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turning to page one
turning to page one
A working room, sparsely furnished. Lincoln's desk is heaped with files, books, newspapers. The desk's near a window, now open. Comfortable chairs and a rocker are in a corner. Near the fireplace, in which embers are dying, there's a long table, eight chairs around it, settings by each chair of inkwells and pens.
Dozens of maps cover the walls and the crowded bookcases.
Lincoln opens the door and enters to find his 10 year-old son TAD LINCOLN near the hearth, sleeping, sprawled on a very large military map. Lead toy soldiers are scattered across it.
A large mahogany box, imprinted ALEXANDER GARDNER STUDIOS, is open near Tad's head. The box contains large glass plates, each framed in wood; these are photographic negatives. Tad's been looking at several, which lie near him on the map.
Lincoln kneels by Tad and looks down at the map, a topographical and strategic survey of the no-man's land between Union and Confederate forces at Petersburg. He scrutinizes the precisely drawn blue and grey lines.
He lifts one of the glass plates and holds it to the firelight: it's a large photographic negative of a young black boy. There's a caption, in elegant cursive script: "Abner, age 12 - $500"
And another: "Two young boys, 10 & 14 - $700"
Lincoln puts the plates back in the box and closes the lid. Carefully brushing the toy soldiers aside, he lies down beside Tad. He touches Tad's hair and kisses his forehead. Tad stirs as Lincoln gets on all fours; without really waking up, knowing the routine, Tad climbs onto his father's back. Tad holds on as his father stands, weary, and maybe a little surprised to find his growing son slightly heavier than he was the night before.
TAD
(FAST ASLEEP:)
Papa...
LINCOLN
Hmm?
TAD
Papa I wanna see Willie.
LINCOLN
(WHISPERING:)
Me too, Taddie. But we can't.
TAD
Why not?
LINCOLN
Willie's gone. Three years now.
He's gone.
Lincoln carries Tad out of the room, closing the door.