"WILDE IN AMERICA"
We are very pleased to publish by kind permission of the author the scenario and Part 1 of Wilde in America, a play written for television by Walter J. Walker.
Mr. Walker is happy to receive critiques of the work and can be reached at wjwalker@optonline.net. A short biography of Mr. Walker is at the foot of the piece.
Wilde in America is ©Copyright 1999 Walter W. J. Walker
PART I HERE
PART II BELOW
WILDE IN AMERICA
Travels with Oscar Fingal O’Flahertie Wills Wilde -1882
A Mini-Series in Six Parts
PART II
by Walter W.J. Walker
1155 Warburton Ave., Apt. 4S
Yonkers, NY 10701
(914) 969-2721
INT: NEW YORK, STANDARD THEATRE – NIGHT
The theatre is packed, with well-dressed patrons. We pick up the action moments into the first act of Patience or Bunthorne’s Bride
STAGE DIRECTION FROM GILBERT & SULLIVAN’S MUSICAL.
Exterior of Castle Bunthorne. Entrance to Castle by drawbridge over moat.
YOUNG LADIES (in two groups CONTRALTOS and SOPRANOS) dressed in aesthetic draperies are grouped about the stage. They play on lutes, mandolins, etc. as they sing, and all are in the last stage of despair. They are led by LADY ANGELA, LADY ELLA, LADY SAPHIRE and LADY JANE.
PATIENCE (LILLIAN RUSSEL, 20s) enters and takes her position on a rock above the throng. She looks down with pity on the despondent Ladies and begins her recitative
PATIENCE
Still brooding on their mad infatuation!
I thank thee, Love, thou comest not to me!
Far happier I, free from thy ministration,
Than dukes or duchesses who love can be!
LADY SAPHIR
(looking up)
‘Tis Patience---happy girl! Loved by a Poet.
PATIENCE
(about to exit)
Your pardon ladies, I intrude upon you.
LADY ANGELA
Nay, pretty child, come hither. Is it true that you have never loved?
PATIENCE
Most true indeed.
SOPRANOS
Most marvelous!
CONTRALTOS
And most deplorable!
PATIENCE (RUSSELL)
I cannot tell what this love may be
That cometh to all, but not to me.
It cannot be kind as they’d imply,
Or why do ladies sigh?
It cannot be joy or rapture deep,
Or why do these gentle ladies weep?
It cannot be blissful as ‘tis said,
Or why are their eyes so wondrous red?
Though everywhere true love I see
A-coming to all, but to me
I cannot tell what this love may be!
For I am blithe and I am gay,
While they sit sighing night and day
Think of the gulf ‘twixt them and me,
Fa la la la ! and Miserie...
Cut to YOUNG WOMAN shifting in her seat. She is looking about the theater for Wilde. She stares at the boxes and the elbows her HUSBAND in the ribs.
YOUNG WIFE
Is that him?
HUSBAND
Now how am I supposed to know, I‘ve never met the man.
YOUNG WIFE
No that can’t be him. He’s supposed to be tall and handsome. And no he doesn’t have a daughter.
HUSBAND
That’s Stanford White and I very much doubt he is with his daughter.
YOUNG WIFE
What are you saying?
HUSBAND
Never mind my dear. You keep a watchful eye out for Mr. Wilde. These seats cost me $12, but of course if you prefer the theater in the loges.
YOUNG WIFE
Do you think he’ll speak to the audience?
HUSBAND
Do I think who will speak to the audience?
YOUNG WIFE
Why Oscar Wilde of course.
HUSBAND
Yes, I predict he'll single you out and demand that you turn around; face the stage and be quiet so that he can enjoy the play.
Cut back to stage for LADY JANE speech.
JANE
There is a transcendentality of delirium -- an acute accentuation of a supreme ecstasy—which the earthy might easily mistake for indigestion. But it is not indigestion—it is aesthetic transfiguration!
Lady Jane turns to the others.
JANE
(con’t)
Enough of this babble. Come!
Character of Lady Jane looks up after reciting her line.
Cut to audience. Whispered comments and turned heads signals a minor commotion in an upper level box. Cut to upper level box where WILDE, accompanied by MRS. FRANK LESLIE and STEELE MACKAYE take their seats. Behind them MR. & MRS. HAYES, JOAQUIN MILLER, and RICHARD D'OYLY CARTE take their places. All eyes including those of Miss Lillian Russell leave the stage to watch the momentous entrance.
YOUNG WIFE
There he is!
YOUNG HUSBAND
Thank the Lord, our evening is now complete.
Cut to Wilde's box, where the poet acknowledges the attention by rising out of his seat and briefly bowing to the audience and then to the stage. There is light laughter from the audience and then all eyes return to the stage.
Wilde turns to Mrs. Leslie.
WILDE
A marvelous turnout for a weeknight.
MRS. LESLIE
Ah well, rumor had it there was to be a special guest in the audience tonight.
WILDE
Now, who do you think starts such rumors? And where do you think they get their information?
Mrs. Leslie
(smiling)
Turning information into rumor and back into information is the alchemy of the newspaper business. Surely, your brother has taught you this, Oscar.
Wilde
I am inclined to ignore my brother’s indulgence in sorcery, Mrs. Leslie.
MacKaye leans over and taps Wilde on the shoulder
MACKAYE
Oscar can you see her – Lillian – isn’t she stunning?
WILDE
Indeed, she is rapturous.
Cut to stage as COLONEL CALVERLEY, MAJOR MURGATROYD, LIEUT. THE DUKE OF DUNSTABLE and OFFICERS OF DRAGOON GUARDS enter. PATIENCE sits on a rock near the moat.
Cut to MacKaye and Wilde. Barely audible strains of the music from Patience can be heard under the conversation of Wilde and MacKaye.
MacKaye
(leaning over the back of the seat next to Wilde)
I’m not fond of this theatre. I think Lester Wallack’s new house would be more appropriate for your Vera.
WILDE
You received the manuscript today, did you not?
MacKaye
Yes, indeed. Your man dropped it off promptly at nine.
WILDE
And you have read it?
Mackaye
Not entirely, no. But my sense of the plot suggests a need for an expansive stage and some grand set changes. Wallack’s Theatre employs all the latest mechanics. It’s thoroughly modern; that theatre is.
Wilde
Please read my play thoroughly first, Mr. MacKaye. I would be happy to discuss sets and theatres with you once you have grasped the plot and characters. I find it to be the height of presumptuousness to read things into my play, without so much as turning a page.
MacKaye
You’re quite right, Oscar. I’ll sit down with it tomorrow along with a fresh pot of coffee.
Wilde
Yes, whatever stimulants you see fit my good man. I leave those particular stage directions to the reader. Just do me the courtesy of not reading while bathing. I have only one other copy in my possession.
MacKaye
Absolutely not, sir. I will return it in the very same condition as it was given to me.
Wilde
Fear not Mr. MacKaye, I will forgive the occasional tearstain – whether induced by laughter or sorrow.
Cut to stage and follow G&S stage directions: BUNTHORNE (played by J.H. RYLEY) enters followed by Ladies two-by-twos, singing and playing on harps as before. Bunthorne is composing a poem and quite absorbed. He sees no one, but walks across the stage, followed by Ladies. They take no notice of Dragoons—to the surprise and indignation of those Officers
Cut to Mrs. Leslie, who looks over to Wilde to gage his response. Wilde smiles.
SERIES OF SHOTS:
1. Crowd laughing
2. Ladies singing chorus
3. Dragoons singing chorus
4. Lady Angela singing recitative
5. Ladies singing chorus
BUNTHORNE
(aside slyly)
Though my book I seem to scan
In a rapt ecstatic way,
Like a literary man
Who despises female clay,
I hear plainly, all they say,
Twenty love-sick maidens they!
OFFICERS
(to each other)
He hears plainly all they say
Twenty love-sick maidens they!
Cut to Oscar and Mrs. Leslie
WILDE
Oh dear is that supposed to be me?
MRS. LESLIE
You’re not offended are you?
WILDE
Heavens no! Caricature is the tribute which mediocrity pays to genius.[1]
Mrs. Leslie laughs
MRS. LESLIE
Oh I must share that with my readers. You are much livelier than your stage creation.
WILDE
I should hope so. Otherwise I shall have to re-write myself.
Dissolve to close of ACT 4 of PATIENCE. Curtain comes down. Cut to members of the Leslie/Wilde entourage exiting the box.
MACKAYE
Did you enjoy the play Mr. Miller?
MILLER
I was consumed by the delightful Miss Russell. The libretto and music left only a faint impression.
MACKAYE
Ah ha! I gather theater criticism is not part of your repertoire.
MILLER
Mr. MacKaye, I’m a romantic poet. It’s not in my nature to criticize.
Cut to Richard D’Oyly Carte exiting with Wilde and Mrs. Leslie.
D’OYLY CARTE
Well Oscar what do you think?
MRS. LESLIE
Oh, tell him what you told me.
WILDE
Mrs. Leslie, a gentleman never repeats a quip.
MRS. LESLIE
Nonsense, tell him what you said; it was marvelous.
WILDE
I’m not sure if I remember the exact words.
MRS. LESLIE
Oh nonsense….
Mrs. Leslie links arms with D’Oyly Carte
Mrs. Leslie
(cont’)
I asked Oscar if he was insulted by Ryley’s portrayal of him and he remarked as follows—and I believe I quote him exactly: ‘Caricature is the compliment which mediocrity pays to genius.’ Is that not correct Oscar?
WILDEActually, Mrs. Leslie, it was the tribute mediocrity pays to genius.
MRS. LESLIE
Tribute! You’re quite right tribute is the superior word.
Mrs. Leslie writes exact quote in her notebook. Wilde breaks and walks slightly ahead of D'Oyly Carte and Mrs. Leslie, leaving them to discuss the quote.
D’OYLY CARTE
Good Heavens you’re not going to print that?
MRS. LESLIE
Why not? It’s fair comment.
D’OYLY CARTE
Fair, but not the least bit flattering to my production.
MRS. LESLIE
No, but it will help your lecturer.
D’OYLY CARTE
Mr. Wilde is not quite so in need of help. His lecture is already sold out.
Wilde, reels around hearing the words ‘sold out.’
WILDE
Sold out, you say!
D’OYLY CARTE
Yes, I checked this morning with Miss Lenoir, We’re actually over-subscribed.
WILDE
My word, how do you suppose that came about?
D’OYLY CARTE
Your comments in the newspapers no doubt.
WILDE
Well, now I’ll just have to say something about Patience, won’t I?
D’OYLY CARTE
If asked, something other than mediocre would be appreciated, Mr. Wilde.
MRS.LESLIE
Richard, I trust you planned on taking Oscar back stage to meet the cast.
D’OYLY CARTE
It has all been arranged, Mrs. Leslie. Thank you.
Cut to backstage corridor. Mrs. Leslie leads the way as Miller, MacKaye, the Hayeses, Wilde and D'Oyly Carte approach Miss Russell's dressing room.
Carte comes up behind Wilde to speak with him.
D’OYLY CARTE
Oscar, I don’t have to tell you that Gilbert & Sullivan are my most profitable theatrical property and, whatever you think of this play, I would appreciate it if you would refrain from sharing any negative comments with the cast.
WILDE
Mr. D’Oyly Carte, I rarely attempt to pull down public monuments. One runs the risk of being struck by the falling masonry[2].
D’OYLY CARTE
A sound practice, sir.
INT: STANDARD THEATER, LILLIAN RUSSELL’S DRESSING ROOM – CONTINUOUS
Knock at door.
CAMILLE, Miss Lillian Russell’s dresser looks up from pouring LILLIAN RUSSELL champagne. JIM BRADY, (20s) dapper young millionaire, is sitting reading newspaper
CAMILLE
Who is it?
Russell
Oh Camille, who do you think it is? The Headless Horseman.
CAMILLE
No Ma’am.
BRADY
Let them in Camille.
RUSSELL
Yes, and then go fetch James.
CAMILLE
Yes, Miss Russell.
Enter D’OYLY CARTE, followed by WILDE, MACKAYE, MILLER, MRS. LESLIE and MR. 7 MRS. HAYES. Lillian Russell, in full costume, puts down her glass of champagne and struts forward to introduce herself.
CARTE
Lillian, my dear girl, I would like you to meet Mr. Oscar Wilde.
RUSSELL
Mr. Wilde, what a pleasure. You are much talked about in these parts.
Russell holds her hand out to Wilde, who takes it and kisses it.
WILDE
More for your efforts and those of this wonderful cast, than any measure of my accomplishment.
RUSSELL
Oh I’m not sure that’s true. Since your arrival I’d say the interest has been entirely your making.
BRADY
(Points to D’Oyly Carte)
You’ve got a helluva promoter in this man, Mr. Wilde. By the way the name is Brady, Jim Brady.
RUSSELL
Oh yes excuse me Mr. Brady is my fiancé.
BRADY
And the rest of this charming party?
D’OYLY CARTE
This is Augustus Hayes and his wife. We have here Mr. Joaquin Miller, poet and adventurer, Mr. Steele MacKaye, a fellow laborer in the theatrical arts….
Hands are shaken and kissed all around.
RUSSELL
Yes, Mr. MacKaye, I wonder if we shall ever work together on something.
MACKAYE
I should hope so, Miss Russell. My career is not yet finished and yours is just beginning. We ought to be able to schedule something, don’t you think?
RUSSELL
My calendar is at your disposal.
D’OYLY CARTE
And I think you both know Mrs. Leslie.
MRS. LESLIE
Miss Russell, you’re performance is forever a delight. And Mr. Brady your wealth is only exceeded by your good fortune in holding the affections of this woman.
BRADY
I’m a lucky sonuva bitch at that Ma’am.
Mrs. Leslie
Certainly someone’s lucky son to be sure, sir.
Russell
Jim we’re not in the public house.
Brady
Ah, for God’s sake Lil.’ You can’t change the way a man expresses himself. Ain’t that the truth Mr. Wilde?
Wilde
Most often the transformation goes beyond mere language, Mr. Brady.
J.H. RYLEY (BUNTHORNE) enters dressed in his street clothes. He is a short wiry man in his late 30s.
CARTE
Well, here’s the other man of the hour. Bunthorne let me introduce you to Bunthorne. Ah ha! Look at these two together. Now, which of you is the real Oscar Wilde?
RYLEY
Please, Richard don’t embarrass me. The real Oscar Wilde is a tall elegant chap – quite beyond any portrayal I could conceive, parody or otherwise.
WILDE
Mr. Ryley, may I commend you on your performance. It is both spirited and comedic. If I can elicit one-tenth of the same audience response for my lecture I will be delighted.
RYLEY
You flatter me, sir. I’m afraid the part is a little too full and I find it gets away from me every now and again.
RUSSELL
Nonsense. You are in complete command of Bunthorne.
WILDE
I would have to concur with Miss Russell. Bunthorne is yours to do with as you please. And I trust that in forfeiting the caricature, I am free to be myself.
BRADY
The both of yous look to be couple of right proper swells. I wouldn’t buy a horse from either one of ya, but I’d toast ya with a glass of champagne all the same.
Brady pours champagne.
BRADY
…who wants some bubbly?
Wilde takes a glass
WildE
And Miss Russell, you are both ravishing and captivating as the sweet and subtle Patience. I witnessed, and participated, in the enrapture of all men in the audience as you sang your lines.
BRADY
That may be so, Mr. Wilde, but you can tell them boys out there that I own the keys to this pretty little canary’s gilded cage.
WILDE
Ah, then please see that you keep her near a window, so that others might enjoy her singing, Mr. Brady.
Camille enters the dressing room
CAMILLE
Miss Russell, your carriage is waiting at the stage door.
RUSSELL
Fine, thank you Camille. Ladies and gentlemen, I regret that I have to get ready for a dinner appointment with Messrs. Harrigan & Hart. I would love to continue on to dinner with all of you but this engagement was arranged some weeks ago.
D’OYLY CARTE
We’ll leave you to your toilette, Miss Russell. Just don’t let those two cast you in something beneath your talents.
RUSSELL
An actress gets spoiled playing in your Gilbert & Sullivan productions, Mr. Carte, make no mistake.
Russell turns to Wilde.
RUSSELL
Mr. Wilde, it’s been a pleasure. Enjoy your stay in America and good luck with your tour.
WILDE
Thank you Miss Russell. I hope you’ll read for one of my plays some day soon.
Russell offers Wilde her hand.
RUSSELL
Write me a good parlor scandal and we shall talk.
WILDE
(kissing her hand)
Until a good scandal then.
Fade to black
EXT: NEW YORK, BROADWAY IN FRONT OF CHICKERING HALL- CONTINUOUS
WILDE is standing with MRS. LESLIE, D’OYLY CARTE, MILLER and MACKAYE (the Hayeses have left for home). Passers-by are stopping to tip their hats and curtsey in front of Wilde as he discusses his plans for the remainder of the evening.
MRS. LESLIE
Surely you’re not planning to go out at this hour.
WILDE
Is there something unacceptable about this hour?
MRS. LESLIE
But of course, it’s 11:00 o’clock. A civilized man is in his home at this hour enjoying a nightcap before turning in.
WILDE
If civilization is what we pour from a brandy bottle, then fear not Mrs. Leslie for you are addressing the most civilized man in the whole of the Western world. However, I prefer to take mine in lounges and parlors in the company of other “civilized” men.
MRS. LESLIE.
Well, be careful Oscar. There is a good deal of sin and wickedness in this town.
WILDE
There now Mrs. Leslie, wickedness is a myth invented by good people to account for the curious attractiveness of others.[3]
D’OYLY
Say what you will, but I wish you would let me call on Col. Morse to escort you.
WILDE
Absolutely not! The Colonel. needs his rest, tomorrow is a big day for him.
D’OYLY CARTE
Need I remind you the same holds true for you.
WILDE
I will be rested and refreshed by noon. But I must first prepare myself for sleep.
MILLER
Are you sure you wouldn’t like some company, Oscar?
WILDE
Mr. Miller, I’d be delighted if you would join me. What about you, Mr. MacKaye?
MACKAYE
I’m not one to turn down a nightcap, whether it’s being served at the hearth or in Hell’s Kitchen.
WILDE
Hell’s Kitchen?
MACKAYE
It’s what they call the neighborhood on the far West side – slaughterhouses, grog houses and tenement buildings filled with rogues and gangs. While investigating a vicious murder there, an officer of the law was told that the place was Hell on earth. He told his partner “Hell’s a cool breeze by comparison, this is Hell’s Kitchen.”
D’OYLY CARTE
(addresses Miller & MacKaye)
Please do not show Mr. Wilde any such neighborhoods.
WILDE
Good gracious, I trust I’m not inviting a couple of chaperons along.
MACKAYE
We’ll show you what you want to see—all from a safe distance.
MacKaye pulls D’Oyly Carte aside.
MACKAYE
Not to worry Mr. Carte; we’ll get a nightcap at the Brevoort and have him back uptown and tucked in by 12:30.
WILDE
(kissing Mrs. Leslie’s hand)
Thank you for this wonderful evening.
MRS. LESLIE
Thank you, Oscar. It was an enchanting evening made possible by the pleasure of your company. See that you don’t spoil it with anything that winds up in my newspaper.
WILDE
Given that Mr. D’Oyly Carte is over-subscribed for tomorrow night’s lecture, there is little motivation to appear in any more newspapers.
Good evening.
Wilde tips his hat and then he, MacKaye and Miller walk to a brougham where Davenport is standing by, holding the door.
EXT: NEW YORK, AMERICAN MABILLE IN THE BOWERY – NIGHT
Brougham pulls up DAVENPORT gets out and holds the door as WILDE, MILLER and MACKAYE descend. Davenport re-enters the carriage to await his employer’s return. Wilde, Miller and MacKaye are instantly approached by two young chippies.
First Chippy
You gents in need of some softer company.
Miller
Madame, for the moment, we’re looking to quench our thirsts
Second Chippy
(taking hold of Wilde’s scarf)
What about you handsome? You just thirsty?
WILDE
Madam, I am presently both thirsty and horrified. I require strong drink for both afflictions.
Wilde breaks free of the 2nd Chippy and the trio strolls in the direction of the entrance to the American Mabille.
INT: NEW YORK, AMERICAN MABILLE IN THE BOWERY
As the three enter, they are issued black masks. An orchestra fills the hall with dance music. The floor is packed with men in stained and wrinkled attire and women various states of undress. On the stage above the orchestra a review of Can-Can girls are dancing arm-in-arm. At the first big kick Wilde’s instinctive reaction is to pull his head back.
Wilde
(to Miller)
Heavens, these women place little value in taxing a man's imagination.
Miller
This is a French Ball, Oscar, just about anything goes.
WILDE
With regard to apparel and decorum, it would appear that everything has already left.
MacKaye is suddenly swept away by an attractive petite brunette.
Miller
My advice is to dance, drink, have a good time, but I wouldn’t take up companionship with any of these women. They are nobody’s daughters you’d want to know.
Wilde
Joaquin, one can indulge in companionship without morals. It is decidedly more difficult where manners are lacking as well.
Miller
You’re quite right. Come on let’s go to the bar and have a whiskey.
Wilde and Miller leave MacKaye on the dance floor and head for the bar.
Miller
(to bartender)
Bartender, two whiskies.
Bartender quickly pours two glasses and drops them in front of Wilde and Miller
Bartender
Do you want the bottle?
Miller
Indeed, you might as well leave it.
Barteder
That’ll be two –fifty.
Miller pulls out three silver dollars and hands them to the bartender.
Miller
You can keep the change if you point out the newest girls to my friend and me.
Wilde
Oh no, no. That’s not necessary.
Miller
It most certainly is. If we’re going to partake of this Eden we want to make sure we get the purest possible Eve.
Bartender.
Ask for Felicity, Carmen, Adele or Charlotte.
Miller
(folding the bartender’s hand over the coins)
Thank you sir.
Wilde
I’m not really interested Joaquin.
Miller
Oscar, you do whatever you’re comfortable with. You won’t think ill of me should I yield to nature’s proclivities?
Wilde
To do otherwise would be fraudulent.
A YOUNG BLONDE practically falling out of her dress approaches the bar.
Young Blonde
Jeff, give me a bourbon.
Bartender
Adele that’s five bourbons tonight. You had better start earning your keep.
Joaquin and Bartender exchange a knowing glance.
Miller
(reaching for his money)
Here Jeff, I’ll take care of the lady’s bill.
Young Blonde
Well aren’t you a gentleman. Who are you with tonight?
Miller hands the girl a drink and escorts her away from the bar. Wilde pours himself another whiskey and quickly downs it. He steps away and walks to the front door.
EXT – IN FRONT OF THE AMERICAN MABILLE – CONTINUOUS
Wilde turns away from the side street where Davenport and the coach are parked. He begins to stroll. He stops outside Frank McGlory’s Hall. A handsome young BOY IN SUIT steps out of the shadows.
BOY IN SUIT
You going into McGlory’s Mister?
Wilde
What’s McGlory’s ?
Boy in Suit
The Gin joint what you’re standing in front of.
Wilde
It occurred to me to buy a glass of whiskey, do they sell whiskey?
Boy in Suit
Mister they sells whatever your ‘art desires.
Wilde
I should like to have a look at such a menu.
Boy in Suit
Come on. I’ll show you around
Boy in Suit links arms with Wilde and escorts him through the doors at McGlory’s
Fade up
INT: NEW YORK, CHICKERING HALL, BACKSTAGE, BATHROOM– NIGHT
WILDE, in shirtsleeves and vest, grimaces as he buttons his trousers. He reaches out and pulls draw string to flush toilet.
Cut to sink as Wilde splashes water on his face and then takes a pill vile from his coat pocket. He pours a glass of water and takes two Mercury tablets. Stares at himself in the mirror and straightens his hair; exits bathroom.
INT: NEW YORK, CHICKERING HALL, WILDE’S DRESSING ROOM – CONTINUOUS
Enter WILDE who walks to the dresser and pours himself a large brandy in a snifter. MORSE sits in a chair, smoking his pipe and reading the newspaper. DAVENPORT is busy brushing Wilde's coat, which hangs on a clothes tree.
INSERT: Chickering Hall, NY: January 9,1882
MORSE
(putting down his paper)
See here, don’t be drinking too much of that brandy. We can’t have you soused for your inaugural address.
WILDE
I should think, by now, you would have confidence in my ability to handle strong drink Colonel.
MORSE
Just do me a favor and go slow Oscar. We want your lecture to go over well.
WILDE
Who’s more nervous here the lecturer or the manager?
MORSE
We’ve both got our reasons for being a little on edge.
Wilde straightens his tie and smoothes his collar. Davenport removes Wilde’s jacket from the clothes tree and holds it for Wilde as he puts it on.
WILDE
Relax Colonel. I’m not going to send them running for the doors.
MORSE
I’m more worried about you being chased out the door.
WILDE
Ye of little faith.
MORSE
Sorry, lad. That was unnecessary.
Morse reaches for the bottle of brandy and pours himself a snifter
Knock at door. Davenport answers. Enter Mrs. Leslie.
WILDE
Mrs. Leslie, what a pleasant surprise.
Mrs. Leslie
Surprise? Oscar, you can’t be serious I’m the one person you had to be certain would attend.
WILDE
Yes of course, I just meant that it’s kind of you to come back stage like this.
MRS. LESLIE
Just wanted to check on the man of the hour. Are you all set?
WILDE
Oh, I’m as prepared as I’m going to be. I just hope New York is ready for me.
MRS. LESLIE
New York is ready for just about anything that’s new. Now a word of advice: these crowds can sometimes attract rowdies and thugs. They make sport of trying to distract speakers, and you mustn’t be. If there is a disruption you simply forge on and ignore their inane comments.
WILDE
In other words, I’m likely to be ridiculed out there?
MRS. LESLIE
No, not at all, my good man. It’s just that there is inevitably some smart aleck in the crowd looking for attention. Not to worry Col. Morse will show them the door. Won’t you, sir?
MORSE
We’ll take care of things.
WILDE
How is it I feel like a Christian about to be thrown to the lions.
MORSE
Well now that’s thing; keep your back against the wall and don’t make any sudden moves that might frighten the beasts.
MRS. LESLIE
Col. Morse, you’re not helping. Oscar is perhaps a little nervous with the knowledge that there might be an occasional catcall. He is not entirely prepared for such rowdy men.
MORSE
Never you mind. Any of these blokes give you lip you just give it right back. And then push on.
MRS. LESLIE
It was my advice that he ignore them altogether Colonel.
MORSE
Well that’s another approach. I like to put the cowards in their place.
Wilde paces back and forth in front of the mirror, stopping only to pour another brandy.
MRS. LESLIE
Calm yourself, Oscar. You’ve got the pick of New York society here tonight. It’s unlikely you’ll hear anything but appreciative applause.
WILDE
If my reception turns to mockery, I will walk off stage and return to London. I did not come all this way to be made a fool of.
STAGEHAND knocks on door
STAGEHAND
They’re ready for you Mr. Wilde.
Wilde takes one last look in the mirror. He straightens his coat and pushes his hair off of his brow.
WILDE
If I die out there, I should make a noble corpse.
Wilde marches through the door with his manuscript in hand. Morse follows and Mrs. Leslie follow. Davenport is last to leave.
INT: CHICKERING HALL, STAGE -NIGHT
WILDE and MORSE walk across stage to take seats facing the packed theatre.
MORSE
Oscar, you’ll be fine, lad. By the looks of things a good portion of society has turned out to hear you. There must not be anyone at the Patriarch’s Ball.
WILDE
So it’s the aristocracy that has come to hear me, while the rogues and rowdies received special dispensation to attend the Ball.
MORSE
Well, it looks favorable from here.
WILDE
Let’s wait and see what it looks like from that podium.
IMPATIENT MAN 20s stands in his seat.
IMPATIENT MAN
HEH! THIS AIN’T NO PATIENCE…LET’S GET THIS SHOW ON THE ROAD. IS ONE OF YOU OSCAR WILDE OR WHAT?
Morse stands and turns to Wilde.
MORSE
First rule of engagement: Don’t keep them waiting unnecessarily on opening night.
Morse at podium
MORSE
Ladies and gentlemen, thank you all for coming, on this the night of the Patriarch’s Ball. It is most encouraging to see so many of you here. Interest in Mr. Oscar Wilde and his campaign of aesthetics could never be greater. Tonight you will learn first hand what this remarkable young man has to say about our culture and times as well as ways to improve and appreciate our lives. Ladies and gentlemen without further delay, I present to you Mr. Oscar Wilde who will speak to you from a prepared speech entitled “The English Renaissance.”
Wilde, blushing, steps to the podium. There is a moment of awkward silence as he adjusts his portfolio and papers. He pours a glass of water and re-adjusts his portfolio. He only looks up at his audience when he begins to speak.
WILDE
Thank you for coming this evening. I know there are a great many entertainments to occupy one’s time here in New York. So I am especially gratified that you have chosen to attend my little talk.
Opens his portfolio; speaks with an accent and with the telltale pauses that he was famous for[4]
WILDE
Aa-mong the many debts which we owe to the suu- preme aess-the-tic faa-cul-ty of Goe—the is that he was the first to tea-ch us to drive beeau-ty in terms of the most conn-creete poss-i-ble, to reee-al-ize it, I mean, all-ways in its spec- iial man-i-feesst-ions…..
SERIES OF SHOTS: WILDE LECTURING
1. WILDE looking up from his notes
2. MRS. LESLIE smiling at JOAQUIN and MACKAYE
3. Puzzled faces in the crowd
4. D’OYLY CARTE turning his head to survey crowd reaction.
5. SAM WARD seated with his WIFE
WILDE
the viir-tue by which a paar-tic-u-laar, picc-tuure or poo-eem, aff-ffects us with a uuu-nique and spec- iial joy but rather to pooint out to youthe gen-er-aal i-deaas which chaar-act-err-ise the greeat Eng-liish Reenn-ai--ssance….
MRS. WARD
What’s this about a Renaissance in England? I thought it took place in Italy.
WARD
It did dear. He’s referring to something new. Something quite recent.
MRS. WARD
Well why haven’t we read about? Why hasn’t it been in the papers?
WARD
After tonight, I’m sure we will read about it in the papers, dear. Now please let’s listen to what the man has to say.
2ND SERIES OF SHOTS: WILDE LECTURING
1. MR. & MRS. CARNEGIE: She is looking about the theatre for familiar faces; he is seated with arms folded and eyes closed
2. JAY GOULD and his WIFE attentive but perplexed.
3. NED HARRIGAN and TONY HART are sitting together. Ned checks his pocket watch.
4. J.H. RYLEY is seated with theatre group and appears in awe of Wilde
5. DOUGLAS MCFEE of The World and CARL CORRIGAN? The Philadelphia Press; both trying to take notes
CORRIGAN
Are you taking any of this down?
MCFEE
You’ve got to be kidding.
Cut to THREE YOUNG ROWDIES, in their 20s, standing at the back of the hall. They are dressed in scruffier attire than the seated patrons. Trio passes an open bottle of whiskey back and forth and laugh Patrons, seated in front of trio, turn and glare.
FIRST ROWDY
Look at that prig. That’s what they call an asss- teet.
secoND ROWDY
Do you think he’s had a look in a mirror lately?
FIRST ROWDY
My bet is that’s all he ever looks at.
WILDE
In Eng-land, then as now, it was ee-nough for a man to try and pro-duce any ser-iious bee-au-ti-ful work to lose all his rights as a cit-i-zen; and bee-sides this, the pre-Raph-ae-lite Bro-ther-hood -- among whom the names of Dante Ross-set-ti, Hol-man Hunt and Mil-lais will be fam-i-liar to you- had on their side three things that the Eng-lish public never for-gives: youth, po-wer and en-thus-i-asm.
FIRST ROWDY
(yelling)
What about nancy boys? They don’t forgive nancy boys in England either do they Hosscar?
Wilde looks up from the podium to locate his assailant.
WILDE
That depends on their crimes. Rudeness and boorishness are considered beyond redemption.
SECOND ROWDY
(yelling)
Do you have a dress what goes with those knickers you’re wearing?
The three youths explode with laughter.
WILDE
I think you gentlemen have stumbled into the wrong affair. It’s my understanding that the gowns and party frocks are on parade at the Patriarch’s Ball.
firST ROWDY
(yelling)
Looks like pretty legs a plenty here in Chickering, tonight.
secoND ROWDY
(yelling)
Mark us down on your dance card, darling.
More laughter from the rowdies.
WILDE
I’m no more favorably disposed to dancing, sirs, than you are to listening.
THIRD ROWDY
(yelling)
You don’t have to dance we just wipe the floor with you.
The three laugh.
SAM WARD gets up out of his seat and makes his way to the aisle.
WILDE
If you please sirs, there are ladies and gentlemen in this assembly who have paid me for a lecture and I intend to complete it. So it would be to everyone’s immense pleasure if you would excuse yourselves and allow me to continue.
FIrST ROWDY
(yelling)
These folks is all fools to pay one red cent to listen to a right dandy such as yerself.
WILDE
And how much did you spend to gain admittance to this theatre?
FIRST ROWDY
(yelling)
We had tickets what was compliments of the house.
Four large ushers appear in the aisle behind the trio
WILDE
Well you are in for another piece of good fortune. The gentlemen behind you are prepared to show you the door… and once again, it’s compliments of the house.
Ward and four tall men approach the rowdies and grab them by their collars.
A brief scuffle ensues as they are dragged to the door.
WARD
Mr. Wilde please resume.
WILDE
Thank you Mr. Ward! Ladies and gentlemen you have just witnessed a formidable act of aesthetic re-decorating. Note how much more pleasing this theatre is after Mr. Ward’s inexpensive but tasteful renovations.
Audience laughs
WILDE
…. Where were we? -- Satire, always as ster-ile as it in shame-ful and as im-pot-ent as it is in-so-lent, paid them that usual hom-age which med-io-crity pays to gen-ius -- doing, here as always, in-fin-ite harm to the public, blind-ing them to what is bee-au-ti-ful, teach-ing them that ir-rev-er-ence which is the source of all vile-ness and nar-row-ness of life (so aptly displayed here tonight), but harming the artist not at all, rather con-firm-ing him in the per-fect right-ness of his work and am-bi-tion. For to dis-ag-ree with three-fourths of the Brit-ish pub-lic on all points is one of the first el-e-ments of san-ity, one of the dee-pest con-sol-a-tions in all mo-ments of spir-it-ual doubt. As re-gards the ideas these young men brought to the re-gen-er-ation of Eng-lish art we may see at the base of their ar-tis-tic cre-a-tions a de-sire for a dee-per spiir-it-ual value to be given to art as well as a more dec-or-ative va-lue…..
Fade to black
EXT: GREENWICH VILLAGE, OUTSIDE 84 CLINTON PLACE. (SAM WARD’S HOUSE) –NIGHT (LIGHT SNOW FALLING)
.
INSERT: Greenwich Village, Sam Ward’s House
A long line of hacks is queued in the street. One at a time cabs pull in front of the house and deposit guests. Cab pulls to curb and JOAQUIN MILLER, MRS. LESLIE and STEELE MACKAYE get out. Cab pulls to curb and AUGUSTUS & MRS. HAYES get out. Coach pulls to curb and J.P. MORGAN and WIFE get out. Coach pulls to curb DAVENPORT gets out and holds door for WILDE and MR. D’OYLY CARTE
Davenport stays with coach as Wilde and Carte walk to front entrance.
INT: VESTIBULE OF SAM WARD’S HOUSE –NIGHT
WARD greets WILDE as butler helps with overcoats, hats and gloves
WARD
Young Oscar, congratulations on a most motivating and enchanting address.
WILDE
Thank you Mr. Ward and thank you so much for this exquisite reception.
WARD
It’s the best excuse for a party in quite some time. Oscar, please meet my wife Carolyn.
WILDE
Mrs. Ward, thank you for so graciously receiving me at your splendid home.
MRS. WARD
Mr. Wilde, this is indeed an honor, please come with me and we’ll fetch you some refreshment.
WARD moves to greet MR. & MRS. D’OYLY CARTE
WARD
Richard, welcome. I think you’ve struck pay dirt with this lad.
D’OYLY CARTE
The box was more than $1,200.[5] That against an evening of the Patriarch’s Ball.
WARD
Bodes well!
Cut to WILDE taking MRS. WARD’s arm as he is led through the enormous pocket doors into a huge front parlor. A fifteen-piece orchestra occupies one end of the room, which strikes up with God Save the Queen. The banisters on the stairs leading to the second floor are strung with Lilies of the Valley.
SERIES OF SHOTS:
1. WILDE and MRS. WARD being served champagne
2. Table in silver and white with caviar, cheeses, pate, toast and finger sandwiches
3. MACKAYE and MILLER talking with a beautiful woman (actress)
4. J.P. MORGAN talking with HIS HONOR MAYOR WILLIAM GRACE
5. WILDE at the center of a bevy of young women
6. HART and HARRIGAN standing to one side talking and frowning
7. WARD laughing and JOSEPH PULITZER and WILLIAM CULLEN BYRANT
8. JAY GOULD toasting LILLIAN RUSSELL in the company of JIM BRADY
9. J.H. RYLEY at bar; stares at WILDE; drains his whiskey glass and asks bartender for a refill.
Enter MORSE who walks over to MACKAYE
MORSE
MacKaye, where is Oscar?
MACKAYE
In his glory –over there at the center of that throng of young socialites.
MORSE goes to WILDE
WILDE
Ladies, I find America reminds me of one of Edgar Allan Poe’s exquisite poems, because it is so full of belles[6]…”
MORSE
Oscar, give us a minute.
WILDE
Please excuse me, ladies.
MORSE
Congratulations! You‘re a smash lad!
WILDE
You sound surprised Colonel.
MORSE
You don’t understand. Only Ingersoll, Beecher and Twain pull in receipts like this.
WILDE
Excellent, then I shall expect accommodations and hospitality no less fitting.
MORSE
Don’t let it go to your head, Mister.
WILDE
Colonel, this lecture tour will in no way affect my opinion of myself. I remain one of the most talented and intriguing thinkers of my generation. Your countrymen would do well to accept this as fact.
MORSE
You don’t believe in selling yourself short do you, Oscar?
WILDE
No! And please don’t do so on my behalf.
MORSE
Listen, Mr. D’Oyly Carte wants me to look into expanding the tour. We could add another 30 cities if you are willing?
WILDE
If it’s profitable, I have no objection.
MORSE
Great! Davenport is outside with the coach; he’ll see you back to the hotel when you’re ready.
WILDE
Splendid, Oh Colonel, have you arranged for my appointment with Mr. Walt Whitman.
MORSE
We’re making arrangements through J. M. Stoddard, his publisher in Philadelphia. I’ll know more in the morning.
WILDE
You won’t disappoint me.
MORSE
Listen lad, don’t you sell me short.
WILDE
I have every faith, Colonel.
Exit MORSE
WILDE returns to the company of socialites WARD approaches him with J.P. MORGAN
WARD
Oscar, there is someone here who wants to meet you.
WILDE
Who would that be, Mr. Ward?
WARD
This is J.P. Morgan. Mr. Morgan this is Oscar Wilde
MORGAN
Good God man, I know who he is. I sat and listened to the boy for the better part of two hours.
WILDE
I’m flattered to have had your attention.
MORGAN
Don’t be getting ahead of yourself young man. You didn’t get all of my attention. Be damned if I understood more than 50% of what you were blathering on about. There was a lot of what you said tonight that just seemed more complicated than it needs to be.
WILDE
I appreciate your honest criticism, sir.
MORGAN
If that’s true, you’re rare among most young operators. Most just want my money. Very few value my opinion.
WILDE
Sir, I’ll take all the opinion and advice you have to offer. I would like nothing better than to be the J.P. Morgan of my profession.
MORGAN
I like this man, Sam. Get him a whiskey. I want to talk to him.
Wilde and Morgan step to one side and continue to talk
SERIES OF SHOTS
1. Orchestra playing Strauss
2. Socialites laughing while staring at WILDE talking with Morgan
3. Back to J.H. RYLEY who continues to drink
4. MacKaye and LESLIE talking with Gould
Cut to HARRIGAN and HART who join MR. RYLEY
HARRIGAN
John you don’t appear to be feeling any pain
RYLEY
Wah shod I feel pain?
HARRIGAN
I was speaking figuratively. You seem to be enjoying your whiskey this evening.
RYLEY
Yah, Dar somtin wrong wit a man enj’y’n a l’il whiskey.
HART
By no means.
HARRIGAN
Oh yes, yes my word a well-deserved indulgence after a week on the boards. What is your opinion of our honored guest?
RYLEY
Missta Wilde?… I think ‘es a right fine fellow.
HART
Yes, I suspect he is… did you meet him the other night?
RYLEY
Yes he came inta Miss Russ’ll’s drezzing room. Made a nice impr’ssion.
HARRIGAN
Did he now? And was Miss Russell favorably impressed?
RYLEY
Oh yah She sparkl’d for’im.
HART
What do you mean?
RYLEY
She liked ‘im. So did Brady.
HARRIGAN
Any mention of this play of his…Vera?
RYLEY
No everytin was kept soci’l
HART
But you think the man’s pretty special heh, John?
RYLEY
I th’nk he’s sinsaysha-onal
HART
Go easy, John. You’ve got a matinee tomorrow.
Cut to WILDE listening to J.P. MORGAN.
MORGAN
Your role is that of a leader. It matters not where you lead the American public; you must simply take them some place.
Names unfamiliar to the American public are forgotten as fast as they reach their ears. They won’t know or care who Mazzini is.
Sell them on the benefits of aestheticism and show them how to reap such benefits. That’s the message you want to get across.
WILDE
What should my corporation produce?
MORGAN
More aestheticism, of course. Practically speaking, an army of consultants under direct contract to manufacturers, architects, civil engineering boards and industrialists to advise on the proper aesthetic implementation of their business.
WILDE
And with that I become a millionaire?
MORGAN
No guarantees, young man, but this is America. Anything is possible
WILDE
When do we start?
MORGAN
Oh, this isn’t something I can be involved in; I have too much on my plate as it is.
Morgan takes out his pocket watch
MORGAN
(cont)
Look at the time. I’ve been prattling on here like an old woman. I have to be at my desk at 8:00 am, young fellow.
WILDE
Alas, therein lies the single greatest impediment to my fortune. That one has to be an early riser to be a capitalist seems entirely unfair.
MORGAN
You have to protect your investments, Mr. Wilde. And that means being on your guard from the moment the market opens. I don’t know any millionaires, who can afford to sleep in.
WILDE
I suppose that’s a luxury reserved for we lower classes.
MORGAN
Indeed.
Wilde shakes Morgan’s hand and returns to a bevy of female admirers. Morgan exits
Enter MRS. LESLIE
MRS. LESLIE
Oscar, could we have a word with you?
WILDE
My dear sweet, Mrs. Leslie. I am yours…excuse me ladies; Mrs. Leslie has done more for me during my first few days here in New York than anyone you care to mention.
Walking away with Wilde
MRS. LESLIE
I’m sure those young damsels are providing for you in some way Oscar.
WILDE
Their disingenuous interest in all that I have to say can be quite seductive. I feel like a Member of Parliament or is it a Member of Congress here; one can be both poignant and inane.
Wilde and Leslie walk towards Miller who is observing the room with his back to the windows.
MILLER
Ah ha! The man of the hour. Quite the bon fete young Wilde. If this is a portent you’ll be a household name, where every house wants to host you.
WILDE
It is excessive isn’t it?
MILLER
Only if it’s attention lavished on some other poet. When it’s coming your way, son, take it like it was your due. Now, I must bid you the fondest farewell. You’ll be off to Philadelphia in the morning and, in case I don’t get another opportunity to wish you the best of luck, well here it is.
WILDE
Joaquin, thank you kindly. But I will be back in two to three weeks.
MRS. LESLIE
And on a very tight schedule, I might add.
WILDE
But surely we’ll see each other again.
MILLER
Oh absolutely, my good fellow. But New York has a habit of keeping people geographically close and yet socially detached for weeks at a time.
WILDE
You can be assured I’ll write to each and every one of you.
MRS. LESLIE
That’s what I wanted to talk to you about. I can set aside a column or two each week, if you will send me an account of your adventures. These need not be long pieces. The paper won’t pay you a fortune, but I think the benefits would be mutual. Would you do that for me?
WILDE
Of course, I’d be delighted.
MRS. LESLIE
Excellent. Then Mr. Miller, and other interested parties, can readily be kept informed of your progress.
MILLER
Look here, now you can add correspondent to Frank Leslie’s Illustrated Newspaper to that impressive resume of yours.
WILDE
Yes, but without credentials of Mrs. Leslie’s fine paper, I dare say, I’d write under a pseudonym.
MacKaye emerges from the crowd to join his friends
MACKAYE
Here you all are! What plot are we hatching?
MRS. LESLIE
No one is hatching a plot Mr. MacKaye; we are merely bidding Oscar adieu. He’s off on his tour tomorrow.
MACKAYE
Yes, of course. On and about his way to spread the good word, according to Ruskin and Pater – to shine that light of aestheticism into the dark corners of America’s cultural void. You’re a brave man, Oscar. Let no man take that from you.
MacKaye shakes Wilde’s hand vigoursly.
MACKAYE (cont.)
Good Luck. Now don’t you worry, Vera is in good hands. I’ll have it read and signed by the time you get back.
WILDE
I’m counting on you Steele!
Enter SAM WARD
WARD
Ah Oscar. Col. Morse tells me you are in the care of a number of strong personages in Philadelphia. I’m glad to hear it. In Washington, I’ve asked George Robeson and his wife to watch over you. The Robesons will see that you get properly introduced to anyone who matters. George and his wife want you to meet a man by the name of Ingersoll – Robert Ingersoll. Are you familiar with him?
WILDE
No, sir.
WARD
Quite possibly the nation’s most influential attorney and a brilliant public speaker, you’ll like him. Now, this damn Guiteau trial is still underway so a great deal of attention will be diverted. Still, your appearance is much anticipated. It’s just that until they hang this lunatic, it’s going to be difficult to knock him off the front page.
WILDE
The public will always have greater interest in the hanging of a man than the hanging of a work of art.
WARD
I’m afraid so my young scholar.
Sam Ward walks to a spot at the center of the room
WARD
Ladies and gentlemen, may I have your attention please. This has been a rare evening in the history of our fair city. I am sure all who attended the lecture at Chickering Hall will agree that the words spoken by the noble young man to my left will have a lasting effect. As our city continues to grow, it is going to be so very important for us to have an aesthetic blueprint. One was provided here tonight by Mr. Oscar Wilde and it is with great appreciation for his words and wisdom that I ask you all to raise your glasses in a toast. To Mr. Oscar Wilde – may we some how learn to live up to his blue and white china. Isn’t that so, sir.
All laugh and raise glasses to Oscar, who is beaming.
Wilde looks over to the bar to catch J.H. Ryley, who smiles slyly and raises his glass. Wilde beams back.
MacKaye catches the exchange between Wilde and Ryley, and then adds a toast of his own.
MACKAYE
To America and Oscar Wilde, may each discover the other.
Fade to black
INT: PHILADELPHIA, HORTICULTURAL CENTER - NIGHT
WILDE stands at podium
INSERT: Horticultural Hall, Philadelphia: January 17, 1882
MAGGIE
(voice-over Wilde’s address)
News of Oscar’s triumph in New York traveled farther and faster than any theatrical ovation. He was not so much an overnight sensation as he was an overnight curiosity. Richard D’Oyly Carte was a skilled promoter. He knew how to bring attention to his Broadway and touring productions. But in Wilde, he witnessed a flair for public relations and self-promotion, the likes of which only P.T. Barnum could rival. Oscar was the sideshow every promoter dreamed about. Describing him was an exercise in dichotomy. From the same author’s pen or the same conversationalist’s lips he would be described, variously, as ‘heathen,’ ‘golden,’ ‘elegant,’ ‘foppish,’ ‘outrageous,’ ‘sincere,’ ‘fraudulent,’ ‘sagacious.’ He was both a charlatan and a disciple. And as one newspaper described him, imbued with “delightful impudence.” Rumors about Wilde were incessant and outrageous: that he wore a wig; that he was a woman in disguise; that he was an illegitimate member of the Royal family. However his impudence did not always delight and there were those, who wanted to clip his wings…
WILDE
(oratory under Maggie VO)
….No better way is there to learn to love Nature than to understand Art. It dignifies every flower of the field. And, the boy who sees the thing of beauty, which a bird on the wing becomes, when transferred to wood or canvas will probably not throw the customary stone. What we want is something spiritual added to life. Nothing is so ignoble that Art cannot sanctify it.
Thank you
Polite applause from the audience as some members are stirred from their slumber by embarrassed spouses.
INT: HORTICULTURAL HALL, BACKSTAGE –NIGHT
WILDE is pulling on coat and gloves. He picks up a cigarette, burning in the ashtray and takes a long drag. Follows this with a gulp of straight whiskey.
Enter MORSE
MORSE
Oscar well done. Another $1,000 purse.
WILDE
It is easy to earn money in this country; easier, still, to earn recognition. It is much more difficult to earn respect and the attention of an audience. I don’t believe there was a conscious sole sitting in those seats beyond the fifth page.
MORSE
Never you mind. If they want to spend a $1 to nap in a theatre, who are we to argue?
WILDE
Perhaps I should just read them bedtime stories.
MORSE
Oscar, my lad, you don’t understand. They’re paying to see you and hear what you sound like. After the first five minutes most of them have gotten what they came for.
WILDE
Well, I’m equally bored with them. Perhaps we should charge double to compensate for my discomfort.
Wilde slams down his glass and exits dressing room.
Fade to black
Fade up
INT: NEW YORK, HOME OF CLARENCE STEDMAN, STUDY- DAY
Stedman is sitting at his desk writing a letter
INSERT:
