"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:
Dear Mr. Forbes
I am writing this letter in the hope that it will serve as a warning to you.
The man you will be sharing a podium with, one Oscar Wilde, poses as an intellect and lecturer. He is a sham and should not be taken seriously by anyone of reputation. He is self-published and his only volume, a pathetic little collection of poems, was rejected by his own Oxford Union Library[7].
Sitting on the end of the desk is a stack of letters top one addressed to The Editor-in-Chief, Boston Globe.
INT: PHILADELPHIA, ALDINE HOTEL DINING ROOM- MORNING
WILDE sits at an elegant table with his back to the rest of the room.
He sips tea and nibbles at toast and jam. A stack of clippings sits on the table and a pile of discarded newsprint lies on the floor. Clippings include ads, which make use of Wilde’s name (Heckers Buckwheat Cakes They satisfy the soul better than calla lilies or tall sunflowers[8]).COL. MORSE approaches. At first, Wilde doesn’t pay any attention to Morse.
MORSE
Good Morning. I trust you had a good night’s sleep.
Morse pulls out a chair and sits down. Waiter approaches.
MORSE
(con’t)
We’re going to need another table and some more chairs.
Morse addresses Wilde
MORSE
(con’t)
We’ve got quite the breakfast party this morning. We’ll be joined by D’Oyly Carte along with Helen Lenior, one of our talent managers, Joseph Stoddart, publisher, Archibald Forbes, the military correspondent and a Mr. Corringan of the Philadelphia Press – Are you’re ignoring me Oscar? Is it something I said?
WILDE
Don’t be foolish, Colonel. I’m just mourning the loss of time to myself.
MORSE
Occupational hazard, son. You want to have time to yourself, become a blacksmith. Not even the devil troubles a man forging hot metal.
WILDE
He’s also too polite to interrupt a gentleman’s breakfast and leisurely reading.
Lays newspaper flat on the table. WAITER and TWO BUSBOYS re-arrange the tables.
WILDE
(points to newspaper clippings.)
Have you seen all this advertising that is being done at my expense? Here is a chap using my name to vend breakfast food, cleaning solvents and all sorts of commodities.
MORSE
Not much we can do about it – nor would we want to; just sells more tickets to your lectures.
WILDE
Surely we can re-coup royalties for such exploitation?
MORSE
Not likely. It’s not your written words just your name and character. Law offers no protection for that.
WILDE
People confuse freedom with lawlessness in this land. It is one thing to speak one’s mind freely, it’s quite another to never have to pay the price.
MORSE
Enjoy the fame; you’ll find it fades faster than that ad.
WILDE
Only in America, Colonel. Elsewhere, I intend to forge a reputation of solid brass.
Enter D’OYLY CARTE, MISS LENOIR, CARL CORRIGAN, J.M. STODDART and ARCHIBALD FORBES. All but Forbes step forward to greet Oscar who remains seated until the introduction of MRS. LENOIR.
D’OYLY CARTE
Mr. Wilde, how are you this morning?
Wilde puts aside his paper and extends his right hand.
WILDE
Could not be better, Mr. D’Oyly Carte.
D’OYLY CARTE
Very good. We’ve brought you more publicity this morning. We have here a Mr. Carl Corrigan of the Philadelphia Press, a fine young reporter for one of the nation’s most respected newspapers.
WILDE
Good heavens! The word respect and newspaper used in the same sentence.
CORRIGAN
Mr. Wilde, it’s a pleasure to meet you. I am looking forward to reporting this most fascinating leg of your tour.
WILDE
Not half as much as I am looking forward to living it. Now, if we could just instill the audience with the same enthusiasm.
D’OYLY CARTE
What are you rambling about Oscar? Man needs another cup of tea – here now, you must meet Mrs. Helen Lenoir.
Helen Lenoir (30), an attractive brunette[9]. Wilde steps around the table to take her white gloved hand and raises it to his lips.
D’OYLY CARTE
You are very much in Mrs. Lenoir’s debt, Oscar. It was she who suggested I bring you to America for this tour.
WILDE
(Still holding her hand)
Yes, so I am aware. Such a delicate hand, such remarkable beauty, and a stunning hat. I couldn’t possibly have chosen a more elegant sponsor.
Helen Lenoir does not blush, but gives Wilde a cynical smile.
LENOIR
And you, Mr. Wilde appear to be everything we expected – charming and so very persuasive. It’s a pleasure to make your acquaintance.
WILDE
Madam, if I may, Disraeli and your Gen. Grant are persuasive; I see myself more as influential.
Mrs. Lenoir smiles at Wilde, who continues to be captivated.
D’OYLY CARTE
Oscar, if I could have your attention. I have two more introductions.
Directs Wilde to the man standing directly behind Helen Lenoir.
D’OYLY CARTE
This is Mr. J.M. Stoddart. Mr. Stoddart has agreed to be your publisher. You should have much to discuss with Mr. Stoddart.
Wilde shakes Stoddart’s hand
WILDE
Given the absence of an advance and royalties, there is a good deal for Mr. Stoddart and I to discuss.
STODDART
I have paperwork concerning all of this. Perhaps we shall find time today to go over it.
WILDE
It pains me, Mr. Stoddart, to spend a great deal more time discussing money than I do spending it. It is one of my primary ambitions to adjust that ratio.
D’OYLY CARTE
And finally, Mr. Archibald Forbes, military correspondent and historian. Mr. Forbes has seen more action than many members of Her Majesty’s Own rifle corps.
Forbes is a blustering and grizzled Scot, who looks much older than his 44 years. He gives Wilde a disconcerting look of inspection.
WILDE
I did not detect a rank with that introduction. What sort of military man are you, Mr. Forbes?
FORBES
I am a war correspondent, young man. And before you jump to any conclusions, you should understand that we correspondents endure the same risks as any soldier. We bed down in the trenches and confront the same challenges as the enlisted men. If need be, we will pick up a weapon and do a soldier’s bidding. I have lived a soldier’s life.
WILDE
You most certainly have the defensive instincts for the job.
FORBES
I hope you’re not trying to take the mickey out of me. I know a smart aleck when I see one. And, let me say to you, sir, of all the campaigns, that I have either been directly involved in, or read about, I have not once heard mention of a brave poet.
WILDE
Perhaps he preceded you by a few years Mr. Forbes, but there was a gentleman named Homer, who covered many of the Hellenic campaigns. And a little closer to your time and place is England’s own Lord Byron. Then, of course, right here in this country, one cannot ignore one of the bravest bards of battle, Mr. Walt Whitman – coincidently, a poet I hope to have tea with this afternoon. You clearly have not been in attendance, nor studied any of the more noteworthy battles, of human history.
FORBES
Whitman is no veteran.
WILDE
Mr. Forbes, it might better serve your perception of history to know that Mr. Whitman was a medical attendant throughout this country’s most trying conflict, namely the Civil War.
FORBES
The man was a nurse, for Heaven’s sake.
WILDE
Not for Heaven’s sake but the sake of the thousands of men maimed and lost to that bitter conflict. Quite often in war, as in life, it is the poet’s role to mend that which brutes wreak havoc upon.
FORBES
Laddie, you have much to learn about this country.
WILDE
But unlike you sir, I do not brandish my ignorance with such pompous pride.
MORSE
(nervously)
There now, who is having what for breakfast?
D’OYLY CARTE
Yes, order please, but let us be quick about it as we all have schedules to meet today. Mr. Forbes and Mrs. Lenoir, you are to tour the city with a delegation from the Mayor’s office. Mr. Wilde, Mr. Stoddart and Mr. Corrigan, are away to discuss literature --- as we are all now aware--- with the great Walt Whitman. Mr. Morse and I must return to New York. Each has his orders! Right, Mr. Forbes?
FORBES
Uhhmmph!
Waiter takes orders. Busboys carry a fresh silver tea service to the table.
Wilde leans toward Morse and speaks softly.
WILDE
What is this talk of a return to New York, Colonel?
MORSE
I was hoping to speak to you before the others arrived… there have been some management changes. Mr. D’Oyly Carte has assigned a new tour manager – well he is not exactly a manager.
WILDE
This is not good news, Col. Morse; I had only just grown accustomed to your disposition.
MORSE
Indeed. But, I am required in the home office and you will be left in good hands.
WILDE
That’s absurd; this tour requires an experienced and thoroughly professional handler.
MORSE
The new man Cummings will give you his undivided attention.
Morse turns to Forbes, who is engaged in awkward conversation with Mrs. Lenoir.
FORBES
(to Mrs. Lenoir)
It’s no place for woman, Mrs. I don’t care what you modern lassies think…
MORSE
Excuse me Mr. Forbes, why don’t you share some of your speaking experience with Mr. Wilde – give him some pointers, as he heads into battle, so to speak.
FORBES
Fine. I’m happy to share knowledge with any lad that will listen.
WILDE
(sarcastically)
I’m all ears.
FORBES
This is not work to be taken lightly. I trust you are a man of strong stamina, Master Wilde?
WILDE
I doubt I could hold a candle to a man of your caliber, sir. But let us allow that I have a keen desire to be heard and a voice with which to speak.
FORBES
Well, now desire is a big part of it. You ‘ave to ‘ave a passion for this particular purr-suit. Let me tell you it’s a bloody travesty when a man is ill-suited to his calling. I once interrogated an Afghan sniper near Kandahar, who had been taken pris-nor by a young British officer. Now, here’s this lone wog, who had spent the whole day firing at the British 70th Regiment , but he hadn’t hit a thing. He was perched at the top of this canyon and there is no easy access. The officer in charge had lost patience with the situation and ordered three troopers to scale the cliffs and bring ‘im down. The wog fired on the redcoats, but continued to miss. It’s almost sundown when the three troopers reach the sniper’s position. As the first of our lads gets within 50 feet of this bandy-legged little wog, the devil fired off a reckless round. As luck would have it he caught this young trooper in the knee. With that, the dazzled little man bolted up from his hiding place and ran to the felled trooper, offering him assistance. He is captured and brought back to camp. The officer in charge asked me to join in the prisoner’s interrogation. Turned out, the little buffoon didn’t have it in himself to kill another man. Here was a sniper without the will to kill. Next morning we tied him to a tree and shot him. Now there was a man in the wrong occupation -- he had no desire sir.
WILDE
Surely his greatest career flaw was his misguided trust of the English. Not a lesson you need waste time teaching to an Irishman, Mr. Forbes.
Forbes is visibly shaking as he addresses Wilde.
FORBES
You sir, are a most…
D’Oyly Carte drops his spoon; picks up his napkin and wipes his mouth.
D’OYLY CARTE
…ah, Mr. Stoddart, you should perhaps give Mr. Wilde a briefing on Mr. Whitman. I am sure he would welcome some further insight concerning the American poet before meeting him this afternoon.
STODDART
Whitman’s a curious fellow. It’s hard to know what to make of him. At times a recluse and then he pops into view and spurts across the country lecturing and reading. He is a patriotic American, make no mistake. Loves his country and her people. This country’s memory of the Civil War would be a much different one without Walt Whitman.
WILDE
I take it he is still writing?
STODDART
Oh yes. The man knows nothing but writing.
WILDE
He is your country’s finest poet, is he not?
STODDART
I would have to agree. Although Longfellow is decidedly more popular with the masses.
WILDE
And why is that?
STODDART
Well, he is not as queer a fellow. That much is for certain.
Mrs. Lenoir turns from D’Oyly Carte, with whom she is quietly discussing business, and awaits Wilde’s response with anticipation.
WILDE
And Whitman, in what way is he a queer fellow?
STODDART
There is most certainly the taint of scandal about Mr. Whitman and compelling evidence that he thwarts the laws of conventional social behavior.
WILDE
You know him well do you, Mr. Stoddart?
STODDART
I have met him several times.
WILDE
But you have discussed his craft with him, you’ve talked on the subject of art, politics and religion?
STODDART
I have heard the man in public addresses.
WILDE
Listening to a man and speaking with him are two separate things. That the people walking away from lectures, think they know me, I beg to differ. They have only come to know my views on the one subject.
STODDART
Yes – I gather that to be so. I am sure any conversation between you and Mr. Whitman will be lively, indeed.
WILDE
He and I have much to discuss.
Waiters serve breakfast. Wilde turns his attention to Mrs. Lenoir for a private conversation.
WILDE
Mrs. Lenoir, I trust my comments at this table have not caused offense.
Mrs. Lenoir
There is no offense taken by me, sir. I find your remarks somewhat challenging and perhaps a little unorthodox, but you are welcome to your opinion.
WILDE
I presume you find comfort and happiness in more conformist behavior and opinions?
MRS. LENOIR
Oh good heavens, Mr. Wilde, I am as much a Church-going, God-fearing Christian as any English woman. I wouldn’t say that that equates to happiness.
WILDE
You no doubt have some earnest banker or man of commercial means, who caters to your every need.
MRS. LENOIR
On the contrary, I haven’t much time for married life. I am kept busy with other interests.
WILDE
Really. Perhaps you’re not married to the right man?
MRS. LENOIR
Mr. Wilde, if it’s all the same I would prefer not to discuss my personal life.
WILDE
I didn’t mean to be impertinent Mrs. Lenoir. My curiosity about people sometimes gets away from me. As a bachelor, I often ponder the question of suitable partnership. That is, can there be a mate who is exactly right for each of us.
MRS. LENOIR
Are you asking me if I believe that there is such a thing as an ideal husband?
WILDE
My word yes, that’s it: the ideal husband. Does he exist, Mrs. Lenoir?
Mrs. Lenoir
My own husband is perhaps ideal, in that he allows me to do the things I like to do and go where I want to go.
WILDE
How very liberal. Is his permission granted out of love or indifference?
Mrs. Lenoir
Mr. Wilde this is getting far too personal. Can we please talk about something less introspective?
WILDE
A thousand apologies. Let me turn this subject back on myself. Do you see me as the ideal husband for any woman?
Mrs. Lenoir
(smiling)
I hardly know you.
WILDE
Oh, but I’m not so very complicated. Arrogant, self-absorbed, highly intelligent and provocative – given to endless conversations on any subject.
I can only be surrounded by beautiful things that reflect well upon my aesthetic creed. My mate and I will love each other as though we were Gods. There now, tell me honestly Mrs. Lenoir, is there a partner out there who would view me as ideal husband material?
Mrs. Lenoir laughs.
MRS. LENOIR
Make no mistake Mr. Wilde, you’re perfect for only one person and that’s yourself.
WILDE
(laughing)
I’ve come to the same pathetic conclusion.
Morse interrupts.
MORSE
Oscar, we’ve laid on a carriage for you, Mr. Stoddart, Mr. Corrigan and your new man Mr. Leonard Cummings. The driver will take you directly to Mr. Whitman’s home. You are expected at noon. There has been no word of lunch, but I'm sure he will offer some refreshment. Mr. Cummings is a good man and he’ll tend of all of your needs.
WILDE
That being the case, where is he?
MORSE
I left him with Davenport and the concierge. He’s busy tending to the arrangements for the Baltimore/Washington excursion.
WILDE
Very well, Colonel
DAVENPORT arrives and approaches Morse
DAVENPORT
The coaches are ready sir.
MORSE
Thank you, Davenport.
D’Oyly Carte calls the waiter over and signs the bill. Wilde gathers up his clippings and he and Mrs. Lenoir stroll to the lobby followed by Corrigan and Stoddart. Morse accompanies Mr. Forbes. A young and very eager LEONARD CUMMINGS (22) meets the entourage as they exit the dining room and enter the hotel lobby.
D’OYLY CARTE
Ah, there you are. We wondered what happened to you – Mr. Wilde, meet Mr. Leonard Cummings, your new tour manager.
Wilde looks Cummings up and down
WILDE
Yes, well there can be little doubt about his new-ness. What are his credentials, sir?
D’OYLY CARTE
Credentials? His credentials are that he is a paid employ of the R. D’Oyly Carte Opera Companies.
WILDE
I was inquiring as to his literary schooling.
Cummings removes his glasses; takes out his handkerchief and shines his lenses.
CUMMINGS
Mr. Wilde sir, I’ve read three novels by Charles Dickens and, at the moment, I’m working on one written by Mr. Henry James. I’d be reading your novels, if you had any sir.
WILDE
How stimulating for you....
Wilde pulls D’Oyly Carte aside
WILDE
Mr. Carte, surely you’re not going to leave me in the hands of this office boy?
D’OYLY CARTE
Oscar, please cooperate. I’ll have Morse back at your side as soon as I can afford to. There are some pressing management issues that require his attention in New York. I’m sorry, but this is an irreversible business decision.
WILDE
Fine, but you take Mr. Cummings and Goings for the day. I’m not going to have him embarrass me with his schoolyard appreciation of literature. Give him over to Forbes. I should think Mrs. Lenoir a much more suitable escort for a meeting with your nation’s greatest poetic voice.
D’OYLY CARTE
Very well then…
Carte addressing all.
D’OYLY CARTE
Ladies and gentlemen: a slight change in plans; Mrs. Lenoir would you be so kind as to join Mr. Wilde’s party for the day. Mr. Cummings you’ll be going with Mr. Forbes.
Wilde walks up to Cummings and hands him the stack of clippings he has carried away from his breakfast table.
WILDE
You’ll find a beige leather folder in my small footlocker, where I keep my press clippings. Add these to the existing collection. Mind that they are arranged alphabetically by town and the name of the newspaper. If we’re not back by six o’clock, don’t bother holding dinner for us.
CUMMINGS
Yes, Mr. Wilde.
The two parties go their separate ways. Davenport falls in behind the Wilde party.
Fade to black
Fade up
EXT: CAMDEN, NJ STREET IN FRONT OF WALT WHITMAN’S HOME- DAY
Carriage progresses slowly through snow and mud. The carriage pulls in front of a small federal style home. Curious children gather.
INSERT: Home of Walt Whitman, Camden, NJ
DAVENPORT exits carriage; places a wooden step at the door and assists STODDART, CORRIGAN followed by WILDE and MRS. LENOIR as they exit.
WILDE
Certainly no palace!
MRS. LENOIR
It has the appearance of a comfortable tradesman’s home.
WILDE
Surely he deserves better.
LENOIR
There’s nothing deplorable about this house, Oscar, and one can only assume it meets with his needs.
WILDE
How tedious.
LENOIR
Your hero is no less a genius for living in a working class neighborhood.
Wilde turns to the fixed stare of the children GIRL IN BLACK, 9, BOY IN GREY AND BLUE, 6, and TEENAGE GIRL IN RED, 18.
WILDE
Which of you youngsters can recite a poem of Mr. Whitman’s?
GIRL IN BLACK
Get on wit’ you Misster, we knows no poetry at all.
BOY IN GREY/BLUE
Besides, no one’s s’posed to read his poetry no more.
WILDE
Why is that?
BOY IN GREY/BLUE
‘Cause on account of his being out of favor with folks.
WILDE
I see. Well that is a terrible pity.
TEENAGE GIRL IN RED
I know some lines.
WILDE
May I hear them?
TEENAGE GIRL IN RED
This dust was once the man,
Gentle, plain, and just and resolute, under whose cautious hand,
Against the foulest crime in history known in any land or age
Was saved the Union of these States.[10]
WILDE
Child, that was wonderful.
Wilde turns to Mrs. Lenoir
WILDE
Written on the occasion of your President Abraham Lincoln’s funeral.
MRS. LENOIR
I’m embarrassed to say that I couldn’t recite those lines.
WILDE
I would be surprised if ten percent of the so-called civilized population of Manhattan could recite those lines. Here in the rural backwaters, Whitman’s voice resonates with the bereaved. These simple folk are for whom he writes.
Wilde turns back to the Teenage Girl, whose little sister is pulling on the hem of her red dress.
WILDE
How do you come to know these lines, dearest?
TEENAGE GIRL IN RED
My Mama says those lines whenever she picks up my Daddy’s picture.
WILDE
And was your father a soldier?
TEENAGE GIRL IN RED
Yes. My Mama says the greys done killed him in the last days of the war. I never seen him, only his picture. He died before I come along.
WILDE
I’m sorry.
Wilde and Mrs. Lenoir turn away from the children and approach the front door of Whitman’s house.
MRS. LENOIR
I think she believes the poem was written for her father.
WILDE
And so it was.
The door opens and Mary Davis, a middle-aged housekeeper is on the other side. [11]
DAVIS
Mr. Wilde?
STODDART
No, I’m Mr. Stoddart, Mr. Wilde’s publisher. Mr. Wilde is this gentleman behind us here.
DAVIS
Well you had better all come in.
She turns to the children at the front gate.
DAVIS
Away with you now. There is no news here. Mr. Whitman’s guests are none of your affair.
Turns back to her guests.
DAVIS (Cont.)
A bird lights on this house and they all turn out to see what its business is. There is so little to occupy them and Mr. Whitman is far too charitable when it comes to children.
INT: WHITMAN’S HOME, CLUTTERED DRAWING ROOM- DAY
Davis directs Wilde, Mrs. Lenoir, Stoddart and Corrigan into the drawing room.
DAVIS
Take a seat please and I’ll let himself know that you are here.
STODDART
Modest but very quaint.
Wilde moves to the fireplace, warms himself and scans the adjacent bookshelves and talks to himself
WILDE
Classics! Homer, Plato, Dante, Cicero – the noble Tully and – what have we over here? Ah, some Swinburne, Ibsen – a copy of Brand and Peer Gynt, look now there’s Pillars of Society and A Doll’s House. No, sign of Ghosts. I’ll have to send him a copy. Alas, the poets’ corner: Pushkin, Keats, Byron, Shelly, Wordsworth, Tennyson – my goodness how thoughtful we have both brothers Alfred and Frederick – now Emerson – and finally a volume by Oscar Wilde.
Wilde reaches into his coat pocket and pulls out a volume of his poems and places it on the shelf
LENOIR
Won’t you want to sign it for him?
WILDE
Oh, I have another copy for that purpose.
Lenoir joins Wilde at the fireplace to study the miniature portraits and photographs on the mantle
LENOIR
Did you see all of these folks here?
WILDE
Yes, I presume this fine assembly to be Whitmans.
Mrs. Lenoir picks up a photo of a distinguished woman
LENOIR
Save this one, perhaps.
Wilde looks over her shoulder
WILDE
Oh my, she’s definitely not from the family fold.
Door opens and WHITMAN, 70s, enters. He is a tall man (6’4”). He walks with a slight limp and leans a little to his right side. A stroke has caused some paralysis in his right shoulder and hip.
WHITMAN
Her name is Lucretia Mott[12] . She and her husband were abolitionists. They worked the Underground Railroad during the war. She –bless her heart – formed the first Female Anti-Slavery Society. The world was made a kinder and more beatific place for the presence of dear Lucretia... and if she were here today, she’d want to know which of you youngsters was the presumptuous poet.
WILDE
Allow me to present myself. I’m Oscar Wilde, hopeful poet of Ireland, and this is indeed an honor for me, sir. I cannot tell you how much I’ve admired your astonishing work.
Wilde extends his hand to Whitman who feebly shakes it.
WHITMAN
Well, young fellow, dressed as you are, I’d be well past senility to mistake you for anything but a poet. No need to stoop to any such humility on my account. That business about a presumptuous poet was for dear Lucretia’s benefit. She became my most loyal follower; to the point where the world needed no other poets so long as I was alive. She used to refer to the rest as poseurs and frauds. Flattering, to be sure – but frightfully one-sided.
WILDE
I’m sure Mrs. Mott’s opinion is shared by a great many of your readers.
WHITMAN
If so, there is an equal number who feel I’ve over-stayed my welcome on this earth. So you’re the young man rabble is all jabbering on about.
WILDE
Mr. Whitman, sir, whatever nonsense you’ve heard, I trust it hasn’t prejudiced you. I have expectations for this meeting and I wouldn’t want them erased by some silly notion you might have read or heard.
WHITMAN
Oh heavens young man, I’ve read nothing of you nor anything by you, for that matter. My publisher tells me, that you are part of this aesthetic movement – whatever that amounts to – and that you have created quite a stir among a few self- appointed guardians of our moral behavior. Safe to say, you’re something of a rebel, Mr. Wilde? – No don’t answer that, I’ll determine that for myself. It would warm my weary soul to conclude that I had entertained a social outlaw in my home. But this is rude of us, who are the rest of these fine folks?
STODDART
Mr. Whitman, meet Mrs. Lenoir of the D’Oyly Carte Opera Company.
LENOIR
This is indeed a pleasure Mr. Whitman, I’ve heard so much about you.
WHITMAN
I suffer the same fate as Mr. Wilde, here. I am wholly created by the wild imagination of idle minds. It’s perhaps a failing of my writing that there is so much speculation about the author.
LENOIR
I should qualify myself, by saying that my impression has always been that of a brilliant man of letters, who has captured the soul of this country.
WHITMAN
That is a kind and generous impression, but no less exaggerated than the one that casts me as a traitor and a blasphemer. This country needs more poets. I should not be the anomaly they make me out to be.
Stoddart steps forward and introduces Corrigan
STODDART
Mr. Whitman, this is Mr. Corrigan. He is with the Philadelphia Press and is covering Mr. Wilde on this leg of his tour for an extensive piece in his paper.
Whitman shakes hands with Corrigan
WHITMAN
How do you do, sir? Keep me out of whatever you write and I’ll be the happiest fellow in the room.
CORRIGAN
That’s hardly possible, sir. You’re a good piece of my story.
WHITMAN
As I said, there are not enough poets in this country. Look here we’ve imported a fresh new voice from abroad; leave us old withered scribes to organize our libraries and our wills. Young Wilde here is the story. Put me down as the interested bystander.
Stoddart steps forward and takes Whitman’s hand
STODDART
And I’m Joseph Stoddart, a publisher, and soon to be Mr. Wilde’s publisher, I trust.
WHITMAN
Indeed, publisher in tow ----Mr. Wilde you’ve got them all dancing to your tune.
WILDE
But sir, who can resist an Irish jig.
Whitman laughs and wheezes
WHITMAN
Quite so. Now we should get on with this poetic encounter while I still have breath in me. Mr. Wilde, what has brought you to our great land?
SERIES OF SHOTS: WILDE AND WHITMAN TALKING AND LAUGHING
A) Wilde raising his hand in Mrs. Lenoir’s direction to acknowledge her participation.
B) Wilde signs a second copy of his Poems and hands it to Whitman
C) Corrigan vigorously takes notes
The drawing room doors open and Mary Davis wheels in a teacart. A bottle of elderberry wine sits on top of the cart and the housekeeper goes about the business of serving each guest. Frank Corrigan eagerly takes a swig of the wine. His screwed up face acknowledges the sour taste.
Wilde tries his wine and grimaces.
WHITMAN
It’s my special vintage. It awakens the senses and clears the head. Now, my good fellow, what’s all this nonsense about an aesthetic movement?
WILDE
To call it a movement is to relegate aestheticism to nothing more than a chaotic uprising – a popular cause that should fade in a fortnight.
Whitman looks about the room at the other silent guests and smiles
WHITMAN
Convince me otherwise, young man.
WILDE
Please, Mr. Whitman, you of all people must understand. It’s not a common revolt; it’s a movement toward enlightenment – a call to order; a new order perhaps, but order nevertheless – a re-alignment of all that is creative and beautiful in a world inhabited by man. We ask not that the social structure be raised, but that our goals and ambitions are elevated. There is advice here for the artisan, the peasant, the cook, the accountant – even the tax collector ought to see his world in a new light, a brighter more sustaining light.
WHITMAN
We’ve got this fellow Edison to help you with that – perhaps you should take him and his electric light bulb back to England with you?
WILDE
There you see-- you’ve hit on a key tenet of what has to be understood. Edison, and engineers like him, are fast changing this world – and all for the better one should hope. But if we let the inventors and the industrialists take over, we’ll have a very unsavory environment, where our lives are lived among crude convenient things – materials crafted not from aesthetic principals but from the dictates of mechanical logic.
WHITMAN
What is your battle cry: ‘art for art’s sake?’ That’s all very well, but here in America we’re trying to forge a new country and bring people together under a common vision. And while I believe art to be an important component in the cultural well being of a nation, it cannot serve as the clay from which men sculpt a national identity. Nor does it readily provide the inspiration for a constitution and a bill of rights. At best, art might in some way reflect or celebrate the scripture of a nation’s manifesto. But, bind its people together? Mr. Wilde inspirations far more potent than beauty have sought the collective attention of the men and women of this country and failed.
Whitman raises his glass
WHITMAN (Cont.)
To youth, discovery and brave new beginnings – to Mr. Wilde, may he be the crown prince of our literary fiefdom in a new Century.
WILDE
With all due respect, Mr. Whitman, the mother state of Democracy, Greece itself, sought unity in body and spirit through art and spawned a government that upheld the pursuit of beauty and art.
WHITMAN
Yes, but Plato and his cabinet would melt faster than a snowball in June, were they to take office in this country. Heavens man, we’ve shot two Presidents; one for what he stood for, the other for what he didn’t stand for. Yours are noble thoughts and you have the capacity to put forth an argument, but mind you don’t burn yourself while attempting to set the world afire with your ideas. It’s well to point out that which can improve man’s plight on this good earth. But that youthful zeal of yours inevitably destroys the achievements and contributions of your predecessors. We can’t have each new generation arrive on the scene only to tear down the prior generation’s work. Now can we?
WILDE
I can assure you Mr. Whitman my ambition has more preservation in its intent than discretion. Can we talk of the masters to whom you would pay homage? Would Keats be among your chosen? Spenser? Milton? And what of Emerson and Longfellow – these are fine American peers worthy of a home in a pre-ordained kingdom where Walt Whitman reigns – am I not right?
WHITMAN
You ask after so many; one hardly knows where to start – now Keats I think is the greatest tragedy of our fragile existence. Here’s a man who studied anatomy, earned a surgeon’s license, but chose to write poetry with results as miraculous as any cure or healing he could have devised. And it’s as if his decision so angered the Gods that he his life was cut short. Were he to have lived beyond his 25 years, the world’s poetic treasury would have been greatly enhanced.
Whitman gets out of his chair.
WHITMAN
Come I must show you my study and speak with you about this career of yours. If the rest of you would please excuse us we won’t be but a few minutes.
Wilde gets up and follows Whitman out the parlor door and up a short flight of stairs.
Stoddart, Corrigan and Mrs. Lenoir look blankly at each other.
MRS. LENOIRWell! Just when you thought you were beginning to understand poets.
INT: WHITMAN’S STUDY- DAY
Whitman sits in a big over-stuffed chair. Wilde looks out the window at snow-covered countryside.
WHITMAN
Listen here young man, it’s obvious that you and I share more than an affinity for verse. You're a fine young fellow and I won’t have you make the same mistakes I made. You must express your affections and desires only to the most trustworthy. Do not share a whisper of your love for another man. There is no limit to the castigation that can reign down on you from this unforgiving world. Be sure to imply a female object for an expression of desire or affection. Never allow society to deceive you into thinking it will find compassion and understanding for your penchants. Do not seek overt expression for this love. It must not be uttered. Found out as a man with desires for his own kind and you will be hunted like the Salem witch. Promise me you will guard against any ostentation when it comes to love, young Oscar. You appear to have a tremendous mind and a beautiful soul. Do not let the world’s acrid Puritanism tarnish you.
WILDE
Your words of advice are duly noted. I will be on my guard both here and at home. Tomorrow, I’m off to Baltimore and then Washington, where I hope to meet the country’s leaders and listen to the opinions of those who shape this nation’s creed.
WHITMAN
I beg of you, do not seek out politicians for any perspective on our national conscious. That would be like asking a bill collector for a statement on the country’s economic future. Apply yourself to the task of making the acquaintance of one, Robert Ingersoll, the Great Infidel. You will meet no man of greater consequence in this nation. Bob is fearless, frank and speaks with a tongue of fire.[13] He is the voice to listen to.
WILDE
Whatever voice resonates for you, sir, will be music to my ears.
Wilde moves stands behind Whitman’s chair and places a hand on his shoulder. The old man pats his hand.
EXT: CAMDEN, NJ, STREET IN FRONT OF WALT WHITMAN’S HOME- CONTINUOUS
Wilde exits Whitman’s home and is walking down the sidewalk with Corrigan
CORRIGAN
That had to be the worst wine to ever touch a man’s lips.
WILDE
I’d have drunk vinegar to earn the privilege of that man’s company.
Fade to black
Fade up
INT: PENNSYLVANNIA TRAIN #22, FIRST-CLASS CAR- NIGHT
WILDE sits alone smoking a cigarette. He holds a copy Leaves of Grass and stares out the window at the winterized Delaware landscape. A porter knocks
WILDE
Enter
PORTER
Sherry sir?
WILDE
Aren’t you a saint.
As the porter is pouring a second knock.
LEONARD CUMMINGS enters before Wilde can respond.
WILDE
Yes, do let yourself in Cummings.
CUMMINGS
Mr. Forbes has requested your company in the next car.
WILDE
Mr. Forbes can request anything he wants of me. I shall not comply. I don’t like the man.
Wilde tips porter.
WILDE
Thank you my fine fellow, unlike this gentleman your next calling will be very much welcomed.
PORTER
Thank you sir!
Porter exits
CUMMINGS
You can bring your sherry with you.
WILDE
Cummings this sherry and I are not going anywhere. Did you check on Davenport?
CUMMINGS
He’s fine.
WILDE
What are the accommodations in 3rd Class like?
CUMMINGS
Nothing like this, but well suited to a Negro. There is plenty of his own kind back there to keep him company.
WILDE
I only wish there was a separate car for the likes of Archibald Forbes.
CUMMINGS
It will be taken as most discourteous if you turn down his invitation.
WILDE
Invitation to what? Another overwrought lecture on the over-inflated accomplishments of Archibald Forbes.
CUMMINGS
I believe he means to take you into his confidence concerning the reception in Baltimore and your hosts Mr. & Mrs. Charles Carroll, descendents of one of the original signatures of the Declaration of Independence.
WILDE
Please, whatever Mr. Forbes holds in confidence on the subject of independence is of no concern to me. Go away Cummings. I don’t need to see you until we reach Baltimore; at which time I expect you to get me to my hotel with the greatest convenience and a minimum of conversation.
Cummings polishes his glasses.
CUMMINGS
You don’t understand sir. Mr. D’Oyly Carte left specific instructions for you and Mr. Forbes to get together on the train and become acquainted.
WILDE
No, you don’t understand. Mr. Archibald Forbes is the very antithesis of gentility and good breeding. As such he is not someone I care to acknowledge much less get acquainted with.
CUMMINGS
Mr. Wilde, sir, if you would simply spend 30 minutes with Mr. Forbes it would be an immense relief to all of us on this tour.
WILDE
And it would be an immense sacrifice to me.
CUMMINGS
Twenty minutes! Just sit and listen to him for twenty minutes. I shan’t bother you again for the rest of the trip.
WILDE
Ten minutes and you keep your promise to leave me be.
CUMMINGS
A promise sir.
WILDE
You’re to pull me free after ten minutes with a reminder that I have further writing to attend to.
INT: PENNSYLVANNIA TRAIN #22, FIRST-CLASS CAR- NIGHT
CUMMINGS leads the way to the next car. Cut to the glass door to Forbes’ compartment.
INT: PENNSYLVANNIA TRAIN #22, FORBES’ COMPARTMENT- NIGHT
ARCHIBALD FORBES is laughing with two middle-age gentlemen: AUGUSTUS BENNINGTON, lawyer and THOMAS COLBERT, a journalist. All are drinking whiskey. Forbes is smoking a pipe. Enter Wilde and Cummings.
FORBES
Thar he be lads! The King of the Aesthetes.
WILDE
If there is to be a coronation, I’m leaving.
FORBES
Take it easy young Mr. Wilde. You’re too damn sensitive lad. Come and meet some fellow travelers. Here’s Mr. Augustus Bennington, lawyer and statesman. Next to him is Mr. Thomas Colbert, a writer for the New York Herald.
Wilde shakes hands with both men, neither of whom rises from his seat.
WILDE
A lawyer and a journalist. A man has to mind his tongue in this compartment.
FORBES
Relax Oscar Wilde! You are among friends. Take a wee dram and unforrow that brow of yours, lad. You’re too young to carry all that concern.
Wilde sits opposite Forbes and Bennington next to Colbert
WILDE
Cummings, please have my compartment turned down and then you can retire.
FORBES
Now easy, Wilde. Master Cummings here is entitled to a recess. He’s worked every bit as hard as the rest of us. Take a glass Mr. Cummings?
Cummings hesitates. Wilde stares at the young manager but says nothing.
CUMMINGS
I don’t mind if I do Mr. Forbes.
FORBES
Mr. Wilde, set aside that sherry and take up a proper glass of Scottish dew.
WILDE
‘Tis truly Scotch and not rye spirits?
FORBES
It’s a fine malt from Dundee and you can bet I wouldn’t curdle my insides with any of the sluice water that passes as whiskey in this country.
BENNINGTON
Mr. Forbes is spoiling us Mr. Wilde. Whiskey as smooth as this is foreign to American palates.
WILDE
Whiskey is among the many things to be smoothed out in America.
FORBES
Hah! Careful Mr. Wilde. You are speaking to a couple of patriots.
WILDE
Ah yes, a lawyer and the journalist, two dangerous breeds of patriots. Thank you for reminding me.
BENNINGTON
Pray tell, Mr. Wilde what would you have smoothed out.
WILDE
I would erase billboards from your landscape as a first step. These gargantuan advertisements for rheumatism cures and liver pills form enormous riffs in nature’s canvas.
COLBERT
Commerce is part of the new culture, Mr. Wilde.
WILDE
Commerce is never a part of culture, Mr. Colbert. Commerce is the absence of culture. Take away man’s pursuit of truth and beauty and you are left with his insatiable appetite for base commodities and sustenance.
FORBES
That is a fine argument, Mr. Wilde. But I’m told you are a playwright, not a debater.
WILDE
I am the author of a stage drama entitled Vera, or The Nhilists
FORBES
One has a choice of titles?
WILDE
No. This is a drama, which is as much about Vera, the heroine and lover, as it is about a Russian cabal of revolutionaries. Naturally, there are choices to be made----between love and anarchy.
FORBES
What on earth led you to write such a play?
WILDE
Life Mr. Forbes! And its injustice, its betrayal, its incarceration.
BENNINGTON
Heavens man, you’re not talking about my life.
WILDE
Indeed, I’m not, Mr. Bennington.
FORBES
What would you know about such themes?
WILDE
What any man knows with eyes and ears open to the world around him.
FORBES
Far too dreary to succeed, I say.
WILDE
Drearier things make their way. I’m led to believe your speeches are about war, death and destruction. Do you consider these subjects of glee and good providence?
FORBES
I speak of heroes and moral conduct. My lessons are those taught by men of great sacrifice.
WILDE
Men who would destroy one another can teach us nothing.
FORBES
And men dressed in frills talking poppycock should be horse-whipped.
Wilde gets up
WILDE
In my experience Mr. Forbes, men who whip horses are dimmer than the beasts they flog. Good evening, gentlemen. Mr. Forbes, I rarely find Scotch whiskey disagreeable but your particular blend has given me acute indigestion. I shall retire. Mr. Cummings I’ll require your services in my compartment.
Wilde exits.
BENNINGTON
I can’t believe my ears. Was that young scallywag pulling your leg?
FORBES
Not at all. That, gentlemen, is the genuine article: a fool and a fraud.
Forbes takes out Stedman’s letter and waves it in the air
FORBES
I have a letter here from a worthy gentleman, who verifies that Wilde’s poetry was rejected by his own Oxford library. This play he talks of was scuttled in London last fall.
CUMMINGS
Mr. Forbes, please don’t cause an upset. I’m sure Mr. Wilde didn’t mean anything by his remarks.
FORBES
Oh he meant everything by it. Don’t you try to apologize for him laddie.
CUMMINGS
No, I suppose Mr. Wilde will have to do the apologizing and Mr. D’Oyly Carte will see that he does. But please don’t do anything rash. I had better go and tend to his needs.
FORBES
You sit right down there and finish your drink. And you’ll have another. I’ll not have that little prig order any guest of mine around.
INT: PENNSYLVANNIA TRAIN #22, WILDE’S COMPARTMENT- NIGHT
WILDE is in his seat and reading Leaves of Grass.
Cut to hallway outside. CUMMINGS knocks on door
Cut to interior
WILDE
Who is it?
CUMMINGS
It’s me. You said you needed me.
WILDE
Come in Cummings.
CUMMINGS
Was it necessary to insult Mr. Forbes? I fear that any attempt to promote harmony between you two is no longer possible.
WILDE
Mr. Cummings, to be good is to be in harmony with oneself. Discord is to be forced into harmony with others.[14]
Cummings reaches into his valise and pulls out an enormous date book
CUMMINGS
See here, this evening you are scheduled to appear at a reception, in Baltimore, given by Mr. & Mrs. Charles Carroll[15]. The reception comes at the close of Mr. Forbes’ address, which you are expected to attend. How can we make this a satisfactory event with two of you carrying on like schoolboys?
WILDE
Simple. One of us should be sent home with a note. I ,for one, volunteer.
CUMMINGS
Nonsense, all of Baltimore is expecting you.
WILDE
I thought it was Forbes who was the speaker of note.
CUMMINGS
Yes, but there is equal anticipation for your appearance.
WILDE
How can that be? I thought I was a surprise guest.
CUMMINGS
The papers have covered your New York appearance and Mr. Forbes forewarned Baltimore citizens last week, when he spoke at the Letters’ Club.
WILDE
Mr. Forbes forewarned them?
CUMMINGS
Well yes, I mean he mentioned you in his speech.
WILDE
Did you attend that speech?
Again Cummings glasses need polishing
CUMMINGS
Yes I did.
WILDE
So what was Mr. Forbes admonishment?
CUMMINGS
As I said it wasn’t a warning it was just a mention.
WILDE
(raising his voice)
What did he say?
Cummings begins to smirk.
CUMMINGS
He told folks you were going to speak about art.
WILDE
What else?
CUMMINGS
That was it.
WILDE
(impatient)
No, it’s not. What else did he say? TELL ME.
CUMMINGS
He said that you were a British dandy who knew nothing of the world and even less about art.
WILDE
That bloated old caterwauler. What else did he say?
CUMMINGS
That’s all.
WILDE
See here, you tell me everything that vile, repugnant little man said or I’ll turn around and head back to New York on the next train. I will not be set up by that impudent scoundrel.
CUMMINGS
(mumbling)
He called you a pansy and said …
WILDE
Louder, son, I can’t hear a word!
CUMMINGS
He called you a pansy and said no self-respecting man would allow his kin to hear the loathsome and immoral words of Oscar Wilde.
WILDE
And so it shall be.
CUMMINGS
What do you mean?
WILDE
None shall hear my words. I will not attend any reception or garden party that caters to the likes of that man.
CUMMINGS
But you must go. You’re expected. The Carrolls have gone to considerable trouble and they are much respected family in these parts.
WILDE
Why should I attend private affairs that offer no commercial gain? If people want me for decoration at their public occasions, they can damn well pay. Henceforth, you are to accept no such social engagements unless I am appropriately compensated.
CUMMINGS
Compensated…
WILDE
Let’s see I get $1,000 a lecture – social appearances should run $300 depending on the nature of the event. Charitable occasions are something else. We’ll have to discuss those separately.
CUMMINGS
This is preposterous.
WILDE
It is that man Forbes who is preposterous and I will not lend him any measure of my time or attention. Now leave me to my reading. I don’t want to see you until we reach Baltimore, at which time I will look for you on the platform outside of this car.
CUMMINGS
Mr. Wilde, there is much more to discuss.
WILDE
There is nothing more to discuss. Good evening Mr. Cummings.
Cummings exits and walks down hallway to Forbes compartment.
INT: PENNSYLVANNIA TRAIN #22, THIRD CLASS CAR- NIGHT
WILDE walks down aisle in search of Davenport. He discovers his valet asleep and shakes him.
WILDE
Davenport, Davenport…
DAVENPORT
What What …I beg your pardon sir do you need me?
WILDE
Indeed I do.
DAVENPORT
(sitting up)
At your service Master Wilde. What can I do for you?
WILDE
Well for a start, we’re not getting off at Baltimore. Or at least I’m not. I want you to take the luggage on to the platform and meet Mr. Cummings as planned. You won’t see me.
DAVENPORTAnd where will you be sir?
WILDE
Back here in your seat until the train pulls out.
DAVENPORTCan I ask why, sir?
WILDE
Because I’m going on to Washington. Once you can get free of Cummings, you’re to board the next train for Washington with the luggage. Here’s $20 to cover your ticket and expenses. Now, when you get to Washington, take a cab to the Arlington Hotel. I will have arranged for a sleeping room for you; so just go to the front desk and tell them you’re with me.
DAVENPORT
Very well. Are we, as they say, jumping ship?
WILDE
Oh yes, Davenport. We’re jumping ship. In fact it could be a case of man over-board.
DAVENPORT
(smiling)
Sounds more like a case of mutiny to me, sir.
Fade to Black.
Fade up
EXT: BALTIMORE, RAILWAY STATION – NIGHT
Train whistle blows and Wilde’s train pulls into station.
INT: PENNSYLVANIA TRAIN #22, INTERIOR 3RD CLASS CAR- NIGHT
WILDE sits in Davenport’s seat. DAVENPORT makes his way to the exit. Porter enters car.
PORTER
Baltimore! This is Baltimore! All out for Baltimore.
Wilde slumps down in the seat and pulls his hat down.
EXT: BALTIMORE TRAIN STATION PLATFORM – NIGHT
DAVENPORT directs a PORTER wheeling a cart stacked with Wilde’s trunks. Pair walks into CUMMINGS who is tipsy
CUMMINGS
Oh there you are Davenport. Have you seen Wilde?
DAVENPORT
Not since an hour ago. He told me he’d be out here on the platform.
CUMMINGS
I don’t see how he got off the train before me.
DAVENPORT
He mentioned that he was a little anxious to stretch his legs.
CUMMINGS
All right! Take this luggage out front and hold us a cab. His lordship must still be on the train. If you see him don’t let him out of your sight. Do you hear me Davenport?
DAVENPORT
Understood, Mr. Cummings.
Exit Davenport and porter.
DAVENPORT
When is the next train for Washington?
PORTER
Number 30 leaves at 9:00 pm.
DAVENPORT
Can you hold this luggage and see that it gets on that train? I can give you $2 for your assistance.
PORTER
You making trouble for that white boy?
DAVENPORT
That white boy makes more than enough trouble on his own. He doesn’t need any help from me.
PORTER
(smiling)
It’s a red-letter day when a black man can trip up a white boy and earn an extra $2 as part of the bargain.
INT: PENNSYLVANNIA TRAIN #22, WILDE’S COMPARTMENT – NIGHT
CUMMINGS raps on the door
CUMMINGS
Oscar are you in there? Oscar Wilde?
Cummings opens the door. The compartment is empty.
CUMMINGS
Damn him!
EXT: BALTIMORE STATION PLATFORM – NIGHT
Cummings runs down platform towards station house. He passes and turns around to confront FORBES, COLBERT and BENNINGTON
CUMMINGS
(now frantic)
Have you seen Oscar?
FORBES
(laughing)
He’s probably in the lounge fixing those stockings of his.
CUMMINGS
No, he’s vanished. This is serious. I‘ve looked everywhere.
FORBES
Calm down he’s sitting in a warm cab waiting for you.
CUMMINGS
Maybe you’re right. I’ll run ahead and see. We’ll meet at the hotel.
FORBES
Tally Ho!
Cummings runs to front of station. He arrives to find neither Oscar nor Davenport. He asks several cab drivers.
CUMMINGS
Have you seen a smartly dressed Englishman about 6 foot tall and a thin Negro about the same height?
CAB DRIVER #1
Nope, can’t say that I have.
Cummings runs to next cab.
CUMMINGS
I’m looking for a fancy dressed Englishman and his Negro valet, have you seen them?
CAB DRIVER #2
Not since the war.
Cummings runs back through station and onto the platform to train #22, just as it pulls away. He jogs down the platform to where Wilde’s compartment was and there is the poet sitting reading with a glass of sherry in one hand. Cummings pounds on the side of the moving train. Wilde looks up; smiles and raises his glass of sherry.
Fade to Black
Fade up
INT: WASHINGTON, DC ARLINGTON HOTEL, WILDE’S SUITE-1:00 AM
WILDE relaxes in a handsome bergere smoking a cigarette and reading the current edition of the Washington Post.
INSERT: Washington Post January 19. 1882 “Defense for Charles Guiteau to Rest Its Case.”
Knock at door.
WILDE
Yes
DAVENPORT
It’s me sir. I have your luggage.
WILDE
Come in.
DAVENPORT and BELLMAN enter and dislodge the trunk and suitcases. The Bellman also carries letters and cards that have been accumulating at the front desk. Wilde tips the Bellman, who leaves.
WILDE
Davenport, my fine fellow, pour yourself a drink. That was brilliant work.
DAVENPORT
I shouldn’t sir.
WILDE
Davenport never ever use the words should not. There are things that we might not be able to do. There are things we fail to do. But there is never anything that we should not do. Should not, shall not, these are the words of man deprived of life – men who are put on this earth to remind the living of our mortal end. Shall not men are dead men waiting for the hearts to stop, so that they can be legally buried.
DAVENPORT
Whiskey and I are not an agreeable pairing, sir.
WILDE
I’ve never known whiskey to talk back.
DAVENPORT
Well it does with me sir. And it’s an argument I always lose.
WILDE
Ah ha! I do need you to keep your head, Mr. Davenport. So I’ll respect your good sense
DAVENPORT
I’ll take a short glass of sherry, if there is any, and make my toast with that.
WILDE
Sherry it is!
Wilde pours.
WILDE
To us Davenport—it’s a commendable day when pomposity receives a black eye.
They chink glasses
DAVENPORT
Aye sir. Young Mr. Cummings looked a little green about the gills when I last saw him.
WILDE
Dim-witted little office clerk.
DAVENPORT
But are you not concerned about the Baltimore event?
WILDE
What the tea party at the Carrolls? Not to worry. They’ve got the graven Scot in his horsehair shirt to entertain them. I tell you, I won’t be missed Davenport
DAVENPORT
You’re the one who knows best sir.
Another knock at the door
WILDE
Who could this be? Yes, please enter.
Bellman enters
BELLMAN
I have a telegram from New York.
WILDE
Really.
Wilde takes the telegram. He holds it toward the light. Hands it back to the Bellman
WILDE
I can’t read it in this light would you be so kind.
BELLMAN
If this reaches you by January 19th STOP Return immediately to Baltimore STOP The Carrolls are furious STOP There is talk of legal action STOP Oscar I beg of you, return to Baltimore and make amends STOP Signed Colonel W.F.Morse.
WILDE
Have you got a pen?
BELLMAN
Yes, sir.
WILDE
Then please take this down by way of reply; “No guest by the name of Oscar Wilde at this hotel STOP.” Please send that under the signature of your desk clerk.
Wilde gives the Bellman two silver dollars.
WILDE
Will a dollar cover the cost of the reply?
BELLMAN
More than adequate, sir.
WILDE
Then the second dollar is for your trouble, my good man.
BELLMAN
Thank you sir. A handsome tip from an absent guest.
WILDE
One cannot put too fine a price on one’s absence.
Wilde turns to Davenport and the two exchange wry smiles
Fade to black
End of Part II
[1] OW Discovers America
[2] The Wit and Humor of Oscar Wilde –(OW in conversation) p161
[3] Phrases and Philosophies for the Use of the Young, by Oscar Wilde
[4] Helen Potter Impersonations as cited by Ellman p. 592
[5] Ellmann reports the receipts at $1211 page 156
[6] The Wit and Humor page 125
[7] OSCAR WILDE by Richard Ellmann p.139
[8] Oscar Wilde Discovers America, pg. 73
[9] Future Mrs. D’Oyly Carte
[10] THIS DUST WAS ONCE THE MAN from Leaves of Grass p 263
[11] Walt Whitman’s America pg. 524
[12] Walt Whitman’s America, pg. 219
[13] Walt Whitman’s America : A Cultural Biography by David S. Reynolds p 580
[14] The Wit And Humor of OW page 112
[15] Oscar Wilde Discovers America, page.81
Biography of the author
I hold a Bachelor of Arts Degree, from the University of Victoria, in Victoria, B.C. Canada. The practical side of me majored in Economics, I allowed the passionate side to dictate a minor in English Literature. I was introduced to Wilde through a course in Victorian Literature. Like many of us, with an ounce of civility, I found his wit, his flare and his remarkable talent as a playwright and novelist captivating. After a year of study in Paris, I moved to Toronto where I initiatally worked as a freelance journalist. While working an assignment for Toronto Life magazine, I discovered that Oscar Wilde had visited Canada's mecca. Moreover he had visited most of central and eastern Canada. I became infatuated with his 1882 lecture tour of North America and felt the material was worthy of either a cinematic or broadcast presentation.
While working on Wilde In America and other writing projects, I spent 12 years working in publishing, in the role of marketing executive. I was Director of Marketing for McClelland & Stewart and worked directly for Jack McClelland who was the pre-eminent Canadian publisher of such notable authors as Margaret Atwood, Mordecai Richler, Leonard Cohen, Farley Mowat, Jane Urquhart and Michael Ondaatje. From 1988 to 2000 I served as Vice President of Marketing for various divisions of Simon & Schuster, Inc., in New York. I recently served as Vice President of Strategic Marketing for Reciprocal,Inc., a software company supplying copy-protected technology and clearinghouse services for the on-line of copyrighted digital media. I am currently working on a commercial screenplay and a novel.
I am currently working on a commercial screenplay and a novel.
Walter W.J. Walker
1155 Warburton Ave. Apt. 4S
Yonkers, NY 10701
Ph. (914) 969-2721
Mob.(914) 310-6205
e-mail: wjwalker@optonline.net