Ragtime

(Harlem. The Tempo Club. A crowd gathers to listen to the new piano playing style of COALHOUSE WALKER, JR.)

8. HIS NAME WAS COALHOUSE WALKER

PEOPLE OF HARLEM
His name was Coalhouse Walker
SOLO MAN #1
Was a native of St. Louis some years before
SOLO WOMAN #2
When he heard the music of Scott Joplin
SOLO MAN #2
In St. Louis
SOLO WOMAN #2
Bought himself some piano lessons
Working as a stevedore.
SOLO MAN #3
Here was a music that truly inspired him
LADIES
Dancers required him.
MEN
Club owners hired him.
ALL
The strivers of Harlem
Respected and admired him
SOLO MAN #4
For turning Harlem into art
COALHOUSE
But Coalhouse had a broken heart.
The Good Lord looked down, saw me lonely and loveless, and thought to Himself: “Enough is enough. I’m putting Sarah in Coalhouse’s life.”
And he did.

This wasn’t a woman. This was an angel, a gift of God. Coalhouse loved this woman, but not wisely and not too well. She left me without a word or trace. There was no pity for me.
SARAH’S FRIEND
None whatsoever, Coalhouse.
COALHOUSE
Now she is haunting me
Just like a melody
The only song I seem to know
Sarah, my life has changed
Sarah, I miss you so
Sarah, I did you wrong
Sarah, where did you go?

And then this morning, the miracle happened. I found out where she is, and I’m going to do my damnedest to see she takes me back. Ladies and gentlemen, the Gettin’ Ready Rag!

9. THE GETTIN’ READY RAG

ALL
Gettin’ Ready Rag…
Gettin’ Ready Rag…
Gettin’, Gettin’, Gettin’ Ready Rag
WOMEN
Anything it takes.
MEN
Anything you need.
ALL
You gotta find your girl, Coalhouse
And win her back!

(In dance, COALHOUSE gets a shave and a haircut, new clothes, etc.)

ALL
Gettin’ Ready Rag!
MEN
Ready as you’ll ever get…
COALHOUSE
Not yet!
WOMEN
Gotta win the girl, Coalhouse.
COALHOUSE
Think of what a better man she’ll see
When Mr. Henry Ford puts me
At the wheel of a Model T!

(COALHOUSE sees an assembly line in motion; as the workers dance, HENRY FORD appears and sings to COALHOUSE.)

10. HENRY FORD

FORD
See my people?
Well, here’s my theory
Of what this country
Is moving toward.
Every worker a cog in motion
Well, that’s the notion of Henry Ford!

One man tightens
And one man ratchets
And one man reaches
To pull one cord
Car keeps moving in one direction
ENSEMBLE
A genuflection to Henry Ford!
Hallelujah!
Praise the maker
Of the Model T!
FORD
Speed up the belt
Speed up the belt, Sam
ENSEMBLE
Hallelujah!
COALHOUSE
Hell, I’ll take her!
ENSEMBLE
Sure amazin’
How far some fellas can see!
FORD
Speed up the belt
Speed up the belt, Sam
Speed up the belt
Speed up the belt, Sam!
ENSEMBLE & FORD
Speed up the, speed up the, speed up the, speed up the belt!
ENSEMBLE
Mass production
Will sweep the nation
A simple notion
The world’s reward
FORD
Even people who ain’t too clever
Can learn to tighten a nut forever
Attach one pedal
Or pull one lever
ENSEMBLE
For Henry Ford!
Henry Ford!
Henry Ford!
Henry Ford!
FORD
Grab your goggles
ENSEMBLE & FORD
And climb aboard!
COALHOUSE
I’m ready, Lord!

(A dapper COALHOUSE drives off in his newly-built Model T.)

(The trolley station in New Rochelle, MOTHER and THE LITTLE BOY are on their way to FATHER’S factory to look after his business in his absence. TATEH and THE LITTLE GIRL appear on the opposite side of the trolley tracks. TATEH has put a rope around her arm, which he keeps tied around his own waist.)

11. NOTHING LIKE THE CITY

TATEH
Mister, please, where is this?
CONDUCTOR
You’re in New Rochelle. You can take the rope off her. This ain’t the city.
THE LITTLE BOY
Mother!
MOTHER
I see! I see. He’s afraid of losing her. Immigrants are terrified of losing their children. So are we, but just not so conspicuously. Don’t stare. It’s not polite to stare.
TATEH
He’s a rude little boy. Ignore him. People of good breeding do not stare at other people. They acknowledge them politely with a bow. Like this.

(He bows across the platform to MOTHER.)

TATEH
Good day.
MOTHER
Good day, sir.
TATEH
She called me “sir”.
Without a doubt
We’re really out of New York City!
MOTHER
Fine weather, isn’t it?
TATEH
Isn’t it?
Now that we’re out of the city, isn’t it?
BOTH
Nothing like the city…
THE LITTLE GIRL
He’s still staring.
TATEH
Never mind.
THE LITTLE BOY
My father’s at the North Pole,
With Admiral Peary and Eskimos!
Where is your mother?
THE LITTLE GIRL
Dead.
MOTHER
Edgar!
THE LITTLE BOY
My name is Edgar. We’re off to visit our firewords factory.
What is your name?
THE LITTLE GIRL
No name.
THE LITTLE BOY
That’s impossible.
Everyone has a name.
Even the little Negro baby who lives in our attic!!

CONDUCTOR
Boston Post Road trolley! Boston!
MOTHER
Well.
TATEH
Well.
Have a pleasant day, ma’am.
MOTHER
Have a pleasant trip, sir…
MOTHER & TATEH (to themselves)
Nothing like the city…

(TATEH and THE LITTLE GIRL depart, leaving MOTHER and THE LITTLE BOY looking after them.)

CONDUCTOR
Mamaroneck! All aboard for Mamaroneck!
THE LITTLE BOY
We know those people.
MOTHER
That’s ridiculous. They’re poor foreigners.
THE LITTLE BOY
Then we’re going to know them.
MOTHER
Who put such thoughts in your head?

(The FIREMEN of the Emerald Isle Firehouse enter and, simultaneously, COALHOUSE drives up and stops to ask directions. Chief Willie Conklin hurls racist abuse at COALHOUSE and warns him not to pass that way again. As they exit, SARAH appears, alone in her attic in New Rochelle.)

12. YOUR DADDY’S SON

SARAH (rocking her baby)
Ooh…

Daddy played piano
Played it very well
Music from those hands could
Catch you like a spell
He could make you love him
‘Fore the tune was done
You have your daddy’s hands
You are your daddy’s son

Ooh…

Daddy never knew that you were on your way
He had other ladies,
And other tunes to play
When he up and left me
I just up and run
Only thing in my head–
You were your daddy’s son
Couldn’t hear no music
Couldn’t see no light
Mama, she was frightened
Crazy from the fright
Tears without no comfort
Screams without no sound
Only darkness and pain
The anger and pain
The blood and the pain!
I buried my heard in the ground!
In the ground–
When I buried you in the ground

Daddy played piano
Bet he’s playin’ still
Mama can’t forget him
Don’t suppose I will
God wants no excuses
I have only one:
You had your daddy’s hands
Forgive me.
You were your daddy’s son

13. THE COURTSHIP
(MOTHER gently takes the baby from SARAH.)

MOTHER
Sarah, let me take him for awhile. You haven’t slept.

(MOTHER takes the baby to the kitchen and puts him in a small crib. There is a knock at the screen door.)

MOTHER
Yes?
COALHOUSE
I’m looking for a young woman of colour whose name is Sarah. She is said to reside in one of these houses.
THE LITTLE BOY
She’s here. She’s living in our attic.
COALHOUSE
Will you tell her, please, that Mr. Coalhouse Walker, Jr., desidres to speak with her?
MOTHER
Certainly. Please wait there.
Edgar?

(MOTHER goes upstairs.)

THE LITTLE BOY
This is Sarah’s baby. You want a cookie.

(THE LITTLE BOY goes into the pantry.)

MOTHER
Sarah, you have a caller. A Mr. Walker. Will you come down to hte kitchen?
SARAH
No, ma’am. Send him away, please.
MOTHER
Well, that’s the most words you’ve spoken since you’ve been here.

(COALHOUSE opens the screen door, comes into the kitchen and looks down at his son. He picks him up, crooning to him.)

COALHOUSE
Hmmmm…

(MOTHER comes back into the kitchen and is upset to see that COALHOUSE has presumed to come into the house and pick up the baby.)

MOTHER (taking back the baby)
Sarah is unable to see you. Good day.
COALHOUSE
Thank you, ma’am. Tell her I’ll come back next Sunday.

(He goes.)

GRANDFATHER (entering)
Such was the coming of the coloured man in the car to Broadview Avenue.
ALL
Each Sunday he’d come driving
Curtains would part
Neighbours would peek
MOTHER
I’m sorry, Mr. Walker. Sarah still will not receive you.
COALHOUSE
Will you see that she gets these flowers, ma’am?
MOTHER, ALL
Week after week!
And after weeks of Sundays
MOTHER
Sending him off seemed a crime…
(spoken)
Mr. Walker, it must be a long drive for you. Perhaps you would like a cup of tea before you go?

(COALHOUSE enters and chats with MOTHER. She invites him to play something on the piano. A recalcitrant SARAH stays up in her room. COALHOUSE tests the piano.)

COALHOUSE
This piano is badly in need to a tuning.
MOTHER
Oh yes. We are terrible about that.

(COALHOUSE plays a few more notes.)

GRANDFATHER
Do you know any coon songs?

(COALHOUSE stops playing.)

COALHOUSE
Coon songs are made for minstrel shows. White men sing them in blackface. This is called Ragtime.

(He resumes, now in earnest.)

(A passage of time, in which FATHER arrives home unannounced from the North Pole to find a wife who works, a son who seems all grown up, SARAH and the baby in the attic, and a black man at the piano in the living room.)

NEW MUSIC

FATHER
Where have I been?
How did we change,
Caught in this strange new music?
Say, was I away too long?
MOTHER
Just like that tune
Simple and clear
I’ve come to hear
BOTH
New music
MOTHER
Why,
Why can’t you hear the song?
YOUNGER BROTHER
His fingers stroke those keys
And every note says, “Please”,
And every chord says, “Turn my way”
MOTHER, FATHER
I thought I knew what love was
But these lovers play…
MOTHER, FATHER, YOUNGER BROTHER
New music!
Haunting me, and somehow taunting me,
My love was never half as true
FATHER
And I ask myself
Why can’t I sing it, too.
WORKERS, NEIGHBOURS
His fingers stroke those keys
And every note says, “Please”,
And every chord says, “Turn my way”
WORKERS, NEIGHBOURS & FAMILY
I thought I knew what love was
But these lovers play
New music!
ALL
Haunting me, and somehow taunting me,
My love was never half as true
COALHOUSE
Sarah, my life has changed
Sarah, you’ve got to see
Sarah, we’ve got a son!
Sarah, come down to me…

(SARAH stands upstairs, undecided. She slowly moves toward the door.)

(SARAH comes down the stairs and walks into COALHOUSE’S embrace.)

ALL (except COALHOUSE and SARAH)
Just like that tune,
Simple and clear
I’ve come to hear new music
Breaking my heart
Op’ning a door
Changing the world!
New music!
I’ll hear it forevermore!

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