ACT I

SCENE 7

 

PLACE: The Billiard Room of the Hong Kong Club

TIME: Early Evening of the Following Day

 

The room is crowded with Her Majesty's OFFICERS, MERCHANTS and their LADIES. The men are smoking cheroots, drinking gingerbeer, etc., talking, laughing and playing billiards. Someone always seems to be calling out "Boy!" to gain the attention of one of the busy Chinese WAITERS to order a drink.

The MEN are divided into two groups: an older group including SIR JOHN BOWRING and GOVERNMENT OFFICIALS and a younger, more rowdy group of WEALTHY MERCHANTS and MILITARY OFFICERS.

Also present are the merchants and traders who tangled with BOWRING earlier in the play.

AVERY and TAYLOR are with BOWRING's group and, along with BOWRING and the older MEN, they are playing billiards while the younger MEN are clinking tankards and singing. (BOWRING does not sing)

 

SONG: "Damn Their Eyes"

 

ALL BRITISH (MERCHANTS AND MILITARY)

DAMN THEIR EYES IF EVER THEY TRIES
TO ROB A POOR MAN OF HIS BEER!
DAMN THEIR EYES AND ALL OF THEIR LIES
FROM CHINA TO BUCKINGHAMSHIRE!

SOLO

ALMOND EYES AND EASTERN SKIES
I SAY GIVE THE CHINAMAN A CHEER!

ALL BRITISH

BUT DAMN THEIR EYES IF EVER THEY TRIES
TO BRING ONE OF THEM IN HERE!

(Another of the SINGERS nudges the rest and gestures in the direction of BOWRING)

 

FIRST MERCHANT

YOU REALIZE I ABHOR GOODBYES

 

ALL BRITISH

A HANKY TO WIPE YOUR TEAR!

 

FIRST MERCHANT

BUT DAMN THEIR EYES IF IT'S A SURPRISE
HE WON'T BE AROUND NEXT YEAR!

 

(BOWRING and his FRIENDS have heard this and stop their action)

(BOWRING places his cue stick down and walks toward the MAN even as BOWRING's FRIENDS attempt to restrain him)

 

BOWRING

Would you care to make your implication more specific?

 

MERCHANT ONE

Implication? Why, I intended no 'implication,' Sir John. It's just that life being what it is, one never knows where one will be from one year to the next.

 

BOWRING

And I suppose with your powerful supporters in London you and your friends are certain of success in having me recalled, is that it?

 

MERCHANT ONE

Well, it is true that successful men dislike being lectured to by a failed businessman who was given the governorship of Hong Kong as a dying man might grasp at a life preserver.

 

BOWRING

Successful men?! It is clear to me that in this colony the more successful a man like you becomes, the more his activities bear scrutiny!

 

MERCHANT ONE

I dare say I will have my success when the next mail arrives from London and you find you're on your way out.

 

BOWRING

Until I am out, I would watch my tongue if I were you!

 

(THEY close almost as if to fight; their SUPPORTERS move to join them)

TAYLOR (whispering to AVERY)

My God, someone should do something to stop this!

 

AVERY

Yeess. I suppose one should.

 

(TAYLOR realizes AVERY is not about to stop it. HE begins mussing his own hair)

 

TAYLOR

Well, if no one else will act, I will.

 

(TAYLOR staggers over to the BRITISH MERCHANT and slaps him on the back, while leading him away from BOWRING. HE speaks in an inebriated manner and with an exaggerated American accent)

 

TAYLOR

Hi, there! How ya doin'?

 

(The MERCHANT regards him with obvious distaste)

 

TAYLOR (cont)

I jush arrived from Shan!.. Fran!.. Shishco!

 

MERCHANT ONE

(very upper-class English accent)

I...never...would...have...guessed.

 

TAYLOR

Well, shir, ish true. And I wish to know someshing that I can't seem to figger out: jush how dosh - (almost spills his drink on the MERCHANT) oops! Jush how dosh a fella achieve shuccesh in this town, anyway?

 

(The song is sung by all the BRITISH except for JOHN BOWRING)

 

SONG: "Billiards and Beer"

 

BRITISH MEN

HOW DOES ONE ACHIEVE SUCCESS IN HONG KONG? EVERY GENTLEMAN WEARS FROCK COAT AND HIGH
SILK TOPPER;

(The MERCHANTS straighten TAYLOR'S cravat and adjust his top hat)

BRITISH MEN (cont)

BUT, DESPITE HIS DRESS, HE'D BE UNLIKELY TO BELONG NEVER WOULD BELONG
IF HIS CONDUCT WAS CONSIDERED TO BE ANYTHING LESS THAN PROPER!

 

(TAYLOR enacts a pantomime in which HE acts drunk and drinks whiskey from a pocket flask while the other merchants shun him)

 

BRITISH MEN (cont)

OOOH!

SOLO

CHINAMEN, MANDARINS, FEVER AND BOILS!

BRITISH MEN

COLONIAL FEVER, BILLIARDS AND BEER

SOLO

I'D LIKE TO FLEE TO LONDON THIS YEAR

BRITISH MEN

OOOH, SUNSTROKES AND SHIPWRECKS, MOSQUITOES, TYPHOONS!
WAIST COATS AND WHISKEY, WHALEBONE AND WINE

SOLO

IF I WERE RICH I'D SURELY RESIGN!

BRITISH MEN

SURELY I'D RESIGN!

HOW DOES ONE ACHIEVE SUCCESS IN HONG KONG?
FOR A GENTLEMAN OF FASHION THERE'S NO OBSTRUCTION;
BUT OF ALL MISTAKES, IT WOULD BE SERIOUSLY WRONG
RUINOUSLY WRONG
TO ARRIVE WITHOUT A PROPER LETTER OF INTRODUCTION!

 

(The BRITISH and TAYLOR enact a pantomime in which TAYLOR is snubbed when he doffs his hat and starts to introduce himself, but when he steals a Letter of Introduction from another, he is warmly welcomed)

 

ALL MERCHANTS/MILITARY

OOOH!

SOLO

HOUSE COOLIES HOPING TO CHOP OFF OUR HEADS

ALL MERCHANTS/MILITARY

COLONIAL FEVER, BILLIARDS AND BEER

SOLO

IS IT MY FATE TO REST IN PEACE HERE?

ALL MERCHANTS/MILITARY

OOOH!

SOLO

BANKRUPTCY, BANKERS AND FAILURE, DISGRACE!

ALL MERCHANTS/MILITARY

WAIST COATS AND WHISKEY, WHALEBONE AND WINE

SOLO

HOW I WOULD LOVE JUST ONE CONCUBINE!

ALL MERCHANTS/MILITARY

JUST ONE CONCUBINE!

MILITARY

DAMN THEIR EYES IF EVER THEY TRIES
TO ROB A POOR MAN OF HIS BEER!
DAMN THEIR EYES IF EVER THEY TRIES
TO BRING ONE OF THEM...IN HERE!

BRITISH MEN

HOW DOES ONE ACHIEVE SUCCESS IN HONG KONG
EVERY GENTLEMAN OWNS HORSES AND PHAETON CARRIAGE;

 

BRITISH WOMEN ONLY

AND RESISTING ALL TEMPTATION NO MATTER HOW STRONG
LASCIVIOUSLY STRONG
HE CONCENTRATES ON-

 

(A MERCHANT places a mop-wig on TAYLOR who acts womanish to tempt him)

 

BRITISH (CONT)

PROFIT WHEN CONTEMPLATING MARRIAGE!

 

(His friends grab the MERCHANT and force him to 'marry' TAYLOR)

(As the BRITISH continue their song, LIEUTENANT WILSON enters the room. AVERY stops him and WILSON whispers in AVERY's ear)

 

ALL BRITISH

OOOH!

 

SOLO

PIRATES ATTACKING OUR SHIPS IN THE BAY!

 

ALL BRITISH

COLONIAL FEVER, BILLIARDS AND BEER

 

SOLO

IS A SHIP SET TO LEAVE AT THE PIER?

 

ALL BRITISH

OOOH!

 

SOLO

SNOBBERY, SNUBBING AND GOSSIP GALORE!

 

ALL BRITISH

WAIST COATS AND WHISKEY, WHALEBONE AND WINE

 

SOLO

IF I COULD LEAVE, I'D SING AULD LANG SYNE!

 

ALL BRITISH

SING SWEET AULD LANG SYNE!

 

(AVERY and WILSON walk to BOWRING and the MEN walk downstage to discuss something privately. Meanwhile, the SINGERS continue at very low volume)

 

BOWRING

What is it, John?

 

AVERY

Lt. Wilson has information from one of his Chinese informants about some kind of smuggling operation going on tonight. He's not sure what, but whatever it is will most likely be coming in from Kowloon.

 

BOWRING

All right. Lieutenant, post as many guards as you need to intercept any small boat coming in from the direction of the mainland. We can't stop them all but we might be lucky.

 

WILSON

Yes sir. Right away, sir.

 

(WILSON salutes and walks out)

 

AVERY

And shall I post a warning to residents, sir?

 

BOWRING (reflecting)

No. That would do more harm than good. Residents of this colony are already panicky enough which, I don't doubt, is precisely why they're trying so hard to enjoy themselves this evening.

 

AVERY

Yes, sir.

 

(AVERY walks off. BOWRING is clearly worried)

 

(All RESIDENTS from both groups - except TAYLOR sing the ending)

 

ALL BRITISH

OOOH!

 

SOLO

LETTERS FROM LONDON ALL LOST OUT AT SEA!

 

ALL BRITISH

COLONIAL FEVER, BILLIARDS AND BEER

 

SOLO

THIS ISLAND HELL WILL KILL MY CAREER!

 

ALL BRITISH

OOOH!

 

SOLO

ALL OUR POLICEMEN ASLEEP AT THEIR POSTS!

 

ALL BRITISH

I KEEP ON DREAMING OF OLD LANCASHIRE!

 

(SOLO) (offstage voice)

IS ANYONE LEAVING?

 

ALL BRITISH

WHAT DID I HEAR?!

 

(SOLO) (offstage voice)

I SAID, IS ANYONE LEAVING?

 

ALL BRITISH

OH, YES, WE VOLUNTEER!

 

(The song ends and the men go back to their positions as in the beginning, playing billiards, drinking, calling out 'Boy!' to the waiters, etc.)

 

FADEOUT

 

ACT I

 

SCENE 8

 

PLACE: Parlor above E-Sing Bakery

 

TIME: Later that Evening

AHEE is pacing back and forth in the parlor at the E-Sing Bakery in Spring Garden, worried about her brother. A female SERVANT (ALOY) stands near her.

 

ALOY

Madam, please stop worrying; your brother will be fine. He is the kind of man who knows how to take care of himself.

 

AHEE

I wish I could believe that. If only the British-

 

(There is a knock at the back door)

 

AHEE

Brother?

 

(ALOY enters the hallway and opens the door. CHARLES TAYLOR steps in. HE is holding a newspaper, a physician's bag and a gift-wrapped package)

 

TAYLOR

Good evening, Ahee, I-

 

(SHE motions for him to lower his voice)

 

AHEE

Aloy, would you please bring tea and fruit for our guest?

 

(The SERVANT exits)

 

AHEE (cont)

It's so late. I thought you were my...I mean-

 

TAYLOR

Forgive me. I was delayed. If it's too late, I can-

 

AHEE

No. No, please sit down. I'm glad you came.

 

(Suddenly, AHEE starts)

 

TAYLOR

Is something wrong? You seem agitated.

 

AHEE

No! I mean, it's nothing; I just thought I heard something. Oh! You brought a London newspaper.

 

TAYLOR

Yes. I promised. And I have a surprise for you, also.

 

(TAYLOR holds out a package. AHEE unwraps it and holds up a bonnet)

 

AHEE

It's beautiful. Is it for me?

 

TAYLOR

It certainly is. I hope it fits you.

 

(AHEE tries it on and looks in a mirror)

 

AHEE

I love it. How did you learn to buy women's bonnets?

 

TAYLOR

Well, I had a bit of help from the wife of my host.

 

AHEE

You told someone you were coming to meet with me?

 

TAYLOR

I told someone that I had met a lady of fashion and I desired to present her with a suitable bonnet.

 

AHEE (relieved and pleased)

It's beautiful.

 

(AHEE sits on a couch and gestures for TAYLOR to sit across from her in a chair)

 

AHEE

Now, please read to me. I want to know everything that befalls ladies and gentlemen of fashion.

 

TAYLOR

(laughing)

Newspapers seldom print what really "befalls" ladies and gentlemen of any sort. If they did, they'd be shut down.

 

AHEE

Charles, stop teasing! You know what I mean.

 

TAYLOR

Oh, all right. Let me see. (reading the paper) In ladies fashion velvet is now worn with trimmings of a brighter color than the dress. And in London, red-and-blue motorized tin plates will be set up at street crossings to protect ladies and gentlemen from the danger of speeding horse carriages. And in-

 

(TAYLOR notices AHEE seems almost entranced)

 

TAYLOR (cont)

Shall I continue?

 

AHEE

(emerging from her reverie)

Oh! Yes, yes! I was just thinking that if I were a lady...

 

TAYLOR

(laughing)

Now, why on earth do you so much want to be a lady?

 

AHEE

Why? Because I was once...and if I were a lady, I could...I mean, you could...we could...

 

TAYLOR

Yes?

 

SONG: "If I were a Lady"

 

AHEE (rising)

IF I WERE A LADY, I'D KNOW WHAT TO WEAR! VELVET WITH TRIMMINGS, I'D NEVER HAVE TO GUESS! VELVET WITH TRIMMINGS, IF WISHING FOR SUCCESS! VELVET WITH TRIMMINGS, TO PROPERLY IMPRESS! VELVET WITH TRIMMINGS...

 

TAYLOR

Yes?

 

AHEE

THE TRIMMINGS...

 

TAYLOR

Yes?

 

AHEE

MUST BE BRIGHTER THAN THE DRESS!

 

TAYLOR

Yes! And what else?

 

AHEE

What else? You mean...if I were a lady?

 

TAYLOR (rising)

No "if's" - you are...

 

AHEE

IF I WERE A LADY I COULD LIVE IN YOUR WORLD; WHERE A WOMAN IS FREE AND PRIVILEGED TO BE A PASSIONATE WIFE.

 

AHEE (cont)

BUT IN MY WORLD A WOMAN MUST NOT SPEAK OF LOVE; SHE MUST HIDE EVERY FEELING NEVER REVEALING HER SORROW IN LIFE. HER SORROW IN LIFE.

 

TAYLOR

When I look at you, I do not see sorrow; I see only a beautiful lady wearing a beautiful bonnet.

 

(AHEE suddenly sees herself in the mirror and takes off her bonnet. She holds it as a stop light as her mood becomes playful)

 

AHEE (cont)

IF I WERE A LADY I'D KNOW HOW TO TRAVEL
WHEN THE TIN PLATE IS BLUE STEER HORSES ON THROUGH!

 

TAYLOR

(taking and turning her bonnet)

WHEN THE TIN PLATE IS RED?

 

AHEE

I'LL HALT THEM INSTEAD!

 

TAYLOR

(examining her bonnet)

AND WHEN THE PLATE DOESN'T SAY?

 

AHEE

NO MATTER, I'LL RIDE THE OTHER WAY!

 

TAYLOR

AND WHEN YOU FORGET WHAT TO DO?

 

(AHEE takes her bonnet back and puts it on)

 

AHEE

NO MATTER. (SHE moves beside him) I'LL RIDE BESIDE YOU!

 

(Music continues under)

 

TAYLOR

Ahee, you are a most beautiful woman.

 

AHEE

Chinese poets would not find me beautiful; they say a woman's hair...

 

(SHE hesitates. TAYLOR leans forward to touch her hair; SHE backs slightly away)

 

TAYLOR

A woman's hair...?

 

AHEE

Her hair should be as black as a crow's wing...

 

TAYLOR

And what should her eyes be?

 

AHEE

Her eyes should be as limpid as pond water in autumn and her eyebrows should be arched like rainbows and...

 

(TAYLOR moves closer)

 

TAYLOR

And...?

 

AHEE

And her cheeks should be as crimson as the almond flower and...

 

TAYLOR

Yes?

 

AHEE

Her lips should be as red as the dawn of a new day...

 

TAYLOR

Ahee, you are very lovely by any measure; don't you know that?

 

AHEE

I think you have known many women; and I'm sure you've been in love many times.

 

TAYLOR

Never.

 

AHEE

May I ask why?

 

TAYLOR

I have never been loved by a lady.

 

AHEE

And if you were?

 

(TAYLOR picks up his hat, puts it on, and holds out his walking stick)

 

TAYLOR

IF I WERE LOVED BY A LADY...

 

AHEE

Yes?!

 

(TAYLOR leans back against a bookshelf or table)

 

TAYLOR

I MIGHT FAINT DEAD AWAY!
MY HEART WOULD START POUNDING!
MY CHEST WOULD FEEL TIGHT!
MY PULSE RATE, ASTOUNDING!
MY HEAD WOULD FEEL LIGHT!

 

(As HE sings, AHEE jumps up, takes the stethoscope from the bag, and puts it to her ears. SHE places the cup against his chest and bends to listen)

 

AHEE

AND THE DOCTORS BY YOUR BED?

 

(TAYLOR doffs his hat and bows)

 

TAYLOR

GOOD SIRS, I BEG YOUR PARDON!

 

(The next three lines AHEE sings in imitation of a stern, male doctor)

 

AHEE

IT'S NOT THAT YOU ARE DEAD?

 

TAYLOR

I'M IN LOVE!

 

AHEE

IN LOVE?!

 

TAYLOR

WITH A LADY!

 

AHEE

A LADY?! I BEG YOUR PARDON!

 

TAYLOR

WITH A LADY! FROM SPRING GARDEN!

 

TAYLOR (cont)

NEVER DOUBT YOU'LL ALWAYS BE A LADY
AND I NEVER WILL FORGET
YOU'RE NOT MINE AND YET
HOW COULD I FORESEE
ON THE DAY WE MET
WHAT YOU WOULD MEAN TO ME.

NEVER DOUBT YOU'LL ALWAYS BE A LADY
ALWAYS HOLD YOUR HEAD UP HIGH
AND NEVER DENY
FEELINGS THAT ARE NEW
FEELINGS THAT JUSTIFY
MY BEING AND MY BEING HERE WITH YOU

 

AHEE

IF I WERE A LADY
I COULD LIVE IN YOUR WORLD
WHERE A WOMAN IS FREE
AND PRIVILEGED TO BE
A PASSIONATE WIFE.

BUT IN MY WORLD A WOMAN
MUST NOT SPEAK OF LOVE;
SHE MUST HIDE EVERY FEELING
NEVER REVEALING
HER SORROW IN LIFE
HER SORROW IN LIFE

 

TAYLOR (softly under with above)

NEVER DOUBT YOU’LL ALWAYS BE A LADY
AND I NEVER WILL FORGET
YOU’RE NOT MINE AND YET
HOW COULD I FORESEE
ON THE DAY WE MET
WHAT YOU WOULD MEAN TO ME.

NEVER DOUBT YOU’LL ALWAYS BE A LADY
ALWAYS HOLD YOUR HEAD UP HIGH, AND NEVER DENY
FEELINGS THAT ARE NEW
FEELINGS THAT JUSTIFY
MY BEING AND MY BEING HERE WITH YOU - I WILL BE WITH YOU

 

AHEE/TAYLOR

WE CANNOT JUSTIFY
FEELINGS THAT WE SHARE (MY LADY)
WE CAN ONLY DARE...

 

(TAYLOR kisses her; SHE neither resists nor responds, staring at him, but when HE starts to pull away, SHE kisses him passionately)

 

TAYLOR

A lady like you should not be so alone.

 

AHEE

If I were a lady...would I be doing this?

 

TAYLOR

If there is guilt, it is more mine than yours.

 

(TAYLOR kisses her. AHEE hesitates, then THEY kiss more passionately this time)

 

TAYLOR

Ahee, I-

 

(AHEE takes a step backward, embarrassed)

 

AHEE

Please, Charles. Don't say anything. No man has ever kissed me like that before. Now I understand what love is for...it is to feel alive! But this feeling...is new for me.

 

(TAYLOR picks up his bag and walking stick)

 

TAYLOR

And for me. (HE holds her) May I come tomorrow?

 

AHEE

Yes.

 

(TAYLOR kisses her. THEY gaze at each other and then TAYLOR quickly exits)

 

AHEE

Yes!

 

(AHEE swirls around the room in her new bonnet - in love for the first time in her life and deliriously happy)

 

SONG: "Precious Gift"

 

AHEE (cont)

PRECIOUS GIFT

 

(AHEE looks at the bonnet she is holding)

 

AHEE (cont)

SOMEONE HAS OFFERED ME HIS HEART
SOMEONE HAS COME TO ME FROM OUT OF MY DREAM

 

(SHE moves to the bird cage)

 

AHEE (cont)

SPARROW, PLEASE,
TELL ME IF I SHOULD GIVE MY LOVE

 

(SHE tries on the bonnet in the mirror)

 

AHEE (cont)

DO I DARE?

 

(SHE changes the angle of her bonnet and steps back to look at herself)

 

AHEE (cont)

DO I-

 

(The door bursts violently open. Several CHINESE MEN (the POISONERS) enter the room. One of them is carrying a small sack. One is carrying a wounded man in his arms. The sack is dropped on the floor. The fatally wounded man is placed carefully on the couch. The other men stand silently, staring at AHEE)

 

(AHEE stares at each of them, desperately hoping to see her brother. SHE then stares at the man on the couch and moves slowly, fearfully, to him. SHE kneels beside him, and gently cradles his face in her hands)

 

AHEE (cont)

Brother...Brother?!

 

(YONG-SANG's eyes open. HE makes an effort to sit up, but is much too weak)

 

AHEE (cont)

Brother. No. No. No. What have I done?! (to a poisoner) Use your knife! We must get the bullet out!

 

(The POISONER produces a knife but YONG-SANG waves it away. HE manages to hold one of AHEE's hands)

 

YONG-SANG

Sister...I almost made it. But the soldiers-

 

AHEE

No! I won't let you die. (to a poisoner) Get a doctor!

 

YONG-SANG

Shhh! Sister, there is no time. (in pain) Listen to me. We lost half of our arsenic. We must go back.

(Musical underscoring begins)

Sister, will you...I have no right to ask...

 

AHEE

Yes. Yes! I will go. I will get whatever you need. Only please don't die, brother. Please!

 

(YONG-SANG suddenly notices her bonnet and reaches out to touch it; as he does we hear their laughter as children and several notes from their children's song on the Chinese flute)

 

YONG-SANG

Sister...what...is...on...your...head?

 

(YONG-SANG's hand falls away and his head falls back against the couch)

 

AHEE

Brother? Brother! No! Brother!

 

(One of the MEN gently pulls her away and another covers her brother's body with a blanket; the notes of the children's song cease)

 

SONG: "All my Dreams have Died"

 

FIRST POISONER

AHEE, COME AWAY NOW. HE IS DEAD

 

AHEE

HOW COULD THIS BE?

 

SECOND POISONER

WE HAD ALL THE POISON FOR THE BREAD

 

AHEE

BECAUSE OF ME!

 

THIRD POISONER

BUT THE SOLDIERS SEEMED TO KNOW OUR PLAN

 

AHEE

WHAT HAVE I DONE?!

 

FOURTH POISONER

WE LOST HALF THE POISON WHEN WE RAN

 

AHEE

I AM THE ONE!

 

FIRST POISONER

WE WILL TRY AGAIN TOMORROW NIGHT

 

AHEE

MY GUILT WILL GROW

 

SECOND POISONER

BUT WE NEED MORE POISON FOR THE FIGHT!

 

AHEE

BUT THIS I KNOW

 

THIRD POISONER

HOW? WITHOUT MORE SILVER WE CAN'T BUY!

 

AHEE

IF HE MUST PAY

 

(sudden silence)

 

(AHEE grabs the knife from the POISONER and moves toward the curtain behind which is the tapestry of the Great Exhibition; As she pulls the cord and the tapestry the tapestry again appears, SHE raises the knife)

 

FOURTH POISONER

WE'LL FIND A WAY EVEN IF WE DIE!

 

AHEE

THEN SO WILL THEY!

 

(AHEE violently slashes the tapestry of the Great Exhibition. Slashing her world of dreams. Again and again and again. SHE suddenly sees herself in the mirror. SHE drops the knife)

 

(SHE stares at her reflection, then rips off her bonnet as if it were a poisonous animal. SHE swings open the shelves and motions for the nearest man to slide the bag of arsenic inside the space. SHE takes out the box of money meant for JOHN AVERY then shuts the shelves. SHE stares at the box then sets it down)

 

AHEE (cont)

HERE ARE ALL THE SILVER BARS THAT I WILL NEED!
THANKS TO BRITISH OFFICIALS AND TO THEIR GREED!
YONG-SANG WAS RIGHT! I ALONE MUST GO!
I WOULD NOT LISTEN TO HIM THEN - BUT NOW I KNOW!
ALL MY DREAMS HAVE DIED, I AM NO LONGER BOUND!
I AM NO LONGER BLIND - THERE IS NO MIDDLE GROUND!
NO IN-BETWEEN - NO PLACE TO HIDE!
WHEN DANGER COMES BOTH GODS AND MEN MUST CHOOSE A SIDE!

 

POISONER

If one of our men could not succeed, how can a woman alone get past the sentries?

 

(AHEE quickly writes a note and hands it to one of the POISONERS)

 

AHEE

You know the great white house on the corner of Pottinger and Wellington Streets? (HE nods) Take this message to the American doctor there. Make certain only he sees it.

 

(HE leaves. AHEE draws back the blanket and kisses her brother)

 

AHEE (cont)

BROTHER, GIVE ME STRENGTH, AND PLEASE ACCEPT THIS KISS
AND IF YOUR SOUL CAN HEAR ME, LET IT HEAR THIS
ALL THAT YOU DID - WAS NOT IN VAIN
I WILL CARRY OUT YOUR PLAN AND THEN - THEY'LL FEEL MY PAIN!

 

FIRST POISONER

SHE IS A WOMAN, SHE SHOULDN'T FIGHT!

 

AHEE

I'LL BRING THE POISON HERE TOMORROW NIGHT!

 

SECOND POISONER

SHE HAS TO GO!

 

THIRD POISONER

LET HER FIGHT THIS WAR!

 

AHEE

AND NOW, I UNDERSTAND WHAT LOVE IS FOR!

 

FOURTH POISONER

ANOTHER KINSMAN HAS BEEN SLAIN!

 

FIRST POISONER

THEIR WEAPONS CONQUER US WITH EASE!

 

AHEE

I AM A WOMAN, YES! BUT, NOW...I'M OFF MY KNEES!

 

SECOND/THIRD POISONERS

FOR THIS FIGHT WE NEED A WOMAN!

 

(AHEE covers her brothers face with the blanket)

 

AHEE

I AM A WOMAN, YES! BUT, FIRST...I AM CHINESE!

 

BLACKOUT

 

ACT I

 

SCENE 9

 

TIME: Afternoon of the following day, 14 January 1857

 

PLACE: The office over Cheung Ah-lum's Bakeshop Queen's Road West

AH-LUM is sitting at his cluttered desk working with an abacus. He is every inch the harassed businessman. JOHN AVERY appears and stands in front of AH-LUM's desk. The BAKER, startled, stops working his abacus and looks up.

 

AVERY

Good afternoon, Ah-lum.

 

AH-LUM (slowly relaxing)

Mr. Avery. Please sit down. May I offer you tea?

 

AVERY

Thank you, no. My business is very brief. As you know, I am the Chief Administrative Assistant to Governor Bowring. Today, however, I am here in an unofficial capacity. You...savvy?

 

AH-LUM

I savvy.

 

AVERY

Good. Then you savvy that Sir John, being a very busy man, must often leave various details to others. For example, such matters as the awarding of certain business contracts have of necessity become my area of responsibility.

 

AH-LUM

I see. Then your position is a very important one.

 

AVERY

Yeees. Now then, I-

 

(A very distraught AHEE appears across the room)

 

AHEE

My husband, I must speak with you. (AH-LUM hesitates) Please!

 

AH-LUM

Excuse me, Mr. Avery.

 

AVERY

Certainly.

 

(AH-LUM moves to AHEE)

 

AH-LUM

What is it?! Can you not see I am-

 

AHEE

Forgive me, my husband, but I must reserve space on the Macau steamer if we are to return to your village for our New Year.

 

AH-LUM

You know I cannot leave now. I have too much business unsettled. Who will supervise the bakers?

 

AHEE

My husband, I can feel the danger here.

 

AH-LUM

It is probably more dangerous for me there than here.

 

AHEE

You could return to Hong Kong on the steamer the same evening. And the fortune-tellers say it is an auspicious time to take Yong-sang to his ancestral tombs.

 

AH-LUM

Enough! All right! Be ready to leave on the steamer tomorrow at daybreak.

 

AHEE

Yes, my husband. And thank you.

 

(SHE starts to leave)

 

AH-LUM

Ahee...I am sorry about Yong-sang. But the British may question me about his activities and I have more than enough worries here. You should understand it is in our own interest to be of some use to men like John Avery. Sometimes there is no way to avoid doing things we dislike.

 

AHEE

I understand perfectly, my husband.

 

(AHEE exits; AH-LUM rejoins AVERY)

 

AH-LUM

I am sorry. My back-of-the-house person needs guidance.

 

AVERY

I dare say my...back-of-the-house person gives me a spot of trouble from time to time. Now, as I was saying, I understand that you've placed another bid to deliver bread to the commissariat and I do realize nearly all foreigners in Hong Kong take their bread from your shop but-

 

AH-LUM

Yes, that is true. They know my bread is the best. First chop!

 

AVERY

I dare say. Still, there are, of course, other bids against you, and I am in a position to know that, unfortunately, your bid is not the lowest.

 

AH-LUM

Not the lowest?

 

AVERY

No. But as I feel strongly that no expense should be spared for our troops, it might be possible to make an...arrangement whereby I could exercise some influence in helping you keep the contract. Hong Kong, I'm sure you understand, is that sort of place-

 

(AVERY holds his hand out for the abacus. AH-LUM picks up the abacus and hands it to him)

 

AH-LUM

Where the left hand washes the right hand and both hands wash the face!?

 

AVERY

(sliding the abacus balls with a loud click)

Quite! In Hong Kong, everyone learns to ride the wagon.

 

AH-LUM

Ride the wagon?

 

AVERY

Yes, we speak of tacit understandings for mutual benefit, such as ours, as 'riding the wagon'. If one does not wish to engage in such practices, that is all well and good; but as you wish to have your baking contract renewed, I wish compensation for my efforts on your behalf...

 

(AVERY beckons to the BAKER to come closer)

 

SONG: "Ride the Wagon"

 

AVERY (cont)

AH-LUM, MY FRIEND, I'D LIKE TO OFFER A BIT OF ADVICE
BECAUSE, FOR A CELESTIAL, YOU'RE RATHER NICE;
AND IT'S BEST YOU PAY ATTENTION
FOR I SUGGEST - I DARE NOT MENTION
A MEANS BY WHICH YOU MIGHT EARN A BIT MORE RICE
IN HONG KONG-

IF YOU'RE HONEST ALL THE DAY
THEN, AT NIGHT, JUST LOOK THE OTHER WAY;
IF YOU TRY TO INTERFERE
THEN, YOU MIGHT JUST DISAPPEAR
OH, DEAR, I SAY! OH, DEAR, I SAY!

 

AVERY (cont)

RIDE THE WAGON! RIDE THE WAGON!
IF YOU DON'T LIKE WHAT YOU SEE
IN THE BRITISH COLONY
YOU MAY DERIDE IT - OR WALK BESIDE IT
BUT NEVER EVER TRY TO STOP - OR GUIDE IT!

 

(AVERY slides colored balls into position ending with a loud click. HE hands the abacus to AH-LUM who feigns shock by the large percentage AVERY suggests would be his)

 

AH-LUM

THOSE WHO TRY TO CHANGE THE WORLD ARE MOST INEPT
IT'S AN HONORED CHINESE CUSTOM TO ACCEPT;
WE ADMIRE BRAVE CRUSADERS
BUT WE ARE SIMPLE TRADERS
AND IT'S NICE TO KNOW SOME CUSTOMS WILL BE KEPT!

 

AH-LUM (cont)

IT'S A SIMPLE RULE OF THUMB
FOR TODAY AND DAYS TO COME:
WHEN YOU'RE BAKING UP SOME BREAD
MAKE SURE EVERYONE IS FED!
DON'T WASTE A CRUMB! DON'T WASTE A CRUMB!

 

AVERY/AH-LUM

RIDE THE WAGON! RIDE THE WAGON!
IF YOU DON'T LIKE WHAT YOU SEE
IN THE BRITISH COLONY
YOU MAY DERIDE IT - OR WALK BESIDE IT
BUT NEVER EVER TRY TO STOP - OR GUIDE IT!

 

(AH-LUM rearranges the balls, ending with the usual loud click and hands the abacus to AVERY who feigns brief shock at the low kickback being offered)

 

AVERY

IT ISN'T EASY TO DESCRIBE - SOME SAY "DONATION"
BUT NEVER CALL IT "BRIBE" -

 

AH-LUM

IT'S "COMPENSATION"!

 

AVERY

SEE THE LION AND THE DRAGON
BOTH ARE SMART AND RIDE THE WAGON
ENGLISH SERVANTS IN THE EAST
SHOULD DO WELL -

 

AH-LUM

TO SAY THE LEAST!

 

AVERY

THERE WERE THOSE WHO SEEMED TO MIND
BUT, MY FRIEND, I THINK YOU'LL FIND
THEIR PALMS WERE GREASED! THEIR PALMS WERE GREASED!

 

AVERY/AH-LUM

RIDE THE WAGON! RIDE THE WAGON!
IF YOU DON'T LIKE WHAT YOU SEE
IN THE BRITISH COLONY - THEN WHAT?
YOU MAY DERIDE IT - AH, YES - OR WALK BESIDE IT
BUT NEVER EVER TRY TO STOP! BUT NEVER EVER TRY TO STOP!
OR GUIDE IT! DON'T STOP - JUST RIDE! RIDE! RIDE! RIDE!
RIDE! RIDE! RIDE! JUST RIDE! RIDE! RIDE!

 

(Very quickly the two men rearrange the balls of the abacus, each time ending with a loud click. This ends with both men shaking hands in agreement)

 

BLACKOUT

 

ACT I

 

SCENE 10

 

TIME: Later that same Evening

 

PLACE: Hong Kong Pier at Victoria

CHARLES TAYLOR and AHEE are just exiting a small boat on the Hong Kong side of the harbor. AHEE is carrying a lantern. As they walk a few steps along the pier, an armed British SENTRY approaches them.

 

SENTRY

Halt!

 

TAYLOR

Dr. Charles Taylor here. Returning from seeing a patient on the Kowloon side.

 

SENTRY

All right, Dr. Taylor, you may pass. (eyeing AHEE suspiciously, if not lasciviously as well) But my orders are to search John Chinaman from head to toe and that includes-

 

TAYLOR

The lady is with me.

 

SENTRY

All right, then, sir, she may pass. But I would be a bit careful about going to Kowloon without an armed escort if I were you. In times like these, it pays to keep your weather eye open.

 

TAYLOR

It is a doctor's responsibility to treat illness when and where it strikes, private, but I thank you for your advice. Goodnight.

 

(The SENTRY leaves)

 

AHEE

Charles, thank you for your help. I know I shouldn't have troubled you but I was so worried.

 

TAYLOR

(yawning)

Well, you can stop worrying. Your cousin will be fine. I'm sure his fever will be gone in a day or two. (another yawn) I'm sorry, I don't know why I feel so sleepy. Oh! I almost forgot.

 

(HE opens his case, takes out a package and hands it to AHEE)

 

TAYLOR

Your herbal medicine.

 

AHEE

Thank you for carrying it...Charles?

 

TAYLOR

Yes?

 

AHEE

I will never forget you.

 

TAYLOR

Forget me? I shan't let you forget me. I'm going to be seeing a great deal of you, am I not?

 

AHEE

As long as you want to see me, you shall.

 

(TAYLOR kisses her and SHE responds with passion, then abruptly steps back, afraid of being seen)

 

TAYLOR

Sometimes you are such a mystery to me. But, rest assured, I shall always want to see you. (stifling a yawn) Forgive me, I must be more tired than I thought. Now, goodnight.
 

(AHEE speaks to herself as he leaves)

 

AHEE

No, Charles. It is not a good night; it is a bad night. A very bad night.

 

(SHE looks directly at the package of arsenic)

AHEE

(cont)

And, for us, it is goodbye. But at least I know that you will sleep well. And by the time you wake, whatever the gods decide for me, you will be out of danger.

 

(AHEE raises her lantern and swings it from side to side. Several CHINESE MEN appear. SHE hands the package to one of the men. The MEN speak as THEY move away)

 

FIRST BAKER/POISONER

Is there enough time to work it into their bread by morning?

SECOND

BAKER/POISONER

 

If we hurry.

 

(THEY run off with it into the darkness, leaving AHEE alone on stage)


 

AHEE

You see, my love: now at last I understand what love is for.

(Direct segue as the bakery ovens and bakers doing their deeds appear in silhouette behind her; AHEE hurries into the offstage darkness)

 

ACT I

 

SCENE 11

TIME: Overnight and into Early Morning of 15 January 1857

PLACE: E-Sing Bakery, Spring Garden

Angry, threatening musical underscoring from the 'It Might be Said' lines; The poisoners are at work.

In the eerie red glow of a wood-burning brick oven, we see BAKERS working over the troughs kneading flour, yeast and salt into the dough. As the fire of the brick oven suddenly flares up, we see TWO MEN quickly carry in a bag and empty its contents into the dough trough. The BAKERS then hurriedly begin working the arsenic into the dough, kneading it thoroughly.

Other MEN are busy placing the dough on the counter, while still OTHERS place it onto long wooden shovels and shove the dough into the brick oven. This scene fades briefly to black during which ships' bells ring out the time.

Early morning darkness then gives way to pink streaks of dawn. Young CHINESE MEN exit the bakery. Music louder and more threatening. With sinister demeanor, THEY walk onto a dimly lit stage carrying bamboo poles over their shoulders, with a breadbasket hanging from each end. THEY move about the stage delivering bread (to Westerners only).

Two or three times, the DELIVERY BOYS curtly wave away various Chinese RESIDENTS attempting to buy bread from them. THEY sell bread to WESTERNERS, however, with alacrity.

The lighting for this part of the scene should be almost stroboscopic, with rapidly flashing light searing the early morning darkness like lightning, suggesting the intensity of the moment: this is history's only recorded attempt at mass poisoning of an entire community and it is AHEE's point of no return. The scene fades down as the next scene fades up.

 

CROSSFADE

 

ACT I

 

SCENE 12

 

PLACE: Pedder's Wharf & on Board Ship

 

TIME: Immediately following

AH-LUM, his FATHER, one or two SERVANTS, MEN carrying a coffin, and AHEE are hurrying to clamber aboard a steamer about to leave for the Portuguese colony of Macau. AH-LUM is carrying a lantern. Once on board, HE extinguishes the lantern and the MEN enter the cabin leaving AHEE alone on deck.

As the boat pulls slowly away, the streaks of dawn are spreading. AHEE stands at the stern staring past the colorful ships in the harbor to the colonnaded bungalows set on lofty hills.

SHE then stares into the darkness of stage left. Although SHE cannot actually see the activities of those delivering poisoned bread, it is what SHE knows is happening as SHE sings.

While SHE sings, we see on stage what is in her overwrought imagination: behind her are projected slowly moving, shadowy outlines of traditional Chinese junks with their butterfly wing sails unfurled. The exotic junks help to suggest movement and also contribute to a mood of mysterious beauty. Yet, such sails are also known as "batwing" sails, and as they loom larger, in AHEE's mind, they become almost menacing, as if great black birds of prey have come to reclaim the singer as their own.

By the end of the song, in her madness, SHE imagines the ferocious Chinese God of the Underworld reaching out to abduct her.

 

SONG: "The Dawn of Yesterday"

 

AHEE & ENSEMBLE

SOON IT WILL BE DAWN, YET SO UNLIKE THE DAWN OF YESTERDAY OVER FRAGRANT HARBOR...

 

AHEE

IN A MOMENT
THE NETS OF THE FISHING JUNKS WILL GLITTER IN THE FIRST RAYS
OF THE NEW DAY'S MORNING SUN...
AND IT WILL HAVE BEGUN...
FOR SOON IT WILL BE DAWN OVER FRAGRANT HARBOR...

 

ENSEMBLE

YET SO UNLIKE THE DAWN OF YESTERDAY
AND OF THE DAY BEFORE...

 

AHEE

IN A MOMENT.
THE SMOKE OF THE BREAKFAST FIRES ABOARD THE SHIPS WILL RISE
AND BLEND WITH THE MIST THAT BEAUTIFIES
FOR SOON IT WILL BE LIGHT
EXTINGUISHING THE NIGHT
OVER FRAGRANT HARBOUR...

 

ENSEMBLE

YET SO UNLIKE THE LIGHT THAT CHASED THE NIGHT
BEFORE LAST NIGHT AND ALL THE NIGHTS BEFORE...

 

AHEE/ENSEMBLE

AND SOON

 

AHEE

A RUSH OF PINK WILL WASH THE GREY, FROM THE SKY
AND AS THE JUNKS GLIDE SLOWLY BY;
SEARCHING THE DARKENING SEA...

DARKNESS ENVELOPS ME;
MY HEART STAYS COLD AND GREY;
PLEASE LET ME FIND A WAY
TO SAY IT'S JUST ANOTHER DAY
OVER FRAGRANT HARBOUR...

 

ENSEMBLE

SOON IT WILL BE DAWN...
YET SO UNLIKE THE DAWN OF YESTERDAY...

 

(RESIDENTS of the community rush on stage and in the panic and confusion we hear the following urgent whispers and hectic shouts of RESIDENTS and SERVANTS)

 

OFFSTAGE WHISPERS/ONSTAGE SHOUTS

Master sick! The bread! Poisoned loaves!
Don't eat the bread!
Ah-lum, the E-Sing baker!
The bread is all from his shop!
Ah-lum fled to Macau! Poisoned loaves!

Poisoned bread!
Get the police!
Ah-lum the baker!
Poison in the bread!
He’ll get away!
Hurry! Get the police!
Catch him!

 

(As SHE sings the following, various foreign members of the community - including children - intermittently appear on stage with whitened faces and walking or standing stiffly as if they are already dead; figments of AHEE's guilty mind)

 

AHEE (cont)

AND NOW.
AS WE ESCAPE TO MACAU;
ALL MY DREAMS OF YESTERDAY
EVAPORATE ALONG THE WAY
WITH WORDS SO CLEAR I CAN TELL
HOW HERE ON THE OCEAN'S CEASELESS SWELL
WHERE SAILS ARE MENDED AND NETS ARE DRIED MY LIFE HAS ENDED
(SHE gestures toward the foreigners with whitened faces) LIKE THEM, I HAVE DIED...

 

ENSEMBLE

HAVE DIED
AND NOW, HAVE DIED

 

(As SHE sings, SHE uses more words more quickly and in her mind begins to see her gods; SHE is cracking under the strain)

 

(The foreign dead suddenly transform into fierce Chinese gods in full costume. They glare at AHEE over their heavy beards and move closer to her in a threatening manner but turn away just before SHE sings the appropriate line)

 

AHEE/ENSEMBLE

AND NOW

 

AHEE

WITH MY CRIMES, TOO CRUEL TO CONTEMPLATE;
I ENTER THE PRISON WHICH WAS ALWAYS MY FATE;
YOU SEE!? THE GODS IN REBUKE TURN AWAY!?
I KNOW I SHALL NEVER DARE TO PRAY!
FOR NOW I KNOW THERE WILL NEVER BE A WAY
TO SAY IT'S JUST ANOTHER DAY
OVER FRAGRANT HARBOUR...

 

ENSEMBLE

AND NOW IT IS THE DAWN...

 

(As AHEE sings "Harbour," the bright, almost blinding light of dawn appears)

 

ENSEMBLE

YET SO UNLIKE THE DAWN...

 

AHEE / ENSEMBLE

HARBOUR / THE GODS

 

AHEE / ENSEMBLE

OVER FRAGRANT HARBOUR! / TURN AWAY!

 

(All the junks and gods have disappeared; except for one god: the GOD of HADES. HE approaches AHEE and reaches out to claim her when there is)

BLACKOUT

 

END OF ACT ONE

 

Read Act Two, the conclusion of FRAGRANT HARBOUR

 

 

An afternoon outing on Kennedy Road, Hong Kong, 1850s

No part of this libretto may be performed or published without written permission from the playwright