Telling William Tell ______

A full-length dramedy by Evan Guilford-Blake

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CAST OF CHARACTERS

Telling William Tell requires 11 actors: 5 men, 3 women and 3 children (2m, 1f). It may be done with as many as 21 (11m, 10f). Race is irrelevant.

GIOACCHINO ROSSINI (Historical), the composer of almost 40 operas and the leading figure in French music in the first half of the 19th century. He operates from a great sense of urgency and tends be abrupt with people who don't share that, or his very serious attitude toward music in general and his in particular. At the time of the play he is 37. WILLIAM TELL (Legendary), a leader in his community and renowned as an archer. He is a nationalist who believes strongly in his country's independence but—generally—is level- headed in how to go about achieving it. Devoted to his family and a good father. GEORGES MEISTER (Fictional), producer of the Paris Opera, the world's foremost company. A businessman who loves art but is much more concerned with the bottom line. And with food. He has a longstanding and effective working relationship with Rossini. GOVERNOR JOHANN GESSLER (Historical), governor of the area of Switzerland in which the Tell family lives. He is a despot whose primary concerns are his own welfare and safety. FIRST KEYBOARDIST (Fictional), an incompetent keyboardist hired to assist the injured Rossini compose his opera. PETER-THE-ROVER (Fictional), a Celt living in Switzerland. Friend of the Tell family and wooer of Ariadne Gervais. He plays an instrument (ideally, the recorder) and is an ardent proponent of freedom—his own and Switzerland's. LUIGI BOCCINO (Fictional), another keyboardist hired to assist Rossini compose his opera. He is a capable and gentle man who loves his family, especially his prodigy son. JEAN TELL (Fictional), Tell's son, age 12. He is bright and imaginative, as well as headstrong, impetuous and independent, approaching manhood and learning the lessons he needs to achieve that status. GIOVANNI BOCCINO (Fictional), Luigi's son, age 12. He is timid but friendly and confident of his musical abilities. Very bright. ROXANE GERVAIS (Fictional), Ariadne's daughter, age 12. Jean's best friend. She is extremely smart, more reasonable than Jean but also headstrong and willing to face risk to help Switzerland achieve its independence. HANS SCHMIDT (Fictional), Gerhard's son, age 10. Like his father, he is meek and easily frightened. Hans is the voice of caution in his trio of friends that includes Jean and Roxane. KARL (Fictional), an Austrian soldier, 25-40. He works for Gessler (whom he doesn't like) but avoids being a toady. He has sympathy for the plight of the Swiss, recognizes the problems Gessler is creating and tries to soften the impact of the Governor's decrees. MARCEL LAFLEUR (Fictional), 25-40. A leader of one of the Forest Cantons and of the Swiss revolution. He has a positive outlook, a protective personality and a sense of humor. SUZANNE TELL (Fictional), Jean's mother, 28-38. A good mother, concerned with the best interests of her son and husband, but, like them, committed to Swiss independence. MARIE BERNÉ (Fictional), an opera singer, 28-38. A diva who is both naive and talented. There is a certain vacancy about her intellectual processing and she overcompensates for the impetuous errors she often makes. CORINNE VILLIERS (Fictional), an apple farmer, 28-38, Marguerite's daughter. She has "street smarts" though no formal education. Talkative and outgoing. ARIADNE GERVAIS (Fictional), 28-35, Roxane's mother. Strong, intelligent, committed to Swiss independence. Her husband was killed in the early stages of the fight; she misses him but doesn't grieve because she believes in what they both stood for. SIMONE BERNÉ (Fictional), an opera singer, 28-35. Marie's cousin. Also a diva, but much haughtier and not at all naive. She loves attention. A WOMAN OF ALTDORF (Fictional), a street seller, 28-35. She believes in commerce and has no interest in the politics of the Swiss/Austrian struggle. BRITTA BAUMANN (Fictional), 40-65. The leader of one of the Forest Cantons and one of the architects of the Swiss freedom movement. She is wise, strong and capable. MATHILDE (Fictional), 40-65. Rossini's housekeeper. She is patient with Rossini and protective of him, and appreciates his skills, though she has no knowledge of music and not much curiosity about it. MARGUERITE VILLIERS (Fictional), 63, an apple farmer. Corinne's mother. Like her daughter, she has "street smarts" though no formal education. Talkative, outgoing—and she doesn't suffer fools at all. ROBÉRT WEISZ (Fictional), 30-40. A leader of one of the Forest Cantons and of the Swiss revolution. He is the most physical and least intellectual among the leaders. A good man, though he tends toward gruffness and impatience. GERHARD SCHMIDT (Fictional), 30-40. Hans' father. A man who is reluctant to disturb the status quo. He is timid and anti- revolution because he is afraid of the consequences of speaking out and acting on its behalf. He also woos Ariadne.

The suggested cast breakdown with doubling is:

GIOACCHINO ROSSINI/WILLIAM TELL GEORGES MEISTER/GOVERNOR JOHANN GESSLER JEAN TELL/GIOVANNI FIRST KEYBOARDIST/PETER-THE-ROVER/LUIGI BOCCINO ROXANE GERVAIS HANS SCHMIDT KARL/MARCEL LAFLEUR SUZANNE TELL/MARIE BERNÉ/CORINNE VILLIERS ARIADNE GERVAIS/SIMONE BERNÉ/A WOMAN OF ALTDORF BRITTA BAUMANN/MATHILDÉ/MARGUERITTE VILLIERS ROBERT WEISZ/GERHARD SCHMIDT

THE SETTINGS

Paris, 1829. Rossini's music room. Altdorf, a Swiss village, and environs. 1307. ACT I

Scene 1: Rossini's music room. A morning in July, 1829/Altdorf and environs, October, 1307.

Scene 2: Rossini's music room, early the same afternoon/Rütli Meadow, late the same evening.

ACT II

Rossini's music room, about 4:00 the same day/Altdorf town square, a few days later

PRODUCTION HISTORY AND AWARDS

First produced by FirstStage, Atlanta (Commission: 2002).

Winner, Jackie White Memorial Playwriting Competition (2006). Winner, Aurand Harris/NETC Children's Play Competition (2006).

ACKNOWLEDGMENTS

Special thanks to Luann Purcell and Jim Wert.

DEDICATION

This is for Roxanna. As everything is for Roxanna.

PLAYWRIGHT'S NOTES

Telling William Tell is not an historical play in any meaningful respect. To begin with, there probably was no such person as William Tell, and the dates given for the Swiss rebellion and formation of the "Everlasting League"—the basis for the modern Swiss confederation—range from 1271 to 1307. The white rainbow at Rütli is part of the legend (such things, known as "moonbows," do exist in scientific reports) as is, of course, the shooting of the apple.

Neither has serious attention been paid to the historical Rossini. He composed the opera in 1829, but—atypically for him, since he frequently delayed work until the last minute— he wrote it over a period of roughly six months, because the intended leading lady was pregnant at the time it was originally scheduled to be staged. Anyone familiar with either Rossini's opera or the Schiller play (which was Rossini's librettists' main source) will immediately recognize that their stories—of Arnold, a young man torn between his loyalty to Switzerland and his affection for Mathilde, the niece of the Austrian Emperor, who is Gessler's ward; Tell's suspicions about Arnold's allegiances; Arnold's eventual commitment to the cause because of Gessler's treatment of his father (in Schiller, he is blinded; in Rossini, executed); and the ultimate coming together of Arnold and Mathilde as a backdrop to Tell's killing of Gessler following Tell's escape from a boat during a storm—have nothing to do with the Tell story of this play.

Nor is there any effort to limit the music used to that of the opera. I suggest swatches from various Rossini overtures (and one vocal piece), because they are more appropriate to this play and/or because they are better suited to an audience unused to hearing opera (even without words), such as most young people today.

While all the characters except Rossini (and, to a limited extent, Gessler) are wholly fictional, the facts about his background, his time and Tell's, and the geography, are generally accurate. Of course I have taken sociological liberties: It is unlikely a woman would have been in a position of power such as Britta is, nor that one from a farming background would have been educated—or as aggressively romantic—as Ariadne. And it's equally unlikely that children of the farming classes would have been able to read. Chocolate was probably unknown in Switzerland in the 14th century, and sugar would have been far too precious to be used as the play suggests. But this is a play for children, and the social implications and "modern" identifications they need to make are important storytelling devices to help them understand the real point of the play: that there has always been the need for change, and that things have (and haven't) changed over the centuries, juxtaposed with how children can—and should—be allowed and encouraged to help effect whatever change is taking place.

Evan Guilford-Blake Stone Mountain, Georgia

Telling William Tell 11

ACT I SCENE 1 (Pre-show music up: MUSIC CUE #1.) (Rossini's music room. A morning in mid-July, 1829.) (In black: MUSIC—played poorly—is heard.) (At Rise: ROSSINI is discovered at his desk, a music manuscript before him. The FIRST KEYBOARDIST plays the piano.)

ROSSINI: No, no, no! The right hand is legato, the left hand is staccato. I've told you that twenty times, man!

FIRST KEYBOARDIST: I'm sorry, Master Rossini. Shall I play it again?

ROSSINI: Again? You haven't played it yet! All you've done is—tinkle the keys.

FIRST KEYBOARDIST: (Impatiently:) I'm sorry, Master Rossini. It's a very difficult piece.

ROSSINI: Sorry! Hmp! When I was a child I could have learned it in minutes.

FIRST KEYBOARDIST: (A mumble:) I didn't know they even had pianos back then.

ROSSINI: What was that? (Unseen, GEORGES enters.)

FIRST KEYBOARDIST: I'm sorry, Master Rossini. I'll practice more for next time.

ROSSINI: Next time! I have an opera to compose. And barely a week left to complete it. With this wrist. (He indicates a wrapping:) If you can't play for me, how shall I finish an opera in one week? © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. 12 Evan Guilford-Blake

GEORGES: You've done it before. Several times. To my endless consternation.

ROSSINI: Monsieur Meister! Good morning! (Ironically:) How nice of you to come all this way, mio amico. Did you have a pleasant walk?

GEORGES: I did! The fresh air was invigorating. You should try it.

ROSSINI: Unfortunately, I rarely have the leisure to, because I must have my "pianist" play the same passage several dozen times before he gets it right!

FIRST KEYBOARDIST: I beg your pardon, sir!

ROSSINI: And beg you should! Now go. And don't bother to come back! FIRST KEYBOARDIST: Good day!, "Master" Rossini. GEORGES: Gioacchino, what are you— (First Keyboardist exits.)

ROSSINI: Utterly useless. No sense of timing, and even less of rhythm. How do you manage to find these people?

GEORGES: This is the third one you've dismissed, Gioacchino!

ROSSINI: I don't care if it's the thirty-third, Georges! Find someone who can play a keyboard with some—sense of what music's about!

GEORGES: (A little testily:) I find who I can afford. Producing opera is expensive. —Well, how is it coming?

ROSSINI: I...don't know.

GEORGES: What?! (A beat to compose himself:) Why, Gioacchino? You've done it a dozen times: Spectacle, comedy, sopranos and a dash of drama. And this time there's ("Dramatically":) Gustave's mystery. What more do you need?

ROSSINI: This one, this one is—different.

GEORGES: It had better not be too different. Paris is used to you. And that's what sells.

ROSSINI: Georges: I've written thirty-eight operas in less than twenty years. And most of them are forgettable trifles.

GEORGES: Not at all forgettable. And they're very successful trifles. Barber of Seville, The Italian Girl in Algiers, Cinderella. The public loves them.

ROSSINI: But I don't love them. They were—jobs. I want some satisfaction. Look at my life, Georges! I compose, I eat, I sleep; I compose again. I have no children, I have no family, I have no life except the opera.

GEORGES: Have a child. Have ten! No, don't: Children are difficult. Very noisy.

ROSSINI: Children are wonderful!

GEORGES: I warn you: They will take up too much of your time. I have five and I know!

ROSSINI: Perhaps... (With a sigh:) I would love to have a bambino someday, someone I can pass on to this—love of music I feel; but...

GEORGES: Mm.

ROSSINI: So—if music must be my whole life, I want to write something that, will—light a fire in all those who hear it, throughout the world for years to come. Something that, for the rest of my life, I will remember. That I'll want to remember.

GEORGES: Write that opera next year.

ROSSINI: But this story. This—man...

GEORGES: Gustave?!

ROSSINI: William T- Oh. —No, a—another man.

GEORGES: What "another" man?

ROSSINI: It's—an idea I had. About—a farmer.

GEORGES: A farmer. Farmers are peasants!; and an opera about a farmer at the Paris Opera?! Nonsense! The Paris Opera is the most renowned opera company in the world!

ROSSINI: Perhaps. But I am the most renowned composer in the world. Others may bow before it, but the flag of the Paris Opera is not one I need salute.

GEORGES: Bah! A farmer. We cannot have another failure, like Le Comte Ory, Gioacchino.

ROSSINI: A fluke.

GEORGES: An expensive "fluke." Perhaps. Or perhaps you have lost your touch. There are those who suggest I—

ROSSINI: I will compose great operas if I can write about great subjects. And this is: A man and his son—their growing—together as they fight for freedom, the—integrity of their beliefs. These are the things the people of Paris fought for just forty years ago. It will excite them, because they'll recognize their struggle.

GEORGES: (A grumble:) Mmm. This man—what is his name?

ROSSINI: Tell. William Tell.

GEORGES: Oh, yes. Swiss or something wasn't he. But he lived—it was the fourteenth century: five hundred years ago!

ROSSINI: Tell's story still lives. And it's an exciting one!

GEORGES: Mm. (Not happily:) —All right: Tell it to me.

ROSSINI: What?

GEORGES: (As to a child:) Tell me the story of this William Tell. If—if—I like it I'll consider it. But remember! It must have action, bravery, heroism.

ROSSINI: It does, Georges.

GEORGES: And comedy!

ROSSINI: In abundance.

GEORGES: All right. Then let me hear it.

ROSSINI: Well...It—No! I shall do better than that! I shall— here. Sit here. (He moves Georges to his desk.)

GEORGES: What? Why! I'm perfectly comfor—

ROSSINI: I shall show it to you. The story, through the music, as the audience will see and hear it. Here: a score. And here is the stage. (Indicating an area:) There is a small Swiss village called Altdorf, in the canton of Uri, and the area surrounding it—do you know it?

GEORGES: Of course. My grandfather was born near there. In the heart of the Alps. All those counties on Lake Lucerne— Uri, Schwyz, Unterwold: the Forest Cantons, they're called— they are beautiful places. Wonderful sausage and beer. And mountains, lakes, trees everywhere. (Rossini sits at the piano and taps out a few notes. MUSIC CUE #2 begins as he moves to the "stage.")

ROSSINI: Yes. Well: As you know, Switzerland, in those days, was under Austria's rule... When the opera begins, Tell is on his—

GEORGES: Begins? What about the overture!

ROSSINI: It's— First the story. As the curtain rises, Tell is on the way to see his son, after meeting with—well: Start at letter "B." (He picks up a large bow.)

GEORGES: What's that?

ROSSINI: It's a bow.

GEORGES: Yes. And they're used with arrows. But why?

ROSSINI: It's part of my inspiration. It was very expensive. It's supposed to be the one Tell used to—

GEORGES: A bow as inspiration? Hm! You composers are odd.

ROSSINI: Which, of course, producers are not. But never mind. Read the score. You will—see it. (He moves across the stage. Lights change and MUSIC rises. The scene moves to Switzerland. ROXANE and HANS are gathering nuts near a tree. JEAN aims and shoots his slingshot.)

JEAN: Got him!

ROXANE: Who?

JEAN: That Austrian soldier!

ROXANE: That's a tree, Jean!

JEAN: I'm just pretending, Roxane!

ROXANE: Well, you should be helping us. There won't be enough walnuts for your Torte.

JEAN: All right. (He gathers.)

HANS: The, the Austrians came to our farm this morning...

ROXANE: What, Hans?

HANS: My father said I shouldn't tell anyone, but...they shot both our goats! Because my father couldn't pay the extra tax the new governor put on them.

ROXANE: Both?! Where will you get your milk?

HANS: I don't know. They threatened to burn our wheat, too. If they do that, we won't be able to make bread. And without bread... (TELL—carrying the same bow with which Rossini exited, and another, smaller bow—enters unnoticed.)

JEAN: They better not try to do that at our farm. I'd take this (The slingshot.) and ("Shoots":) pow! Right in the nose!

TELL: Oh you would, would you.

JEAN: Oh—um, I, um—

TELL: You're not to use your slingshot to shoot at people. You've been told that before.

JEAN: But the Austrian soldiers...

TELL: A slingshot is something for hunting, or for sport. Just like a bow is. Like this one is. (He offers the smaller bow to Jean.)

JEAN: For me?!

TELL: I promised you one for your birthday, if you fed the goats every day.

JEAN: Thank you! (With a deep bow:) Thank you, kind sir!

TELL: (He returns the bow:) You are most welcome, my good man. (Jean "aims" the bow.)

Here, like this. (Tell demonstrates with an arrow.)

You set the arrow notch onto the string, then lean it against the frame; then... (He lifts the bow-and-arrow, draws the string back and aims.)

Watch that big walnut. (He fires. A nut comes tumbling town.)

JEAN: Wow! Bull's-eye! Can I try?

TELL: (Handing him an arrow:) Here.

JEAN: You watch that one. (He loads, aims, shoots and misses.)

Phooey!

TELL: (Patting Jean's shoulder or head:) We'll practice. But remember: You don't shoot at people. No matter who they are.

HANS: The soldiers use their arrows against people. And to kill our animals. The new governor tells them to.

ROXANE: They shot both of Hans's goats today.

TELL: I'm sorry, Hans. Tell your father he can borrow one of ours until he can sell your crops.

(KARL enters with a sheaf of paper, a rock and nails. As the scene continues, he hammers a sheet to the tree.)

JEAN: If they have crops to sell. The Austrians threatened to burn them! We won't let them do that, will we father.

TELL: Keep your voice down!

KARL: Good afternoon.

TELL: Good afternoon. What's that you're putting up?

KARL: (With a tinge of disenchantment:) What? Another order from Governor Gessler, of course. (Tell investigates.)

JEAN: (Mimicking quietly:) Another order from Governor Gessler of course.

HANS: (Hushed:) Be quiet, Jean!

JEAN: (A loud whisper:) Hans!

HANS: What?

JEAN: Give me one of your walnuts. A big one.

HANS: What are you going to do?

JEAN: You'll see.

HANS: You'll get us into trouble!

ROXANE: Here. Use this. (Jean creeps into position and loads the nut. Roxane moves with him.)

Don't miss.

JEAN: How can I miss that? (He points to Karl's rear end, then fires.)

KARL: Ohhh! (Startled, Karl throws his papers into the air and grabs for his rear.)

TELL: Jean, what are— (To Karl:) Are you all...

JEAN: Oh, here, let me… KARL: Ach! I'm fine! (The Children gather the papers.)

TELL: I'm—I'm sure it was an acci—

KARL: (Ironically:) I'm sure.

TELL: But he— (Karl raises a "be still" finger to Tell.)

KARL: Wait!... (To Jean:) So...you like tricks.

JEAN: Oh, no, Sir. Tricks? No—there was, there was a huge squirrel in the tree...

ROXANE: With the biggest teeth I've ever seen.

HANS: And, and, and—

ROXANE: And it was running down the tree.

JEAN: But I thought it was going to jump on you.

ROXANE: And bite you. (She snaps her teeth.)

JEAN: So I tried to hit it with this. (The slingshot.)

KARL: But you missed. (Jean nods.)

I see. A likely tale.

TELL: And you can be sure he will get a likely "reward" for telling it.

KARL: (Confidentially to Tell:) Oh... Don't be too hard on him. After all, he is only a boy. We were boys once, too. And we also liked tricks. Yes?

TELL: Well...

KARL: See? They have cleared everything up. No harm is done.

JEAN: We're, we're sorry, sir.

KARL: Of course you are. But—since you like tricks—why don't you come here.

JEAN: Me?

KARL: Yes, you! You're the trick-player, aren't you.

JEAN: Well, I...no. It, it wasn't a trick!

KARL: No? I think it was. Come!

JEAN: Father...?

TELL: ...Go ahead, Jean. I'm right here. (Slowly, Jean advances toward Karl.)

KARL: Now—I could report you to Governor Gessler, and he could order that you are placed in prison, where you would eat nothing but stale bread and cold gruel and warm water. Would you like that?

JEAN: No, sir.

KARL: No. I didn't think so. I think you would rather eat what's in your ear.

JEAN: In my ear?! I don't have anything to eat in my ear!

KARL: No? Then what's this? © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. 22 Evan Guilford-Blake

(He reaches to Jean's ear and produces a fig.)

Isn't this something to eat?

JEAN: A—fig? In my ear?

KARL: And quite a delicious one, too, I would imagine. Would you like to try it? (Jean reaches for it, tests it with his hand, then tastes it.)

It's good, isn't it.

JEAN: Very good. Almost as good as chocolate-walnut Torte. Thank you.

KARL: Good! Now—the next time you play a trick, you may not be so lucky to play it on someone who finds figs in ears. Next time, you may play it on someone who finds the road to prison a more—appropriate discovery. So be careful. All of you.

ROXANE & HANS: Yes, sir.

KARL: Then—good day. (He exits.)

TELL: You were very fortunate, Jean.

JEAN: Next time I'll be—

TELL: There will not be a next time. And just to be sure of that, I'll keep these (The bow and slingshot.) until you show you're ready to use them the way they're supposed to be used.

JEAN: Father!

TELL: This bow was intended for a young man, Jean, not a boy. It's not a toy.

JEAN: But it's my—

TELL: No buts. Birthday or no birthday. © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. Telling William Tell 23

JEAN: Aww...

ROXANE: Look—Governor Gessler's order: He says all our crops are his property.

HANS: The Emperor's property, Roxane.

ROXANE: What's the difference? Governor Gessler acts as though he is the Emperor. Here: read it. (She tears it down and hands it to Jean.)

JEAN: "It is decreed on this fifth day of October in the year 1307, by the Governor of Uri, Schwyz and Unterwold, that all crops grown by the people of their townships are the property of the Emperor and are to be surrendered to the Governor and his troops immediately upon demand. Anyone who fails to comply with this decree shall be imprisoned."

ROXANE: See?

HANS: We won't have bread.

TELL: There will be bread, Hans. For all of us.

HANS: But how? If Governor—

TELL: Governor Gessler isn't the only authority in these cantons.

JEAN: And tomorrow, my father's going to do something abo—

TELL: Jean—!

TELL: (Without pause. Softer, but JEAN: Oh! with unmistakable concern:) —You must learn when not to speak.

JEAN: I'm—sorry.

HANS: What are you going to do?

JEAN: He's not going to do anything. Are you Father.

HANS: But you said he was; I heard you!

JEAN: Nothing! You didn't hear me say anything.

HANS: But I heard y—

ROXANE: I didn't hear anything.

TELL: It would be best, Hans, if you thought you heard nothing, either.

HANS: Oh.

JEAN: (A half-tease, half-threat:) Because it could be dangerous for you if you did.

TELL: Don't frighten Hans.

JEAN: All right.

TELL: Now come: It's time for your lessons. You too, Roxane. And Hans. Your father should be on his way to Roxane's cottage. (To Roxane:) I just left your mother there.

JEAN: But it's my birthday. We were going to go swimming in—

TELL: Jean, you're twelve. You'll have lots of birthdays. And, on some of them, you'll need to do things instead of doing things you want to do. And studying your lessons is one of them. Now—get your slates and go see Gerhard. All of you.

JEAN & HANS: All right.

ROXANE: C'mon; I bet I can beat you both there! Last one to my farm is Governor Gessler's horse! (The Children run off. Tell watches them a moment, then looks at the decree.)

TELL: This is... (Shakes his head:) Tomorrow; tomorrow night we will have to decide. (Lights change. Scene switches to Gessler's office. He is discovered with Karl.)

KARL: ...and most of the people have seen it by now.

GESSLER: Good. Tomorrow, you'll start collecting the crops.

KARL: Pardon me, Herr Governor, but you are still new here and the people—don't yet know how—understanding you are. If you take their crops, they may feel...resentful. And what will they eat? What will they put away for the winter?

GESSLER: The "people" are peasants. What they eat is not my concern! (Meaningfully:) Or yours, Karl.

KARL: Yes, Herr Gessler.

GESSLER: Now: Here is another decree. Have a dozen men work on copying it. I want this posted everywhere in Altdorf and throughout all the, uh, the—Grafschaften, the, what is it they call them here—counties!

KARL: Cantons, Herr Governor.

GESSLER: Cantons. Ridiculous. —Well, post it. And I want it enforced!

KARL: "It is hereby required that all persons bow when they pass before the—hat? of the Governor, which shall be mounted upon the pole in the Altdorf town square. Anyone failing to obey this edict shall be punished by imprisonment or— hanging, at the option of the Governor of Uri, Schwyz and Unterwold; and the criminal's property shall become the property of the Governor. So ordered this fifth day of October in the year 1307."

GESSLER: There is the hat. Place it on the pole, post guards at intervals on top of all four walls around the square to watch it, and arrest anyone who fails to bow.

KARL: Yes, Governor Gessler... Um, Governor Gessler?

GESSLER: What is it.

KARL: Just—this is such a—fine hat. I fear it will be ruined by the weather—they say there will be rain tonight, and strong winds. Perhaps some—other symbol of the people's loyalty would serve as well?

GESSLER: Loyalty?! I'm not interested in their loyalty. I want their obedience. They are peasants, and peasants must be taught to bow, so they will learn to live with their heads bent. That is how they should live. Or they should die. —That is a fine gallows in the town square, Karl. It should be put to more use. (They exchange looks:) Have this issued—now!

KARL: Yes, Governor Gessler. (He exits. Lights down on the office and rise on Ariadne's cottage. GERHARD and ARIADNE are discovered. MUSIC CUE #3.)

ARIADNE: ...and William will be there, of course, with the other leaders of all three cantons.

GERHARD: Planning revolutions; and in secret! (With a deep sigh:) Oh, Ariadne: If only they would take their taxes and let us be!

ARIADNE: If only, Gerhard. But they won't. And you know that. Your goats may be only the beginning.

GERHARD: But a revolution—that is a dangerous thing. If we fail we will lose much more than goats.

ARIADNE: Then we must not fail.

GERHARD: That is a thing easier said— No; it's better to give up these small things instead of fighting. Why should we risk our lives? For goats?

ARIADNE: Not for goats, Gerhard: For our liberty.

GERHARD: Well... The children will be here soon.

ARIADNE: Yes.

GERHARD: Until they come I thought we might talk about— other things.

ARIADNE: "Other" things?

GERHARD: Your Roxane—she's had no father; for three years. That is a long time to be alone. And my Hans—his mother has been gone for almost as long.

ARIADNE: Roxane remembers her father; and his fight to free us from the Austrians. Our fight. That memory is something we (i.e., She and Roxane.) still honor.

GERHARD: But you are a young woman. And, and, and—a very—sweet one. Don't you get lonely sometimes?

ARIADNE: Not so lonely that I would marry someone, unless he was a man of strong convictions who will fight right beside us for the things Roxane and I are willing to fight for.

GERHARD: I—see.

ARIADNE: You're a teacher, Gerhard. But I think a truly good teacher—like a parent?—teaches from example, not just from books. Don't you agree?

GERHARD: I—...yes, of course.

ARIADNE: And what do you plan to teach the children today?

GERHARD: I, their lessons will be... First we will work on numbers.

ARIADNE: Numbers. I see. (Change:) Roxane is a good pupil?

GERHARD: Oh, yes. A little—impatient, perhaps.

ARIADNE: (Laughs:) Well so was I, at twelve. It's the time girls get impatient.

GERHARD: (Laughs:) Boys, too. I was a terror at that age. And Hans already is, and he's just ten. Ah, children. They are so wonderful and so difficult.

ARIADNE: A child is a wonderful and difficult thing to be, Gerhard.

GERHARD: Especially in these times.

ARIADNE: Especially in any time, I think. When you and I were that young there were wars and hard—

ROXANE: (Off:) Mother? Mother, we're here, I'm sorry we're late, did poor Monsieur Schmidt get tired and leave? We've— (Entering ahead of Jean and Hans:) been at the—Oh. Monsieur Schmidt. You're still here.

GERHARD: Oh, yes, Roxane. I am a very patient man.

ARIADNE: Although I understand the three of you sometimes try that patience.

GERHARD: But they do their work well. And they're here now. Good afternoon, Roxane. Jean; son. A beautiful day, isn't it. JEAN: Good afternoon, Monsieur Schmidt. HANS: Good afternoon, Papa.

GERHARD: Well. Are we ready for the lesson?

(The children look at each other unhappily as the lights change: The music room. Rossini and Georges are discovered. Rossini sits at his keyboard, the bow beside him, tapping out a melody with one finger as he talks. MUSIC CUE #4.)

ROSSINI: ...is one of the principal themes—the one I use to identify the heroism of the people, the importance of what they are trying to do. Look in the score; at letter "E." That— that is when they are planning the rebelli— (There is a knock. Rossini slams the keys.)

I'm trying to work!

MATHILDE: (Off:) Master Rossini?

ROSSINI: What is it, Mathilde?!

MATHILDE: (Off:) Excuse me please, for interrupting, but the older Mademoiselle Berné is here, she's—

MARIE: (Bursting in:) Older! Oh, get out of my way! Gioacchino: You simply must give me the music, now. I cannot wait another minute, my cousin and I have a recital on— Oh...Monsieur Meister. (At her most charming:) A very good afternoon to you, Monsieur.

GEORGES: And to you, Mademoiselle Berné.

ROSSINI: Marie, this is not the time to dis—

MARIE: Of course it isn't, Monsieur Rossini. I simply came by to inquire into your—progress. And to see whether your wrist is—improved.

ROSSINI: I see. Well, to answer your latter question first: Yes, it is much better. And as to your first: It has been sent to the copyist. You can call for it late this afternoon.

MARIE: Oh—lovely. Thank you so much, Monsieur Rossini. It is, I'm sure, quite wonderful?

ROSSINI: I think it will suit you perfectly, Mademoiselle. It has a very—felinitous [Feh-LINE-eh-tus] quality to it.

MARIE: (Completely baffled:) Oh—that's—wonderful.

ROSSINI: Yes. That's precisely the quality that suits your manner and your voice—purrfectly. And your cousin's, too.

MARIE: What a lovely thing to say. And how are things at the Opera, Monsieur Meister?

GEORGES: Oh, quite well, thank you.

MARIE: I'm so pleased to hear it. You know, I do have a few free dates this season. You might persuade me to appear in Monsieur Rossini's next opera.

GEORGES: I will keep you in mind, Mademoiselle Berné; (With a look to Rossini:) when it is written.

MARIE: Thank you. I can reach a high "F," you know. (She demonstrates:) You see?

GEORGES: More appropriately, I think, I hear.

MARIE: (Baffled, but she laughs:) Oh, you impresarios are so clever. —Well... We shall stop by at—shall we say four o'clock?

ROSSINI: That will be perfect.

MARIE: Then: Good afternoon, Messieurs.

ROSSINI: Good afternoon, Mademoiselle Berné. (She exits.)

GEORGES: Felinitous?

ROSSINI: Oh; it's a very apt word, Georges. You'll see. Or, more appropriately, I think, you'll hear.

GEORGES: Mmm. —Felinitous. Hm. All right. Now—Tell? There's more to the story than figs in ears and mathematics lessons, I presume. I do not think figs and children's games are things the Paris Opera audience will—

ROSSINI: Georges: You are a fine producer. But you are an impatient man.

GEORGES: I have an impatient audience, and stories about misbehaving children are not what they pay to see! Children. In an opera! I cannot hire children! I shall have to pay for three more sopranos to play them! (With a deep sigh:) All right! The story?

ROSSINI: Now: That evening, Tell and his wife are planning a small celebration in honor of Jean's birthday. Here—this is the music for it... (He taps out a melody [picked up from offstage by PETER: MUSIC CUE #5], then moves off. Lights to Tell's cottage, evening.)

ARIADNE: ...and there was another decree, in which—

JEAN: Listen! It's Peter! Mother, it's Peter-the-Rover!

ROXANE & HANS: (Run to the window:) Peter!

ARIADNE: At last! Now we need only your father.

HANS: (Uncertainly:) He'll be here. As, as soon as he finishes fixing the wheel on the cart.

ARIADNE: (To assure him:) I know.

SUZANNE: (Calling off:) William—Peter is here. TELL: (As he enters:) Good. SUZANNE: And suddenly my cousin looks much happier!

ARIADNE: Oh she does!? ROXANE: I can't see him, but that's his [Instrument].

SUZANNE: Oh she does! (She and Ariadne laugh.)

(Sotto voce:) William, where's Jean's bow?

ROXANE: He plays so well!

TELL: He's lost the ARIADNE: And he is so privilege of it. He shot a handsome. nut at an Austrian solider today. (Ariadne and Roxane laugh.)

SUZANNE: But it's his birthday; it was a mistake, William. He apologized?

TELL: Yes, but the times ARIADNE: We shall are too dangerous for such dance. Hans! mistakes. We were lucky HANS: Yes, Madame this time. The next we may Gervais? all suffer for it. We'll talk more after the party. ARIADNE: Will you dance with me? (Suzanne nods.) HANS: I don't know how to very well.

ARIADNE: Then I'll teach you to dance better! We shall all dance. Even you, William!

TELL: (With a laugh:) Even me?

ARIADNE: Certainly! You and Suzanne.

TELL: Well, if she will put up with me.

JEAN: You're a wonderful dancer, Father.

TELL: No, Jean: Madame Gervais is a wonderful dancer. So is your mother. I am a wonderful bowman.

JEAN: You are the best bowman in Switzerland!

TELL: (With a deep bow, which Jean returns:) Thank you, kind sir!

JEAN: You are most welcome, my good man!

ROXANE: I can dance. My mother taught me.

JEAN: So can I! (Peter enters, followed by Gerhard.)

ROXANE: Hmp. Boys can't dance.

PETER: Aye, they certainly can! When I was wee I used to dance with my sisters and brothers, ev'ry night, whilst my father played this. And a merry time we had, too.

TELL: Peter! Welcome.

TELL: (Less warmly:) PETER: Happy birthday, Gerhard. Jean!

GERHARD: Good evening, JEAN: Thank you, Peter. William.

PETER: Suzanne, how be you? Ariadne, you're lookin' lovely this evening. And Roxane! You're becomin' the spittin' image! I bet your hair flies like sparks when y' dance. (He twirls her. As he does:)

ROXANE: Ohhhh! (In a not so subtle whisper:) I bet Mother is jealous.

PETER: (In the same whisper:) Well I'm glad to hear that. Y' put in a good word for me?

(Roxane nods enthusiastically.) Good!

ARIADNE: (With a laugh:) Roxane! (Peter spins away to Ariadne and twirls her.)

PETER: And will ye honor me with a dance tonight?

ARIADNE: And who will play for us?

PETER: Great fools and little onions! I must teach someone else to do this! (He plays a few notes.)

SUZANNE: (As Peter plays:) We heard you playing as you walked.

PETER: (To Hans:) Aye, it's a noisy thing, isn't it lad? —I think Governor Gessler could too, and he's in the town square!

TELL: In the square? At this hour?

PETER: Aye. He was when I left. They're handin' out his latest edict. Gerhard, you've seen it?

GERHARD: Yes.

PETER: Here. They'll be passin' more out tomorrow. (He hands Tell a paper. Tell reads it as Ariadne looks over his shoulder.)

JEAN: What does it say, Father?

SUZANNE: Hush, Jean. (Looking disturbed, Tell hands the paper to Suzanne. She reads it.)

...his hat?

TELL: Yes.

ROXANE: Whose hat? What about it?

SUZANNE: Governor Gessler has ordered everyone to—bow at it. While it sits on a pole in the square!

JEAN: Bow at a hat? Why?

TELL: (With barely restrained anger:) Because he loves displaying his authority.

SUZANNE: William...

TELL: Yes. I know.

JEAN: (Reading the decree:) We won't do that.

TELL: No, Jean. We won't. Nor will—

GERHARD: William. It's dangerous to defy him. You're Altdorf's leading citizen. Our Mayor.

TELL: In name only, since this Governor took power.

PETER: Aye, but if you bow, so will the rest.

TELL: Peter, you're not Swiss. We are. And the cantons, the people, need to unite, to form a single government for all of us. The Austrians won't allow that: They've been here for centuries. They've taken our wood, the cloth we weave, now they're taking the crops we grow. And every day, they deny us another right: We're not allowed to speak of a confederation of the cantons, we can't openly pledge our loyalty to a homeland.

JEAN: We can't even say we are Swiss.

TELL: Jean's right.

PETER: (He claps Tell on the back:) Y' know I'll stand with you, William. To be free is a precious thing. Free lands—they are few. If I could find one—well, it might be a good place to stay.

GERHARD: But if we bow, we'll be—protected.

TELL: Protected? Until when? Today it's this—hat, Gerhard. What will it be tomorrow?

GERHARD: William, we're farmers and shopkeepers. We have families too. My Hans has no mother; Roxane has no father: If something should... Bowing to a hat—that's a little thing.

ARIADNE, TELL, JEAN: Little thing?

JEAN: I don't think anyone in Altdorf would bow to anyone except God!

PETER: I'm afraid they all were bowin' today, Jean. And those that wouldn't?—they took them straight to prison; there's talk he's going to hang someone soon, just to show—

SUZANNE: Peter, this isn't a good time to talk about it.

JEAN: Why not!

TELL: ...Suzanne's—right, Peter. We're supposed to be having a birthday party, Jean.

JEAN: Can we talk about it later?

TELL: (He and Suzanne exchange looks:) After we've had a chance to think it over, we'll talk about it. All right?

JEAN: All right.

SUZANNE: Now: Play something, Peter-the-Rover!

PETER: Before we eat the birthday Torte?! 'Tis chocolate- walnut, yes? My favorite!

ROXANE: And mine!

JEAN: (Reluctantly:) Mine too. But I can wait. A little while.

ARIADNE: Good! I want to dance. Now!

PETER: Aye, then. So you will. (He plays. MUSIC CUE #6.)

GERHARD: Ariadne, may I have the—

ARIADNE: Alas, I have already promised to teach Hans. Hans?

HANS: All right, Madame Gervais, but I'm really not very good.

ARIADNE: I'm a good example for him, am I not, Gerhard? Come! (They dance, followed by Tell and Suzanne. Gerhard sits. There are cheers of encouragement.)

ROXANE: (To Jean:) Well?

JEAN: Well what?

ROXANE: You said you could dance...

JEAN: And I can! (They join in. The lights begin a cross-fade: Down on Tell's cottage, up on the town square. There is the shadow of a gallows visible. Gessler stands there, looking off.)

GESSLER: (Calling Off:) ...and make sure you place the shackles on him. Those who refuse to bow are criminals and must be treated as such. (He watches a moment, then turns as though to guards posted on the "walls" surrounding the square.)

Keep up your watch! These peasants must learn they cannot ignore my edicts. (He turns to the pole and looks at the hat.)

They will bow before it. They—will—bow.

(MUSIC CUE #7.)

© Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. SCENE 2 (Rossini's music room, early the same afternoon.) (At rise: MUSIC CUE #8. Rossini is at his desk. LUIGI plays at the piano, finishing a passage with a flourish.)

ROSSINI: Yes! Yes!

LUIGI: Grazie, Signore Rossini. I'm glad you're pleased.

ROSSINI: Very pleased, Signore...

LUIGI: Boccino. Luigi Boccino.

ROSSINI: Signore Boccino. Why couldn't Georges have hired you in the first place.

LUIGI: I've only recently arrived in Paris, Signore.

ROSSINI: Oh?

LUIGI: (Hesitantly:) Yes. I came from Bologna. With my family.

ROSSINI: Bologna!? That's where I lived as a bambino— where I began to study composing.

LUIGI: I didn't know that. But that—that's why I've come here.

ROSSINI: To learn to compose?

LUIGI: Oh, no, no; I have no, uh, talento—talent?— (Rossini nods.) for that. I simply play this. And I juggle.

ROSSINI: Juggle?

LUIGI: At street fairs. And to entertain my son. (He juggles with three balls or scarves.)

You see?

ROSSINI: Yes...

LUIGI: Ah—but my son... (Hesitantly:) He is—exceptionally di talento. He plays the keyboards—nearly as well as I do, and he won't be thirteen for another month! And he's written 40 Evan Guilford-Blake songs—they are astonishing. The young Mozart's work was no better than my Giovanni's. I've taught him what I can, but I know so—little. So we have come here, so he can study with the great musicians of Paris.

ROSSINI: I see.

LUIGI: Do you have children?

ROSSINI: I? Not a one.

LUIGI: (A prompt:) They give you great pleasure.

ROSSINI: Yes; but—I'm warned—they give you great trouble.

LUIGI: (Laughs:) Sometimes. But more pleasure than trouble. A parent is a difficult—but wonderful—thing to be.

ROSSINI: Mm. So my father said. Often... Perhaps I shall have a son, someday. It—would be...

LUIGI: Well.

ROSSINI: Well.

LUIGI: Pardon me for saying—anything, Master Rossini, but what I have played of your telling of William Tell, even so little—the music and the story, I think it is a remarkable work. My son, he will be thrilled to hear it.

ROSSINI: Mm. I hope Monsieur Meister is thinking the same thing.

LUIGI: I am sure he must be.

ROSSINI: If I can only find the key to the music for the overture.

LUIGI: What you have seems—um, promising. (MUSIC CUE #9. He plays the first few bars of the popular theme's trumpet intro, but well below tempo and with lyrical embellishment.) © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. Telling William Tell 41

ROSSINI: What I have seems—utterly tepid! —Well; I'll work on it later. Right now I want to hear this, before Monsieur Meister returns from his lunch. I've just finished it. (He hands staff paper to Luigi, who plays it. MUSIC CUE #10. As he does:)

Good, good—a little less use of the damper pedal. Yes, good... Your son, have you made—arrangements for his education?

LUIGI: Not yet. We've been in Paris only a few days.

ROSSINI: I see.

LUIGI: (Hesitantly:) I hope to find someone who is both highly accomplished and well-regarded.

ROSSINI: Yes. Well, there are many such musicians in Paris. I would be happy to recommend—several.

LUIGI: (Stops playing:) Signore Rossini? I—I know I have just begun here, and it is—brash of me, but I—I wonder if I might ask un favore, a—favor.

ROSSINI: Un—favore.

LUIGI: ...Yes.

ROSSINI: (With a small sigh:) Your son is di talento, you say.

LUIGI: Molto.

ROSSINI: Bring him here this evening. At seven o'clock. I will talk to him.

LUIGI: Grazie, Signore.

ROSSINI: Talk. I promise no more than that! Now: Play! (Luigi does. MUSIC CUE #11.)

(More to himself; with satisfaction:) Yes... Good! They will see it. Rütli Meadow, they will—

LUIGI: (Stopping:) I'm sorry, Signore Rossini. Did you say—

ROSSINI: Play! (Luigi does.)

(More gently:) I, I was just—seeing it, as the audience will. Rütli Meadow.

LUIGI: Rütli?

ROSSINI: A large meadow above the village, surrounded by mountains and forests. It's near where Uri and Unterwold meet, across a narrow part of Lake Lucerne from Schwyz. Tell and the other leaders of the Forest Cantons frequently met there, late at night, to plan how to gain their freedom... Where something most—unusual occurred. (Lights change. Rütli Meadow. Trees border one side.)

BRITTA: ...heard we would have rain again tonight.

ROBÉRT: Ja, Britta. It's good the channel is only a few hundred yards: There was thunder as I rowed.

MARCEL: Not a good sign, Robért. We're in for another downpour, I'm afraid.

BRITTA: At least the rocks will shield us.

ROBÉRT: (With a laugh:) Ja. But not goin' home. If 't rains, we'll get soaked.

MARCEL: You can leave your boat by the lake and spend the night in my hut. Unterwold is close by.

ROBÉRT: (Again, laughing:) And a lot of good that'll do, Marcel, with your peat roof.

MARCEL: A roof of moss is better than no roof at all. And the peat fire will dry you off.

ROBÉRT: Umm. That'll be good. © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. Telling William Tell 43

BRITTA: Where is Tell? It's not like him to be late.

MARCEL: Britta, he has a long way to come.

BRITTA: Not so long as I have! Altdorf is only a mile.

ROBÉRT: Less. But it's dangerous in this moonlight.

MARCEL: Still, he knows the path through these forests. (There is a FAINT PEAL OF THUNDER.)

ROBÉRT: Ja, I suppose. But there are Austrians everywhere and—

BRITTA: Listen!

MARCEL: ...Thunder.

ROBÉRT: Ja, I told—

BRITTA: No, not the thunder. Steps. In the forest. (They listen.)

MARCEL: (Softly:) And careless ones.

BRITTA: Hide. There! Quickly. (They do, as a RUSTLING, soft but growing louder, is heard from off. The stage is empty a moment. Then:)

ROXANE: (Off; quietly:) Sssh! Be careful.

JEAN: (Off:) It's too dark to be careful. You've got the lantern!

ROXANE: (Appearing, but on the border of visibility:) Be careful anyway—No one's here. Are you sure this is the place?

JEAN: (Appearing:) I think so. Yes—that's the tree I told you about. See? My grandfather's initials are carved into it, and my father's below them. And when I'm thirteen, I'll—

ROBÉRT: (Appearing with his knife drawn:) Who are you? What are you doing here?! © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. 44 Evan Guilford-Blake

(The children, startled, jump. Robért and Marcel hold them.) ROXANE: Oh! JEAN: Let us go!

ROBÉRT: What are you doing here!

ROXANE: We, we wanted to...

JEAN: We want to help!

BRITTA: Help!? Who! With what? You are just—Merciful heaven! That's Tell's son. I've seen him often. You're Jean Tell, are you not?

JEAN: Yes! And you're Madame Baumann, the High Commissioner of Uri. And that's Robért Weisz of Schwyz. —I don't know him.

MARCEL: Marcel Lafleur. I am Vice-Commissioner of Unterwold.

BRITTA: And who's this?

ROXANE: Roxane Gervais.

JEAN: She's my friend. She lives on the farm next to ours.

BRITTA: Friend. Hmph. You are fortunate I recognized you, or Robért would have... (She indicates: slit his throat.)

ROBÉRT: I may still. Why have you come?

ROXANE: Jean told you. We want to help.

ROBÉRT: Help with what! You are children! There's a great deal of danger without you, and twice as much because you're here.

JEAN: Please. After what the Austrians did yesterday— Governor Gessler's new decrees, and, and they killed our © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. Telling William Tell 45 friend's goats. And what they're saying they'll do to the rest of Altdorf. To all of Uri. And Unterwold and Schwyz, too.

MARCEL: (Gently:) Robért: They have to stay. We can't send them back by themselves.

BRITTA: (Angrily:) Oh!

JEAN: I'm sorry, Madame Baumann. It was my idea.

ROXANE: It was not!

JEAN: Was too!

ROXANE: It was not! Jean Tell, how can you s— it was our idea.

JEAN: All right. But I thought my father would want all the— Where is my father?

BRITTA: He isn't here (An afterthought:) yet.

JEAN: But he left hours ago.

ROBÉRT: Ja?

ROXANE: The sun had almost set.

JEAN: And I had just lit the candle.

MARCEL: Well...

BRITTA: (To Roxane:) Your parents will be worried. Very—

ROXANE: There's only my mother.

BRITTA: (To Jean; continuing without break:) —worried. And so will your mother. And your father will be angry!

JEAN: I know, but...I'm worried about my father. The Austrians...

MARCEL: Britta, his father is smarter than all the Austrians in Switzerland. He'll be fi—

TELL: I'm afraid there are some very smart Austrians, Marcel. JEAN: Father! BRITTA & ROBÉRT: William!

BRITTA: You're here; thank God!

JEAN: Were there Austrians?

TELL: A small troop. They were patrolling near the path into the forest. I had to walk almost two miles out of the way and then circle back to go around them. And what are you doing here!

ROBÉRT: (With disaffection:) They came to help.

TELL: You've done a very risky thing. I'm grateful you're safe but you've both been very fortunate—again.

JEAN: I'm sorry.

ROXANE: I am too. But it wasn't right, what they did to Hans's goats!

TELL: (To Jean; a remonstrance:) One day you're going to do something that will cause a serious problem. One that won't just disappear.

JEAN: But we had to come. We're Swiss too!

TELL: If anything had happened to you—or to us— (He indicates the assembly:) because you came you would have jeopardized all the work that's been done. And many people's lives. There are times, Jean, when what seems brave is really foolish. Sometimes courage is waiting instead of acting. This is one of those times.

JEAN: But I thought you'd think I was—

TELL: It's not the way to show me you've become responsible! —I thought both of you had more sense than this.

JEAN: Father!

TELL: Well...we'll talk about it more when we're home. For now... (He indicates: You're here:) —How did you get past the Austrians?

ROXANE: We walked along the ridge.

JEAN: We—we didn't want to—see you.

BRITTA: Never mind that. They are here now and it's late.

ROBÉRT: Ja. What d' we do about them? (i.e., The Children.) We must plan.

TELL: I will take care of the children, Robért. We need to commit to working together, once and for all, to rid ourselves of these Austrian tyrants for all time.

MARCEL: Unterwold is ready. The people are hungry. We want to help create a confederation of the Forest Cantons.

BRITTA: And all of Uri feels as you do.

ROBÉRT: And Schwyz. Our three cantons have been separated by too many small things for too long. All of us have more at stake now.

TELL: That's good. Then we must all act together.

BRITTA: Altdorf is prepared?

TELL: Yes, Britta.

BRITTA: Then it will take no time to organize the rest of Uri. (THUNDER.)

ROBÉRT: But will there be enough of us?

TELL: We are more than a thousand; they have perhaps half as many.

ROBÉRT: With swords and halberds.

TELL: We have axes. And—many—more archers; fine archers. Altdorf is the key, and we have the strength to overcome them there. Once that's done Gessler will be gone and our cantons will be free.

ROBÉRT: Even so, in Altdorf they are mounted on the walls of the square. And there are patrols around it. I have seen them.

MARCEL: It's true; we have numbers, but they have a better position.

JEAN: Not if we surprise them.

TELL: Jean's right. We need to catch them off guard.

BRITTA: A night time attack?

TELL: No. That's when they're most alert. They keep patrols by every road into Altdorf.

MARCEL: Then when?

TELL: On—Saturday; in the afternoon.

ROXANE: Everyone will be in the square, at market. The soldiers are always busy eating and talking to each other.

BRITTA: Good! Just after the guard changes; they will be even less organized then. What time is that?

TELL: Four o'clock. But we must coordinate, have everyone together so the attack will overwhelm them.

BRITTA: Yes, we need to meet somewhere—Here!

ROBÉRT: Ja. The square is not a mile down those hills. Look: You can see fires burning there now.

MARCEL: And we can hide in the forest until it's time.

TELL: Good! Tomorrow is Friday. Bring your soldiers here to Rütli tomorrow night. But move carefully. Don't let the © Evan Guilford-Blake This is a perusal copy only. Absolutely no printing, copying or performance permitted. Telling William Tell 49

Austrians see so many people leaving at once. We will prepare here, and on Saturday...

JEAN: Pow!

ROBÉRT: But—what if something goes wrong. They bring in more soldiers, or...

MARCEL: Ah!

JEAN: I could come here and warn everyone!

TELL: It would be too dangerous, Jean. I will come, if the attack must be cancelled. But—what if it must be advanced?

BRITTA: Advanced? Yes. All these decrees, the constant threats against our people and our property. We will be ready early, if something happens. But for that we will need a signal. There will be no time for a messenger.

TELL: Something that can be seen and heard far and wide.

ROBÉRT: A horn?

MARCEL: It will not carry, Robért.

JEAN: What about a fire?

BRITTA: A fire?

JEAN: There's the small grove on the hill on the far side of Altdorf. It has more than thirty trees. You can see them from here when there's light.

ROBÉRT: Ja. I know this grove. Tall pines and firs. (THUNDER.)

JEAN: We could put tar on their trunks, then build a small fire, keep it burning and when it's time, we can put torches to them. Then they'll be like one great torch that everyone will see!

ROXANE: And with a fire that large, even if it rains it will stay lit. I could help. So could my mother! (SOUND of RAIN.)

BRITTA: The boy's right. If we need it, that will work.

TELL: Yes. I think it will, Britta. I think we have a plan. Agreed?

BRITTA: Agreed.

ROBÉRT: Ja.

MARCEL: Agreed.

TELL: Then gather our citizens, my friends. We will soon be ready to make Switzerland a free land at last. Your hands. (The six of them extend their hands and place them upon each other.)

I swear my allegiance and commit myself, whatever the sacrifice, to making this land a free nation.

ROBÉRT: I swear.

BRITTA: I swear.

MARCEL: I swear.

ROXANE: I swear.

JEAN: I swear. (There is a loud burst of THUNDER. Then, a white rainbow appears in the sky.)

Look!

BRITTA: Merciful heaven! A—white rainbow?

MARCEL: In the middle of the night?!

ROBÉRT: Ja. It is.

TELL: A white rainbow. A sign. (He raises his fist.) For freedom.

JEAN, ROXANE, ROBÉRT, MARCEL, BRITTA: (Raising their fists:) For freedom! (MUSIC CUE #12. Fade to black.) (End of Act I.)

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