Hamilton

epub:type="z3998:persona">Reynolds Yes. Giles Turning squarely toward him. God, you’re a bad ’un, ain’t you? Reynolds Leaning back and smiling. I’m what may be called a soldier of fortune, Mr. Giles. Giles You come in on the blackmailing end of the game, eh? You’d do any damned thing for a ten dollar piece, wouldn’t you? Reynolds Yes, I’m afraid my price is a little lower than yours, Mr. Giles. Leans forward again. You might see Mrs. Reynolds. She’s a nice little thing. I’m very fond of her, but she’s too good for me. Giles Looking in front of him again. Oh! Reynolds Yes, it’s the clothes, you know, that cause the trouble. She must have pretty clothes. She’s young, you see. She⁠—Noticing that Giles is interested he takes a pen and writes on a slip of paper, rises and puts the paper on Giles’ knee. That’s our address, Mr. Giles. Reynolds, picking up his hat, moves toward door L. 2 E. Giles She be at home now? Looking at paper. Reynolds Smiling and coming back a step. Yes, I think so. You’ve seen her with me, haven’t you? Giles Yes. Reynolds She’s a pretty little thing, ain’t she? Giles looks at him sideways. She’s a clever little thing, too. Well, good day, Mr. Giles.

Exit Reynolds L. 2 E. Giles remains looking at the paper, apparently thinking it over. He reaches for his hat, which is on the table beside him; rises with sudden determination; puts his hat on, looks again at the paper, then with his mind made up he exits quickly through the street door up L.

Curtain.

Act II

Scene.⁠—Living-room in the house of Alexander Hamilton, 79 South Third Street, Philadelphia. Evening of the same day. It is a large room in a brick house of the period. Wallpaper dull gray, white wainscoting. Doors solid mahogany, white frames, with cut-glass handles. Woodwork of windows and fireplace handsomely carved and painted white. Room suggests dignity and comfort rather than elegance. The furniture is Chippendale. Portraits of General and Mrs. Schuyler on the wall at back. Up stage right there is a door leading to a hall and street door which can be seen by audience. Down left a door leading to other part of house. Left center, at back, two long French windows give on to narrow iron balcony on front of house. A third window is on the right up stage. Light through window suggests street lamp without. Large and small chairs stand about. At left front stands a large carved mahogany chair. It is handsomely upholstered in leather. At left centre, a large, low writing table with a pile of manuscript at one end and furnished with ink and quill pens. The fireplace is on the right down stage. On mantelpiece stands a handsome wedgewood vase and one silver four-branch candlestick; above mantel a large mirror. Between fireplace and window up right a small square mahogany table against the wall. Green rep and lace curtains ai all windows. Down right centre facing audience a Colonial sofa. Against wall, centre at back, is a mahogany bookcase, filled with books, no doors on case; standing on bookcase are two two-branch silver candlesticks. The two portraits are on the wall above. Right and left of bookcase a chair. In left corner up stage a handsome Colonial escritoire, open. Armchair in front of escritoire. Against wall left and above door a smaller similar bookcase. Two single candlesticks on ditto. Armchair back of Hamilton’s table left centre. Single chair right of table. Chair against wall below door down left. Ditto against wall below fireplace down right. Small chair back of sofa.

	When the curtain goes up Alexander Hamilton is discovered standing at right of table left centre, looking over a manuscript of Bill for Congress. He is a man of medium height, thirty-three years of age. He is dressed in the height of fashion. In spite of heat, his ruffles are immaculate and his stock secure. He wears his own hair unpowedered and tied in a queue⁠—with a black ribbon. Enter L., Zekiel, an elderly negro serving man.
Zekiel	At door L. ‘Scuse me, Marse Ham’ton, but es mighty nigh nine o’clock.
Hamilton	Is it, Zekiel?
Zekiel	It cut’ny am, sah.
Hamilton	Well, what of it?
Zekiel	Coming toward him. Cunnel, yo’ ain’ had scarcely no food all day, an’ dad fetch me, dinnah’s been waitin’ these fo’ hours.
Hamilton	Has it? Well, bring it in here.
	Sits back of table L. C.
Zekiel	Hi! Yo’ don’ eat at all then, sah. Yo’ jes’ looks at it an’ goes on wo’kin’.
Hamilton	Making correction on bill. I’m engaged on a difficult task. Uncle.
Zekiel	Yo’ shore mus’ be, Marse Ham’ton.
Hamilton	Trying to make bricks without straw.
Zekiel	Bricks! That cut’ny do seem a mighty pore sub-astute fer dinnah, Marse Cunnel.
	Knock. Zekiel crosses at back toward door R.
Hamilton	I’m still out, Zekiel.
Zekiel	Turning at R. C. Reckon you-all bettah be home, Marse Cunnel, an’ quit wo’kin’ fo’ tonight.
Hamilton	I’m out, Zekiel, I’m out.
	Zekiel goes out R.; half closes room-door. Schuyler heard.
Schuyler	Without. What! Still out? I’ll come in, Uncle, and wait! Coming through hall door.
Zekiel	As Schuyler stumps in. So he’p me, Gen’al, ’tain’ no good yo’ waitin’.
	Enter General Schuyler R., Zekiel backing in before him, trying to prevent him.
Hamilton	Who has gotten up as soon as he heard voice. Why, father, I’ve been expecting you for hours.
	Meeting him up R., taking his hands and bringing him into the room.
Schuyler	Well, I called on you hours ago. To Zekiel. You black nigger, you, I don’t believe he’s been out at all!
Zekiel	Down R. of Schuyler. Why, he say he were out, and I done think he were.
Hamilton	L. of