a vision where my horse seemed to be dancing.
MOTHERWhy have you come?
CRAZY HORSEI returned from a raid and heard she was out here by herself.
I thought I would look in on her.
MOTHERSo you don’t know anything about this?
CRAZY HORSE(shakes his head “no”)
I arrived too late. Most everyone is asleep.
MOTHERYou must tell him and tell him now!Dawn will be upon us all too soon.
HANBLECIYACut the rope first.
CRAZY HORSEThe rope will fall away when you have learned that the Great Spirit is in all things—from a
grain of sand to the night beyond the stars.
HANBLECIYAI believe it and have been told it many times.
CRAZY HORSEBut do you believe it inside. Here (hits his heart hard)
Like prayer?
MOTHERTell him!
HANBLECIYA(shoots mother a dirty look)
All right, Mother.I told the Tribal Council I understand that the living world is sacred. But what I do not
understand is why we kill the Pawnee, the Crow, the Shoshone and even the White man.Is the world sacred except for the two-legged ones who walk on its skin?
MOTHERI tried to explain to her that our Mother, the earth, has been here longer than the stars and
she has worked out a balance to keep the world stable and in harmony. But the Elders would not hear me. It was as if my words had no spirit in them.
CRAZY HORSE (to Hanbleciya)
What would you have me do when the Pawnee come to steal our horses? Or when the Shoshone want to take our women or the food stored for winter?
HANBLECIYAI do not know how to answer that.
But what I do know is that I cannot accept the Lakota religion as my religion.
CRAZY HORSE(to Mother)
I am not a thinker like Red Cloud or Sitting Bull. Whatever is in my heart is on my tongue.
And since as a child it has been to resist the destruction of the people.
HANBLECIYAThat doesn’t seem the right approach to the sacred.
CRAZY HORSEIt’s the right approach if you have an enemy that wants to kill you.
Long pause, Crazy Horse is thinking. [2] Fades up, ambient nature sounds only.
CRAZY HORSEAs a warrior, I disagree with your explanation, Mother.
Many peoples, the Lakota among them, have also worked out a balance with others on the Great Plains and elsewhere.
There is killing in nature, is there not, ch--? What is her name?
HANBLECIYAHanbleciya!
CRAZY HORSE…And it means?
MOTHERPlease, there is no time.
CRAZY HORSE(shaking his head in disagreement)
There is always time. For a name is sacred, too--a glimpse into the spirit within.
MOTHERAfter she was born she would sometimes cry, but it wasn’t for the want of my milk.
And so she was named Hanbleciya, which means, “crying for a different dream.”
CRAZY HORSE(nodding his gratitude)
Hanbleciya, the wolf kills in order to live, does it not? And the Jayhawk steals eggs from the Sparrow’s nest?
In our wars with other tribes, we do not seek their destruction. Their total destruction.
But it is not so with the White Man. He slaughters the Buffalo to starve us. He moves us to places where the soil is poor and
there is no game. He wants us to disappear.
MOTHERDo not say such a thing. You will wound her spirit.
HANBLECIYAThere are many of us still. We could not all possibly disappear.
CRAZY HORSEWe can still be here but disappear.
And that comes more rapidly now with the discovery of gold. (rises, shrugs)
They become crazy at such things, forgetting their wives and children, breaking each and every one of their promises to us.
They lust after the yellow stone as if a—a—
HANBLECIYAWhore.
MOTHERHanbleciya, where did you learn such a word?
HANBLECIYAAt the reservation school.
CRAZY HORSEThey teach you many things so you will not look like us anymore.
Even your hair.
HANBLECIYAIt does not bother me.
CRAZY HORSEAh, where is grandfather’s peace pipe when we need it!
[invariably, someone in the audience will laugh. Crazy Horse turns to the audience, in response to laughter--or even if there is no laughter]
The peace pipe ceremony is as sacred to us as the Eucharist is to you.In it we not only pray for our own well being, but the well being of the earth and all who
inhabit it.
HANBLEICYAWhen have you urged peace? (to her mother)
If he is a chief why does he not wear a headdress?
CRAZY HORSEWar bonnet.
HANBLEICYAPeace pipe. War bonnet.
What else?
CRAZY HORSEConfusion is the beginning of wisdom, daughter.
MOTHERIn a famous vision, that still inspires the people, he was told to dress modestly and he
would be unharmed in battle. Despite all the wars he’s been in, he has not been harmed.
CRAZY HORSEEnough talk. I was never meant to be a teacher. (pause, touches the rope)
Still, I cannot stop wondering what the purpose of this is?
MOTHERMaybe the Elders thought it would teach her humility.
CRAZY HORSEYou can’t teach humility. You can only learn it.
MOTHERThere is more to all this, Chief Crazy Horse and it is the reason I am here.
And why the time passes all too quickly.I am not here to protect her from the night, for she is as brave as any her age. (pause)
I am here for the first groan of her awakening.
HANBLECIYAMy what? (pause) Your words are strange, Mother.
MOTHERYou began to show the signs.
And this punishment, this rope-tying, whatever its purpose, will cut you off from the momentous occasion of your life.
The moment when you go from girl to woman. The time when you experience the earth our mother in ways never before known to you.
CRAZY HORSE(shaking his head)
If this is about what I think it is about I must confess that the warriors never liked talking about such matters.
My wife and daughters would talk openly about these things around the campfire and I would stretch and yawn and politely excuse myself to go for a walk.
MOTHERDon’t you dare! Don’t you dare make her feel ashamed of what is happening.
(to Hanbleciya)The Lakota word for “blessing” and “bleeding” are the same.
HANBLECIYAWhat? Am I to be cut? Sacrificed?
MOTHERNo, oh no, nothing like that.
HANBLECIYAWhat is it then?
CRAZY HORSE(to Hanbleciya, coming around because of the mother’s scolding)
We are the warriors, but you are the life-givers. That is what your mother means.
MOTHER(grunts with displeasure)
I’ve always hated that.
CRAZY HORSEHated what? Is it not true, Mother?
MOTHERWarriors kill. Your scalps earn you prized feathers.
But you cannot know the pain and courage of giving birth.To groan with each coming and leaving of the moon.
A woman hurts in giving life, not taking it.
HANBLECIYAAre you talking about the time when the girls leave the village and go to the lodge?
And the mothers and old ones come?
MOTHER. (to Crazy Horse)
We have to free her. It should not begin in this way. Tied, as if a prisoner.
Spot on Crazy Horse, as he moves away from the other two. He is unsteady, move as if blind. He’s in a trance and about to utter what’s now called his “seventh generation prophecy.”
CRAZY HORSE“Upon suffering beyond suffering; the Red Nation shall rise again and it shall be a blessing for a sick world. A world filled with broken promises, selfishness and separations. A world longing for light again.“9
[3] Sound of flute fades in and dies. Spot fades on Crazy Horse and falls upon Hanbleciya. The rope mysteriously falls to the stage.
CRAZY HORSE (CONT’D)It will be seven generations before this comes to pass.
It will be seven generations beginning with the new dawn.
[4] Comes up, full screen. Women at the Standing Rock protests of 2016 and 2017. Not done yet.
--END ACT--
Act II (most current, 8.20.17) Review clips.
The Night Willie Lincoln Died10
Time:Evening, February 19, 186211
Setting:President Lincoln was particularly besieged by crisis in in the winter of 1862. He couldn’t seem to find a general with the guts enough to fight, the North had not won a single battle, and his Cabinet sabotaged him it seemed at every turn. France and England were poised to come to the aid of the Confederacy. Throughout his life Lincoln had recurring bouts of depression. But now, with his beloved son Willie on the brink of death, he plunged into the deepest darkness he had ever known.
The specific action of the play takes place in an upper guest room if of the White House. Inside is a large canopy bed; a wooden chair is to its left. To the right of the bed is a small bedside table. A few feet from that, in front of an extremely large window, are two chairs.
The drapes have been pulled and the room is dimly lit. It’s night but even a small amount of light hurts Willie’s eyes. There is one door stage left, and another at the back, stage right. It’s adjacent but perpendicular to the window. A few indistinct pictures hang from the wall.12 Willie lies on the bed, dying from Typhoid Fever.
Cast:Willie Lincoln Eleven years old, blue-eyed and good-natured, Willie was said to be
the most treasured of the Lincoln sons. He lies on top of the bed, over the covers, racked by extremely high fever.
Bud Taft Willie’s best friend, also eleven. Blond, blue-eyed, and about Willie’s size. Bud talks with a Southern accent.
Abraham Lincoln A friend remarked that after Willie’s death, the President seemed to “drip with sadness.“ His movement is slow, his voice is hoarse from bouts of emotion.
Phineas D. Gurley Pastor of the New York Avenue Presbyterian Church in Washington, D.C., and a Lincoln confidante. Gurley is of average height, dresses formally, sporting a bowtie. He has pork chop sideburns, common in the day. Aware of the President’s indifference to formal religion, he is also keenly aware that he is intensely spiritual.
Mary Todd Lincoln Extremely agitated; will abandon one thought for another in mid-sentence. She paces, sighs often, and cries into her handkerchief. She gives the feeling she is about to jump out of her own skin.
Lights come up, though they stay very dim. The main source of light in the room is the gas-fed kind used at the time. It casts a yellow hue and is turned down low. The light hurts Willie’s eyes and the story unfolds mostly in deep shadow.
Bud Taft enters, quickly closing the door behind him. He turns and waits a few beats, his forehead leaning against the door. Indistinct quarreling can be heard on the other side of the door. Mrs. Lincoln opposed Bud coming. The President, though rarely overruling his wife when it came to parenting, sent for the boy. Willie’s wanted Bud to be with him. In historical fact, Bud was the only one in the room when Willie died, and was holding onto Willie’s hand.
WILLIEIs that you Tad? It’s all right. You can stay. Come over here where I can see you.
Bud moves to Willie’s bedside.
WILLIE (CONT’D)It’s you Bud. You’ve come.
BUDHow could you tell it was me?
WILLIETad stomps rather than steps. (Pause) I’m glad you’ve come.
BUDI’m not sure how long I’ll be permitted to stay.
Your mother is very upset. Your father sent for me.
WILLIEMother is not doing very well.
BUDDo you want me to turn up the light?
It’s so dark in here I can barely make out where things are. I can’t even make out your face.
WILLIENo. It’s okay. The light hurts my eyes. (Pause)
And I guess. (Pause) Never mind…
Sitting, Willie reaches over and Bud offers his hand. Willie begins to gasp, shakes. Bud rises, alarmed, letting go of Willie’s hand.
BUD What is it, Willie? Shall I call someone? Let me…
Long pause, as Willie calms. Bud sits down slowly, with uncertainty. Willie has a dry cough.
WILLIE(Coughs)I’m okay.
Bud rises, still anxious.BUD
Do you want some water?
WILLIENo, but if you wouldn’t mind (Pause, as he catches his breath)
can you take that lamp and hold it over me? Turn it up some.
Bud slowly walks around the bed and reaches the bedside stand. He picks up the lamp carefully, unsure what Willie wants done.
WILLIE (CONT’D)I’m glad you’re here, Bud.
Nobody wants to tell me the truth…(Pause)
Bud—please put the lamp near my face.
Bud does so, groans because of what has become of his friend.
WILLIE…Like—even how I look. I can tell people are shocked—even Mother and Pa wince
sometimes when they look at me up close. Like they’re still holding onto a me that was before. I thought the doctor was going to vomit when he came in today. That’s a lot, for a
doctor to be sick at the sight of me…the once pretty boy Willie…Bud, turn up the lamp.
Bud does so; his hand trembling. Willie wants to steady Bud’s hand but is physically unable to raise his for very long.
WILLIE (CONT’D)It’s all right. It’s all right Bud. Come closer if you will. Tell me what you see.
BUDI don’t want to.
(Pause, then Bud goes ahead)It looks like you’ve had a nosebleed. And there are—tiny red dots on your face and neck.
WILLIEAh, that’s what’s probably making me itch.
It’s a rash?
BUDYou’re skinny. Very skinny, and your eyes…You’re skinny everywhere but your belly,
Willie. It’s like a watermelon…
With his free hand, Bud is about to touch Willie’s belly.
WILLIEDon’t Bud! Oh don’t do that!
Bud is startled but does as he is told.
WILLIE (CONT’D)It’ll hurt too much.
BUDCan I put the lamp back now?
He turns the lamp’s light back to where it was.
WILLIE(His weeping turns to coughing)
I miss me, Bud. Does that make sense?I miss who I once was and will never be again.
Bud picks up the glass of water on the bed stand and offers it to Willie. No response to that from Willie.
WILLIE (CONT’D)Are you sorry you’ve come, Bud?
Will your visit give you nightmares?
BUDYou’re my friend, Willie. My best friend.
And no matter what, I’ve missed you.
WILLIEDo you know what I’m sick from? (Pause)
Pa thinks it’s from riding that new pony I got; out in the cold, but the doctor told him it was something different. Typhoid he said, the doctor said, like it was a death sentence. Neither
of them thought I heard.
BUDOur Mom won’t let us say the word out loud. Like it’s passing by in the streets, like a real
person or ghost, and to say its name is to beckon it to your door. A bad-luck visit from an unwanted guest.
WILLIE (Pause)
I sometimes pretend to be asleep when he comes in.
BUDWho?
WILLIEPa. His face is too sad to look at.
(Longish pause)
BUDWillie. Willie? Are you asleep?
WILLIE (Let’s out a sigh)
Remember the time we hung that Confederate flag over you’re the doorway of your father’s house? He was sure mad. If I wasn’t the President’s son I’m sure he would have whipped
me …
BUDHe whupped my brother and me pretty good.
But we laugh about it once in awhile at supper.
WILLIEAnd the fun we used to have with that big old fat turkey.
BUD(Laughs lightly)Oh yeah. “Jack.”
WILLIE Great fun until we found out it was going to be Thanksgiving dinner. Pa pardoned it,
remember? He’s always pardoning folk. Soldiers mostly. When their mothers, or sweethearts or sisters came to plead with him. He’d do it. Pa would. Didn’t seem to matter
to him which side you were on. (Bud laughs some, too)
Pa said it was the first time a President ever pardoned a turkey.(Pause)
I don’t think he cares for this war much…(Pause)
Sometimes he’ll fall asleep with his head on my bed,And he’ll groan and grown most of the night.
I wonder what he’s seein’, Bud
(Pause)
BUDGettin’ here is harder now, Willie—even spooky…
WILLIE(Trying to manage a joke)
Spookier than me?
BUD(Ignoring the comment)
…There’s blood on the snow. And though they’re in the shadows, men’s be yelpin’ and whinin’ like a hurt dog. Likely they’re getting a leg or arm chopped off—or afraid of dyin’. Scares me, I’ll tell you that. And sometimes, out of nowhere, a scraggly lookin’ soldier will suddenly appear. Be eyeball to eyeball with you. But they’re lookin’ right through you to God knows where. And you stay to listen, to be polite, but nothin’ they say makes any sense. It’s like baby-talk. Gibberish. And I think they come to know it, too, that they don’t make any sense, and they drift off. Without an apology or anything like that. Like maybe you was a ghost. Or their hope for sanity. And you’ll be okay until the next soldier comes along. Which always happens. (Pause) And that hammerin’, Willie. All day and all night. (Pause) Mother says she can’t bear it anymore.
WILLIEWhat are they hammerin’ for, Bud?
BUDPappy says its coffins—
That the gov-a-ment can’t keep up. (Realizing what he’s said)
I’m sorry Willie.
(Pause, Bud stands up and leans close to Willie)
It’s strange, but every once in a while you’ll hit back on a fly or mosquito buzzing around you. There can’t be none such thing in winter, can there?
WILLIEBud, help turn me to the side.
Bud does, Willie groans. Everything in him aches.
WILLIE (CONT’D)Are there tulips, Bud? Cherry blossoms?
(Excited)Maybe it’s spring, Bud. Maybe that accounts for all the buzzing.
BUDNaw. Pappy says the weather’s gone nuts, just like the people.
WILLIEGood.
BUDGood? Did you say good, Willie?
WILLIE I don’t want to die in spring. (Anxious)
Hush Bud. Pa’s coming with somebody. Do you hear? I can’t see hardly anything but shadows but my ears can hear anything. Like I could even hear God a whisperin’. Shh, now. Go hide behind the curtains. I’ll pretend to be asleep, so’s to hear what they be
saying.
Lincoln and Pastor Gurley enter. They stand inside the door for a few beats.
LINCOLNI don’t think I’ll ever be glad again.
GURLEYOf course you will. It’ll be awfully hard, I’m not saying that, but then—
LINCOLNYou promised me no clichés, Phineas. Of any kind, do you remember? Neither Christian or
otherwise.
GURLEYSorry. A body wants to grasp something, anything, no matter how inane,
for the unspeakable. What else is there to hold onto?
Both move to Willie’s bedside. The President strokes his son’s face.
LINCOLNIt’s vain, I know. But he’s so much like me, Reverend. Is that the reason I love him so?
He liked reading, especially poetry. And he’s fine with being alone. And giving speeches, too, just like his old man. We were still in Springfield when I won the nomination and my
boy here went out onto the front porch and gave an impromptu speech to our neighbors on how everybody ought to go out and vote for “Old Abe.”
The President begins to weep; falters some.
GURLEY(Taking the President’s arm)
Here—let’s sit.If he awakens I don’t want us to startle him.
Gurley leads him to the two chairs in front of the window; Tad remains behind the curtains.
LINCOLNI understand. At times like these we want to fill the void with whatever we can muster.
Even if it’s clichés. Even stupid remarks like “Only the good die young.” Or “God wanted him with him.” We desire profound answers and easy solutions for the inexplicable.
(Pause) But I wonder, Phineas, why emptiness is so heavy. (Pause)
Make no mistake. I don’t think the Almighty wills or is responsible for the scourge of this war, or for Willie’s illness. No God I can imagine would want a child in this agony—or any
of it, do you hear? Us. Human beings and not God, have turned the streets into sewers, crops to charcoal, and produced darkness at noon.
(Pause) I shall miss him. Oh I shall miss him. The sweetness will be gone from the world-- never to return.
(Long pause, Lincoln and the minister exit. Bud comes out from behind the curtains)
BUDYou sure you’re not dreaming, Willie? Or maybe it’s the fever?
WILLIEYou didn’t hear them?
BUDNo.
(Bud goes over, sits, and takes Willie’s hand)
WILLIEI told Tad you could have my toys. He said he didn’t want them.
WILLIEHe runs off in a hurry these days, like staying with me may kill him, too.
BUDI wouldn’t want anything that reminded me of you either Willie. Especially things we laughed about when we were doing them.
Laughter is the hardest to miss, don’t you think Willie?(Pause)
Willie? You always used to think about such thingsand now you got me thinking about them, too.
WILLIEIt’s hard, isn’t it, Bud? To remember a time when there wasn’t war?
BUD
(Though maybe not aware himself, tries to lighten the conversation)You remember when we dressed up as soldiers and dismissed the White House servants
and guards?
WILLIEPa was fumin’.
BUDHow about when you told him we was going on the rooftop and defend the White House.
(Pause) You sure had a way with him, Willie. With almost anybody. With me.
WILLIEBut we still charged him a nickel to get into our minstrel show, didn’t we? That look on his face was somethin’ to see. (Pause) I liked when he laughed. It happened so little once this mess began. When was the last time I heard him laugh? Oh, the time was after church one
Sunday mornin’ and I asked Pa why the preacher prayed for him so much. Pa thought about it some and then told me, “Well, I suppose it’s because I need it. And I guess I do.”
(Long pause)Did you know Paw reads books of jokes. And if he hears a particularly good one, he’ll write
it down and stuff it into his pocket.I think laughter keeps my Paw breathin’.
(Another long pause)Will you be comin’, Bud? To my funeral?
It’ll be downstairs, in the East Room. I heard Ma and Pa deciding it.That’ll mean more hammerin’ pretty soon.
BUDI mean no disrespect, Willie, but--
WILLIEShh! Hide again Bud. Mother’s about to storm in.
BUD(Just before rushing away)
If I was to come, Willie, I’d be praying so hard that you’d just have to wake up!
MRS. LINCOLN (Fidgeting, agitated, enters)
Is this Willie’s or Tad’s room? Is anybody here at all? (Goes over to the bed) Oh it’s you Willie. Oh Lord what have you done to my beautiful, blue-eyed boy? (Pause) You sleep so often these days. Try to be awake more. For my sake. The eternal sleep is forthwith. (Sobbing into her handkerchief as she paces). Your father—you know what he said to me? We were across the hall and he took me to the window and warned me, or maybe it was a cautioning tone. Was he angry? Afraid? They’re cousins I think. (Managing a crazy laugh).
Kissin’ cousins. Your father, my husband Mr. Lincoln took me by the arm and led me to the window and pointed out yonder and said, “Mother, you must get control of yourself or if you don’t we may have to take you there.” He was pointing to the new government insane asylum. It has a fresh coat of white paint and I half- expected to see a cross on top. A place of rest, like a church. To get away from this damned, damned war. (She goes to his bed) Oh Willie, you were supposed to be my comfort and joy in my old age. I so wanted to see what would become of you. Your father, too. (Pause) So very much like him. But better, I think. I think even he would agree to that. Okay. Okay. I must go sit with Tad. He’s very ill too, you know. He calls out for you. All the time. Says he is losing a brother who will speak to him no more. (Pause, she turns but then turns back again) Pray Willie. Pray for a miracle. God listens to a heart like yours.
Mrs. Lincoln exits. Pause, Bud comes out from behind the curtains, moves to Willie’s bedside.
BUDWillie? Willie?
WILLIEI’m still here, Bud.
BUDI didn’t mean that. I thought maybe you were asleep again. Having a dream.
Bud is at the foot of the bed, about to pass to the chair on the bed’s left.
WILLIE (CONT’D)Stop! Hold it right there, Bud. Stand very still. (Pause)
Now, with your right hand reach out. As far as you can. Farther, Bud. Farther, if you can. And your left foot’s got to go up a little. Just a little. Hang onto the bed if you need it for
support. That’s it. But Bud you’re not reaching far enough. Just…
BUDI’m trying Willie. Honest I am.
(Long pause)
WILLIEOkay. You can stop now, Bud. You can sit again.
BUDWhat was it, Willie?
(Silence)
What was all that for?
(More silence)
Willie? Will you tell me? I want to know.
WILLIEI thought I saw a miracle going by and I didn’t want to miss it.
Lights come up half way, spot on Willie as he gets out of bed, stretches and yawns, straightens his aching back. As he goes downstage, Bud takes his hand. Mr. and Mrs. Lincoln join them, embrace each other.
BUDI was holding onto your hand (Looking over at Willie with a tender smile) when...
(Willie nods his “I know)
LINCOLNMost still don’t understand that at Gettysburg and in my Second Inaugural, I had changed. (Light laugh) I was always changing it seems. At least what the papers kept saying. And I
suppose I was. (Pause) But this was different. So very different.
Gurley has been coming onto the stage, stands to the side of Mrs. Lincoln.
GURLEYFor every soldier killed in battle, two died from disease. And that’s why, like so many other
fathers and mothers, the Lincoln’s saw Willie’s death as if a soldier’s death.
Willie is wandering away from Bud. He moves close to his father. Lincoln lifts him up in his arms.
MRS. LINCOLNHe—my husband—had become more parent than president. And
the little boy who changed a father would change America.
Meanwhile, Bud is wandering to the front. He looks at Willie and Lincoln for permission to speak.
WILLIEGo ahead, Bud! You’re family!
BUDWhen you’all built the memorial to Mr. Lincoln, the words picked were extracted from what
filled his father after Willie’s death. The Gettysburg Address and part of his Second
Inaugural are inscribed on the walls to the left and right of the seated President, as if angel’s wings.
Lights out.
--END ACT—
Act III Most recent added 8.20.17. check over clips“The 36th Ulster”
TimeThe Battle of the Somme, July 1, 1916
SetA Catholic convent, hurriedly turned into a wartime hospital, serves as the play’s larger setting. The reconverted hospital is in France, frighteningly and dangerously close to the German border and the fighting.
The specific action of the play takes place in a convent room that is simply furnished. The Nuns have taken a vow of poverty (as well as charity and obedience). In the room is an iron bed, with a crucifix hanging on the wall above it. There’s a window, with drapes, to the left of the bed. This is where the visuals and the sound are coming from. To the right of the bed is small plain table and chair. Billy lies on the bed dying.
Cast
SISTER DIANA A nun, small and thin. She wears a “habit” (a tunic covered by a scapular and cowl). On her head is a white “cornette”--a large starched white cloth folded upwards.
BILLY An Irish lad, or what’s left of him. His face and head are completely bandaged. Still in his teens, he’s blind, and has lost an arm and both legs. He can barely hear due to the concussive shelling; speaks in a hoarse whisper.
DA Billy’s father. Though we never see him, Billy believes he’s come. Sister Diana comes to hear him, too. Da also speaks with a brogue.
Video and audio suggestions are included throughout the play. Numbers cue each. These can be edited, new ones added, etc. The playwright is also a filmmaker.
The play opens…
[1] Opening clip of a battle scene begins. The video fades but the sound continues. Image and sound lasts: 42:16 seconds. Audio only continues after that, by half in volume, for another 16 or so seconds.
Over darkness, the opening clip fades in depicting a brief but horrific battle scene at the Somme. It’s framed as the same size as the window that’s in the convent Diana is looking out from. It’s the kind of window you’d expect to find at a convent, higher and smaller than normal.
As the clip fades out, a spot comes up on Sister Diana. She hurriedly closes the window’s drapes. She has just seen the same clip the audience has seen; only for her it occurred outside her window. Though the video ends, the sounds of the fighting continue. It’s volume is reduced by half and it’s cued to die out completely in the play. Sister Diana reacts violently to the horror she’s just witnessed.
SISTER DIANAOh, God! Oh my God!
She clutches her stomach, gags, and groans in agony. She almost makes it to the bed but doesn’t quite get there, collapsing on the floor. Gasps for air. Covers her eyes. After a few beats we hear Billy.
BILLYWho is it? Who’s there?
Stage lights come up fully. Sister Diana tries to regain her composure, moves to the opposite side of the bed. She says, as she’s doing so,
SISTER DIANACe n’est pas grave.
(“It’s all right”)Je suis desole. Désolé.(“I’m sorry. Sorry”)
She takes the washcloth on his forehead, rinses it in a bowl on the bedside stand, and puts it back. Though she begins speaking in French, she soon leaves her lingua franca. A French affect remains in her speech.
SISTER DIANA (CONT’D)I’m Diana, a Catholic nun. And you’re in a convent—in France.
BILLYI can’t quite make out what you’re saying?
SISTER DIANA(Moves closely to the hole in the cast, where his ear is supposed to be. More loudly.)
I’m Sister Diana, a Catholic nun. And you’re in a convent—in France.
BILLY(In a loud, hoarse whisper says)
They’re still fighting.
SISTER DIANA(Close to his ear)
It will be quiet soon. There’s no moon. That’s when they bring in (Clears her throat)--
BILLYA convent? A Catholic convent.
SISTER DIANAA cloistered convent.
We have no contact—we’re supposed to have no contact with the outside world.
BILLYI thought the Irish were supposed to be lucky?
SISTER DIANAWhat’s that supposed to mean?
BILLYHow did I end up here of all places?
SISTER DIANAYou were brought in last night on a wagon piled high with others—of every nationality it
seemed. Some had passed; others, like you, were badly wounded. An Irish soldier accompanied the wagon and explained what had happened at the Front. In terms of the
casualties. He didn’t stay long; just long enough—I remember his exact words, he said, “to take care of his boys.”
BILLYIrish you say? He had to be talking about the 36th.
[2] The sounds of war fade and die.
Diana rises to look out of the window; says as she does so,
SISTER DIANAYes, that’s right.
BILLYCan you tell me who made it?
SISTER DIANAThere’s no time for that right now.
Pulls the drapes aside. Nothing but darkness.
SISTER DIANA What’s your name?
BILLYMe? Billy. I’m Billy from Belfast.
SISTER DIANA(Trying to lighten things up)
Sounds like it could be a song.
BILLYEverything itches but I can’t seem to move my arm.Oh if there’s a hell this has to be it. (Pause) I thirst.
SISTER DIANAIt’s the mustard gas. We’re told it leaves the victim dehydrated.
(She puts a straw up to his mouth)
This is a straw. Try to drink.
BILLY(He chokes, spitting it out)
It’s awful!
SISTER DIANAI should have warned you. It’s a mix of vinegar and water. Meant to quench your thirst.
(Rising, anxious) It’s what that Roman soldier gave Jesus on the cross when he was thirsty. That soldier has been condemned forever for that.
BILLYIs that what it was? Mustard gas? We saw it coming over the fields like a dense fog.
SISTER DIANAIt was used for the very first time and caught you all by surprise. (Paces)
What else will we do to one another in the name of God and pride.
BILLYWhat is it? I can’t hear you?
BILLYAm I going to die? (Pause, more loudly) Take me to see me Irish buddies. Where you got
them?
SISTER DIANAThey’re scattered everywhere. In other rooms, in hallways, in the barn. But most don’t
have shelter at all. They’re outside in the elements. In the mud and blood.(Long pause)
BILLYStrange that a comrade from the 36th brought me to a place like this.
We Ulstermen don’t have much use for Catholics.
SISTER DIANASo I’ve heard.
BILLYBack in Belfast, religion is more important than food.
SISTER DIANAI’ve been told that as well.
Apparently there isn’t much in the way of adequate accommodations.
A long pause. Billy seems to have fallen asleep. Sister Diana makes the “Sign of the Cross”; begins her rosary.
Au nom du Pere, fils et Saint-Esprit—(In the name of the Father, son and Holy Spirit)
A few beats later Billy awakens with a start. Tries to raise himself but can’t.
SISTER DIANA (cont’d)What are--? Here, let me help--
As Sister Diana helps him to sit up somewhat, we see his face and head are completely bandaged and one arm is missing.
BILLYDa? Is that you? Aye. I thought I be smellin’ your pipe.
SISTER DIANA--Is that better? (Rises, looks around)Billy, what--who are you talking to?
BILLY(Pays her no heed)
You sound mad, Da. You is not disappointed in me are you? (Enthusiastically)We was the first to reach the German lines, Da! The very first of any allies!
That was us, Da, the 36th of Ulster! (Pause)What? We moved too fast you say?
We was stupid and run into our own bombardments? And that’s what be killing us?
SISTER DIANABilly, you’re having a nightmare. Try to rest.
BILLYIs what he’s saying true?
SISTER DIANAI’m afraid so. It’s pretty much what that Irish soldier told us last night. (Pause)
You must have heard him even though you were unconscious.
We all hear Da now.DA (V/O)
It was a waste, boy. A waste of good Irish blood.
Sister Diana hears Da now. Rises, takes Da by an imaginary sleeve and moves him downstage, so Billy won’t hear.
SISTER DIANAHe’ll most likely be dead by morning, your son, your very own son,
and this is what you want to leave him with?What kind of a father are you anyway?
DAA truthful one.
SISTER DIANATruth without compassion is cruelty.
DALife’s too difficult to allow for compassion.
SISTER DIANAWhat? He wanted your approval and what did you do?
You made a sinking heart drown.
DAHe’s a man. He can take the truth.
SISTER DIANAHe—(Pointing at Billy) that is a man? You are blinder than he is then. More deaf even.
But I suspect your heart is different from his. Yours is made of stone.
DAThe world is a hard place. Stone is its equal.
Sister Diana is about to return to Billy, but it appears that Da has grabbed her sleeve. She stops, turns.
DAMy wish is that you stop praying for him. I’ve been watched.
Go about your work without solicitations to your God.
SISTER DIANA(Incredulous)
My God?
DA
God neither hears nor accepts words from a religion cannibalizes then drinks the blood of Christ.
SISTER DIANA(Indignant)
How can you believe such nonsense?It’s symbolic, you fool.
DAThat’s not what your church says though, is it?
SISTER DIANACatholics can be just as stubborn as…as a Protestant!
DAStop your prayers. Stop trying to win him over to your side.
SISTER DIANAMy side is it? Well to be honest, old man, I’m not sure I have a side anymore.
BILLY(Calling out)
Don’t you be roughin’ up me Mum, Da.
Sister Diana pretends to shove Da; returns to Billy.
[3] The sounds of a summer thunderstorm begins and will get louder.
Sits in the chair, and takes the washcloth from his head and refreshes it.
SISTER DIANAEverything is fine, Billy. Everything—
BILLY What’s that? I thought you said the fighting would stop for the night.
SISTER DIANAIt’s a summer thunderstorm, Billy. Do you like them? I used to love them as a girl.
BILLYYou wouldn’t like them so much out there. We hated the sound.
The trenches would quickly fill with water. Me friend Tommy nearly drowned by this great rush of water come at us. The rats come out, too, when it rains. (Pause) Large ones, and
small ones, and too many to ever count. (Pause)
I’m going to die, aren’t I? (Pause) I can feel that he’s in the room.
SISTER DIANA(Gasps)
Who Billy, your father?
BILLYIt’s all right. I’ve seen him before.
I’ve seen him creeping past, just when I’m about to fall asleep. He was there when we was all sharing a laugh. Laughing too. But it was we who didn’t get
the joke.Even when we was singing those old songs from home late at night. Pitch dark. You knew
he was there, waiting. Death is always waiting, isn’t it?
SISTER DIANAOh Billy. My Billy. Don’t you want to go home? How about I write a letter to your Mum?
Do you have a girlfriend?
BILLYSeeing him so many times makes him seem familiar. You know how you meet someone
new for the second time, and it seems like your old friends. Death is that now. More friend than me friends. More alive and alert, that’s for bloody sure.
Sister Diana rises, turns, stomps back to Da. Pretends to grab his arm, angrily.
SISTER DIANAYou bastard! You silly old bastard!
Can’t you offer him anything more than your criticism and coldness?
DALying to him won’t do.
SISTER DIANAI’ll tell him anything so he can die in peace.
DAPeace or no peace, the truth is always better.
SISTER DIANAFool! Stubborn old jackass!
DAThere’s more to me than you can see.
SISTER DIANAWhat good is it if it can’t be seen?
[4] The audio of the battle begins to fade in:
Canon fire begins, softly at first and then getting louder. Diana looks at Da for a beat or two, and then goes to the window, brusquely opening the drapes.
SISTER DIANAIt’s almost morning, Billy.
Diana kisses her rosary beads and put them on the bed beside the boy. She takes off her cornette, placing it there, too. She touches her hair, scratches it. Diana takes off her habit, folding it neatly and placing it beside her other belongings. She unlaces her shoes and then stands barefoot, in a full-length white undergarment. Billy is aware of her movements.
BILLYWhat would you be doing, Sister?
No answer.
BILLY (CONT’D)You can tell me. We’re almost friends now.
Something in your actions be different.
DA What are you doing?
Diana turns, is gentle in her speech.
SISTER DIANAI’m sorry I was angry with you before. War pushes people to extremes, you know.
And this war is—so barbaric, so infinitely cruel. (Pause) I suppose all wars are, but I’m too naïve to know. (Pause) I shouldn’t have been so mean to you. I’m supposed to be better
than that—and clearly I’m not.
DAYou’re just—
SISTER DIANA(Turns, goes to the window)
I’m going out there. A woman in “no-man’s land.”
DA
You’ll be raped and for sure--shot.
SISTER DIANAOne and the same.
The sound of canon fire gets louder; the fighting is beginning in earnest.
SISTER DIANAMothers, and sisters and daughters have remained behind in every war. But no longer.
When there is even a thin rumor of war we should go to the front lines, wherever they are, arriving by the thousands, nay the millions, from every clan and comment.
It’s utterly stupid and pointless to stay behind worrying, praying and trying to bargain with God to spare our sons. Instead, we should be shouting, from every rooftop and hilltop, “Not our sons and not their sons!” (Pause) It may be called “no man’s land” because its a special
invitation to mobilize an army of women.
DADon’t, Sister. I beg you. It’s a fool’s errand.
SISTER DIANABut Da, maybe when enough mothers, and sisters, and daughters have been killed, have been piled up high enough, the soldier will finally have the reason he’s been waiting for since time began. “Nope,” he’d say, “I can’t be shootin’ anybody’s mum, or daughter, or sister... Nope,” they’d all begin to say, “and throw their guns down and walk away from
their tanks, and canons and that dreadful gas which has disfigured Billy. (Pause)And nobody would think any less of them as men, would they Da?
That’s what this war is about too, isn’t it, Da?
Diana goes to the window, opens the drapes. The bright morning sun shines in, and the sounds of battle get even louder.
I chose to live a cloistered life, Da. I chose to leave the world and spend my days praying for it. But the world sure as hell found me, didn’t it, Da? Didn’t it?
[5] The video only of another battle scene begins. It’s in slow motion, and gives an eerie effect. It lingers on the screen in this final phase of the play, over the actors speaking and moving, and continues into the darkness as the lights go down.
SISTER DIANA (CONT’D)Mornings should never begin this way. Ever.
As she is exiting, briskly and determined, Billy says,
BILLYTake me with you, Sister.
She doesn’t hear him, or Da when he says,
DAHold on, son. Let me help you.
Lights out.
--END ACT--
Needs reworking!!!!!!
ACT III
“BROT”(The German word for bread)
A stand-alone act, in a seven-act play in-progress, which is titled, “The War Play”13
[A special note from the playwright: Video and audio possibilities are included, though the play is self-sufficient without them. A brief description of these is listed below. They are cued in the body of the play, and can accessed by clicking on the hyperlink. Both the video and audio can be shortened, expanded, and/or new ones added. The playwright is also a filmmaker.
1. Before the lights come up, we see the hellacious images and hear the awful sounds associated with the Second World War. This montage climaxes with the sound of Hermann Goering testifying over the radio at the Nuremburg Trials.
2. An oven timer briefly ticks and then dings. 3. The sight and sound of American planes firebombing Dresden. This brief episode
crossfades to an image of a liberated concentration camp. The sound is that of a cantor singing the Jewish prayer for the fallen. (I envision the image playing full screen over the actors.
4. Audio only of Hermann Goering’s testifying is angrily turned up loud, and after a few beats turned down.
5. Grandfather clock chiming eight times. 6. Close up moving images of the ovens that were used at the concentration camps; the
audio track is the cantor continuing to sing the prayer for the fallen.
TimeMarch 20, 1946
SetIn the middle, downstage, is an old-fashioned cast-iron gas stove with an oven. There’s a door, stage right and at the back. It is the entrance from the upstairs bedrooms. Another door, upstage stage right, is a room where the mother stays. A small school bell sits atop a small table near her door. The exit door is stage left. A wooden table with four chairs is a little to the left of the stove. On it are four plates, four coffee mugs, etc., and shiny silverware.
Cast (The Müller family, in order of appearance)
HEINRICH, a large smug man in his fifties who is over-dressed for the circumstances of a regular day in a German household.
ALEXANDER, mid-twenties, and though dressed in a suit and tie looks disheveled, tie loosened, hair uncombed, and as if he is sleep-deprived. He’s haunted-looking, jittery, like the sleep deprived.
JOANNA, the mother, gaunt and watchful.
PAUL, the youngest son, late teens, works at his father’s factory. He dresses in a suit that’s a little too big for him, wears a tie that poorly tied. His hair is groomed especially nicely.
Opening Scene [1] https://vimeo.com/225580449/30851ca98f After a few beats, the lights come up and we find Heinrich listening to Hermann Goering testifying on the radio at the Nuremburg Trails. Heinrich’s son Alexander enters. Heinrich immediately turns off the radio.
Alexander notices, stops momentarily, ignores him, and begins heading for the exit door. He stops, turns, goes back to his mother’s door. He rings the bell a few times. He has to work at being non awkward about it because his hand and arm, at times, jerk almost uncontrollably. The door opens and he goes in. We don’t see who’s inside yet. His visit is brief. He closes the door, pats down his hair, and tries to fix his tie.
Alexander is about to leave again, when he hears the oven timer ticks and then dings [2] https://vimeo.com/225457142/dfa476e164 He watches as his father rises, takes bread rolls out of the oven with a mitt. Smelling them, he smiles broadly. He sets them on a hot plate and as he is opening the butter and jam jars, sees Alexander.
HEINRICHOff to assuage the guilt of the Fatherland? (Silence)
What’s done is done. What’s past is past. (More silence)You should be worrying about the Russians. They have us surrounded. (Wryly)
Wait until you see what THEY are capable of doing.Alexander is hesitant, but then slowly turns in the direction of his father.
[3] https://vimeo.com/225457295/bf2337e289
HEINRICH (CONT’D)Herr Goering points out that Allied forces conducted “terroristic bombing” of German cities.
Fourteen hours of bombing, a half million Germans incinerated. Dresden, like Paris, the cultural center of the Fatherland disappeared.
All its art. Its churches. Its history.
ALEXANDERAnd what of the people who come every day?
“Name? Your number please? Yes, roll up your sleeve. Name? Your number please. Yes, roll up...” (To Father) Is there no difference to you? No difference between giving
cause for a war and wanting to end it.
HEINRICHTheir motivation in bombing was anything but noble.
They wanted us to surrender before the Russians moved in.
ALEXANDER They wear long sleeve shirts and blouses even in the heat. Oh some of them chatter on,
busily trying not to remember I think. But most are silent. And smell of smoke and decay.
HEINRICHIs that what keeps you up at night? (Laughs) My boy afraid of ghosts?!
ALEXANDERAnd what are you afraid of father? You keep the curtains drawn. You never leave the
house. (Pause) There is something you’re not telling me. Not telling Paul and me.
Joanna quietly opens her bedroom door, and gliding to a place next to the oven, unnoticed. Alexander nods at her, and leaves. Heinrich looks over.
HEINRICHHow long are you going to remain silent?
How long will it be before you cook again? Bake?
Johanna starts for her room. He calls after her, angrily but plaintively, too.
HEINRICH (CONT’D)You knew what was happening!! You knew...
And now when it ceases to matter I am to take full responsibility?
Heinrich turns the radio up loudly, to irritate Joanna.
[4] https://vimeo.com/225457447/38676c306b
Johanna reaches her room, softly closing the door behind her. Heinrich pours himself a hot mug of coffee, takes a sip and makes an obnoxious sound as he does so. He listens to more of Goering’s testimony. (Pause) Paul enters, and Heinrich turns the radio off.
PAULWhat’s all the commotion, Father? (Pause, reference Goering on the radio). What’s that?
ALEXANDERYour brother. Up to his usual-- antics. I get you some breakfast.
(Holds bread up) Smell. Good, no?
PAULI don’t want to be late. On my first day.
HEINRICH(Not listening)
The Italians have an expression. Instead of saying somebody is as good as gold,They say the person is as good as bread.
PAULThe bread of life, isn’t that what Jesus said, Herr Father?
You know she wants us to do it, regardless of the circumstance.
.Alexander hurriedly, and unexpectedly re-enters just as Paul is about to kiss his father good-bye. Paul stops. Alexander is out of breath, and more disheveled than before.
PAUL (CONT’D)My brother. Did you forget something?
Alexander pauses, stares at the two of them, then exits to his room upstairs.
PAUL (CONT’D)He’s so secretive about it. He won’t even tell me when I ask. (Pause)
Do you know what he’s trying to find Father?
HEINRICHHe is too much like his mother. Faint of heart. But not you, my son.
Alexander returns, briefcase and papers pressed against his chest, helter skelter. He is oblivious to his father and brother. He looks at them but doesn’t see them. He turns, heads for the bell.
HEINRICH (CONT’D)There’s no need for that.
(Alexander pays him no mind)Do not ring that bell.
PAUL(To Alexander)
She, like you, has changed so much in the course of the war, Alexander.
ALEXANDER(Turns bitterly)
Did you know that the Fatherland took every bell they could find in Europe and Russia, and melted them into bullets and bombs?
PAULThat’s not true is it Father?
HEINRICHWhat of it?
ALEXANDERHow strange a world it is not to hear the sound of a bell:
To announce it is time to rest, to eat, To gladden a wedding, mourn a death—
To warn a town of a fire or impending danger. Oh how bleak a world it is without the sound of a bell.
Alexander goes to his mother’s door, picks up the bell, and rings it close to his ear. Paul is perplexed and troubled. After a few beats hurried, Alexander begins to exit.
PAULWait up, brother. I’ll walk with you.
Door slams.
HEINRICHLet him go. Now Paul, keep your eyes open (Sardonic laugh).
You wouldn’t want anybody to cheat your father!
Lights dim, Paul exits. Heinrich goes over to his wife’s door. Examines the bell without making any sound with it.
Scene 2Lights come up. It’s suppertime. The timer bell on the stove rings, and Heinrich is taking bread out of the oven. Smells it, sighs at its wonderful fragrance. Paul is busy setting the table. They work in silence.
HEINRICHWhy do you always set the table for four? You know your mother doesn’t eat with us.
PAULWhen does she eat, Father?
HEINRICHI hear her late at night. Sometimes early in the morning, while its still dark.
PAULShe’s wasting away.
HEINRICHShe’s stubborn, just like Alexander. In any case, set the table for three from now on.
PAULThey used to teach us to set an extra plate for our guardian angel.
Or an unexpected visitor.Then the Fuhrer took the angel’s place. (Pause). I will obey father.
HEINRICHNo, no. Leave it, then. I didn’t know that’s what you were doing.
(Looking at his watch). We should eat.No point in calling your mother, is there?
Alexander enters and he’s in frenzy. In his arms, clasped upon his chest is his briefcase, scattered pages, still helter skelter, but now there are what look like blueprints rolls. Alexander tosses everything on the table, knocking over cups, glasses, and dishes. The sound alerts the mother, as does the shouting that follows.
HEINRICHDamn you boy!
PAULAlexander?! What’s the matter?!
ALEXANDER(Ignoring brother)
I will be no son to this!
Father slides his chair back angrily; he suspects what’s coming.
PAULWhat is it brother??
You must tell me.
HEINRICH(To Alexander)
Silence you idiot! You’re mad!
ALEXANDER(Regaining his composure some)
All this time I thought there was something wrong with me! All these years!HEINRICH
There IS something wrong with you.That’s why you were not permitted to join the Hitler Youth corps,
or the Wehrmacht, even at the end, when the army was desperate for -- (emphasizing word) men.
(Alexander covers his ears)
HEINRICH (CONT’D)Neither the beginning nor end.
ALEXANDERDon’t! Please father, don’t!
Tries to regain his composure, breathes deeply, turns to Paul. Opening up a blueprint he points to one corner.
ALEXANDERThere. Tell me what you see, brother?
Johanna appears in the doorway, noticed only by Heinrich. Paul examines the blueprint but can’t figure out what he’s supposed to be looking at.
HEINRICH(To Joanna)
Go! Get back to your cave!
ALEXANDER(To Heinrich)
You are so ugly mean. I thought it was just your temper. But you don’t have what most human beings have, do you father?
Maybe the German people don’t have it either.
Heinrich rises, angry. As if to physically intimidate his son.
Overlapping conversations.
PAULWhat is it, Alexander? What are you talking about?
ALEXANDEREmpathy. The gift to feel another’s pain; their sorrow.
HEINRICHIt only brings weakness. Blindness.
(He begins to pull off his belt, to beat Alexander. Both sons step back, afraid, having experienced such beatings before.)
I will not be talked to that way! Even by a deranged son!
Joanna keeps moving toward Heinrich, slowly, with conviction, emphasizing each word loudly as she does so.
[6] https://vimeo.com/225583381/c1f2e463c8
JOANNADon’t. You. Dare!
ALEXANDER(Pointing to a corner of one of the blueprints.)
There, Paul. Do you not see?
PAULThey’re ovens, aren’t they Alexander? I’ve never seen such huge ones before.
Look father, have you seen such...
HEINRICHIf I didn’t design and build them, somebody else would have done it.
PAULThese aren’t the ovens they’re talking about at Nuremberg, are they, father?
ALEXANDERYes. Precisely these. Children, women, old people. Catholics. Homosexuals. Jews, Jews and
more Jews...
HEINRICHVermin all!
ALEXANDER…And more Jews.
(To Paul)Our father made them huge, and more efficient.
And no doubt paid handsomely by the Reich.
(Pointing, to Paul)
There, Paul! Do you see what’s written at the base of the oven in the picture?Paul, after a few beats, says, sees.
PAULMüller and Sons. (More loudly, quizzical) Müller and Sons? (Pause.)
PlaceA draft board in a rural part of Central New York. The meeting room inside is located on the second floor of a building in an unnamed village. Inside, right center stage, is a table and three chairs, one for each member of the hearings panel. On the table, before each chair, are notepads, pens, water glasses, and a pitcher of water. A smaller table, stage left, and facing the audience, has a box on it, and another on the floor. Both are filled with files in manila folders. An early 1960s, inexpensive electric typewriter sits adjacent to a large stack of
folders. All but one has been turned over--signifying the hearings on these applicants have been completed. One file remains, Johnny’s, the last of the evening.
Character DescriptionsJOHNNY In his mid-twenties, with long hair and a beard. He wears wire-rim
glasses and a denim jacket.
MARGE She’s the hearing’s clerk: older, glasses with graying hair. Frumpy in her dress; she’s a reliable hand.
CARL A retired Air Force Colonel, in his mid-fifties--tall, thin, with thinning hair. He’s on the quiet side and is uniform.
PHIL A local businessman. His store sells televisions. In his mid-fifties, somewhat overweight, ignorant and mean.
DEWEY A local postman, in his mid-fifties and fit. He pays attention to detail. Dewey comes to the meeting right after work, is still in his postal uniform.
Set PossibilityVideo and audio suggestions are included for this scene too.
[1] https://vimeo.com/227779040/830b67ba44 An edited opening sequence: The sounds of a heavy rainstorm fades in--,lightning cracks; thunder rumbles. After a few beats, Johnny opens his car door and closes it. Then we hear Johnny’s footsteps on the pavement, as he high tails it to a building’s door. When it closes behind him, the storm’s sound is reduced by half. Then we hear Johnny going up the stairs to the second floor meeting room. The sound of the muted weather mixes with the sound of the onstage actors singing “Happy birthday.” Marge is heard the most loudly.
Lights come up and we see that Johnny has reached the landing (stage left). He waits for the last words of the “Happy Birthday” song to end, hesitates, and then knocks. Marge is holding a small cake with a single lit candle on it.
MARGE(Hurriedly) This has to be Mr. Ianello. (Puts the cake in front of the Colonel)
Colonel, do us the honor of blowing out the candle please.
Colonel blows out the candle. Setting down the cake Marge asks,
MARGEWho would like a piece?
They all shake their heads “no.”
COLONELMaybe later, Marge.
DEWEYNo thank you. But very thoughtful of you.
PHILI’ll take mine home with me, if that’s okay I mean.
COLONELYou go ahead and have a piece.
MARGE(Saluting him)
Work first, Sir! Besides, I don’t want sticky fingers. I forgot to bring napkins.
Johnny knocks again. Marge hurriedly sets down the cake, picks up four copies of Johnny’s file, hands one each to the committee members.
MARGEThe last of the night. (Pause)
Come in! Come in!
Johnny enters slowly, stops, and takes in the room’s features, ambiance, and those present. When he closes the door [6] the sound of the weather ceases altogether. Phil rudely continues to chat with Dewey; doesn’t look up. Dewey tries to look over and acknowledge the applicant, but Phil tugs on his sleeve, pulling him back into his mundane discourse. The words of this conversation are indistinct. The Colonel looks up expressionless. Johnny is over-the-top soaking wet.
MARGE (CONT’D)This is (about to introduce the committee members but stops)--my God he’s soaking wet! (Coming from around her desk). This is awful! (Reaching him, she says) Here, let me help
you off with this (the denim jacket). There. (To the others) He’s drenched through and through. (Pointing to a bathroom door, she says to Johnny) There’s a towel inside.
Phil looks up momentarily but goes back to his boorish monologue with Dewey, a reluctant listener. Johnny goes in the bathroom, closes the door behind him. The Colonel, looking at Johnny’s file, says coolly,
COLONELPlease look over this young man’s file.
A few beats, then Johnny comes out of the bathroom. His hair is tousled, and a little drier, but his shoes squish and he’s dripping water everywhere.
MARGEWell, that didn’t help too awful much.
PHILLet’s adjourn until next month?
DEWEYThis case has a deadline. We have to let Washington know our decision
(Looking for the date) in ten days.
MARGEThere’s a dryer downstairs. Let me put his clothes in and we’ll—
PHILThat’ll take at least a half-hour.
DEWEYWhat other choice do we have?
MARGEThere’s a blanket down there.
COLONEL(Confused by the comment)
And?
MARGEWell, to get his application done and to avoid wasting time tonight—
COLONELI don’t think that would be appropriate.
JOHNNYIs she suggesting I appear before you wrapped only in a blanket?
PHILIt’s either that or miss the deadline. In which case you’ll be drafted and good luck with
applying for a CO then.
COLONELHe has to feel comfortable.
JOHNNY(Shrugs) I’m okay.
MARGEJust put your clothes in a pile outside the door and I’ll take care of it.
Johnny goes into the bathroom again.
PHILGreat idea, Marge.
DEWEYI think we should request some kind of delay.
There must be some fine print in our guidelines.
MARGEThe Selective Service is way behind, and getting more so every day. In fact they’re
downright rude over the phone. One phone call I made--
The bathroom door opens and closes quickly. Johnny has put his rain-drenched clothes in a pile.
MARGE(Gathering up the clothes, calls back to the others) I won’t be a minute.
As she’s exiting, Phil calls after her.
PHILDon’t forget the blanket, Marge!
The Colonel and Dewey glance over at him. Phil is self-centered and annoying.
PHIL (CONT’D)
I have to be somewhere in—(Looking at his watch) a half-hour or so.The store is open late all week. We’re running a closeout sale on those old round-screen
color TVs. You know the ones? Big, big year for TV purchases and programming.
DEWEYPretty crazy year, too. Two assassinations, the riots, a war that is escalating quickly.
PHILThe heck with that!
Soap opera superstar Rosemary Prinz had a pissed-off departure from As the World Turns. And The Guiding Light and Search for Tomorrow are going to thirty minutes each—
DEWEYColonel, you must be pleased with the first live television broadcast from a spacecraft in
orbit.
PHILApollo Seven is unfortunately not getting as many viewers as—
Marge enters, bearing a large towel.PHIL (Cont’d)
--American Bandstand.
Marge knocks on the bathroom door.
MARGEI’ve got you a towel.
She covers her eyes, holds out the towel near the door opening. Johnny takes it, closes the door, wraps himself in it, and comes out. Meanwhile, Marge has returned to her seat.
COLONEL(To Johnny)
You sure you’re okay with this?
JOHNNYWell, to be honest, I do feel a little silly. But yeah, let’s get this over with.
COLONEL(To the others)
If everyone else is okay, let’s get started. Phil? You always go first.
Marge tries to type but nothing is happening.
MARGEHold on. I forgot to plug the darn thing in.
DEWEYWhy is she typing this? We haven’t done it before.
COLONELI’m told it might be a test case.
Marge has plugged in the electrical chord and types a few letters, to see if it’s working. It is. She nods over at the colonel. Thumbs up. Her typing will continue throughout the hearing, with the exception of comments that are not integral.
COLONELYou ready Phil?
PHILWhy do you want—why do you think you deserve to have a conscientious objector status?
JOHNNYIt’s simple. I believe the war is wrong and I don’t support it.
PHILPresident Lyndon B. Johnson, Vice President Humphrey, Secretary of Defense McNamara, and the entire Congress of these United States, except for those two guys from East Jesus
support the war. And they’re wrong and you’re right?
JOHNNYI’m not the only one against the war.
PHILTo be approved as a CO, you have to convince the board that your religious beliefs warrant
its justification. (Looking at file) But it says here you are an atheist—and—I also see you had the audacity to put down Jesus Christ as a reference.
Marge stops typing, looks over. Inadvertently pushes Johnny’s file off her desk onto the floor. She’s not happy with Johnny boy.
COLONELPhil, our questions must be objective and free of personal judgment or characterizations.
PHILBut this is so outrageous--blasphemous!
COLONELPlease, Phil. We have to abide by the guidelines.
PHILExplain how an atheist can claim Jesus Christ as a reference and that these are religious
beliefs that—
COLONELJohnny?
JOHNNYJesus was the first pacifist. The first Christian pacifist. And if God, which so many believe, sent Him surely He could have called down the heavenly armies and kicked the Pharisees and Roman’s asses. But He didn’t do that. Instead, He chose death rather than kill those
who condemned Him. (Shrugs) I didn’t think Jesus would mind if I used him as a reference.
PHILDon’t be a wise-ass.
COLONELPhil, are you done?
(Phil nods)
COLONEL (CONT’D)Dewey?
DEWEY(Clears his throat)
Are you against all wars or just this one? Take, for example, would you have fought against Hitler?
JOHNNYI would have worked hard for a just and lasting peace after World War I. I would have
lobbied hard for the League of Nations.
PHILThe League would have been your cure all?
COLONEL(A reprimand)
Phil.
JOHNNYNot at all (sarcastically) sir.
But it was one of the most auspicious beginnings in all of human history.
DEWEYIt’s my turn with the questioning, Phil.
PHIL(Grumbling) Sorry.
DEWEYA Conscientious Objector has to do alternative service. Work in an emergency room of a
hospital, for example. Are you prepared to do that if you’re given a CO status?
PHILWe’re getting ahead of ourselves, aren’t we?
COLONEL (To Johnny) Please answer the question son.
JOHNNYNo, I would not accept doing alternative service. It’s either a CO or put me in jail.
PHILWhy you—
The Colonel shoots Phil a nasty look; Dewey elbows Phil harshly.
DEWEYIf you went to jail, you would be a felon. You know that?
JOHNNYYes, sir I do.
DEWEYAnd you know that a felon can’t vote and any field that requires a professional license is
closed to convicted felons. Anything in medicine; anything to do with teaching.
PHILLet me put in here, if I may (doesn’t wait for permission)
It’s something I know about. I’m allowed to say no to hiring of a felon and as an employer don’t have to give a reason.
COLONEL(To Johnny)
Someday you might want to get married and have children. Being a felon is a red flag to any judge regarding custody rights and other related concerns.
DEWEYYou might even have trouble getting a lease or a loan. Renting, or buying a house.
COLONEL And you’re still against doing alternative service?
PHILWhat a—
JOHNNY (Upset) For Christ sakes, you think I want to do this?
COLONELWhy are you? That’s what I want to ask.
You have a graduate deferment and as long as you are in school it’ll be renewed.
JOHNNY(Clears his throat)
I feel as though I have to take stand, one way or another. It’s not fair to do otherwise.
PHILAre you afraid to fight? To go?
JOHNNYYeah, but not in the way you think.
I was going to enlist, after my first year of graduate school. But my advisor told me he’d give me a year to read all I wanted on Vietnam: America’s
involvement, the French before that and even begin with the Chinese. After that year, he said, if I still wanted to enlist, I could then go ahead. (Pause)
We say we praise knowledge. As a country I mean.But there were books in the library by Bernard Fall, who had been in Vietnam—Indochina—since the 1950s, as the French were leaving. He’s said to know more about Vietnam than
any single living journalist. (Pause) When I pulled his books from the shelf, I had to blow the dust off their tops. I checked the library card and nobody had taken any of them out in
years.
COLONEL
We’ve covered the basics. And of course there’s more in your application, which I found very thorough and mostly subjective. (Turning to the others) Any more questions? (No
response)Son? Anything you’d like to add to your application or statements here tonight?
Johnny shakes his head “no.”
COLONEL (Cont’d)Well then—Marge, how about you? Did you get everything?
MARGEMost of it. I’ll fill in some of things I had to skip over.
MARGE(To Johnny)
I’ll get your clothes. They should be dry now.
Johnny gets up and slowly goes into the bathroom. He’s drained.
COLONELJust write a “yes,” if you believe our applicant should be granted a CO status, and a “no” if
you believe he shouldn’t. Fold your—
PHIL(Getting up)
Gotta run. Sorry.(Hands slip of paper to the Colonel, who’s standing now)
Dewey also gets up, the Colonel meets him by the door. Dewey hands him his vote in a folded up piece of paper.
DEWEYWell, good night Colonel. Interesting meeting.
They shake hands.DEWEY (Cont’d)
I’m sorry Phil has to be such a jerk at times.But—I think he means well.
(The colonel nods in a noncommittal way)
DEWEY (CONT’D)Can’t figure you, Colonel. I keep expecting you to be all “rah rah go America.” (Pause) And
yet you seem to be getting more and more mellow. And coming in uniform and all.
COLONELI’m required to wear it at these hearings. Got to be a little unsettling to the applicants when
they come in looking for sympathy.
DEWEYWell, I have to admit it’s a little intimidating to all of us.
Being a pilot in the big war and Korea, too. All those medals.
COLONELI think we should listen more carefully to these young men. After all, they’re the ones who
have to do the fighting and dying. (Pause) We should not have the right to send young boys off to war when they can’t even vote for those they want to lead them. I can’t remember but
I heard once that old men should be planting trees they will never sit under.
Marge returns with Johnny’s clothes all folded up.
DEWEYWell, being with you these many months, I’m beginning to feel I know a little more about
you. (Shaking hands before he exits). Good night, Colonel.
COLONELI’m okay—I’m more than okay with being called Carl.
Dewey nods good night to Marge.
DEWEYThanks for all you do, Marge.
MARGETake some cake home with you!
DEWEYI don’t think so but thanks. Have to stay fit. They added another mile to my route and the
letters and telegrams keep pouring in. (Sorry he’s said the latter, he exits)
Marge goes to the bathroom door and knocks; puts Johnny’s clothes beside the door. As she turns to talk with the Colonel; Johnny reaches out for his clothes.
MARGEYou can leave, Colonel. I’ll pick up and then go home.
COLONELI’ll stay. You go on along.
MARGEWell, if you insist. I can come in tomorrow morning and finish up.Everybody voted? (The colonel hands Marge the slips of paper).
Yeah, put that in the report too. I’ll come by tomorrow afternoon and we’ll look it over, okay?
(The colonel goes to the window)
MARGESure. How about some cake?
(The Colonel smiles but nods “no.”) I’ll drop a piece off to Phil.
COLONELStill raining pretty hard, Marge. I’m sure Phil can wait until tomorrow.
MARGEWell, good night then Colonel.
Marge exits, Johnny enters just as the door closes.
JOHNNY(Looking around)
I didn’t even get a chance to kiss anybody good-bye. Whose birthday was it anyway?
COLONELBirthday?
JOHNNY You know, the cake.
COLONELI’m sure you wouldn’t want to know.
JOHNNYAw come on, I’m curious.
COLONELIt was Marge’s idea. We were singing Happy Birthday to our new space. We needed a bigger
room.
JOHNNYJesus Christ. When craziness starts its like a brush fire that gets out of control. Like
quicksand pulling us all in until none of us is able to breathe. (Shaking his head)
When will I hear from you guys? Not that it matters much. I need to prepare my parents. And Francine.
COLONELShe your girlfriend?
(Johnny nods)Do your parents know you’re here? Does Francine?
(Johnny shakes his head “no.”)
COLONELI didn’t think so. (Pause) You should get something in the mail in about ten days or so with
our answer.
Johnny turns, heads for the door and opens it. [2] https://vimeo.com/227779359/7ed3a6f693 The “half sound” of the storm comes in and continues for a few beats after the act ends. Simultaneous with the SFX, the Colonel watches the weather from where he stands at the window. (Pause) Your application says you’re twenty-four.
Johnny turns, the door remains opened.
JOHNNYYeah. So?
COLONELI’ve got a son about your age.
JOHNNYI’m not following.
COLONELYou remind me of him. Smart, appears to be a tough guy, and at times a royal pain in the
ass.
JOHNNYInteresting. (Pause) Is he in ‘Nam?
COLONELNo. Canada.
(Johnny is shocked, doesn’t move. The Colonel picks up his own umbrella.)
Audio only of the closing lines of Bob Dylan’s “A Hard Rain’s A-Gonna Fall” mixes with the SFX of the storm and both die.
--END ACT--
1 2 The “seven generation” prophecy of Crazy Horse came in a vision he shared with Sitting Bull during a pipe ceremony days before he was murdered. 3 4 A US Army Calvary guard killed crazy Horse in 1877.3The Laramie Treaty of 1868 included an article to "ensure the civilization" of the Lakota, financial incentives for them to farm land and become competitive, and stipulations that minors should be provided with an "English education" at a "mission building." Gold was discovered in 1974 and prospectors crossed the reservation borders in violation of the treaty. This sparked a battle between white settlers and Plains Indians. In 1877 the government seized the Black Hills land. More than a century later, in United States v. Sioux Nation of Indians, the Supreme Court ruled that the government had illegally taken the land and awarded the Lakota Sioux millions in compensation. But the Lakota Sioux refuses to accept payment and instead continue to demand the return of the territory from the United States.
5The “black hills” are a small, isolated mountain range begins in the Great Plains in western South Dakota and extends into Wyoming. The forest was so dense it looked black, and hence the name “black hills” was given to it by the Lakota’s.
6 Crazy Horse was unique among the Lakota’s. A vision told him to dress modestly and he would be unharmed in battle. He wore no war bonnet, and the lightning bolt painted on his cheek was also part of that same vision.7 In the Lakota language, “Canwapekasna Wi,” means “Moon when the wind Shakes off Leaves.” It is one moon in what is called “the moons of change” season of autumn.8 This is part of the seventh generation prophecy. It’s full text can be found in many places.9 10 Bud Taft and Willie Lincoln were in fact best friends, and had previously spent a great deal of time together both at the White House and at the Taft family home in Washington. Though no one apparently knows what they talked about at the end of Willie’s life, the words and experiences described by Lincoln, his minister and Mrs. Lincoln are largely part of the historical record.11 Willie Lincoln actually died on February 20, at 5:00 P.M. I am taking poetic license here for dramatic effect.12 The room Willie died in at the White House was originally a guest room. Refurbished and substantially changed over the years, it is now the Lincoln bedroom.
