MARGARET GARNER a New American Opera in Two Acts

Home , Margaret Garner, Margaret Garner (opera)

Richard Danielpour

MARGARET GARNER A New American Opera in Two Acts

Libretto by Toni Morrison Based on a true story

First performance: Detroit Opera House, May 7, 2005 Opera Carolina performances: April 20, 22 & 23, 2006 North Carolina Blumenthal Performing Arts Center

Stefan Lano, conductor Cynthia Stokes, stage director

The Opera Carolina Chorus The Charlotte Contemporary Ensemble The Charlotte Symphony Orchestra

The Characters Cast

Margaret Garner, mezzo slave on the Gaines plantation Denyce Graves Robert Garner, bass baritone her husband Eric Greene Edward Gaines, baritone owner of the plantation Michael Mayes Cilla, soprano Margaret’s mother Angela Renee Simpson Casey, tenor foreman on the Gaines plantation Mark Pannuccio Caroline, soprano Edward Gaines’ daughter Inna Dukach George, baritone her fiancée Jonathan Boyd Auctioneer, tenor Dale Bryant First Judge , tenor Dale Bryant Second Judge, baritone Daniel Boye Third Judge, baritone Jeff Monette

Slaves on the Gaines plantation, Townspeople

The opera takes place in Kentucky and Ohio Between 1856 and 1861

1 MARGARET GARNER

Act I, scene i: SLAVE CHORUS Kentucky, April 1856. …NO, NO. NO, NO MORE! NO, NO, NO! The opera begins in total darkness, without any sense (basses) PLEASE GOD, NO MORE! of location or time period. Out of the blackness, a large group of slaves gradually becomes visible. They are huddled together on an elevated platform in the MARGARET center of the stage. UNDER MY HEAD...

CHORUS: “No More!” SLAVE CHORUS THE SLAVES (Slave Chorus, Margaret, Cilla, and Robert) … NO, NO, NO MORE! NO, NO MORE. NO, NO MORE. NO, NO, NO! NO MORE, NOT MORE. (basses) DEAR GOD, NO MORE! PLEASE, GOD, NO MORE. NO, NOT MORE. DEAR GOD, NO MORE! MARGARET

(confidently, with a sense of defiance) WISHING, PRAYING... NO, NO! NO MORE! NO, NO! NO MORE! SLAVE CHORUS

MARGARET … NO, NO! NO, NO MORE! … (basses) DEAR GOD, NO MORE! ANKLES CIRCLED WITH A CHAIN...

MARGARET SLAVE CHORUS … I WAS DEAD. …NO, NO. NO, NO MORE! NO, NO MORE! (tenors and basses) PLEASE, GOD, NO MORE! THE SLAVES (Slave Chorus, Cilla, and Robert)

MARGARET NO, NO. NO, NO MORE! NO, NO. NO MORE! SKIN BROKEN BY A CANE... NO, NO, NO! DEAR GOD, PLEASE, NO MORE!

SLAVE CHORUS SLAVE CHORUS …NO, NO! NO MORE! (without Cilla and Robert) NO, NO. NO MORE! DEAR GOD, NO MORE, NOT MORE. MARGARET PLEASE, NO MORE.

BLOODY PILLOWS...

2 MARGARET THE SALE OF ALL GOODS BLOODY PILLOWS UNDER MY HEAD; AND CATTLE AND WOODLAND, WISHING, PRAYING I WAS DEAD. SLAVES AND PLANTING FIELDS DARK WITH LOAM.

THE SLAVES I HEREBY DECLARE AND ALLOW (Slave Chorus, Cilla, and Robert) AN OLD ESTATE RICH IN HISTORY IS NOW ON THE MARKET PLEASE GOD, NO MORE. FOR A GENTLEMAN'S POCKET; A PRIZE IN THE WHOLE COUNTY.

MARGARET YOUR SHREWD EYES WILL LIGHT UP DOLLAR FOR DOLLAR, MASTER'S BRAND IS FOLLOWING ME; POUND FOR POUND, ROPE CAN SWING FROM ANY OLD TREE. THE BESTEST VALUE FOR MILES AROUND.

THE SLAVES (A foreman approaches the slaves. He cracks a (Slave Chorus, Cilla, and Robert) bullwhip, and the slaves immediately assume different positions for inspection: they bare their teeth, expose (pleading) their backs, stretch out their necks, etc.)

PLEASE GOD, NO MORE. PLEASE GOD, NO MORE. PLEASE GOD, NO MORE. THE TOWNSPEOPLE NO MORE! (White Chorus)

**** HOW MUCH? HOW MUCH? FOR PICKNIES AND MAMMIES AND BREEDERS AND BUCKS? The lights go up, and illuminate the entire stage. The HOW MUCH? HOW MUCH? “elevated platform” on which the slaves stood at the WHAT SAY? WHAT SAY? beginning of the opera is revealed now to be a trading FOR MILKING AND PLOWING block situated in the middle of a busy town square in AND SPINNING AND CANNING AND SUCH. Kentucky. It is April 1856. In preparation for a slave auction, members of slave families are being separated O, WHAT A PROBLEM TO DECIDE. from one another, and grouped according to gender O, WHAT A BURDEN ON OUR SHOULDERS: and age. FOR THOSE WHO HAVE NOTHING, ARE NOTHING, DO NOTHING EXCEPT FOR WE WHO CLOTHE THEM AND The local townspeople are gathering eagerly for the FEED THEM auction. They exhibit a small-town mentality: familiar AND LET THEM SLEEP WHEN THEY ARE ILL. with everyone else's daily life and business, they love WE TEACH THEM ALL THEY WILL EVER to gossip and at times can be judgmental of others. KNOW, Also in the crowd of onlookers is a handsome, genteel ALL THEY WILL EVER KNOW man named Edward Gaines, accompanied by his OF GOD AND WORK AND HOME! daughter Caroline.

AUCTIONEER AUCTIONEER (freely chanted) BY THE POWERS INVESTED AND BY CUSTOMS INGESTED, BY THE POWERS INVESTED I HEREBY DECLARE AND ALLOW AND BY CUSTOMS INGESTED THIS SALE TO BE NOW OPEN! I HEREBY DECLARE AND ALLOW:

3 TOWNSPEOPLE FOUR HUNDRED, FOUR HUNDRED DOLLARS...

WHAT SAY? WHAT SAY? FOR MILKING AND PLOWING TOWNSPEOPLE AND SPINNING AND CANNING AND SUCH. (excitedly) HOW MUCH? HOW MUCH? FOR PICKNIES AND MAMMIES AND BREEDERS ...FOUR HUNDRED, FOUR HUNDRED, FOUR AND BUCKS, HUNDRED, FOUR HUNDRED, WHO KNOW NOTHING OF GOD AND HOME! FOUR HUNDRED!

AUCTIONEER EDWARD GAINES (bringing forth the first slave for sale) (impatient, forcefully)

NOW THIS HERE IS CILLA. HOLD ON! HOLD ON! ABOUT FIFTY, SHE THINKS. I'M TELLING YOU TO HOLD ON! A COOK, A CHILD NURSE, LAUNDRESS AND SEAMSTRESS. TOWNSPEOPLE THIS BID BEGINS AT TWO HUNDRED (startled, a little nervously) DOLLARS. DO I HEAR TWO FORTY, TWO FORTY, TWO WHO IS IT? WHAT IS IT? FORTY, TWO FORTY? WHO IS IT? WHAT IS IT?

(A customer raises his hand, thereby upping the bid.) AUCTIONEER (polite, but annoyed) TOWNSPEOPLE (emphatically) EXCUSE ME, SIR. LEGAL BUSINESS IS IN PROGRESS HERE. TWO FORTY! BY THE POWERS INVESTED, AND BY CUSTOMS INGESTED... AUCTIONEER

YES! EDWARD (interrupting the Auctioneer) TWO HUNDRED FORTY. DO I HEAR ...I BEG YOUR PARDON! THREE HUNDRED, THREE HUNDRED, THREE HUNDRED? THIS FARM BELONGED TO MY BROTHER. I NEED THREE HUNDRED DOLLARS. IT CAN'T BE SOLD TO ANOTHER.

TOWNSPEOPLE AUCTIONEER (enthusiastically) IT IS TRUE. THREE HUNDRED! IF A FAMILY MEMBER CALLS THE CLAIM, NO SALE CAN TAKE PLACE HERE AND NOW. AUCTIONEER

YES! EDWARD

THREE HUNDRED DOLLARS. I AM A GAINES. DO I HEAR EDWARD GAINES, BROTHER OF THE FOUR HUNDRED, FOUR HUNDRED, DECEASED.

4 AUCTIONEER (increduously) DON'T YOU REMEMBER ME? IT IS TRUE. IT IS THE LAW.

TOWNSPEOPLE (their curiosity aroused) TOWNSPEOPLE (echoing the Auctioneer) EDWARD GAINES? WHO IS HE? DID OLD GAINES HAVE A BROTHER? IT IS TRUE. IT IS TRUE. WHO IS HE? EDWARD GAINES? IT IS TRUE, IT IS THE LAW.

EDWARD AUCTIONEER

I WAS BORN AMONG YOU WE MUST ENTERTAIN HIS RIGHT UNDER THE AND NOW I'VE RETURNED. LAW. DOESN'T ANYONE REMEMBER ME?

TOWNSPEOPLE TOWNSPEOPLE UNDER THE LAW. UNDER THE LAW. NO. NO. NO. WAS IT A LONG TIME AGO? AUCTIONEER

EDWARD WHAT IS YOUR PLEASURE, MISTER GAINES, SIR? YOU THOUGHT I WAS LOST, DIDN'T YOU, IN A ROUGH LIFE OF THE GAME. (solicitously) YOU WERE WRONG. WHAT PARTS INTEREST YOU? (WELL, NO, YOU WEREN'T …) WELL, YES, YOU WERE! EDWARD

ARIA: I WANT IT ALL. “I Was Just a Boy” I'LL HAVE IT ALL. EVERY BOX OF CHINA TEA BELONGS TO ME. EDWARD EVERY BODY, EVERY BROOM, EVERY MULE AND EVERY LOOM. I WAS JUST A BOY WHEN ANY OF YOU LAST SAW ME. (pointing at the slaves) BUT I'VE BEEN HAPPILY MARRIED WITH A DAUGHTER WE BOTH ADORED. KEEP ALL THE GOODS AND PROPERTY TOGETHER. NOW I'M A WIDOWER, A MAN OF MEANS, I'LL HAVE IT ALL. A FATHER WITH A CHILD TO RAISE. (The auctioneer and Edward shake hands after WHAT MY BROTHER OWNED agreeing on terms for the sale of Maplewood I HAVE RIGHT OF FIRST OFFER TO BUY. Plantation. As Edward examines the legal paperwork, WHICH I DO NOW, FRIENDS. the townspeople begin to disperse. Several prominent WHICH I DO NOW. businessmen remain to witness the transaction, as does Edward's daughter Caroline, who will inherit Maplewood one day.)

5 * * * * WE CAN STILL ATTEND WITH SWEET WILLIAM AND COLUMBINE. (The slave families, now allowed to stay together thanks to Edward's generosity, celebrate in dance and song.) SLAVE CHORUS

SWEET WILLIAM AND COLUMBINE. CHORUS: “A Little More Time” SLAVE CHORUS, CILLA, and ROBERT

SLAVE CHORUS, CILLA, MARGARET, and LITTLE MORE TIME ROBERT A LITTLE MORE TIME (clapping as they sing) MORE TIME WITH THE CHILDREN WE LOVE...

A LITTLE MORE TIME (altos) A LITTLE MORE TIME ...TIME WITH OUR MOTHERS. MORE TIME WITH THE CHILDREN WE LOVE... (all) (tenors) ...TIME WITH OUR BROTHERS. WE FEEL THE MERCY OF OUR LORD GOD WITH THE GRACE OF A LITTLE MORE TIME. (all) (Gaines nods in assent to the contract’s terms, then WE FEEL THE MERCY OF OUR LORD GOD turns to the businessman standing next to him and asks WITH THE GRACE OF A LITTLE MORE TIME. for a pen with which to sign the contract.)

CILLA and MARGARET ARIOSO: “I Made a Little Play Doll” ANOTHER SEASON OF FRIENDSHIP TELLING STORIES, SHARING SECRETS BY THE MARGARET FIRE. (tenderly)

I MADE A LITTLE PLAY DOLL FOR MY BABY, SLAVE CHORUS WITH BUTTON EYES AND HAIR OF YARN; THE LIPS ARE MADE OF ROSE-COLORED WE FEEL THE MERCY OF OUR LORD GOD THREAD. WITH THE GRACE OF A LITTLE MORE TIME. (Distracted, Edward looks up from his paperwork; he turns around and notices Margaret, who is wearing a MARGARET red scarf. He is intrigued, and grateful for his good fortune to have just purchased her.) MORE NIGHTS TO CURL LIKE A VINE IN OUR HUSBAND’S ARMS. ONE DAY SHE WILL LOVE IT; I AM WAITING FOR HER TO LOVE IT ROBERT (Edward turns around again, and finishes signing the MORE DAYS TO BASK IN THE LIGHT contract. The businessmen extend handshakes of OF OUR LOVER’S EYES. congratulations to him on the acquisition of Maplewood.)

CILLA and MARGARET WHEN SHE IS OLD ENOUGH TO HOLD IT. OUR FATHERS' GRAVES

6 EDWARD (disappointed, somewhat disgusted) (Margaret unties her red scarf. When one of the slaves brings in Margaret’s infant daughter, wrapped in a LOOK AT THEM. white cloth, she drops her scarf on the ground in order THEY WERE MY NEIGHBORS ONCE. to cradle the baby tenderly in her arms.) THEY PRETEND THEY DON'T REMEMBER ME.

I’M WATCHING THIS MYSTERY CALLED CASEY CHILD. IT WAS A LONG TIME AGO, SIR. YOU'VE BEEN AWAY FOR TWENTY YEARS… SLAVE CHORUS, CILLA, and ROBERT

A LITTLE MORE TIME EDWARD A LITTLE MORE TIME (turning back around, facing Casey) MORE TIME WITH THE CHILDREN WE LOVE... …TWENTY YEARS. (to himself) (altos) ...TIME WITH OUR MOTHERS. THEY PRETEND. THEY LIE, AND THEY SAY THEY DON’T REMEMBER ME. SLAVE CHORUS, CILLA, and ROBERT (Margaret's scarf, still lying on the ground, catches WE FEEL THE BREATH OF OUR LORD GOD Edward's attention; WITH THE GIFT OF A LITTLE MORE TIME. he starts walking over towards it.)

SLAVE CHORUS CASEY (looking in the other direction from Gaines) WE FEEL THE BREATH OF OUR LORD GOD. SOMETHING IN THE PAST, SIR? SOMETHING BEST FORGOTTEN? CILLA, MARGARET, and ROBERT

WE FEEL THE BREATH OF OUR LORD GOD. (Edward picks up Margaret's scarf, and mindlessly puts it in his pocket.)

SLAVE CHORUS EDWARD WITH THE GIFT OF A LITTLE MORE TIME. I WAS JUST A BOY. THE TROUBLE I CAUSED WAS INESCAPABLE. (The slaves exit slowly; Margaret is the last of the FOR A BOY WITH AN APPETITE. slaves to leave.)

(Having completed the legal transaction with Edward, the auctioneer departs with the businessmen. Caroline CASEY remains, however, cheerfully conversing with their wives.) BUT EVERY BOY HAS AN APPETITE, SIR.

**** EDWARD (Edward watches the last townspeople leave.) I LEFT UNDER A CLOUD OF SUSPICION.

7 IT WAS NOTHING, NOTHING TO RAISE EYEBROWS.

THE GIRL WAS SO YOUNG, End of Act One, Scene One AND FROM SUCH A FINE FAMILY; THINGS GOT A LITTLE OUT OF HAND. ***** (sotto voce) SO NOW THEY PRETEND NEITHER I NOR IT EVER HAPPENED. Act I, scene ii: Harvest time, about six months later. WHAT A SHAME. I REMEMBER! I REMEMBER EVERYTHING. The slaves -- some of whom are children, barely 10 or 12 years old -- return to their quarters after a day of working in the fields. In time with the percussion’s ARIA: strong, syncopated beat, they perform a series of “I Remember” domestic chores: chopping wood, pumping water, beating rags, etc. EDWARD (wistful, yet still optimistic) CHORUS: I REMEMBER THE CURVE OF EVERY HILL “O Mother, O Father, Don’t Abandon Me!” THE SWANS IN THE POND; I REMEMBER THEM STILL. ROBERT I REMEMBER EVERY TREE: MAPLE, BIRCH, WILLOWS AND PINE. TURN MY FACE TO THE DYING SUN

I CAN SEE THEM NOW SHADING THE DRIVE, SLAVE CHORUS SHELT’RING ME FROM THE HEAT. MAPLE, BIRCH AND THE ODOR OF PINE. TURN MY FACE TO THE DYING SUN

I REMEMBER EVERY TREE BUT NONE OF THEM REMEMBERS ME. ROBERT

THE WELL, THE CREEK, CAN’T STRAIGHTEN MY BACK FISHING BY THE LAKE. TIL THE WORK IS DONE. EVENINGS OF LAUGHTER WITH GIRLS WHO WANTED TO PLAY. SLAVE CHORUS I REMEMBER EVERY TREE BUT NONE OF THEM REMEMBERS ME. CAN’T STRAIGHTEN MY BACK TIL THE WORK IS DONE. (Edward catches Caroline's glance, and motions for her to join him.) ROBERT

EDWARD PLOWED THE FIELD, BALED THE HAY (sotto voce)

THEY WON'T FORGET ME AGAIN! SLAVE CHORUS

(Edward exits, with Caroline at his side. Casey follows PLOWED THE FIELD, BALED THE HAY them.)

8 ALL

O MOTHER, O FATHER ROBERT DON’T ABANDON ME WHILE MY BLOOD FLOODS THE VELVET DIRT GOING TO DANCE OF DEAR OLD KENTUCKY. ON THE LEAD MULE’S BACK SOMEDAY.

O MOTHER, O FATHER SLAVE CHORUS DON’T ABANDON ME WHILE MY SWEAT STILL SWEETS THE RICH GOING TO DANCE BROWN SOIL ON THE LEAD MULE’S BACK SOMEDAY. OF DEAR OLD KENTUCKY.

ALL CRACK UH BACK

O MOTHER, O FATHER CUT UH CANE DON’T ABANDON ME WHILE MY SWEAT STILL SWEETS THE RICH PULL UH MULE BROWN SOIL OF DEAR OLD KENTUCKY. CHOP UH COTTON

O MOTHER, O FATHER SPLIT UH WOOD DON’T ABANDON ME.

MARGARET CRACK UH BACK

BOSS IS HAPPY AT HIS PLATE CUT UH CANE

PULL UH MULE SLAVE CHORUS CHOP UH COTTON LONG AS HE GETS HIS FOWL; SPLIT UH WOOD

MARGARET CRACK, CUT, IF I STAND AT HIS COOKING STOVE, PULL, CHOP, SPLIT;

CRACK, CUT, SLAVE CHORUS PULL, CHOP, SPLIT;

HIS SUPPER WILL BE FOUL! CRACK, CUT, PULL, CHOP, SPLIT!

MARGARET and ROBERT (shouted like gospel singers) FEMALE CHORISTERS

BELIEVE IT! (soprano soloist) BOSS IS HAPPY IN HIS BED (all) LONG AS HIS PILLOW’S DOWNEY; (soprano soloist) IF I STOOD BY HIS SLEEPY HEAD

9 (all) HIS FACE WOULD BE AS FLUFFY. CUT UH CANE

PULL UH MULE MALE CHORISTERS (like gospel singers) CHOP UH COTTON

TELL IT TO ME! SPLIT UH WOOD

ROBERT CRACK UH BACK

PLOWED THE FIELD, BALED THE HAY CUT UH CANE

PULL UH MULE CHORUS CHOP UH COTTON PLOWED THE FIELD, BALED THE HAY SPLIT UH WOOD

ROBERT CRACK, CUT, GOING TO DANCE PULL, CHOP, SPLIT; ON THE LEAD MULE’S BACK SOMEDAY. CRACK, CUT, PULL, CHOP, SPLIT; SLAVE CHORUS CRACK, CUT, GOING TO DANCE PULL, CHOP, SPLIT! ON THE LEAD MULE’S BACK SOMEDAY. (Upon hearing the dinner bell, the workers wash up for supper. Cilla is waiting at Margaret and Robert’s ALL cabin to welcome them home.)

O MOTHER, O FATHER DON’T ABANDON ME CILLA WHILE MY TEARS MUDDY THE RICH BROWN SOIL YOU LEFT THE LIGHT BEHIND YOU. OF DEAR OLD KENTUCKY. DID YOU HAVE A WORRISOME DAY?

MARGARET and ROBERT (Cilla, Robert, and Margaret go inside the cabin, and (shouted like gospel singers) begin preparing dinner.)

SING IT TO ME! ROBERT

ALL EVERY NEW DAY IS LIKE YESTERDAY. WORK THE CROPS, O MOTHER, O FATHER FORGET ABOUT PAY. DON’T ABANDON ME WHILE MY BLOOD FLOODS THE VELVET DIRT OF DEAR OLD KENTUCKY. (sarcastically) END EACH DAY LIKE THE ONE BEFORE. DON’T LEAVE THE FIELD CRACK UH BACK TIL THE LIGHT’S TOO POOR.

10 CILLA CILLA THIS GAINES IS NOT LIKE THE LAST ONE. A MEAN STREAK RIDES HIS BROW. MAKE US GRATEFUL FOR OUR FOOD. THE OTHER ONE HAD A HEART -- SOMETIMES! (jokingly) MARGARET and ROBERT [Sweet Jesus…]

MARGARET CILLA NO SUCH THING AS A BOSS’S HEART. HE CAN’T WASTE THE SPACE. KEEP US WELL AND IN YOUR SIGHT.

MARGARET and ROBERT ROBERT [mmm…]

IF HE COULD HARVEST CORN IN HIS CHEST, CILLA

ROBERT and MARGARET PROTECT THOSE IN DANGER, (laughing heartily) MARGARET and ROBERT HE WOULD LEASE OUT HIS OWN HEART’S [Take my hand…] PLACE!

CILLA (Cilla beckons for Robert and Margaret to sit down at the dinner table.) AND LET US BE GUIDED BY YOUR HEAVENLY LIGHT.

CILLA MARGARET and ROBERT [Precious Lord… mmm] EASE YOURSELVES, EASE YOURSELVES. THE TABLE IS LAID. CILLA THE SUPPER IS PLAIN BUT WARM. AMEN.

MARGARET * * * * *

… YOU’VE GOT MILK AND STRAWBERRIES ROBERT TOO. (exuberantly)

(All three sit down to dinner.) YOU ARE A HUNDRED POUND BLESSING, MAMA.

"Cilla’s Prayer” MARGARET CILLA (to Cilla)

DEAR LORD IN HEAVEN, HOW’S MY BABY? NOT CRYING FOR ME? MARGARET and ROBERT HOW’S MY SWEETNESS? (interjecting, like a Responsorial) NOT MISSING ME?

[Blessed Lord…]

11 CILLA MARGARET (smiling, reaching out to Robert) SHE’S SLEEPING, MARGARET, SLEEPING. OH NO. OH NO. NOT A FROWN ON HER SUGAR BUTTER FACE. YOU ARE THE PULSE. WITHOUT YOU I HAVE NO HEART.

ROBERT (laughing) ROBERT

DID YOU EVER SEE A MOTHER LIKE THAT? AND WITHOUT YOU I HAVE NO PULSE TO THE CHILD SUPPOSED TO NEED THE MOTHER; GIVE. NOW HERE THE MOTHER NEEDS THE CHILD MORE. (They embrace.)

MARGARET CILLA (interrupting) I NEED TO SMELL HER BREATH. ENOUGH SAID. GO GET YOUR HEART CILLA BEFORE YOU BREAK MINE.

THE BABY NEEDS HER REST. (Margaret goes to get the baby. As Cilla and Robert eat dinner, Margaret sings tenderly to the child.) MARGARET

I NEED TO SEE HER EYES, HER SMILE. "Margaret’s Lullaby"

CILLA MARGARET (emphatically) SAD THINGS, FAR AWAY IT’S DANGEROUS, DAUGHTER, SOFT THINGS, COME AND PLAY TO LOVE TOO MUCH. THE LORD GIVETH LOVELY BABY … AND THE LORD TAKETH AWAY. COME TO YOUR SUPPER BEFORE YOU WAKE SLEEP IN THE MEADOW, HER. SLEEP IN THE HAY BABY’S GOT A DREAMIN’ ON THE WAY.

MARGARET BAD THINGS, FAR AWAY PRETTY THINGS, HERE TO STAY SHE IS MY SUPPER, THE FOOD OF MY HEART. SWEET BABY, SMILE AT ME LOVELY BABY, GO TO SLEEP.

ROBERT SLEEP IN THE MEADOW, SLEEP IN THE HAY AND WHAT AM I? BABY’S GONNA DREAM THE NIGHT AWAY. THE LEAVINGS? LOVELY BABY, PRETTY BABY BABY’S GONNA DREAM THE NIGHT AWAY.

12 (Casey approaches the cabin, armed with a double- CASEY barreled shotgun and carrying a satchel. He loiters for a few minutes, passing the time by cleaning his gun.) I’M TALKIN’ TO YOUR BOY, CILLA. NOT YOU.

SLEEP IN THE MEADOW, SLEEP IN THE HAY CASEY BABY’S GONNA DREAM … (to Robert) BABY’S GONNA DREAM … (softer) BABY’S GONNA DREAM … (softer still) YOU HAVE BEEN RENTED OUT, BOY. MISTER GAINES WANTS YOU ON YOUR WAY T’NIGHT CASEY (aggressively) SO YOU’LL BE READY FOR WORK (quietly, standing in the cabin doorway) AT SUNRISE.

NOT TONIGHT. NOBODY DREAMS TONIGHT. ROBERT

WHERE, SIR? ROBERT WHERE IS HE SENDING ME?

WHAT D’YOU SAY? WHAT’S THAT YOU SAY? CASEY

NOT YOUR BUSINESS TO KNOW. (Casey enters the cabin abruptly, and confronts ONLY YOUR BUSINESS TO GO. Robert.) (pointing to the door)

CASEY THE WAGON IS ON THE ROAD. (sarcastically) HOP TO IT, BOY!

WHAT’S THAT I SAY? WHAT’S THAT YOU SAY? MARGARET

(Casey points his gun at Robert.) I’LL GET READY. ROBERT HOLD THE BABY, MAMA.

EXCUSE ME, SIR. YES, SIR. CASEY WHAT’S THAT YOU SAY, SIR? HOLD ON, GIRL.

CASEY YOU’LL GET READY ALL RIGHT. BUT YOU WON’T NEED THE WAGON. BETTER. MUCH BETTER. WHAT I SAY IS (quietly, with innuendo) NO HAPPY DARKY DREAMIN’ T’NIGHT. MISTER GAINES WANTS YOU IN THE HOUSE, MISTER GAINES HAS OTHER PLANS… OTHER HIS HOUSE. PLANS. AIN’T THAT NICE? NO MORE FIELD WORK. CILLA AIN’T THAT NICE?

WHAT PLANS, MISTER CASEY? YOU CAN PUT YOUR FEET UP IN HIS HOUSE ALL DAY,

13 ALL NIGHT, TOO. MARGARET

AIN’T THAT NICE? COOL DOWN, ROBERT! AIN’T THAT NICE? HE WILL HEAR YOU.

(Casey pulls a stylish housedress out of his satchel. He ROBERT waves the dress, like a red flag, in Robert’s face, then (angrily) tosses it at Margaret.) I AM A MAN! AIN’T I? AIN’T THAT NICE? AIN’T I A MAN? (Casey leaves.) AIN’T I? AIN’T I?

(Robert and Margaret exchange troubled glances; Cilla rocks the baby.) MARGARET

YES! (As he walks away, Casey sings a parody of YOU ARE TO ME. Margaret’s “Lullaby”.) AND TO US.

CASEY ROBERT (almost stuttering in frustration) LA-DA-DA-DA-DA LA–DA-DA-DAY. …I KNOW… I KNOW… I KNOW… WHAT IS ON HIS MIND. (He laughs derisively.) BASTARD!

MARGARET ROBERT (lovingly) (sotto voce; trying to contain his emotions) IT WON’T HAPPEN. SKUNK! SNAKE! IT WON’T HAPPEN, BELIEVE ME. BELIEVE ME! (erupting in rage) SON OF A WHORE! ROBERT

(Robert paces the room, his anger at the boiling point.) HOW CAN YOU KNOW? HOW CAN YOU BE SURE? YOU CAN’T CONTROL A SNAKE IN HIS OWN CILLA NEST.

PLEASE! DON’T WAKE THE BABY. MARGARET

ROBERT HIS DAUGHTER LIVES THERE TOO. HE WILL BEHAVE. YELLOWBELLY! THAT SON OF A DOG!!

14 CILLA YOU ARE MY SHOULDER.

BELIEVE HER, SON. IT CAN’T BE FOR TOO LONG. ROBERT YOU ARE MY SPINE.

MARGARET MARGARET and ROBERT WE WILL FIND A WAY. (together) STAY STRONG. YOU ARE MY COURAGE. (moving closer to Robert) HE IS NOT THE MASTER OF ME. MARGARET

Standing downstage center, Robert and Margaret are AND YOU ARE THE SIGN holding hands. As they sing, they gradually move apart; by the end of the duet, they are standing at opposite ends of the stage. MARGARET and ROBERT (together)

DUET: THAT LOVE IS THE ONLY MASTER “Love is the Only Master” THE HEART OBEYS; LOVE IS THE ONLY MASTER MARGARET THAT MY HEART OBEYS.

HOLD ME. (Evening falls as Robert leaves.)

ROBERT (Fade to black.) HOLD ON.

***** MARGARET

STAY, SWEET. Act I, scene iii: Maplewood Plantation, in the early summer of 1858. ROBERT In the candlelit parlor at Maplewood Plantation, a STAY STRONG. wedding reception is being held to celebrate the marriage of Caroline Gaines, Edward’s daughter, to George Hancock. The guests – the local townspeople MARGARET whom Edward is very eager to impress – waltz to the gentle accompaniment of a parlor piano, and enjoy BE MY MOONRISE. generous amounts of freely flowing champagne.

ROBERT EDWARD (to the guests) BE MY DAWN. PLEASE, MAY I HAVE YOUR ATTENTION?

MARGARET and ROBERT (together)

15 THE GUESTS EDWARD (gathering around) EXACTLY SO, PRECISELY SO. MISTER GAINES WANTS TO SPEAK. AM I RIGHT, GEORGE? GATHER ‘ROUND OUR GRACIOUS HOST. THERE IS NOTHING SO FINE AS SEEING A COUPLE IN LOVE! GEORGE

(Arioso) I’M NOT SURE THAT I DESERVE HER, EDWARD BUT I WILL SPEND MY LIFE TRYING TO SERVE HER I PROMISED CAROLINE’S MOTHER AND EARN THE DEVOTION TWO THINGS. SHE SQUANDERS ON ME. ONE, THAT I WOULD STAY A WIDOWER; TWO, THAT I WOULD SEE THE GUESTS TO OUR DAUGHTER’S FUTURE CARE. CAROLINE HAS PROVEN THERE IS NOTHING SO WONDEROUS THE RIGHTNESS OF THOSE PROMISES. AS BEING IN LOVE. SHE WILL INHERIT A SOUND ESTATE -- WHICH, I MIGHT ADD, HAS GROWN FROM MODEST TO GRAND. GUESTS AND HER CHOICE OF HUSBAND IS EVERYTHING THERE IS NOTHING SO WONDEROUS HER MOTHER WOULD HAVE WISHED FOR… AS SEEING A MARRIAGE FOR LOVE.

THE GUESTS CAROLINE and GEORGE

…BEAUTIFUL WORDS THERE IS NOTHING SO WONDEROUS FROM OUR GENEROUS HOST! AS BEING IN A MARRIAGE FOR LOVE!

EDWARD FEMALE GUESTS

A MAN OF STATURE AND LEARNING. A MARRIAGE FOR LOVE…

(The pompous guests blatantly examine the room’s MALE GUESTS furnishings to judge their quality.) …A MARRIAGE FOR LOVE.

THE GUESTS EDWARD AND HER CHOICE OF HUSBAND IS EVERYTHING HER MOTHER WISHED FOR. CAROLINE, MY ADORABLE CAROLINE. GIVE YOUR FATHER A DAUGHTER’S EMBRACE. CAROLINE

AND YOU, FATHER? (Caroline walks across the room to her father, who is IS HE WHAT YOU HAVE WISHED FOR ME? waiting with open arms. He embraces her too tightly, however.)

16 EDWARD CAROLINE (lightheartedly) THE LANGUAGE OF LOVE IS AN IMPOSTER, OH, FATHER, I CANNOT BREATHE. HIDING IN DRESSES OF VERSE.

(Caroline makes light of the situation, then goes to mingle with the guests.) GEORGE (emphatically)

EDWARD THE LANGUAGE OF LOVE (warmly) IS A MAGICIAN, TURNING ROSES INTO DOVES ON THE WING. FORGIVE ME, CAROLINE;

(Upon hearing her name, Caroline turns towards her EDWARD father.) THE LANGUAGE OF LOVE MY ARMS ARE LIKE MY LOVE. IS AN INFANT’S HAND IN A FATHER’S GLOVE. STRONG AND ALL EMBRACING.

GEORGE CAROLINE (reassuringly, taking her father’s hands in hers) A RAFT IN A STORMY SEA, OFFERING RESCUE. NEVER MIND, FATHER. I HAVE PROSPERED SO MUCH IN YOUR ARMS, THE GUESTS I CAN NOW EMBRACE ANOTHER. (eagerly joining in the fray)

THE LANGUAGE OF LOVE (Caroline suddenly lets go of her father’s hands, and IS OFTEN HARD TO EXPLAIN. turns away from him to walk towards George, who is IT MAY OFFER TRUE JOY, downstage, on the other side of the room. George BUT IT CAN END IN SUCH PAIN! embraces Caroline tenderly.)

GEORGE GEORGE (sensing that Edward feels somewhat rejected) THE LANGUAGE OF LOVE IS A LIGHTHOUSE THERE IS NO RIVAL HERE. TO GUIDE US OVER HEAVY WAVES. LOVE DOES NOT CONQUER OR DISPOSE; IT DOUBLES AND TRIPLES WITH USE. EDWARD THE LANGUAGE OF LOVE IS ALWAYS CONFUSING. THE LANGUAGE OF LOVE IT CAN NEVER BE AS CLEAR IS A THIEF RESPECTING NO HOUSEHOLD, AS THE EMOTION IT TRIES TO CONVEY. STEALING THE LOVED ONES AWAY.

THE LANGUAGE OF LOVE… THE GUESTS (Edward puts up his hand to interrupt George in mid- sentence.) THE LANGUAGE OF LOVE IS TOO COMPLEX TO BE KNOWN. WHAT IS BOUGHT WITHOUT PRICE, CAN NEVER BE OWNED!

17 EDWARD GEORGE

THE LANGUAGE OF LOVE …IT’S A LIGHTHOUSE TO GUIDE US … IS AN IMPOSTER…

EDWARD GEORGE (definitively, ending the discussion)

…IS A MAGICIAN… …IT’S A THIEF RESPECTING NO HOUSEHOLD, STEALING THE LOVED ONES AWAY!

EDWARD (Caroline returns and makes a “grand entrance,” holding her champagne glass up high.) …IS AN INFANT’S HAND IN A FATHER’S GLOVE. CAROLINE (in a celebratory mood) GEORGE IT’S A CLIPPER SHIP …TURNING ROSES INTO DOVES ON THE WITH ROOM AFTER ROOM WING! FOR DANCING AND CAKES AND TEA AND CHAMPAGNE!

(The newlyweds Caroline and George begin the THE GUESTS traditional “first dance;” the others join in the waltz one couple at a time. Ironically, only Gaines is without THE LANGUAGE OF LOVE a partner; he is forced to watch the festivities.) IS A DANGEROUS ART. IT CAN OPEN YOUR EYES (Margaret enters the room to bring in another tray of OR IT WILL TEAR OUT YOUR HEART! glasses. Although she is dressed more nicely now, in the uniform befitting a house servant, she acts in a more subjugated manner. Gaines, standing alone, (Embarrassed by the argument that has broken out quietly takes notice of her arrival.) between her father and her new husband, Caroline walks away. She goes over to the side table and picks (The guests gradually conclude dancing. Gaines once up a crystal champagne glass.) again plays the gracious host; he toasts the newlyweds as Margaret serves the guests.)

EDWARD EDWARD (getting angry) WELL, THAT IS OUR ANSWER THEN. THE LANGUAGE OF LOVE CHAMPAGNE HEALS ALL WOUNDS IS AN IMPOSTER. AND PUTS ALL ARGUMENTS TO BED. CONGRATULATIONS, SON. BLESSINGS, DAUGHTER.

GEORGE (Margaret starts to leave the room.)

IS A MAGICIAN. CAROLINE (warmly) EDWARD MARGARET, WAIT A MOMENT. IT’S AN INFANT’S HAND IN A FATHER’S COME TO ME. GLOVE… WHAT DO YOU THINK?

MARGARET EDWARD (somewhat surprised) CAROLINE, EXCUSE ME, MA’AM? YOU ARE TOO WILLFUL. SHE CAN’T ANSWER YOU. SHE WON’T ANSWER YOU. CAROLINE

WHAT DO YOU THINK CAROLINE ABOUT LOVE? WE WERE DISCUSSING WHY NOT? THE WORDS TO DESCRIBE IT. (Arioso)

EDWARD SHE HAS LOVED ME SERVED ME, TAUGHT ME CHILD! DEAR CHILD! IN THESE TWO YEARS; WATCHED OVER MY SLEEP. WHO KNOWS BETTER THAN SHE CAROLINE HOW TO SAY WHAT LOVE IS? (to Margaret) CAN WORDS DO IT JUSTICE, MARGARET? DO THEY HELP US TO LOVE? ENCOURAGE ITS SUCCESS? OR HURT US BEYOND REPAIR? OR, AS MY FATHER SAYS, IS THE LANGUAGE OF LOVE (to her father) AN IMPOSTER? I WANT TO KNOW -- I WANT TO KNOW -- WHAT A THIEF IN THE NIGHT? SHE THINKS.

MARGARET EDWARD (insistent) BEGGING YOUR PARDON, MISS CAROLINE. MISTER GAINES IS THE EXPERT HERE. CHILD! PLEASE, CHILD, NO MORE!

CAROLINE THE GUESTS (whispering) …HIS LOVE IS ROUGH, WHILE YOURS IS TENDER. WHAT IS ALL THIS TALK ABOUT, TALK ABOUT? WHAT IS ALL THIS TALK ABOUT? EDWARD (emphatically) OH DEAR. OH DEAR. WE THOUGHT HE WAS QUALITY. YOU SEE? SHE HAS NOTHING TO SAY OH DEAR. OH DEAR. ON THE MATTER. THIS IS A MISTAKE LOVE IS NOT IN HER VOCABULARY. QUALITY FOLK WOULD NEVER MAKE!

OH DEAR. OH DEAR. MARGARET THIS IS A PROFOUND INSULT. (thoughtfully) THIS IS A MISTAKE QUALITY FOLK WOULD NEVER MAKE! WORDS OF LOVE ARE MOTHS; EASY FOOD FOR FLAME.

19 ACTIONS ALONE CAROLINE and GEORGE SAY WHAT LOVE MAY BE. (looking into each other’s eyes)

AND MANY KINDS OF LOVERS. EDWARD (agitated, wild) THE GUESTS ENOUGH! ENOUGH! THIS IS TOO SUBTLE FOR ME. (angrily) … and me, and you… WE HAVE ALL HAD ENOUGH OF THIS NONSENSE. PERHAPS IT IS TIME TO SAY GOOD NIGHT. I REFUSE TO HEAR A SLAVE COMMENT … good night, good night, and good night … ON THINGS OUTSIDE HER SCOPE. OUR GUESTS ARE RIGHT. ARGUMENT CHILLS A PARTY. HER VIEWS ARE WORTHLESS. … good night, good night, and good night…

(to Margaret) … GOOD NIGHT! YOU ARE EXCUSED. LEAVE US. (The guests leave, bowing stiffly; they disapprove of Gaines’s behavior and act coolly towards him. He is (Margaret exits.) angered and annoyed by their early departure.)

CAROLINE EDWARD

FATHER, YOU SHAME ME. FOOLS, IDIOTS. SHE IS AS COMPLETE A HUMAN AS YOU ARE. WHAT DO THEY KNOW ABOUT “QUALITY” FOLK?

GEORGE (to Caroline and George, with regret)

IF SHE IS A MOTHER, THIS WAS TO BE A PROUD MOMENT. MAYBE MORE SO. NOW YOU HAVE GIVEN MY NEIGHBORS MORE REASON TO GOSSIP AND DESPISE ME. (The parlor clock strikes 10 o’clock. A few of the guests realize that the late hour now gives them an alibi to leave the party.) CAROLINE

I AM SORRY, FATHER, EDWARD IF I UPSET YOU. (to Caroline)

YOU DISAPPOINT ME. GEORGE HOW COULD LOVE EXIST IN A SLAVE? PASSION, PERHAPS. DON’T THINK US UNGRATEFUL BUT HOW WOULD SHE KNOW THE FOR THIS CELEBRATION. DIFFERENCE?

CAROLINE and GEORGE CAROLINE (together) (pleading with him to be reasonable) WE DID NOT MEAN TO BE RUDE, THERE ARE MANY KINDS OF LOVE, FATHER. ONLY TO SAY WHAT WE BELIEVE. HONESTY SHOULD NOT OFFEND YOU.

20 EDWARD MARGARET (agitated) (looking at the glass)

I AM NOT SO WEAK ARE THERE MANY KINDS OF LOVE? AS TO BE OFFENDED BY INNOCENCE. SHOW ME EACH AND EVERY ONE. BUT I HAVE A REPUTATION TO MAINTAIN. YOU CAN’T, CAN YOU? FOR THERE IS JUST ONE KIND.

CAROLINE

FATHER, PLEASE TRY ... ARIA: “A Quality Love” MARGARET EDWARD ONLY UNHARNESSED HEARTS …MY SWEET CAROLINE, CAN SURVIVE A LOCKED-DOWN LIFE. IT DOESN’T MATTER. ALL IS WELL. LIKE A RIVER RUSHING FROM THE GRIP OF ITS BANKS, TAKE CARE OF YOURSELVES. AS LIGHT ESCAPES THE COLDEST STAR; A QUALITY LOVE -- THE LOVE OF ALL LOVES - - WILL BREAK AWAY. (tenderly kissing his daughter) GOODBYE. WHEN SORROW CLOUDS THE MIND, THE SPINE GROWS STRONG; (shaking George’s hand) NO PRETTY WORDS CAN SOOTHE OR CURE TAKE CARE. WHAT HEAVY HANDS CAN BREAK.

WHEN SORROW IS DEEP, (Caroline and George leave, eager to depart on their THE SECRET SOUL KEEPS honeymoon. Gaines pauses, and somewhat wistfully ITS WEAPON OF CHOICE: THE LOVE OF ALL watches them walk away.) LOVES.

NO PRETTY WORDS CAN EASE OR CURE EDWARD WHAT HEAVY HANDS CAN DO. (regaining his inner strength) WHEN SORROW IS DEEP, THE SECRET SOUL KEEPS ITS QUALITY LOVE. IT DOESN’T MATTER AT ALL. I HAVE SUCCEEDED WHEN SORROW IS DEEP, JUST AS I SAID I WOULD. THE SECRET SOUL KEEPS ITS WEAPON OF CHOICE: THE LOVE OF ALL ENVY IS THE TRUE PRICE OF WEALTH… LOVES! WHICH I EASILY, HAPPILY PAY. (Edward slowly emerges from his hiding place and A RICH MAN HAS MANY REMEDIES. walks towards Margaret, looking her over with unmistakable intent. She is momentarily unaware of his presence, however, as she is looking down at the (Edward begins to leave, but when he notices glass in her hand.) Margaret returning to clear the champagne glasses, he lingers in a hiding place.) EDWARD (coolly; unintentionally startling Margaret) (Margaret picks up a glass and holds it to the light, peering into it SUCH FINE SENTIMENTS. as if it were a crystal ball.) TOO FINE, I THINK FOR A SLAVE.

21 (He gently takes the glass from her hand. Assuming an air of gentility, Edward then pulls Margaret’s red scarf CILLA out of his pocket and slowly ties it around her neck.) NOT YET.

BUT I HAVE MY REMEDIES. A MAN HAS MANY REMEDIES. MARGARET

(Margaret resists his advances.) IS HE HERE? HAS HE COME?

MARGARET (agitated) CILLA

THEY CAN NOT TOUCH NOT YET. THE SECRET SOUL. BUT SOON.

EDWARD (Margaret suddenly notices that Cilla is packing a (losing control) carpetbag.)

…YOUR SOUL IS NOT ON MY MIND. MARGARET (unsettled)

(Margaret begins to struggle vehemently. But Edward WHAT ARE YOU DOING? overpowers her, and drags her forcibly out of the WHERE ARE THE CHILDREN? parlor.) CILLA (with assurance) (The curtain falls slowly.) ROBERT IS MY SON AND HIS WORD IS GOLD. End of Act One CALM YOURSELF. YOUR DAUGHTER IS WITH KATE. ******** SO IS THE LITTLE ONE.

(Margaret begins to search the room for signs of the INTERMISSION children. She becomes increasingly anxious when she realizes they are not there.)

MARGARET GARNER MARGARET (agitated) Act II, scene i: Maplewood Plantation. Sunday, February 24, 1861, in the early evening. WHY ARE YOU FOLDING THEIR CLOTHES? YOU’RE PACKING THEM AWAY! Anticipating a visit from Robert, who has been WHAT AREN'T YOU TELLING ME? meeting her secretly on Sunday nights, Margaret goes HAS CASEY BEEN HERE? to Cilla’s cabin. She is disturbed to find Casey lurking IS HE TAKING THEM AWAY? nearby.

CILLA MARGARET MARGARET, YOU HAVE CHANGED SO. HAS HE COME? EACH TIME YOU VISIT I SEE LESS OF YOU

22 AND MORE OF A WET HEN. MARGARET (feigning anger at Robert) DON'T CUT UP SO. THE NEWS IS GOOD. YOU DIDN'T SAY A WORD LAST SUNDAY.

MARGARET ROBERT (taking her seriously) WHAT NEWS? PLEASE, CILLA. I COULDN'T. WHAT IS HAPPENING? I HAD TO BE SURE.

(Arioso) MARGARET (teasing) CILLA IT'S TIME, DARLING GIRL. YOU OUGHT TO TELL ME AT LAST, WHAT YOU’RE DOING … SOMETIMES! THE TIME HAS COME. THE PLAN IS SET. THAT'S WHY YOUR HUSBAND IS LATE. ROBERT HE IS MAKING SURE THAT ALL IS IN PLACE. YOU NEED TO KEEP IT QUIET IN HERE. YOU'RE LEAVING TONIGHT!

MARGARET MARGARET ALRIGHT. SWEET JESUS! WHEN DO WE LEAVE?

CILLA ROBERT

SWEETER THAN SYRUP THREE HOURS FROM NOW. AND RIGHT ON TIME.

MARGARET MARGARET OH LORD. SLEEP MY BABIES IN THE MEADOW I AM GONNA CRY. SLEEP MY BABIES IN THE HAY; MY BABIES GOT SOME DREAMING TO DO CAUSE FREEDOM'S ON THE WAY. ROBERT

YOU? NOT YOU! MARGARET and CILLA MY SOLDIER GIRL'S GOING TO CRY? (together, with joyful exuberance) (Robert tries to embrace Margaret, but she pulls away, SLEEP MY BABIES IN THE MEADOW embarrassed to show her tears.) SLEEP MY BABIES IN THE HAY; MY BABIES GOT SOME DREAMING TO DO IT'S ALRIGHT. CAUSE FREEDOM'S ON THE WAY. IT'S ALRIGHT.

(Robert arrives, and immediately embraces Margaret.)

23 ARIETTA: (emphatically) “Go Cry, Girl” I AM IN CHARGE NOW. ROBERT EVERYTHING IS READY -- (tenderly) (teasing) EXCEPT YOU. NOW YOU HELP MAMA FINISH PACKING. GO CRY, GIRL I’M GOING FOR THE CHILDREN. YOU HAVE WON YOUR TEARS; GO CRY, GIRL (He leaves.) OBEY YOUR TENDER YEARS. THE STRING IS CUT (Cilla looks around the room one more time, to make THE TALE IS TOLD, I KNOW. sure that all of Robert and Margaret’s belongings are DON'T THINK I DON'T KNOW. packed.)

THE GATE IS OPEN THE WAY IS CLEAR; CILLA THE WORK IS DONE (locking the last bag) AND THE TIME HAS COME, I KNOW. DON'T THINK I DON'T KNOW. ALL DONE. I'M THROUGH. GO CRY, GIRL GIRL, GO CRY. MARGARET (Margaret feels overwhelmed with love for Robert) WHERE ARE YOUR THINGS? I DON'T SEE YOUR THINGS, MAMA. MARGARET (recovering her composure, but still anxious) CILLA WHERE WILL WE GO? DARLING GIRL, I AM TOO OLD TO TREAD NEW WATERS. ROBERT I AM BOUND TO STAY HERE.

(reassuringly) IT’S ALRIGHT. MARGARET

MARGARET MAMA! YOU HAVE TO COME WITH US. ARE THERE OTHERS?

ROBERT

IT’S ALRIGHT. CILLA

NO, I DON'T. MARGARET YOU KNOW I WON’T.

DO WE HAVE MONEY? (Briefly overcome by painful emotions, Cilla looks WHERE WILL WE HIDE? away from Margaret, who is attempting to make direct eye contact with her mother-in-law.)

ROBERT (Accompanied Recitative) IT’S ALRIGHT. SEEING YOU,

24 MY SON AND MY GRANDCHILDREN ROBERT WILL INSIST. GONE FROM THIS PLACE, AWAY FROM SATAN'S BREATH IS MY BLESSING. CILLA

DON'T MOURN ME. HUSH, CHILD. WHEN MY FAMILY IS SAFE, HEAR ME NOW: I WILL BE ONLY NEAR THE CROSS -- DON'T WASTE MUSCLE WHERE NONE IS NOT ON IT. WANTED. YOU WILL NEED EVERY BONE AND SINEW PLUS YOUR MIND ARIA: TO GET AWAY FROM HERE. “He is By” FOLLOW YOUR HUSBAND. CILLA SAVE YOUR CHILDREN, MOTHER!

HE IS BY, REAR UP, NOW. FOREVER BY ME. HELP ROBERT WITH THE CHILDREN. IN HIS SHADOW I WILL LINGER ON A WHILE (They hear footsteps approaching the cabin.) TIL HE CALLS ME. HERE HE COMES. HE IS BY, FOREVER BY ME. NO TRUMPETS OR STREETS OF GOLD (Margaret and Cilla are shocked when Casey, not HE WILL COME IN SILENCE Robert, storms into the cabin. Casey glances around AND GATHER ME IN HIS ARMS. the cabin, then picks up one of their carpetbags and throws it across the room.) HE IS BY, FOREVER BY ME. NO TRUMPETS OR STREETS OF GOLD CASEY HE WILL COME IN SILENCE AND GATHER ME IN HIS ARMS. PLANNING A LITTLE TRIP? OR JUST CLEANIN’ OUT THE STY?

MARGARET ROBERT PLEASE DON'T CONFINE US (calling from outside) TO THE EDGE OF YOUR MIND IN SHADOW. WE DON'T WANT TRUMPETS THE CHILDREN ARE COMING! OR STREETS OF GOLD. THE CHILDREN ARE … AS WE LEAVE IN SILENCE, GIVE US YOUR ARMS. (Upon entering the cabin, Robert halts abruptly when he sees Casey.) CILLA and MARGARET (together) CASEY AMEN. WELL, I'LL BE. [WELL, I'LL BE.] LOOK WHAT CRAWLED OUT OF THE WOODS. MARGARET PAPPY BEAR. COMIN’ TO GET MAMMY BEAR IT’LL BREAK MY HEART AND ALL THE LITTLE CUBS? KNOWING THAT YOU ARE STILL HERE. WE CAN'T BE FREE (to Cilla) WITHOUT YOU.

25 I GUESS YOU MUST BE GOLDILOCKS. CILLA SEEMS THE PORRIDGE IS ALL ET UP. LET ME SEE WHAT I CAN OFFER YOU. LAP OF GOD, ROBERT. WHAT HAVE YOU DONE? (pulling a pistol out of his coat)

GUN POWDER MIGHT BE A LITTLE DRY ROBERT BUT GOLDILOCKS GOT TO EAT, DON'T SHE? PROVED MY WORTH AS A MAN AND YOUR SON.

(Pointing the pistol at Cilla's mouth, Casey motions to Robert and Margaret with his free hand.) CILLA (clasping her hands)

LET'S JUST LINE UP OVER THERE. FORGIVE HIM, FATHER. THIS MAY BE THE END. (Impulsively, Robert attacks Casey. A violent struggle ensues, during which Robert manages to wrest away Casey’s pistol. He grabs Casey from behind, yet MARGARET hesitates to shoot him.) NO! NO, WE CAN'T CHANGE WHAT IS DONE. CASEY QUICK! ROBERT, YOU HAVE TO RUN! YOU KILL ME, BOTH OF US IS DEAD. YOUR FAMILY TOO. ROBERT

I CAN'T LEAVE YOU ALL HERE! ROBERT (livid, filled with rage) MARGARET AND IF YOU LIVE, WILL THEY? TELL ME WHERE TO MEET YOU. THEN GO! MARGARET

DON'T KILL HIM. ROBERT HE’S ALREADY DEAD. (agitated)

THE BOTTOM... CASEY (to Margaret) BY THE MIMOSA. THE GRASS IS TALL THERE. YOU BLACK SLUT! WHEN THE MOON HITS DON'T YA BEG FOR ME! THE TOP OF THE PINES, THE WAGON WILL BE THERE.

ROBERT CILLA DOG WITHOUT TEETH! REMEMBER HELL? HURRY, SON! GO HOME TO IT NOW! MAKE TRACKS, NOW! WE'LL HANDLE GOD'S OUTCAST. (Robert strangles Casey to death) (She covers Casey’s body.)

26 ROBERT ******

MARGARET. Act II, scene ii: OH, MY SWEET, LOVING WOMAN! In the Free State of Ohio, three weeks later.

MARGARET At twilight, on an evening in late March 1861. Three weeks have passed since Robert and Margaret THE BOTTOM... successfully escaped from Maplewood, and crossed the TALL GRASS... frozen Ohio River on the Kentucky border to reach MIMOSA... Cincinnati, a city in the “Free State” of Ohio.

Robert is standing underneath a huge elm tree, near the ROBERT entrance to an underground shed where he and Margaret, now both outlaws, are hiding with their BE THERE. children in an attempt to avoid being recaptured and WHEN THE MOONLIGHT... returned to their masters. Glimmering hot coals can be seen in a hole in the shed’s earthen floor.

ROBERT and MARGARET (together) MARGARET (emerging from the shed) ...TOUCHES PINE. WHAT ELSE HAVE YOU HEARD? WHAT ARE THEY SAYING ABOUT HIM? ROBERT (a bit more anxious) ROBERT LISTEN FOR THE … THEY SAY THIS NEW PRESIDENT DOESN’T HISS LIKE A SNAKE; ROBERT and MARGARET THAT HE TALKS LIKE A MAN.

…WAGON WHEELS. MARGARET

ROBERT WHAT ELSE HAVE YOU HEARD? WHAT HAS HE SAID? WATCH FOR THE…

ROBERT ROBERT and MARGARET THAT A HOUSE DIVIDED … MOONLIGHT, CANNOT STAND. WE’LL MEET YOU IN THE MOONLIGHT. AND THAT THE UNION IS SACRED.

(Robert kisses her.) MARGARET

MARGARET THAT MEANS WAR… YOU BETTER MAKE YOUR SPIRIT READY, GO! DARLING.

(Robert runs away) OH ROBERT, THE CHILDREN ARE TROUBLED. End of Act Two, Scene One THEY CRY IN THEIR SLEEP.

27 ROBERT ROBERT

I KNOW, I KNOW… IT WILL BE JUST SO. BUT FREEDOM IS IN OUR TEETH.

MARGARET MARGARET (with hope) WILL I WATCH FROM A WINDOW OUR CHILDREN TUMBLING IN CLOVER AND TELL ME AGAIN. ROSEMARY? WHAT IS THE NAME OF THIS PLACE?

ROBERT ROBERT TRUST ME, MARGARET. OHIO. IT WILL BE JUST SO. IT MEANS ‘BEAUTIFUL.’

MARGARET MARGARET WILL THEY SWIM IN CLEAR WATER IS IT? UNTIL THEIR SKIN GLITTERS LIKE BRASS? IS IT BEAUTIFUL? TELL ME… TELL ME.

ROBERT ROBERT

SO I HEAR. THEY WILL. A BEAUTIFUL PLACE FOR A FUTURE. IT WILL BE JUST SO.

LOOK! DO YOU SEE THIS TREE? HOW ITS LOWERING BRANCHES TO MARGARET PROTECT YOU NO MATTER WHAT THE WEATHER BRINGS. TELL ME. IMAGINE… TELL ME WHAT THE FUTURE WILL BE LIKE.

MARGARET ROBERT …THAT IS HOW IT WILL ALWAYS BE… IT WILL BE YOU AS MY WIFE NO OTHER MAN CAN TOUCH OR CLAIM. IT WILL BE THE CHILDREN ROBERT SEATED, NOT BENT. SEATED IN SCHOOL ROOMS, …THAT IS HOW I WILL ALWAYS BE. NOT BENDING THROUGH ROWS OF CORN. IT WILL BE ME PAID FOR MY LABOR WITH COIN OF THE REALM. MARGARET and ROBERT (together)

MARGARET THAT IS HOW IT WILL ALWAYS BE.

WILL I PLANT A GARDEN? MEND YOUR SHIRTS BY LAMPLIGHT? ROBERT (suddenly coming to his senses)

28 COME INSIDE. EDWARD IT’S DANGEROUS OUT HERE. SOMEONE MIGHT SEE US. THERE IS NOTHING YOU CAN DO.

(Gaines breaks down the shed door and fires his pistol (As they walk back to the shed, Robert puts his arm in the air. Robert shoots at Gaines, but misses his protectively around Margaret.) target. Overpowered, Robert is knocked to the ground and tie him up. Margaret emerges from behind the (Once inside the shed, Robert thinks he hears a group childrens’ blanket. of men approaching, and grabs his pistol. Margaret Emotionally spent, she falls to her knees) runs to protect her children, sleeping in the corner behind a blanket. Accompanied by a group of slave catchers, Edward Gaines – who appears to be MARGARET somewhat intoxicated -- pounds on the shed door.) (grief-stricken)

NO! NO MORE! EDWARD and SLAVE CATCHERS NO! NO MORE!

OPEN UP! OPEN UP! (getting up from the floor) WHY CAN’T YOU LEAVE US BE? (No sound is heard from inside the shed.) WHY CAN’T YOU LEAVE US ALONE?

EDWARD EDWARD

IF BLOODSHED IS ON YOUR MIND, LEAVE MURDERERS BE? DON’T WORRY. I OWN HIM! I JUST WANT WHAT IS MINE. I OWN YOUR CHILDREN! I OWN YOU!

EDWARD and SLAVE CATCHERS

OPEN UP! OPEN UP! MARGARET (pleading)

EDWARD SOMEBODY HELP US! PLEASE, SOMEBODY! NO HARM. PLEASE, NO MORE!

SLAVE CATCHERS (Margaret weeps silently as Edward removes his hat, overcoat, and gloves.) NO HARM.

EDWARD EDWARD MY BED IS COLD, GIRL. COME SOFTLY. IT WANTS WARMING. REMEMBER… REMEMBER?

SLAVE CATCHERS (with increasing vigor and excitement)

OPEN UP! OPEN UP! REMEMBER THE BED WARMER YOU RAN OVER MY SHEETS? FIRST YOU FILLED IT WITH HOT COALS AS I RECALL...

29 MARGARET ROBERT (wildly) MARGARET! MARGARET! HERE THEY ARE! I LOVE YOU! TAKE THEM! TAKE THEM! I LOVE . . .

(With her bare hands, Margaret grabs some coal out (The box on which Robert is standing is kicked away; of the smoldering fire and lunges at Gaines, attempting he dies instantly.) to burn him. He manages to grasp her wrists, and forces her to drop the coals. He notices that her hands MARGARET have been scorched.) NEVER TO BE BORN AGAIN INTO SLAVERY! EDWARD (Margaret violently attacks and murders her two PRETEND TO BE CRAZY AS MUCH AS YOU children: first slitting the throat of her daughter, then LIKE. stabbing the younger one.)

(derisively) (Horrified, Gaines and his men surround Margaret, MANGLE YOURSELF, I DON’T CARE. who has collapsed.)

EDWARD End of Act Two, Scene Two CASEY WAS NOT ENOUGH? WILL YOU KILL ME TOO? ***** OH NO, MY LITTLE CROW.

(A slave catcher returns to the shed.) Act II INTERMEZZO

SLAVE CATCHER Total darkness envelops the stage. Gradually, the image of Margaret, alone, becomes visible. Her state HE’S BOUND AND READY, SIR. of mind is changing; the intense isolation she feels in this moment “out of time” is mirrored by the dislocating blackness that surrounds her. MARGARET MARGARET DAMN YOUR MARBLE EYES, (consoling herself) DAMN YOUR SLITHERING SOUL! YOUR MISERABLE, PUTRID HEART. AH . . . LIKE A RIVER RUSHING FROM THE GRIP OF ITS BANKS. EDWARD (to the slave catcher) (With defiant grandeur, Margaret embraces her life’s circumstances.) TAKE THE YOUNG ONES TO THE WAGON. THEN LIGHT THE FIRE. DARKNESS, I SALUTE YOU. THE NIGHT IS COLD REASON HAS NO POWER HERE, AND PROMISES TO BE LONG. OVER THE DISCONSOLATE. GRIEF IS MY PLEASURE; THEIF OF LIFE, MY LOVER NOW. (In the dim light, Robert can be seen standing outside on a tall box underneath the tree; a noose is hanging (with quite acceptance) around his neck. One by one, the slave catchers plant DARKNESS, I SALUTE YOU. their torches in the ground, surrounding the condemned man with fire.) (fade to black)

***** EDWARD (looking at Margaret)

RUINED. USELESS. Act II, scene iii: In a courtroom, in early April 1861. JUDGES

ACT II, scene iv: HOW DID THEY COME TO BE RUINED? in a Courtroom, the next day.

Having followed the trial of Margaret Garner with EDWARD great interest and curiosity, the townspeople fill the local courtroom in eager anticipation of her THE ACCUSED DESTROYED THEM, YOUR sentencing by the three presiding judges. Margaret HONORS. sits in court surrounded by militia officers; Caroline, George, and Edward deliver final testimony. JUDGES

JUDGES BY ACCIDENT OR DELIBERATELY?

WHAT IS THE CHARGE? EDWARD

EDWARD DELIBERATELY.

THEFT, YOUR HONORS.

JUDGES JUDGES DESCRIBE, PLEASE, THE DESTROYED GOODS. AND THE VALUE OF THE THEFT?

EDWARD EDWARD CHILDREN, SIRS. HUNDREDS, YOUR HONORS. TWO CHILDREN, BOTH MINE. HUNDREDS OF DOLLARS LOST. I MEAN, BOTH MY PROPERTY.

JUDGES CAROLINE (in an aside to Gaines) HAVE THE STOLEN GOODS BEEN FOUND? FATHER, THIS IS MADNESS.

EDWARD EDWARD (retorting loudly, embarrassing Caroline) THEY HAVE, SIR. MADNESS, YES – HERS, NOT MINE. JUDGES CAROLINE AND GEORGE AND WHAT IS THE CONDITION OF THESE (pleading) GOODS? ALL THE MORE REASON TO SPARE HER.

31 CAROLINE JUDGE II

YOUR HONORS, MAY I SPEAK? ORDER IN THE COURT! . . .

(The judges nod their consent.) JUDGE III (emphatically) THE CHARGE IS FALSE. NOT THEFT, BUT MURDER . . . ORDER IN THE COURT! IT SHOULD BE. ORDER IN THE NAME OF THE LAW OF THIS COUNTRY!

JUDGES (Silence suddenly fills the courtroom.)

THAT IS A VERY DIFFERENT MATTER, CAROLINE YET IT COMES TO THE SAME THING. (quietly, with respect but also conviction)

THE ISSUE BEFORE US SHE BORE THEM, YOUR HONORS. IS OF PROPERTY... THEY ARE HERS UNTIL THEY COME OF AGE. A FINANCIAL LOSS ... SHE IS RESPONSIBLE FOR THEIR LIVES. NOT A DEBATE ABOUT THE HUMAN SOUL.

JUDGES CAROLINE and GEORGE (sarcastically) (together) WHERE HAVE YOU BEEN, MADAM? RESPECTFULLY, WE BEG TO DIFFER. ON AN ISLAND IN THE SEA? A MOTHER WHO KILLS HER CHILDREN YOU ARE SPEAKING OF A SLAVE, CANNOT BE SAID TO STEAL THEM. NOT SOMEONE LIKE YOU OR ME.

THE LAW IS CLEAR EDWARD IN THE BIBLE AND HERE. (interrupting angrily) SLAVERY IS NOT A MATTER FOR A SLAVE TO JUDGE. THEY DID NOT BELONG TO HER. SHE HAS NO RIGHT TO THEM, LIVING OR DEAD . . . TOWNSPEOPLE LIVING OR DEAD. SLAVERY IS NOT A MATTER IT IS CLEAR IN OUR SYSTEM FOR A SLAVE TO JUDGE. SHE OWNS NOTHING -- LEAST OF ALL MY SLAVES. CAROLINE

TOWNSPEOPLE FATHER, (assertively) MARGARET IS OF NO VALUE TO YOU, (looking at Margaret) OR ANYONE. YES! YES! LISTEN TO HIM. SHE WAS MORE THAN A MOTHER TO ME. HE IS RIGHT! NOW HER SILENCE SCREAMS A GRIEF HE HAS THE RIGHT IDEA. WE DARE NOT KNOW.

JUDGE I EDWARD (with authority) (to himself)

ORDER IN THE COURT! . . . I HAVE COMMITTED NO CRIME.

32 CAROLINE SHE IS NOT LIKE YOU OR ME! AND SHE IS NOT …LIKE YOU …OR ME! BUT YOU CAN HELP CHANGE THE DEBATE RAGING THE LAND. BOUND AND MADE READY BOUND AND MADE READY BOUND AND READY FOR EXECUTION. JUDGES

THE LAW IS CLEAR MARGARET IN THE BIBLE AND HERE. (quietly, to herself)

I AM NOT LIKE YOU. EDWARD I AM ME. (to Caroline and George)

I HAVE COMMITTED NO CRIME. TOWNSPEOPLE (to one another)

CAROLINE SHE IS NOT LIKE YOU OR ME . . .

LET THE CHARGE REFLECT (Margaret suddenly rises from her chair, and glances OUR CRIMES AS WELL AS HERS. around the courtroom, glaring at the onlookers.)

EDWARD MARGARET (emphatically) I HAVE COMMITTED NO CRIME. I AM NOT LIKE YOU. I AM ME! JUDGES

HE HAS COMMITTED NO CRIME. Judges (to Margaret) THE LAW IS CLEAR IN THE BIBLE AND HERE. SILENCE! YOU HAVE NO AUTHORITY. WE DO NOT MAKE LAWS OR FORSAKE LAWS, WE FOLLOW THEM PRECISELY. MARGARET (to the judges; refusing to sit down) THE CHARGE IS THEFT, THE SENTENCE IS JUST: YOU HAVE NO AUTHORITY. THIS ONE WILL BE I AM NOT LIKE YOU. MADE READY FOR EXECUTION. (defiantly) I AM ME! (While the judges confer with one another, Caroline I AM ME! pleads with her father to intervene and have the verdict I AM! overturned) (the militia officers restrain Margaret) TOWNSPEOPLE (relieved) TOWNSPEOPLE BOUND AND MADE READY BOUND AND MADE READY BOUND AND MADE READY BOUND AND READY FOR EXECUTION. BOUND AND MADE READY . . .

33 JUDGE III CAROLINE (pointedly, looking directly at Margaret) WE ARE SO AT ODDS I ORDER YOU IN THESE PAST FEW YEARS. IN THE NAME OF THE LAW OF THIS LAND OUR LAND WILL NOT SURVIVE TO BE EXECUTED THIS VIOLENT TEST. BY SUNRISE TOMORROW!

(he bangs his gavel resolutely; the three judges EDWARD immediately recess to their chambers) DAUGHTER, ARE YOU THREATENING ME?

TOWNSPEOPLE (reassured) CAROLINE and GEORGE

SHE IS NOT LIKE YOU OR ME NO. NO. SHE IS NOT LIKE YOU OR ME… WE ARE BEGGING YOU.

(Margaret is led away; the townspeople file out of the courtroom) CAROLINE

DON’T FAIL ME. CAROLINE IT IS ALL IN YOUR HANDS. (dismayed by the verdict)

FATHER, (Edward turns away as George and Caroline start to YOU MUST URGE CLEMENCY leave the courtroom. Caroline looks back at her father, FROM THE COURT. then impulsively runs to him. She takes his hands, and THEY WILL HEAR YOU. presses one against her cheek, kissing his palm.) THEY WILL LISTEN TO YOU. (Caroline and George exit.)

GEORGE (alone in the courtroom, Edward contemplates the course of his life.) DON’T LET HER DIE WITHOUT DIGNITY. DON’T LET HER HANG Arioso FOR THE WRONG REASON. EDWARD (examining his hands) Edward (disturbed, but betraying no sign of emotion) NOTHING. I SEE NOTHING AT ALL. NO WOUND, NO RASH. SHE MUST SUFFER THE CONSEQUENCES YET THEY BURN. OF WHAT SHE HAS DONE. WHAT LIGHTS THE FLAME? IS IT CAROLINE’S KISS, CAROLINE and GEORGE OR MARGARET’S COALS OF FIRE?

AND SO MUST YOU. (Edward steps forward a few feet – thereby ‘leaving’ the courtroom – and moves to a dimly-lit area of the stage) EDWARD (angrily) (dismissing any such questions)

MEANING WHAT, EXACTLY?

34 DAMN IT TO HELL! somberly into the town square at Richwood Station. I AM APPROVED. Great sorrow fills the air, for they are accompanying CLEARLY WHAT THE WORLD INSISTS Margaret Garner to her execution. All are sobered by I SHOULD BE. the imminence of death. Seemingly, the only person LAW AND CUSTOM ENDORSE ME. not in the crowded plaza is Edward Gaines.)

(reconsidering) (The hangman brings forth the condemned prisoner. Margaret’s hands, bandaged from the burns she YET MY ONLY CHILD received from the hot coals, have not yet been tied up LOOKS AT ME WITH STRANGE EYES; in preparation for execution) COLD APPRAISAL WHERE NAKED ADORATION USED TO LIVE. (Margaret is led up the scaffold steps. When she reaches the top of the platform, the hangman places a (aggressively) noose around her neck and positions her on the gallows’ trap door. Scattered about are a number of AM I NOT A LEGAL MAN? ropes, which will be used to secure her limbs tightly.) GOD’S BLUEPRINT, FLAWED IN MERELY ORDINARY WAYS? (Edward Gaines runs in, excitedly waving a document)

(assuming an aristocratic air) EDWARD HATS STILL TIP, GENTLEWOMEN DIP THEIR HEADS HOLD ON! HOLD ON! COURTEOUSLY TO ME. I’M TELLING YOU TO HOLD ON. THE JUDGES HAVE GRANTED CLEMENCY… (introspectively) (in a pointed aside to George and Caroline) AND YET. AND YET. THEY SEAR LIKE MOLTEN LEAD. CLEMENCY.

(inwardly, glancing at his hands) (looking around at the faces in the crowd, seeking some sign of approval or acknowledgement of his LOOK AT THEM. LOOK AT THEM! beneficence)

(upon reflection) AND IF THE GUILTY PARTY REPENTS HER MONSTROUS CRIME, IF THE FLAW IS IN THE BLUEPRINT SHE WILL BE REMANDED WHY MUST I CHOOSE? TO MY CUSTODY.

IF THE FLAW IS IN THE BLUEPRINT -- (Upon hearing the stay of execution – which eliminates THEN I MUST CHOOSE. the need for him to bind the prisoner’s body -- the hangman leaves Margaret’s side and walks over to the edge of the gallows platform to accept the legal (the lights dim slowly) document from Edward)

* * * * * * * * * CAROLINE and GEORGE (together) ACT II, Scene 4: In the town square of Richwood Station, Kentucky; THANK GOD. THANK YOU. The next morning, at dawn. (overjoyed and relieved, Caroline embraces her father. George shakes Edward’s hand) (A group of local citizens -- including the town authorities; Caroline and George; and Cilla, as well as some slaves from nearby plantations -- processes

35 CILLA * * * * * (stepping forward, thrilled) EPILOGUE THANK YOU, SWEET JESUS. (The hangman unties the noose around Margaret’s (to Margaret) neck, and holds her in his arms before the townspeople and slaves. The light begins to dim; eventually, all that DO YOU HEAR THAT? is visible is Margaret’s body, which seems to float YOU WILL LIVE, DAUGHTER. alone and above the crowd.) PRAISE MY MAKER, YOU WILL LIVE, MY ANGEL. ALL

MARGARET SWEET JESUS, (in a state of transcendence) HELP US BREAK THROUGH THE NIGHT.

OH YES. I WILL LIVE. I WILL LIVE. THE TOWNSPEOPLE I WILL LIVE AMONG THE CHERISHED. (white chorus, Caroline and George) IT WILL BE JUST SO. SIDE BY SIDE IN OUR GARDEN CHASTENED BY THY HOLY MIGHT, IT WILL BE JUST SO. RINGED BY A HARVEST OF LOVE. NO MORE BRUTAL DAYS OR NIGHTS. THE SLAVES (including Cilla) (making eye contact with Cilla in the crowd) GUIDED BY THY HOLY LIGHT GOODBYE, SORROW… INTO THY BLESSED SIGHT. DEATH IS DEAD FOREVER. I LIVE. OH YES, I LIVE! ALL (but Cilla) (While the crowd’s attention is focused elsewhere, Margaret deliberately trips the trap door’s lever and HAVE MERCY. HAVE MERCY ON US. hangs herself. Startled by the onlooker’s screams, the HELP US BREAK THROUGH THE NIGHT. hangman quickly turns around and is shocked to see Margaret’s limp body dangling just inches off the ground. He rushes over in a CILLA futile attempt to save her.) SOON, SOON MY BOLD-HEARTED GIRL CILLA I’LL BE THERE. I’LL BE THERE.

MARGARET… NO! MARGARET! THE SLAVES DEAR GOD, NO MORE. (without Cilla)

(Caroilne notices Margaret’s scarf in her father’s front BREAK THROUGH THE NIGHT, pocket. She removes, it, silently ascends the scaffold, BREAK THROUGH THE NIGHT; and reverently ties it around Margaret’s waist.) LET HER LINGER A WHILE AND RIDE THE LIGHT, EDWARD AND RIDE THE LIGHT. (stunned; looking at his hands) (the curtain descends slowly) NO BREEZE, NO COOL STREAM CALMS THESE PALMS. * * * * * * * * UNHEALED, THERE IS NO PEACE. END OF OPERA (He walks away.)