Also by Robert Schenkkan Hanussen Shadowplay The Kentucky Cycle By the Waters of Babylon The Marriage of Miss Hollywood and King Neptune Handler Conversations with the Spanish Lady and Other Plays The Dream Thief Heaven on Earth Final Passages A Single Shard The Devil and Daniel Webster All the Way The Great Society
Copyright 2017 by Robert Schenkkan Afterwords by Timothy Patrick McCarthy, Douglas S. Massey, and Julian E. Zelizer copyright 2017 by Skyhorse Publishng, Inc. All rights reserved. No part of this book may be reproduced in any manner without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Arcade Publishing, 307 West 36th Street, 11th Floor, New York, NY 10018.
First Edition Arcade Publishing books may be purchased in bulk at special discounts for sales promotion, corporate gifts, fund-raising, or educational purposes. Special editions can also be created to specifications. For details, contact the Special Sales Department, Arcade Publishing, 307 West 36th Street, 11th Floor, New York, NY 10018 or . Arcade Publishing is a registered trademark of Skyhorse Publishing, Inc., a Delaware corporation. Visit our website at www.arcadepub.com. Visit the authors website at www.robertschenkkan.com.
BUILDING THE WALL was first produced as a National New Play Network Rolling World Premiere by The Fountain Theatre (CA), Curious Theatre Company (CO), Forum Theatre (DC), Borderlands Theatre (AZ), and City Theatre (FL), with support from Paul Prokop. For more information please visit www.nnpn.org. BUILDING THE WALL was developed at The Lark, New York City. 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data is available on file. Cover design by Brian Peterson Front jacket photo: iStock Print ISBN: 978-1-62872-877-4 Ebook ISBN: 978-1-62872-878-1 Printed in the United States of America Contents by Timothy Patrick McCarthy by Douglas S. Massey by Julian E.
Zelizer Authors Note on
Building the Wall The only thing necessary for the triumph of evil is that good men do nothing. Edmund Burke What does a writer who has often turned to history to illuminate present political crises do when he finds himself living through a turning point in history? We are experiencing an extraordinary moment in the life of our republic, an unprecedented crisis created by an American version of authoritarianism that is waging an all-out attack on fundamental American values. This is not a partisan issue but a matter of concern to all of us. While I would like to be hopeful, the outcome is far from certain. Several years ago, I stumbled across the book Into That Darkness by Gitta Sereny. It is an attempt to understand the bleakest of the Nazi horrors by focusing on one ordinary man who, for a brief moment, found himself with unlimited power.
As someone whose family suffered grievous losses in the Holocaust, Ms. Serenys account stayed with me, as did the lesson derived from it: if you do not pay attention, the unimaginable can become inevitable. Then, in October of last year, as the most expensive and dispiriting presidential campaign in recent memory was coming to a close, I sat down and, in a white-hot fury, wrote this play. In it, I have imagined a not-so-distant future in which now-President Trumps racist campaign rhetoric on immigration and border security has found its full expression. While our current political crisis is extraordinary, it is not newthe authoritarian playbook is well-established. Create a constant state of crisis that only a strong leader can solve.
Encourage fear, divide the populace, and scapegoat minorities with appeals to nationalism, racism, and isolationism. Smear your opponents as unpatriotic, and tell the press to just shut up and listen. The question, of course, is not so much what the authorities will do, but how we, the citizens, will respond. Sickened by the hate, by the constant assault, will we succumb to our fears, avert our gaze, and look after our own interests? Will we enthusiastically put our shoulders to their dark wheel? Or will we resist? To those who say that it could never happen here in this country, I reply, maybe not, but that of course will depend entirely on what you do. R OBERT S CHENKKAN M ARCH 6, 2017 LIGHT/SOUND. A prison meeting room.
El Paso, Texas. 2019. Two people stand facing one another, a heavy metal table between them. GLORIA is an African-American woman in her forties. Intelligent. Warm.
Modestly dressed. RICK is a white man in his forties. He wears an orange prison jumpsuit. GLORIA You mind, you mind if I record? Ill also take notes but this allows me to be accurate. RICK doesnt respond. GLORIA pulls a digital recorder from her bag and sets it up on the table.
RICK I imagine were both being recorded right now. GLORIA stops and glances around. GLORIA Really? RICK And watched. GLORIA I think thats supposed to be for my safety. RICK Or mine. Kinda weird, when you think about it.
They dont want me to kill myself so they can kill me. Are you worried about your safety? SHE studies him a moment. GLORIA No. RICK But youre nervous? GLORIA Sure. RICK nods. RICK I like that.
That youre honest. That stood out in your letters. GLORIA I think if were not honest, whats the point? RICK ( Nodding ) I havent met a lot of college professors before. Lawyers, yeah. Shrinks. But not You dont look like what I thought.
GLORIA How is that? You mean black. RICK Im not allowed computer access so I couldnt look you up. I dont know what they think Im going to do with a computer, you know, reach out to my huge fan base and incite a GLORIA Is my race a problem for you? A moment. RICK I never know what word to use. Black. African American.
GLORIA I like black. Is it a problem, Rick? RICK It doesnt matter to me. Im not racist. Ive lived and worked with all kinds of people. GLORIA Hispanic? RICK In Texas, are you kidding? You could throw a rock in any direction and youd hit one. ( Beat ) Unfortunate expression there.
GLORIA Muslim? RICK Sure. GLORIA You have Muslim friends? Had Muslim friends? RICK I knew some but those people, they kinda stick together, you know. GLORIA But you had no personal animus against Muslims and Hispanics. RICK No. GLORIA And yet here you are. RICK Look, Im not crazy, it was the situation.
There was enormous pressure from the Brass and stuff just GLORIA Rick, if you insist on repeating the same bullshit your lawyer gave the court then I am going to walk out of here and never come back. On the other hand, if you want to talk to me, one person to another, really talk to me about what happened and why, maybe help us all understand so that nobody else finds themselves in your situation, then we can do that. But you have to be honest with me. Can you do that? Can you just be honest? A moment. GLORIA shrugs and starts to pack her things. OK. OK.
GLORIA stops and considers him. GLORIA I want to hear your side, Rick, in your own words. Thats why Im here. If youre honest with me, Ill see that what you say is printed just like you say it. No filter. No editing.
Your words. SHE glances at the door. GLORIA They havent given us a lot of time, Rick. And I dont honestly know if theyll let me come back after today. A moment. RICK I dont, I dont have anybody to talk to in here.
GLORIA Youre in solitary, yes? RICK For my own protection. GLORIA You sound skeptical. RICK shrugs. GLORIA You think one of the other prisoners might try to harm you? RICK My experience has been, in certain situations people tend to act in their own interests. GLORIA Theres value in your death? RICK Well, the government certainly seems to think so. GLORIA Theres been no decision yet.