Hamilton

Front matter

Contents

Costumes

COSTUMES

ACT I

Jefferson. Cutaway coat of period, dark, heavy material brown corduroy breeches and vest; top boots to knees, plain leather, not polished; stock and plain fall; three-cornered black hat; wig as in plates or paintings. Monroe. Dark green cutaway coat and breeches, light fancy vest; silk stockings, colonial shoes with buckles, stock and lace fall, three-cornered black hat; walking stick. Dark tie wig. Giles. Light brown corduroy, long square cut coat, knee-breeches, snuff-colored plaid vest, stock and fall and hat. Dark tie wig. Tallyrand. Cinnamon cutaway coat; silk vest, black silk stockings and white stripes, black silk knee-breeches, shoes; long black cane with tassel; large Napoleonic hat with black feather; white stock and elaborate lace fall; jewelry, chains, rings, etc. Auburn wig not tied. Schuyler. Wine colored coat and breeches; dark green flowered vest, silk stockings and shoes; stock and lace fall; three-cornered beaver hat trimmed with silk ribbon; walking stick, white tie wig. Reynolds. Prussian blue coat with tails; fancy flowered vest; buff colored riding breeches; top boots, plain leather; stock and fall; gray, three-cornered hat; dark tie wig. Melissa. Buff colored skirt, three-quarters length; short armed, black bodice, laced down centre; fancy apron; shoes and stockings. Citizens and Quakers. Costumes of period.

ACT II

Hamilton. Light gray moire silk coat and knee-breeches, lightish green fancy vest; handsome stock and lace fall, gray silk stockings and colonial shoes with buckles. Medium fair tie wig. Schuyler. As in Act I, with dark colonial cloak. Zekiel. Snuff brown long square coat trimmed with black and steel buttons; breeches of same material; black stockings and shoes. Mrs. Whalen. Long skirt, old dark material; short sleeved bodice of same; head-dress, a piece of worn-out lace; shoes and stockings. Jefferson. As in Act I. Monroe. As in Act I. Tallyrand. Rich champagne colored coat with dark red velvet collar; yellow silk breeches; fancy vest of yellow material with pattern; yellow silk stockings; dark shoes; long white cane with tassel; champagne gloves; hat as in Act I. Mrs. Reynolds. Very low coat, cream colored gown of empire style without sleeves and of a very light filmy material with silk petticoat to match; stockings to match and shoes with straps across instep; dark blue cloak of light material with hood, lined with emerald green silk.

ACT III

Betsy Hamilton. Pale pink dress of fine light silk, low cut and without sleeves; shoes and stockings. Angelica. Street costume light brown silk with faint yellow plaid pattern; a dress of pale yellow voile which hangs in a panel down front; bodice with long sleeves and tulle trimming; large picture hat with tulle and marabou trimming; light blue silk shawl with black tassels and jet buttons on corners. Hamilton. Old rose suit of fine silk; fancy vest with delicate pink pattern; black hat and cane. Jefferson. Tight-fitting dark cutaway coat with knee-breeches and buff colored vest; black silk stockings and shoes; stock and lace fall and hat. Monroe. Slate gray coat and knee-breeches; light fancy vest. Schuyler. Dark green coat, flowered waistcoat; black silk breeches. Giles. As in Act I. Judge Jay. Blue coat and breeches, gray vest; blue stockings, shoes; stock and fall; gray tie wig.

ACT IV

Betsy. Street costume of heavy dark blue silk with thin violet stripes; hat with feather, gloves and silk shawl. Angelica. Rich gown of heavy yellow silk with brocaded buff showing a panel in front of pale violet tulle; short sleeves to elbow with lace trimmings. Hamilton. Black velvet suit. Colonel Lear. Military costume of period. Jefferson, Monroe, Schuyler and Jay. As in Act III. Mrs. Reynolds. Long trailing skirt of white messaline with polka dot pattern and red stripe; light gray tight fitting bodice with red tulle shawl; light green bonnet with rose in front on long stem; large feather muff.

Authors' Preface

Authors' Preface

This play is written for the stage. It is written with a desire to convey to the audience that the builders of the foundation of the American Republic were real people, and not merely a procession of nice gray-headed old gentlemen who were mainly occupied in sitting for their portraits to Gilbert Stuart and John Trumbull.

Probably no keen admirer of Alexander Hamilton will be fully satisfied with the play. But the authors console themselves with the reflection that no playwright could do justice to the power and scope of this remarkable man within the limits of an evening's entertainment. In writing a play dealing with a great historical figure it is necessary to select an incident that brings out boldly the predominant characteristics of the hero. Having decided upon the incident, it is advisable not to befog it by the introduction of other important episodes however much they may redound to the credit of the central figure, or however much you may be tempted to use them. Alexander Hamilton achieved distinction in so many different directions—as a shipping clerk, as a soldier, as a powerful and graceful writer, as an orator, as a tactician, as a master of the financial policy of Nations—that to the casual reader of history it might seem difficult to discover this dominant characteristic. But to the student and lover of Hamilton it stands out clear and well-defined—Courage. Not the courage of the blind egoist or of the imperious politician, but the courage which had its roots in love of truth and of honorable dealing.

And so the authors chose the incident which forms the basis of this play. In their opinion, no single event could be found that displays this fine quality of courage more surely and more definitely than the course adopted by Hamilton in the face of the attack by his political enemies. Those descendants of Alexander Hamilton whom the authors have had the honor of meeting, have expressed their satisfaction at the selection of this incident; and the authors feel that it is no breach of confidence to record that they have received words of praise from the two men who know more about Hamilton than perhaps anybody in America—two of his keenest admirers—Senator Lodge and Nicholas Murray Butler.

The historical record on which the play is founded can be seen by any student who is so far interested, by applying to the Lenox Library in New York. It is known as the "Reynolds Pamphlet" and is the document written by Alexander Hamilton himself.

The play keeps very close to history. The main incidents are, in all essential details, historically correct. It has been necessary to take some few liberties but these are of minor importance. The dialogue is not written precisely as it might have been spoken at the end of the eighteenth century. The authors believed that a slavish attempt to eliminate all words and phrases that were probably not in vogue at the time would result in many instances in tedious phraseology and a certain artificiality, which they particularly desired to avoid. They have however endeavored on the whole to maintain the atmosphere of the period.

The stage directions are designed and intended for the guidance of the actors and not for the entertainment of the reader. There is a growing tendency amongst writers of plays to introduce long and humorous stage directions that are often very entertaining in the library but very dangerous and misleading for the stage. They are misleading to a producer because they frequently make a scene appear to be very sparkling, while it is in reality exceedingly dull—the sparkle being confined exclusively to the stage-directions. They are dangerous for the actor because they make him believe that his part is a great deal better than it really is, and so he is apt to regard his audience as stupid because their intelligence fails to appreciate subtleties that he detected at the reading. In reality it is the author who is to blame; he has let the actors into certain dark secrets connected with their characters, without giving them the ghost of an opportunity, through the dialogue or situation, of conveying these confidences to the audience.

Act I

Hamilton

ACT I

SCENE.—The Exchange Coffee House in Philadelphia, a morning in August, during Washington's first administration. It is a great room with low ceiling and neatly sanded floor. Against wall, back, are cupboards with shining pewter tankards and dishes. Centre, a great fireplace with wide stone hearth, and high-backed settles on each side. Running up right, table with chairs left of it at irregular intervals. Long seat right of table. Right, back, tub stands on floor and contains melons, cucumbers, bottles of wine and a pitcher of milk, cooling. Over fireplace is a large crimson silk liberty cap, with these words above in large letters, "Sacred to Liberty." On wall near is the following, in large print: "Breakfast—two shillings (fifty cents). Dinner, with grog or toddy—three shillings (seventy-five cents). Quart of Toddy—one and six (thirty-six cents). Bottle of Porter—two and six (sixty cents). Best Madeira—six shillings a quart (one dollar, fifty)." Entrances upper right and left, also door l. 2 e.

A crowd of eight or ten men, including two or three Quakers, smoking churchwardens, discovered sitting, standing, drinking. Mainly men of the better class—not rabble, Melissa, the bar-maid, is serving drinks. Men come and go during act. James Reynolds, a handsome, dissipated ne'er-do-well of about thirty-five, slightly the worse for liquor, but not drunk, is centre of a somewhat jeering crowd at top of table right. Monroe is up left talking to some men. Giles is sitting at right of small table down left centre. Giles is reading some manuscript—possibly a draft of a Bill for Congress.

As curtain rises there is a general hubbub, Reynolds voice dominant. First Citizen is seated on down stage end of long seat right of table r. A Second Citizen is facing him, seated on a chair, another is on his left further upon seat. Three men are standing in a group up stage r. c. An old man is seated on settle right of fireplace reading "The Federalist." A man is seated on settle left of fireplace. He is playing chess with another who is seated on a chair in front of him. The chess-board is on a small round table between them. Two Quakers are standing near the door on the left. Monroe is conversing with them. The original flag of the United States, thirteen stars in circle and thirteen stripes, is on wall above inner door on left back. The chairs are all Windsor chairs, dark in color. Wainscoting about two feet six inches high. All woodwork in dark oak and walls and ceiling a neutral smoky gray.

Round table down stage l. c. with three chairs around it—two armchairs and one single chair. The high-hack settles are set at an angle and start from the fireplace down stage on either side. They in between two thick upright fit posts which support a crossbeam. Similar posts are suggested right and left at either end of beam. Against the post r. c. is a chair. Three windows in right flat and one similar window in same position in kitchen seen is through entrance up right back. Shelves and bottles in kitchen. Through door left back is hacking with door and beyond the street.

At rise Melissa gathering up tankards and wiping is off table right.

Reynolds. [Standing on chair at upper end table r.] I'm selling, I'm selling.

First Man. [Seated r. of table r. down stage end.] Keep quiet there, will you?

Reynolds. [Loudly.] I'm selling, I'm selling. States' securities for the price of printing. I'm selling—I'm selling!

First Man. Can't hear ourselves speak.

Reynolds. What's the use of keeping quiet? Where's a gentleman to do business if he can't do it at the Exchange Coffee House?

Second Man. [Seated down r. other side of table.] Oh—where's the gentleman?

First Man. Send the gentleman here.

Reynolds. I'm the gentleman. [Laughter.] I'm selling, I'm selling!

Men. Sit down.

First Man. Melissa, a tankard of porter, my dear.

Reynolds. I'm selling, I'm selling!

First Man. Sit down, Reynolds! How can you be selling when there are no buyers! [Enter Tallyrand up l. at back.] Ask that gentleman if he's nearly finished with the newspaper, Melissa. -

[You see some business between Melissa and the man with the newspaper. He refuses to give it up. Melissa then meets Tallyrand c. at back. He has come on from street l.

Reynolds. [Coming down stage c.] Don't any of you gentlemen want to make easy money? I'm offering you states' securities for the price of the printing. Here's a hundred dollars going to the highest bidder. Will any one bid five? [Holding up a paper.

First Man. What state is it on?

Reynolds. South Carolina.

First Man. I'll give you sixpence for it.

Giles. [Seated r. of round table, down stage l.] Where'd you get all this paper all of a sudden, Reynolds? -

[William B. Giles is a small, squat man, with swarthy, dirty-looking skin and a sharp eye. His features are thick and his manner coarse. His boots are heavy, his dress untidy, and his voice loud. He has the air of a successful bully and prizefighter.

Reynolds. [r. c. down stage.] I got it from the soldiers, Mr. Giles. The poor soldiers have entrusted me 2

Giles. Huh! They'll be very poor soldiers if they trust you.

Reynolds. [Reading from a second paper.] Here's six months' pay due Private Hiram Mott—ninety-six dollars due from the state of Virginia.

Monroe. [Up stage l.] That's not true, sir; Virginia's paid every cent she owes. -

[James Monroe is a tall man, but because of broad shoulders and stocky build looks shorter than he is. His manner is the aggressively plain-citizen type. He is dressed plainly. He lacks Jefferson's gracious bearing, but does not reach Giles roughness.

Reynolds. Ah, it's easy to see you come from Virginia, sir, but the poor soldiers 2

Giles. Poor soldiers! It's the fortune of war.

Tallyrand. [He has been settling the score with Melissa up stage. He speaks with a slight French accent.] Ha! Ha! The fortune of war! You bring about the war, your soldiers fight for you and conquer your enemies and then you repudiate their claim for pay. The fortune of war! The war for them—the fortune for you, eh? -

[Some laughter. Reynolds mixes with men at back r. Tallyrand is very tall, with legs too small for his fat body. His blond hair is worn in long ringlets over his shoulders. His blue eyes, under heavy lids, have a look of scrutiny. His nose is pointed and aristocratic, but his mouth is large and coarse. His manner is watchful, but pleasant. He is dressed in the height of fashion. He wears a great hat with long curling black plume. When Reynolds goes to the men up r. two of them move away and go off up l.; a third sits r. of table r.. Reynolds then sits on sill of centre window on r.

Monroe. Well, Tallyrand, I thought you had decided to return to France. Changed your mind, eh? Rather risky yet for the aristocrats to go back.

Tallyrand. I leave to-morrow. I am settling my score with the beautiful Melissa.

Monroe. [Sitting l. of table.] You're going to take the chance, eh? Well, I hope to follow you in a very short time.

Tallyrand. [Leaving Melissa, who curtseys and goes out up r.] To follow me, Senator Monroe?

Monroe. As Minister to France.

Tallyrand. [Back of table l.] Ah, yes, how charming! President Washington has already appointed you, eh?

Giles. Not yet, but we shall get it all right.

Tallyrand. We? Oh, you also? Two ministers?

Giles. No, not two ministers, but it sometimes takes two men to get one job. -

[Enter Schuyler from street up l.; he comes to c. looking around.

Tallyrand. Ah! You mean it is not so easy. You have to deal with Alexander Hamilton.

Giles. We'll deal with him all right. Alexander Hamilton 2 -

[General Philip Schuyler is a large man, inclining to stoutness. He has a gouty foot and walks with a slight limp. His dress suggests the aristocrat; his manner is open and genial. He is a handsome, lovable old gentleman. He carries a handsome cane.

Monroe. Shh!

Schuyler. Howdy, everybody! -

[Two or three of the men say "Howdy, General." The Second Citizen rises and bows.

Tallyrand. [Goes to him effusively.] Ah, General Schuyler, how are you?

Schuyler. [Turning and bowing.] Count Tallyrand. -

[Tallyrand takes his two hands warmly.

Tallyrand. And how fares your illustrious son-in-law, Alexander Hamilton?

Schuyler. Why, I guess he's all right. I've just come from Albany. I've been over to his house and find he's not at home. -

[Giles moves to chair back of table l. and shows Monroe papers.

Tallyrand. Ah, 'tis good for him to get away from his labors sometimes.

Schuyler. Well, it's a queer thing for him to be away this time in the morning. [Turning again to look around to the r. another man rises and says: "Howdy, General."] I thought he might be here 2

Reynolds. [Advancing effusively, taking off his hat and snaking a low bow.] General Schuyler, now I'll sell you one of these 2 -

[Schuyler ignores him and turns back to Tallyrand. Reynolds goes up to behind table r., laughing.

Schuyler. Everybody calls here.

Tallyrand. Yes, everybody comes to see everybody at the Exchange Coffee House. I find it amusing. It is Club, Restaurant, Merchants' Exchange, everything. -

[Enter Melissa with drinks; places them on table r.

Schuyler. Ah, we'll alter all that in time. Count Tallyrand. We're young, you know. Give Alexander Hamilton time to sow some seeds. We'll have a real Merchants' Exchange and a real live country that will be able to pay its debts. [Twinge of gout. Melissa gets chair from in front of post r. and brings it down r. of Schuyler, replacing it against table r., then taking tray with other drinks across to table down l., giving one to Giles and one to Monroe.] And I hope I shall have a real foot, which I haven't at this moment. And if you don't mind, Melissa, my girl, I'll just rest it in the parlor before I hobble along. Good-day to you. Count Tallyrand.

Tallyrand. I shall call on Alexander before I leave.

Schuyler. He'll be extremely glad to see you. [Twinge.] Confound this foot.

Reynolds. [Who has been drinking and conversing with one or two shady-looking characters, coming to him.] Count Tallyrand, before you return to la belle France, wouldn't you like to buy up the whole of the French Loan? I'll sell it to you for ten cents. -

[Laughter. Enter l. front street, Thomas Jefferson. He is a man over six feet tall. His red hair is unpowdered. He has pointed features and a freckled face. His corduroy breeches are well-worn.

Jefferson. [Coming down stage c.] Good-day to you, Citizens. -

[First Man rises and says: "Good-day, Mr. Jefferson"; one or two other men say: "Mr. Jefferson."

Melissa. [Coming forward with a curtsey to l. of Jefferson.] Good-day to you, Mr. Jefferson.

Jefferson. Good-day to you, Melissa. And how is your father to-day? Mending, I hope.

Melissa. Yes, Your Honor. Thank you, Your Honor.

Jefferson. No "Honor" for me; just plain Citizen, Melissa. Tell him I asked after him.

Melissa. Thank you, sir.

Jefferson. [Turning slightly, raising finger in protest.] Leave off the "Sir."

Melissa. Yes, sir.

Jefferson. [Laughs slightly amused.] A little Madeira now, Melissa. [She goes hurriedly r., and exits.] Citizen Monroe [Shakes hands.] Good-day to you, Citizen Giles. [Does not shake with Giles.

Giles. Howdy, Tom Jefferson.

Jefferson. [Turning in front of table l.] Ah, Citizen Tallyrand.

Tallyrand. [Coming down c.] Count Tallyrand, if you please.

Jefferson. In America there are no titles. Citizen Tallyrand. In this land of the free all men are equal.

Giles. And they say titles ain't so very popular in France just now.

Jefferson. [Sitting r. of table l.] Ah, France! What a glorious change! The apostle of Liberty and Fraternity.

Tallyrand. Liberty! Fraternity! What do you mean by liberty, Mr. Jefferson?

Jefferson. [Points to cap over mantel.] Ask your own countrymen, Citizen Tallyrand. There you behold the symbol of the liberty of your great land of France. To us in America, that crimson cap stands as a symbol of freedom—a symbol 2

Tallyrand. You call that dirty rag a symbol of Liberty? I call it a symbol of license, of lawlessness, of murder. What say you, Thomas Jefferson, to the murder of my king, Louis of France? Is that, too, a symbol of Liberty, of Fraternity?

Jefferson. It is the will of the people. The time is not far distant, Citizen Tallyrand, when every king in Europe will have been swept into the dust heap of history.

Monroe. Louis the Sixteenth was an oppressor of the people.

Jefferson. A tyrant.

Giles. Yes, sir.

Tallyrand. [To Jefferson.] You say that—you who for five years were Minister to France and enjoyed his friendship? You, who have sat at his table?

Jefferson. It was necessary to use the arm of the people. Fate decreed that your newly-founded Republic should be cemented with the blood of aristocrats.

Giles. Down with aristocrats! Down with tyrants everywhere!

Tallyrand. Yes, I know your idea of liberty! Down with aristocrats! Down with everybody—who is in your way!

Giles. I'll tell you one thing, Citizen Tallyrand, and I'll tell it to you now. There are some damned aristocrats in this country that'll get the same treatment your king got if they don't go careful.

Tallyrand. Who helped you win your freedom? The king of France.

Giles. Well, we ain't goin' t' have any kings in this country.

Tallyrand. Who desires to be king?

Giles. [Fiercely.] George Washington does.

Monroe. And Alexander Hamilton wants to be Prime Minister! Wants to be? He is Prime Minister this very minute. Prime Minister of America. Huh! -

[By this time everybody in the room is listening.

Jefferson. [Conciliatory.] I assure you, Citizen Tallyrand, Citizen Giles and Citizen Monroe voice the sentiments of the great body of the American people. [Murmurs of assent from the crowd.] There is a growing unrest all over this land at the aristocratic tendencies of our President. There is bitter and righteous opposition to Alexander Hamilton's efforts to centralize the government and assume the debts of the thirteen free and independent states. Such a centralization of power would inevitably lead to monarchy. I stand on the platform of the Rights of Man—the rights of the individual—the right of each state to its freedom. And I tell you, Citizen Tallyrand, the gravest danger that threatens America to-day rests in the persons of those men who are striving to centralize the power of the United States; striving to establish a military dictatorship. -

[Approval from crowd at table r. One man strikes the table to emphasize his agreement.

Monroe. A condition that will involve us in European quarrels in which it should be our policy to take no part.

Tallyrand. How can you keep out of European quarrels when your interests are bound up with those of Europe?

Monroe. Our riches and resources can bid defiance to any power on earth. It is only when our rights are invaded that we should make preparation for our defense.

Tallyrand. [With a shrug.] Yes, and then it will be perhaps too late.

Jefferson. Citizen Tallyrand, I look for the day when during the rage of eternal wars in Europe, the lion and the lamb within our regions shall lie down together in peace.

Tallyrand. [Down beside Jefferson.] Yes, they would lie down together—until the lion feel hungry, then he would get up and eat the lamb.

Monroe. Against this tendency toward centralization, we who love the freedom of our own state will fight to the death.

Tallyrand. [Moving to c.] Yes, thirteen jealous states all working against each other. How are you going to pay your debts without a central government? You have no credit abroad. Your paper is not worth five cents on the dollar. Why don't you pay the men who furnished you supplies for your war? Why don't you pay the soldiers who gained you that liberty that you love so dearly?

Giles. Damn the soldiers. This country's goin' to put a stop to Washington's coddling of the army.

Tallyrand. [Advancing a little to Giles.] It was the soldiers who won you your precious freedom.

Monroe. Well, Virginia's paid her soldiers.

Tallyrand. [Coming down on Monroe's level.] Has South Carolina? Has Rhode Island?

Monroe. That's no affair of Virginia.

Giles. No, sir.

Tallyrand. Why not? Did not the soldiers of Rhode Island help Virginia to her liberty? Each one fought for the common good. Each one should be paid.

Jefferson. By that, Citizen Tallyrand, I understand you to mean that the government should assume the war debts of all the states.

Tallyrand. Those debts were the price of your liberty. If you have a government, it should pay the country's debts.

Jefferson. Citizen Tallyrand, you are simply speaking from Alexander Hamilton's platform. You are an aristocrat.

Monroe. So's Hamilton. -

[Tallyrand shrugs his shoulders and moves to r. c.

Jefferson. As such you cannot possibly understand the love of liberty that burns in the heart of every loyal American. [Rising and coming to Tallyrand.] This attempt by Alexander Hamilton to compel the central government to assume the debts of the thirteen states is merely a trick, a manœuvre, to give greater power to that central body and to ruthlessly crush the freedom of the states. We, as Virginians, love Virginia. Her freedom 2 We will fight for her freedom 2

Tallyrand. [Coming toward him.] Mon Dieu! Fight! Where were you when Alexander Hamilton stormed the redoubts at Yorktown?

Jefferson. As you know, Citizen Tallyrand, I am not a soldier.

Giles. [Winking at Monroe.] Jefferson has never been a fighter, you know, Citizen Tallyrand.

Tallyrand. [c.] Citizen! Citizen! Citizen! You prate and boast about the rights of man, and sneer at Alexander Hamilton as an aristocrat. Have any of you worked for the Rights of Man as he has? When it was an affair of fighting for your liberty, he fought. At the age of nineteen—twenty years, he had risen to be Colonel and was leading the victorious charge at Yorktown. At the hour when your liberty was assured he lay down his arms and commenced to make a nation of you. I tell you I have known all the great men of my time—Pitt, Fox, Washington,—and of them all it is my boast that know Alexander Hamilton. Adieu! -

[He sweeps out, l. u. e. to the street. During the following dialogue there is general movement and talking amongst the crowd; some laugh tolerantly, others shake their heads in doubt. The First Man rises and bowing to the man he has been talking to, crosses to the man at the fireplace who is reading the paper, has a few words with him and then exits up r. The man he has been speaking to, down r., rises and is joined by the man who has been sitting on the other side of the table, r.; they take arms and stroll out up l., chatting as they go. One of the Quakers goes into the street l. and the other comes to c. and watches the men who are playing chess; he afterwards sits in the upper corner of settle l. of fireplace. Reynolds strolls up and takes down a pipe from mantel. He chats a moment with a soldier who is sitting l. of table r. The man who was reading the paper goes off r., leaving the paper on settle.

Giles. Why, the crazy 2

Jefferson. Hush! He's right, friend, he's right. Hamilton is a great man, but his energies are misdirected.

Giles. Great man! Why, he ain't got half the following you have!

Monroe. That infernal French aristocrat has put the whole thing in a nutshell. Hamilton and Washington are working against the interests of the individual. They're working against us. -

[During this Melissa enters from r. with a glass of Madeira, puts it on table l. and then crossing over to post r. c. she hangs a card on it. It is a notice of a ship's sailing. Reynolds has some business of flirting with her. He slips his arm through hers—she resents and exits l. 2 e. Reynolds goes off up r.

Jefferson. Come, come, we mustn't say that.

Monroe. Well, it's true!

Jefferson. That may be, but 2

Giles. Well, what you goin' t' do about it!

Jefferson. [To Melissa.] Ah, thank you, my dear. [He and Monroe drink. As they drink Reynolds flirts with Melissa; see above.] Citizen Monroe, I came in the hope of finding you here this morning because I have decided that it is necessary that you and I should make a friendly call upon Alexander Hamilton. -

[During dialogue the two men who have been playing chess rise and consult the card Melissa has hung up. One of them makes some notes; they exchange a few words, bow to each other and go off r. and l. The Quaker remains on settle l. of fireplace reading from a small book.

Monroe. A friendly call!

Jefferson. To conciliate him.

Monroe. With what object?

Jefferson. We need his cooperation. [Sits again.] The decision of the location of the Capital of the United States is now a matter of urgent necessity. It is vitally necessary that we should secure the Capital for the South, where our influence is paramount.

Monroe. Don't see any need to worry about that. The North hasn't got any chance anyway. Why, Washington's a Virginian—if he is under Alexander Hamilton's thumb.

Giles. [Rising.] George Washington ain't got a damned bit of loyalty in him!

Jefferson. Come, come! I cannot discuss this matter with you, Citizen Giles, unless you refrain from invective.