TheCountes

THE COUNTESS OF STORYVILLE

BY SILVESTRI, HIGGINS, COHEN

ACT 1

SCENE 1

(At the conclusion of the OVERTURE, the CURTAIN RISES,with the RHYTHMIC BEAT OF A SINGLE DRUM. A dimlylit set indicates STORYVILLE, New Orleans red -light district, 1910. Beneath a gaslight, a cornerstreet sign READS: BASIN ST./IBERVILLE. A signover a doorway identifies TOM ANDERSON'S ANNEX ANDSALOON. D.R., a sign, "CONGO SQUARE" is illuminatedby a bonfire. Angled U.L, massive double doors ofST. LOUIS CATHEDRAL. LIGHTS RISE on the ENSEMBLE. THEY are frozen as THEY sing, a cappella, but for aSINGLE DRUMBEAT.)

ENSEMBLETEN BLOCKS IN THE HEART OF THE CRESCENT CITY WHERE SINNERS DO WHAT A SINNER WILL. TEN BLOCKS IN NEW ORLEANS, LOUISIANA. FOLKS HERE CALL IT STORYVILLE.

(The ORCHESTRA swells as the ENSEMBLE breaks itsfreeze. The "DENIZENS" OF STORYVILLE: BULLYBOYSand POLITICIANS, POLICE and BEGGARS traverse thestage. CRIB WHORES clad in their scanty's, callout lasciviously to GENTLEMEN passing by. GAMBLERShustle STOOGES with their three card monte. Thestreet is loud, noisy, dirty and carefree.)

ENSEMBLE"TEN BLOCKS," SAID THE ALDERMAN SYDNEY STORY. "TEN BLOCKS OUGHT TO FILL THE BILL." SET ASIDE FOR THE LEGAL PURSUIT OF PLEASURE." BY THE DENIZENS OF STORYVILLE. WHEN IN NEW ORLEANS, YOU SEEK THAT CERTAIN THRILL, WHATEVER YOU GOT THE URGE AND JACK TO DO S'AVAILABLE IN STORYVILLE! BUT YOU'D BETTER GET YOUR...

STREET HUCKSTERBLUE BOOK HERE! YOUR GUIDE TO PLEASURE! MAP TO THE DEMIMONDE! IT'S ALL HERE! HOW TO AND WHERE TO. WHAT'S GOIN' ON!

11-26-14 2.

SAILORI'll take one.

ENSEMBLETEN BLOCKS IN THE HEART OF THE CRESCENT CITY.

(A SPECIAL on a window of a rented room above theAnderson Annex. JIMMY SHREVE, a young writer, iswriting HIS opus.)

JIMMY SHREVEJuly 28, 1910. Storyville. Yours truly, Jimmy Shreve, truth -seeker, student of human nature and witness to the Sporting Life.

ENSEMBLEWHERE SINNERS DO WHAT A SINNER WILL.

JIMMY SHREVEFirst - time author of a not - yet - published, soon - to - be -famous novel. All I need is a story to tell, one with conflictand pathos and grandeur... and... a...

ENSEMBLEIN THE HEART OF NEW ORLEANS, LOUISIANA.

JIMMY SHREVE...Sex.

ENSEMBLETHERE ARE STORIES TOLD OF STORYVILLE.

SAILOR(reading from the Blue Book)

Countess Willie DuPree!

JIMMY SHREVEWillie DuPree? Who's she?

STREET HUCKSTERTHEY SAY SHE WAS THE TOAST OF THE ENGLISH EMPIRE!

ENSEMBLENOBODY KNOWS FOR SURE!

UPTOWN DANDYTHEY SAY SHE WAS THE DARLING OF THE DEMIMONDE IN PARIS!

(A faint, but frenetic voodoo drumming is heard under.)

KID RICHBUT NOBODY KNOWS FOR SURE.

(The drums swell, the flames of the bonfire growbrighter as LIGHTS COME UP in Congo Square. )

11-26-14 3.

(JULIA JACKSON, a Voodoo Woman chants in Creolepatois, undulating around the bonfire.)

JIMMY SHREVEA mystery! Of course!

(typing)In Congo Square, the frenzied beat of the Voodoo drums could beheard as far away as the waterfront as Julia Jackson, the VoodooQueen fell into a vision of Countess... Who?

STREET HUCKSTERWillie DuPree.

JIMMY SHREVERight.

(typing)- and received a vision of...

JULIA JACKSONMALLE OIR CA YA DI MOIN! MO GAGNAIN SOUTCHIEN LA LOUISIANNE! AIYEE! AIYEE!

(JULIA JACKSON is accompanied by a MALE VOODOO whoplays the drum and is hawking amulets and herbs.)

MALE VOODOOLUCK POWDER GRIS-GRIS! SNAKE ROOT AND LODESTONE! DRIED LIZARD! DRAGON'S BLOOD! BLACK CAT AND... TOAD BONE GOOFER DUST GRIS-GRIS! PALMETTO ELIXIR! SASSAFRAS! STEEL DUST! BIG JOHN WOMAN FIXER!

(JULIA JACKSON, eyes shut, arms outstretched, receivesa vision. TOM ANDERSON crosses with the ALDERMAN.)

JULIA JACKSONAIYEE! AIYEE! WILLIE DUPREE! GROS CLOUDY VIENT A VOUS! DAMBALLA SAIT! DAMBALLA SAIT TOUTES!

(Hearing "WILLIE DUPREE," TOM ANDERSON stops!)

TOM ANDERSONWhat's that she's saying about this Willie DuPree?

MALE VOODOOShe say Willie DuPree come back and truth be known.

TOM ANDERSONWhat truth?

11-26-14 4.

JULIA JACKSONDAMBALLA SAIT TOUTE!

MALE VOODOOShe say Damballa knows.

ALDERMANKnows what?

JULIA JACKSONMAIS, IL VOULOIR PAS DIT!

MALE VOODOOHe will not say.

(The drums FADE as LIGHTS DIM on Congo Square andRISE on the ENSEMBLE in various points on the stage.)

ENSEMBLE...RUMORS START FLYING. IT'S GRIST FOR THE GOSSIP MILL. WHENEVER THE LOW-LIFE... IS LIVING THE HIGH LIFE, THE WAY THEY DO IN STORYVILLE.

STREET HUCKSTERREAD ALL ABOUT IT IN THE BLUE BOOK HERE! COUNTESS DUPREE AND THE GRAND OPENING!

(SISTER AGNES approaches the STREET HUCKSTER andbuys the Blue Book. SHE crosses toward the church. JUDGE HAMILTON and CORA, HIS wife, ENTER and cross.)

CORA(sarcastic)

A Countess, Judge. How divine! Royalty! Perhaps she'll keepyou from going blind!

JUDGE HAMILTONNow, Cora. Let's not forget that a good deal of our circumstanceis afforded by this er... lavish... display of...

CORAFeminine wiles?

JIMMY SHREVE(typing)

Girls come from near and far - Metaire, Baton Rouge, even Chicago. Some are looking for adventure, others - just trying to make anhonest dime. One thing you can be sure of, it only ever worksout one way.

11-26-14 5.

(CELINE ENTERS. SHE is young and shabbily dressed. She drags a suitcase and approaches the STREETHUCKSTER. SHE digs into HER pocket pulling out acoin. SHE buys the Blue Book and anxiously opensit as LIGHTS COME UP on TOM ANDERSON'S ANNEX. PEOPLEpass through the swinging doors as the cacophonyfrom within pours onto the street. Outside thedoors, the RAZZY, DAZZY, SPASM BAND play THEIRhomemade instruments (kazoos, washboard and cigar-box bass) serenading the passersby with irreverentantics.)

RAZZY, DAZZY, SPASM BANDLET'S SEND HONEST TOM TO THE STATE HOUSE TODAY! WHY WAIT? THE ELECTION'S BOUGHT AND PAID FOR ANYWAY! AND MOST OF THEM WHO VOTED FOR HIM LONG SINCE PASSED AWAY! LET'S SEND TOM BACK TO THE STATEHOUSE TODAY! HEY! HEY! HI-DI-HO! TOM ANDERSON SHOULD GO BACK TO THE LEGISLATURE! THEY COULD ALWAYS USE ANOTHER HO! HO! HI-DI...

(TOM and ALDERMAN reach the ANNEX.)

ALDERMANHey! Get out of here! Go on! 'Fore I break that thing overyour head!

(THE RAZZY'S fan out. TOM pulls out a cheroot; theALDERMAN lights it.)

ALDERMANWhat's the problem, Tom. Countess DuPree paid her license feeAND her weekly operating tax, in advance!

TOM ANDERSONI don't care if she left us in her will! I don't want her here!

ALDERMANI hear she was born here in New Orleans and her mama was hangedfor bringing a man to a violent end.

TOM ANDERSONWho said so?

ALDERMANI heard. BUT NOBODY KNOWS FOR SURE.

(LIGHTS UP on the ST. LOUIS CATHEDRAL, a GREGORIANCHANT reverberates from within. TOM and the ALDERMANcross to the church as CHURCH BELLS RING. SISTERAGNES stands beside the alms box reading a BlueBook as TOM flips a coin into the box. TOM andALDERMAN EXIT.)

11-26-14 6.

ENSEMBLESA-A-AL-VE! RE-E-GI-I-I-NA-A! MATER MI-I-SE-RI-I, CORDI-I-E! SA-A-AL-VE! RE-E-GI-I-I-NA-A! MATER MI-I-SE-RI-I, CORDI-I-E! SA-A-AL-VE! SA-A-AL-VE!

(FATHER BELVEDERE ENTERS.)

SISTER AGNESFather Belvedere, did you hear the pagan drums?

FATHER BELVEDEREI'm not deaf, Sister Agnes. What have you got there?

SISTER AGNESThe Blue Book.

(reads)"Tonight at the grand opening of the Maison de Joie, the elitewill be welcomed to the most ornate Sporting Palace ever seen inStoryville." Another one! This must be stopped, Father.

FATHER BELVEDEREWhat would you have me do?

SISTER AGNESThere must be something.

FATHER BELVEDEREWe can pray for them, Sister. Pray.

(FATHER BELVEDERE opens the church door, the SACREDMUSIC SWELLS from within. HE ENTERS the church.)

ENSEMBLESA-A-AL-VE! SA-A-AL-VE!

(VOODOO DRUMS COME UP)

JULIA JACKSONMALLE OIR CA YA ID MOIN!


Julia Jackson, the local midwife - finest hair dresser on thegulf coast, Julia could transform herself into a man, woman, childor beast and call forth the spirits of the dead. But at thismoment she herself was consumed by the dark vision she hadconjured. That -

JULIA JACKSONWillie DuPree! Willie DuPree! GROS CLOUDY VIENT A VOUS!

11-26-14 7.

JIMMY SHREVEThat big trouble follows Willie DuPree.

JULIA JACKSONJE VOIS MAE UN QUIET!

JIMMY SHREVEI see a soul that cannot rest.

JULIA JACKSONQUELQU'UN!

JIMMY SHREVESomeone!

JULIA JACKSONQUELQU'UN

JIMMY SHREVESomeone...

JULIA JACKSONMORIR!

MALE VOODOO...ON THE SHAMELESS STREETS OF STORYVILLE. THAT'S WHERE THE LOWLIFE'S LIVING THE HIGH LIFE!

ENSEMBLESTORYVILLE WHERE THE THAT'S WHERE THE LOW LIFE LOW LIFE'S LEAD THE HIGH LIFE. LEADING THE HIGH LIFE. STORYVILLE! WHERE THE THAT'S WHERE THE THAT'S WHERE THE LOW LIFE LOW LIFE... LOWLIFE'S LEADS THE IS LEADING LEADING THE HIGH LIFE. THE HIGH LIFE. STORYVILLE! WHERE THE THAT'S WHERE THE SA-ALVE! THAT'S WHERE THE LOWLIFE LOWLIFE... LOW LIFE'S LEADS THE IS LEADING SA-ALVE LEADING THE HIGH LIFE. THE HIGH LIFE. LET'S SEND STORYVILLE! WHERE THE THAT'S SA-ALVE! HONEST TOM THAT'S WHERE THE LOWLIFE WHERE THE TO THE STATE HOUSE LOW LIFE'S LEAD THE LOW LIFE IS SA-ALVE! TODAY! LEADING THE HIGH LIFE LEADING THE WHY WAIT, THE HIGH LIFE! ELECTION'S HIGH LIFE WHERE THE SA-ALVE! BOUGHT AND PAID THAT'S WHERE THE LOW LIFE THAT'S WHERE FOR ANYWAY! AIYEE! LOW LIFE'S LEADS THE THE LOW LIFE SA-ALVE! MALLE CA LEADING THE HIGH LIFE IS LEADING THE YA DE MOIN! HIGH LIFE! VOODOO HIGH LIFE! HIGH LIFE! SA-ALVE! MAGNIAN!

(MORE)

11-26-14 8.

ENSEMBLE (CONT'D) TEN BLOCKS IN THE HEART OF THE CRESCENT CITY. WHERE SINNERS DO WHAT A SINNER WILL. IN THE HEART OF NEW ORLEANS, LOUISIANA THERE ARE STORIES TOLD OF-

JIMMY SHREVE(rips sheet from typewriter)

Storyville.

ENSEMBLE ...S T O R Y V I L L E!

- BLACK OUT -

11-26-14 9.

SCENE 2

GRAND SALON OF THE MAISON DE JOIE

(GENTLEMEN overflow the Salon including the ALDERMANand JUDGE HAMILTON. THEY mingle amidst the Rococofurnishings, crystal, oriental rugs, velvet drapesand art objects. Brocade covers the walls. ThePROFESSOR plays the piano wearing a derby, acheckered vest with ascot, diamonds and spats. Astaircase is prominently displayed and there is afiligreed, wrought - iron elevator for two. With aflourish of a note, the PROFESSOR rises and commandsTHEIR attention.)

PROFESSORGentlemen of New Orleans! If I could get your attention.

(HE waits as the din fades)Allow me to present - the very beautiful and most graceful quadroonthat the city of Paris ever had the good fortune to lay theireyes on! Please welcome back to New Orleans - Countess WillieDuPree!

(MUSIC under as WILLIE appears on the second floorbalcony: a beautiful quadroon in white satin. TheMEN clap THEIR hands at the sight of HER.)

WILLIEGood evening, Gentlemen! Welcome to ma Maison de Joie.

(sings as SHE DESCENDS)A RETREAT FOR FINE GENTLEMEN SUCH AS YOURSELVES. RICH, REFINED GENTLEMEN SUCH AS YOURSELVES. LOOK AROUND, GENTLEMEN. DON'T YOU ADORE THE FOOD? THE WINE? THE DECOR? THE MUSIC? ART? THE E-LE-VAT-OR? INLAY FROM ENGLAND. FROM BELGIUM: FOIS GRAS! FROM PARIS: THE CHAMPAGNE, THE CRYSTAL ET MOI! WELCOME, FINE GENTLEMEN! RICH, REFINED GENTLEMEN! WELCOME TO MAISON DE JOIE! I AM YOUR HOSTESS, THE COUNTESS DUPREE. IF YOU LOOK FOR LE BON TEMPS, I'LL SHOW YOU THE WAY. TELL ME, CHERI. QU'EST-CE QUE C'EST VOUS VOULEZ? A DANCE? A TABLEAU? OR POUT ETRE, A TET-A-TET AU COUCHEZ? FOR THAT, YOU'LL NEED SOMEONE TRES ENCHANTE. SOMEBODY TRES NONCHALANT, SHALL WE SAY? C'EST SI BON! C'EST TRES MAGNIFIQUE. N'EST CE PAS? WELCOME TO MAISON DE JOIE! Gentlemen of New Orleans! Meet...

11-26-14 10.

(WILLIE introduces HER GIRLS. THEY descend thestairs.)

WILLIESUGAR PIE! SWEET ENOUGH TO MAKE A GROWN MAN CRY. HER GIVEN NAME IS LISA. BUT GIVE HER A TRY. YOU'LL SWEAR YOU'VE HAD A PIECE O' ...SUGAR PIE! ICEBOX LIL! YOUR NIGHT IS FREE IF YOU CAN MAKE HER THRILL. SO MANY MEN HAVE DIED TRYING AND MANY MORE WILL. IN THE HOPELESS HOPE OF SATISFYING ICEBOX LIL! THE SCARLET TWINS! WHERE ONE ENDS, THE OTHER ONE BEGINS! IF THERE WERE MORE THAN SEVEN DEADLY SINS NUMBERS EIGHT AND NINE WOULD BE THE SCARLET TWINS! SWEET EMMA LOU! MR. BARNUM WOULD NEVER BELIEVE THE THINGS THAT SHE CAN DO, ANNALEE, LITTLE NELL TRES CHIC ET TRES BELLE! TOUS SONT ICI! ET VOILA!

THE GIRLSGENTLEMEN, WELCOME TO MAISON DE JOIE!

SUGAR PIEI LOVE YOU!

SWEET EMMA LOUI WANT YOU!

ICEBOX LILWHOEVER YOU ARE.

SCARLET II AM YOUR LOVE SLAVE!

SCARLET IIYOU ARE MY STAR!

THE GIRLSJUST TELL ME HONEY... HOW MUCH,

SCARLET IHOW LONG,

11-26-14 11.

ICEBOX LILHOW FAST,

SUGAR PIEHOW FAR!

THE GIRLSOOOH! COME TELL YOUR MAMA WHAT BABY NEEDS, SO SHE'LL KNOW JUST HOW TO AROUSE HIS LIBIDO! ABANDON YOUR CHAINS HERE!

WILLIEABANDON REIGNS HERE!

WILLIE AND THE GIRLSWELCOME TO MAISON DE JOIE!

-DANCE SEQUENCE-

WILLIE AND THE GIRLSA FEAST FOR THE EYES, YES, BUT THAT'S ONLY PART! A FEAST FOR THE SENSES AS WELL AS THE HEART! WELCOME FINE GENTLEMEN! RICH, REFINED GENTLEMEN! WELCOME TO MAISON DE...

WILLIEWELCOME TO MAISON DE...

WILLIE AND THE GIRLSWELCOME TO MAISON DE JOIE!

WILLIEHave a wonderful evening, gentlemen.

(The PROFESSOR reprises as THE GIRLS and GENTLEMENmingle. The ALDERMAN approaches WILLIE.)

ALDERMANCountess -

WILLIEAlderman. I hope you are having a pleasurable time.

ALDERMANI surely am! Uh... Mr. Tom Anderson would like a word with you. He's waitin' in the garden, Countess.

WILLIEEnjoy yourself, Alderman.

(FADE OUT as WILLIE EXITS to the courtyard.)

11-26-14 12.

SCENE 3

COURTYARD OF THE MAISON DE JOIE

(Scraggly plants and vines beg for attention in thisuntended courtyard. WILLIE ENTERS in all HER glory.)

TOM ANDERSONMadam.

WILLIECountess.

TOM ANDERSONYes, of course, Countess. A pleasure.

WILLIEHow lovely you were able to join us this evening.

TOM ANDERSONNothin' on God's green earth could keep me away.

WILLIEYour offer to acquire my business and return me to Paris was mostgenerous.

TOM ANDERSONThe answer is, "Yes?"

WILLIENo.

TOM ANDERSONDidn't your mama teach you not to make decisions in haste? It's unhealthy.

WILLIEI never knew her.

TOM ANDERSONAh, pity.

WILLIE(sugary sweet)

I'm curious, Mr. Anderson - you seem to have a keen interest inmy comings and goings while all I've done is offer you 10 percentabove the going rate. Now, if tonight is any indication, I amcertain we will both be pleased.

TOM ANDERSONBut unfortunately for you, I have all the money I could ever need.

11-26-14 13.

WILLIEIf you have no need of my money, that can be arranged too.

TOM ANDERSONOh, I'll take my cut... and more.

WILLIE(beat and:)

You are a bully, Mr. Anderson. Please excuse me, I have a businessto run.

TOM ANDERSONI've tried to be pleasant and God knows I'm a patient man howeverthe time for niceties has expired. Get out of New Orleans, whileyou are able.

WILLIEI don't run scared, Mr. Anderson.

TOM ANDERSONDon't you? Tell me, Countess - what are you doing here? Whycome back?

WILLIEThat's my business.

TOM ANDERSONYou'll find that everything that happens in Storyville is my business. Including who stays...

(meaningfully)...And who goes. Good-evening.

(HE EXITS. WILLIE sits on the bench.)

WILLIE(to HERSELF)

What am I doing here? THAT'S A VERY GOOD QUESTION, MR. ANDERSON, VERY GOOD QUESTION, INDEED. WHY DID I COME BACK? WHAT WAS I SEEKING? WHY BOTHER? WHAT WAS THE NEED? IS THERE UNFINISHED BUSINESS HERE? DEMONS TO FACE? WHY RETURN TO THE SCENE? TO THE PAST? TO THIS PLACE? AN OLD WORLD TO CONQUER? A YEN UNREQUITED? UNTENDED WOUNDS THAT STILL BLEED? WHAT AM I DOING HERE? THAT'S A GOOD QUESTION. A VERY GOOD QUESTION INDEED. WHO HERE REMEMBERS WILLIE THE ORPHAN GIRL?

(MORE)

11-26-14 14.

WILLIE (CONT'D)OR CRAZY OLD MAN DUPREE? WHO FED HER AND CLOTHED HER AND SENT HER TO SCHOOL IN FRANCE, WITH THE CRUEL NUNS OF SAINT HONORE? WHOSE HARSH LESSONS LATER WOULD SERVE HER SO WELL AS THE "QUEEN OF COCOTTES" ON THE RUE DE PIGALLE. BY USING HER HEAD - NEVER LOSING HER HEART AS HER BODY BECAME EACH RICH MAN'S OBJECT D'ART. NOW, YOU'LL FIND NOT A TRACE OF POOR WILLIE THE ORPHAN GIRL CLINGING TO COUNTESS DUPREE. WHY THEN, WOULD I COME BACK HERE WHERE HER MYSTERY HAUNTS EVERY CORNER AND QUAI? RUMORS OF WAR? THERE WERE PLENTY OF THOSE. REASON ENOUGH TO LEAVE, I SUPPOSE. STILL, A WOMAN OF RESOURCE USUALLY KNOWS HOW TO PROFIT FROM FOLLIES OF KAISERS... AND CLEMENCEAUS! THAT'S A VERY CONVENIENT EXCUSE. NOT A REASON. NOT A GOOD REASON AT ALL. WHAT VOICE COMPELLED ME? WHISPERING TO ME, "COME, WILLIE. ANSWER MY CALL." IS THERE A PREORDAINED PATH THAT WE FOLLOW? IF SO, WHERE WILL IT LEAD? WHAT AM I DOING HERE? THAT'S A GOOD QUESTION. ...A VERY GOOD QUESTION, INDEED.

(The PROFESSOR ENTERS, followed by ANTONIO.)

PROFESSORMa'am, there's a gentleman askin' for a word with you.

WILLIEThank you, Professor.

ANTONIOCountess DuPree, I am Antonio Maduro Zaragosa.

(HE extends HIS hand)I am here at the request of General Manuel Bonilla, the rightfulPresident of Honduras.

(beat)He knew you in Paris.

WILLIEDid he? I don't recall.

ANTONIOHe sends you this gift.

(MORE)

11-26-14 15.

ANTONIO (CONT'D)(takes out an emerald necklace)

I am told it matches earrings he gave you while strolling theBois de Boulogne.

WILLIE(SHE takes the necklace, admires it)

And, how is the General?

ANTONIOImpatient. We are in need of a most discreet place to stay whileour ship is readied.

WILLIEWhy discreet?

ANTONIOYour government attempts to watch us since many of our revolutionsare born on American soil.

WILLIE(looks up from the necklace andtakes stock of ANTONIO)

Professor show him the rooms in the back.

WILLIE(strongly)

And might I suggest, Señor Maduro - that the labor be quick. Themidwife - mute.

ANTONIOGraciás, Countess.

(ANTONIO bows and EXITS. A SPECIAL UP on JIMMY SHREVEtyping at HIS window above the Annex as LIGHTS FADE.)

JIMMY SHREVETom Anderson's brother, Frank, ran New Orleans 'fore he died."Cut down early." Tom liked to say. Murdered in his own bed wasmore like it.

(beat)To hear Tom jaw, the sun rose and set on old Frank. Tom steppedinto his brother's life, taking over his business and his seat inthe legislature.

(stops typing and leans back)Ol' Tom did alright for himself, he surely did.

- FADE OUT -

11-26-14 16.

SCENE 4

THE ANDERSON ANNEX

(A painting of a distinguished gentleman hangsprominently over the bar. A staircase S.R. leadsto rooms above. The ALDERMAN and BULLYBOYS are atthe bar. RUBEN, the piano player sits at the pianoreading the Blue Book. The BARTENDER polishesglasses.)

ALDERMANYou should have seen it, boys! There's crystal that come all theway from Paris, France! They got brocade on the walls!

BULLYBOYBrocade? What the hell's brocade?

(A BULLYBOY slaps another BULLYBOY upside the head. JIMMY SHREVE DESCENDS the stairs, writing in HISnotebook.)

JIMMY SHREVESay! Which one of you boys can tell me about Frank?

ALDERMAN(indicating the portrait)

That's ol' Frank's picture hangin' right there.

JIMMY SHREVE(writing)

Mr. Franklin Anderson...

(TOM'S WHORE ENTERS from behind the bar, UPSTAGE,buttoning up HER blouse, SHE quickly looks aroundand hurriedly EXITS out the front door. TOM ENTERSbehind HER, pulling up HIS suspenders and puttingon HIS coat.)

TOM ANDERSON(HE spies RUBEN reading)

Do I pay you to sit on your skinny ass, reading? Go on now! Haul the empties out back.

(RUBEN swiftly rises, crosses to the bar and startshauling empty booze bottles from the bar to theback. TOM eyes JIMMY SHREVE.)

TOM ANDERSON(to the ALDERMAN)

What the hell's he doing here?

11-26-14 17.

ALDERMANHe's askin' 'bout Frank.

TOM ANDERSON(to JIMMY SHREVE)

Is that so?

JIMMY SHREVEUh, for my book!

TOM ANDERSONYou got questions about Frank, you talk to me.

JIMMY SHREVEYes, sir! Can you tell me...

(TOM lunges toward JIMMY SHREVE.)

TOM ANDERSONNo!

(JIMMY SHREVE flies up the stairs. TOM crosses tothe bar, laughing.)

A book!

(EVERYONE laughs.)

ALDERMANCountess DuPree's joint is going to be very good to us, Tom! It's a li'l gold mine!

TOM ANDERSON(TOM downs the drink and motionsfor another)

How long you been Alderman, Gus?

ALDERMANGoin' on 'bout three years now...

TOM ANDERSONYou like being an Alderman?

ALDERMANYou know I do!

TOM ANDERSONWho bankrolled your campaign? Made sure everyone voted, got youelected?

ALDERMANWhy that was you, Tom!

11-26-14 18.

TOM ANDERSONThen tell me why this is so difficult for you to understand?

ALDERMANWhat's that?

TOM ANDERSONI want Willie DuPree gone.

ALDERMANBut, Tom! Look at the money! Those are the hard facts!

TOM ANDERSONI want the "Countess" out of Storyville!

ALDERMAN What do you want us to do?

TOM ANDERSONBurn it to the ground.

(The BULLYBOYS rise.)

ALDERMANWait! You can't do that sort of thing anymore, Tom! Not if youhold a hope of runnin' for Gov'nor next year!

TOM ANDERSONI'm not asking your opinion.

(to BARTENDER)Raleigh Rye. Double.

ALDERMANWhat do you have against her?

TOM ANDERSON(beat and then:)

She looks like her mother.

ALDERMAN(Puzzled looks on all THEIR faces,the ALDERMAN pulls TOM aside)

Tom, you're not believin' that crazy ol' hoodoo?

TOM ANDERSONThis is what you're going to do, Gus. Tomorrow morning you'regoing to see Chief Mulligan and get his boys to raid her house... a health violation or something.

(RUBEN ENTERS from UPSTAGE.)

RUBEN'Scuse me Mr. Anderson, sir. What else you like me to do?

11-26-14 19.

TOM ANDERSONDo what I pay you to do - play something, damn it!

(RUBEN crosses to the piano.)

ALDERMANTom, you know those whores'll just be released in a day or so.

(RUBEN taps out EVERYBODY COMES AROUND on the piano.)

TOM ANDERSONWillie DuPree needs to learn who runs this town.

BULLYBOYThink she'll come around, Tom?

BULLYBOYSure she will! They always do.

TOM ANDERSONDamn right they do!

(sings)EVERYBODY COMES AROUND ANY FOOL THAT CAN BE FOUND. CAN BE TAUGHT JUST WHAT TO DO. FIND THE RIGHT PERSUASION, YOU'LL FIND THAT THEY'LL COME THROUGH FOR YOU. IF THEIR JUDGMENT IS SOUND - EVERYBODY COMES AROUND.

(BULLYBOYS all ad lib: "That's right, Tom!", "Theysure do!", Everybody does!", etc.)

BULLYBOY REMEMBER THE FIRE AT 540 IBERVILLE?

BULLYBOY POOR JOSIE ARLINGTON, I'LL BET SHE ALWAYS WILL!

BULLYBOY SHE DIDN'T HAVE PROTECTION.

BULLYBOY DIDN'T WANT TO PAY HER BILL!

BULLYBOYS AND ALDERMANIF SHE ONLY HAD, HER FANCY MANSION MIGHT BE STANDIN' STILL! BUT IT BURNED RIGHT DOWN TO THE GROUND!

TOM ANDERSONAND THAT'S WHEN JOSIE CAME AROUND.

11-26-14 20.

BULLYBOYREMEMBER BIG DUTCH CHRISTOPHER?

TOM ANDERSONHOW COULD I FORGET?

ALDERMANRAN AGAINST YOU IN THE LAST ELECTION.

TOM ANDERSONDUMBEST MAN I EVER MET.

ALDERMANACCUSED US IN THE PICAYUNE OF STUFFIN' BALLOT BOXES YET!

BULLYBOY AND HE WOULDN'T CHANGE HIS TUNE -

BULLYBOYS AND ALDERMANUNTIL WE PROVED HE WAS ALL WET! AND THEN BIG, DUMB DUTCH CAME AROUND -

BULLYBOY - A BEND IN THE RIVER!

BULLYBOY AND WASHED UP ON THE LEVEE EAST O' TOWN!

BULLYBOYS AND ALDERMANONE WAY OR ANOTHER, EV'RYBODY AND HIS BROTHER CAN BE TAUGHT TO SEE WHAT EV'RY MOTHER'S SON SHOULD KNOW.

TOM ANDERSONIF THEY WON'T COOPERATE I CANNOT ANSWER FOR THEIR FATE.

BULLYBOYS AND ALDERMANTHOSE WHO WILL NOT PULL THEIR WEIGHT HAVE GOT TO GO.

TOM ANDERSONWHY'S IT ALWAYS SOMEBODY WHO HAS THE MOST TO LOSE WHO'S DETERMINED TO MAKE WAVES AND SINK THE BOAT?

BULLYBOY Beats me, Tom.

TOM ANDERSONAND WHEN IT HITS THE FAN THEY'RE THE FIRST TO SING THE BLUES! THEY COME AROUND HERE ON THEIR KNEES, BEGGIN' ME, "TOM! PRETTY PLEASE! WON'T YUH? CAN'T YUH? BAIL US OUT AND KEEP US ALL AFLOAT?"

(spoken)And I always do, too. Don't I?

11-26-14 21.

BULLYBOY Absolutely, Tom.

TOM ANDERSONWhat else can I do? I'm soft-hearted.

BULLYBOY You're a brick, Tom!

(hoots of laughter and pantomimesleading to:)

BULLYBOY REMEMBER WHEN SHAPIRO BROUGHT HIS BULLY BOYS DOWN HERE? WITH HIS NEW YORK TOUGHS IN TOWN, HE FIGURED HE WAS IN THE CLEAR!

BULLYBOY WHEN HE OPENED UP HIS DANCE HALL, WE WASN'T IN HIS PLANS.

BULLYBOYS'TIL HIS BOYS GOT TANGLED UP IN THEM NEWFANGLED CEILING FANS! THEY WAS HANGIN' UPSIDE DOWN!

TOM ANDERSONWHERE SHAPIRO COULD WATCH 'EM COME AROUND.

BULLYBOY ...AND AROUND.

BULLYBOYS AND ALDERMAN...AND AROUND! EVERYBODY COMES AROUND. ANY FOOL THAT CAN BE FOUND CAN BE TAUGHT JUST WHAT TO DO. FIND THE RIGHT PERSUASION, YOU'LL FIND THAT THEY'LL COME THROUGH FOR YOU.

TOM ANDERSONIF THEIR JUDGMENT IS SOUND -

BULLYBOYS AND ALDERMANEVERYBODY COMES, EVERYBODY COMES, EVERYBODY COMES...

TOM ANDERSON...AROUND.

(beat)Alright - everybody out! Ruben! You too! Go on, now!

(Confusion - the BULLYBOYS, ALDERMAN and RUBEN raceout of the Annex. TOM crosses and locks the door. HE crosses back to the bar and pours a drink. KIDRICH ENTERS UPSTAGE behind the bar. )

11-26-14 22.

(KID RICH is in HIS mid 30's. HE is well - dressedand soft - spoken. KID runs the Black Tenderloinfor TOM.)

TOM ANDERSONYou're late.

KID RICHNot even, Mr. Anderson. My watch says I'm a day early with yourfair cut a the Negro Tenderloin.

(KID pulls out envelopes which HEdoles out one by one)

Here's the whorehouses and cribs. This - those gamblin' stooges... Here are the nightclubs and saloons. Stogie Jay "The Loon" Cullen -he come up short. I tol' him he have two days to sugar up or hebe sayin' so long to more than jus' his knee caps. Hope that'sfine by you, sir.

TOM ANDERSONI like your attitude, Kid, reminds me of my brother.

KID RICHThank you, sir. Mr. Frank always treat me good. My mama nevershould have done him like she done.

TOM ANDERSON(looking at portrait)

Cuts him when he's sleeping... poor bastard.(to KID RICH)

It wasn't your fault you were just a boy. I always kept an eyeout for you now, didn't I, Kid?

KID RICHYou always treat the Kid good, Mr. Anderson. Now, what can I dofor you, sir?

TOM ANDERSONYou know why you're here?

KID RICHWhy you ever send special for Kid Rich? For something you don'twant your lily whites touchin'.

TOM ANDERSONLike I'm wearing white gloves.

KID RICHKid gloves, Mr. Anderson.

(TOM laughs and crosses UPSTAGE with KID RICH, tellingKID what HE wants done. MUSIC comes up.)

TOM ANDERSONMake sure no one sees you, y'hear?

11-26-14 23.

KID RICHYes, sir.

(THEY shake hands. KID RICH EXITS. TOM crosses tothe bar pours a shot and holds up the glass to thepainting as a toast.)

TOM ANDERSONIt's like you always said Frank...

(then meaningfully)And you oughta know...

(HE looks at the glass and sings)...IF THEIR JUDGMENT IS SOUND,

(HE downs the shot and slams theglass on the bar)

EVERYBODY...

(TOM grabs the bottle and EXITS U.S.)

- FADE OUT -

11-26-14 24.

SCENE 5


(WILLIE ENTERS to find ANTONIO With a machete cuttingvines that grow on a column.)

WILLIEWhat are you doing in my garden?

ANTONIOFighting a revolution. The ivy is winning.

WILLIE(incredulous then sarcastic)

I'm hiding a revolutionary... gardener?

ANTONIOI am a botanist. A profession learned between revolutions atReál Jardin Botanico de Madrid. Sadly, there is always revolutionin my country with little time for gardens.

WILLIEThat is a tragedy.

ANTONIOSí. And so is this..

(gestures around). ..place. A woman should possess a garden as beautiful as she.

WILLIEWhat poor, dispirited creature bought that line?

ANTONIOMy mother.

(WILLIE laughs)You do not believe me?

(ANTONIO crosses to WILLIE)Come, I will show you. Imagine you are in a tropical rainforest.

(The ORCHESTRA COMES UP joining theclarinet)

A warm wind dances across your skin. Inhale the sweet air - Doyou see the colors?

(beat)Imagine being surrounded by such beauty...

WILLIEBut, this isn't a rainforest it's my garden.

ANTONIOAh! But -

(crosses to the wall)Picture this wall...

(MORE)

11-26-14 25.

ANTONIO (CONT'D)(sings)

...COVERED WITH PINK PASSION FLOWERS. IN LATIN THEY'RE CALLED, "PASSIFLORA JAMESONII." A... ...BARRICADE DRIPPING WITH SWEET-SMELLING, SENSUOUS BOWERS. EACH PETAL AS PINK AS A VIRGIN'S...

(WILLIE crosses to HIM.)

WILLIE(interrupting)

I GET THE IDEA.

(ANTONIO crosses to the path.)

ANTONIOHYACINTH! CROWDING A POND AT THE END OF THIS PATHWAY. THEIR BLOSSOMS AS SOFT TO THE TOUCH -

(ANTONIO crosses back, behind HER. HE reaches to stroke HER neck,then pulls back)

AS A NEW LOVER'S SKIN.(WILLIE turns to HIM)

YOU KNOW, THEY GROW WILD IN THE HONDURAN RAINFORESTS.

WILLIEDO THEY?

ANTONIOThey do. AND TO TELL OF THEIR BEAUTY, I WOULD NOT KNOW WHERE TO BEGIN. A GARDEN IS WAITING TO GROW IN THIS PLACE. A GROTTO. AN EDEN. A LIVING BOUQUET. BLOSSOMING FILLING THIS SAD EMPTY SPACE - WITH ITS FRAGRANCE EACH EVENING AND BEAUTY... EACH DAY. HERE, A FLOWERING SHRUB KNOWN TO FLOURISH IN LOUISIANA. FROM THE WEST INDIES, THEY SAY IT ADAPTS BEAUTIFULLY. FRAGRANT AND SHOWY, "BRUNFELSIA AMERICANA." Known as...

WILLIE...Lady Of The Night.

ANTONIOYou know it?

WILLIEIT WAS NAMED AFTER ME.

11-26-14 26.

ANTONIOHERE, I SEE A LIPSTICK TREE. THIS WOULD BE THE PERFECT PLACE. CRIMSON FLOWERS, HEART SHAPED LEAVES AS BOLD AS A STOLEN EMBRACE. A PATH IN THE SUNLIGHT A BENCH IN THE SHADE THE REFUGE THAT EVERY GARDEN SHOULD BE WILL SLOWLY BUT SURELY BEGIN TO ARISE. OPEN YOUR MIND. OPEN YOUR EYES. TRY TO SEE WHAT I SEE. A GARDEN JUST WAITING TO GROW IN THIS PLACE. A GROTTO.

WILLIEAN EDEN.

ANTONIOA LIVING BOUQUET BLOSSOMING FILLING THIS SAD EMPTY SPACE WITH ITS FRAGRANCE EACH EVENING AND BEAUTY... EACH DAY.

WILLIE...A GARDEN.

ANTONIOA GARDEN...

WILLIE AND ANTONIOJUST WAITING TO GROW!

(The MUSIC continues as ANTONIO leans in towardWILLIE. PHILIPPE, the crippled photographer, limpsin.)

WILLIEPhilippe!

PHILIPPEI'm sorry, I don't mean to disturb.

WILLIEAntonio Maduro - Philippe Belvedere. Philippe is photographingmy girls for The Blue Book.

ANTONIOIs that the new Kodak or the Seneca View?

PHILIPPEYou know cameras! It's the Kodak! You should come see myphotographs!

11-26-14 27.

ANTONIOSadly, I am here just a short time.

PHILIPPEOf course.

(THEY shake hands)I am very pleased to meet you.

ANTONIOThe pleasure is mine. I will leave you to your work.

PHILIPPEAnd I - will set up my camera.

(THEY EXIT. JULIA JACKSON ENTERS and stops coldwhen SHE sees WILLIE.)

JULIA JACKSONI swear, Willie DuPree, you are the spittin' image of your mama! You be careful, child. Damballa say, "Darkness follow you, likeit follow her."

WILLIEMy mother delivered me in Parish Prison and was hanged for murder.

JULIA JACKSONMiss Pauline never kill nobody! You listen good - there be mightypowerful people in this world and they make up the rules! ThankJesus - there be powerful spirits, too!

WILLIEI am not a believer in the Dark Arts, Miss Jackson. I called youto do the hair. Are the girls ready?

JULIA JACKSON(miffed that HER warning has beendismissed)

The hair is done!(SHE EXITS mumbling under HER breath.)

Gros cloudy vient a vous.

(SWEET EMMA LOU ENTERS with CELINE.)

SWEET EMMA LOUWillie, there's this girl...

CELINECeline.

SWEET EMMA LOU...Come to see you.

(CELINE curtsies, stumbling, SWEET EMMA LOU snickers.)

11-26-14 28.

CELINEI'm sorry, Ma'am; everyone says you're a Countess. I'm here fora job.

WILLIEI have nothing at this time.

SWEET EMMA LOUTold you.

CELINE(CELINE burst into tears)

Oh, no! I spent all my money just to get here. Everyone said,"A girl with a brain can make a lot of money in New Orleans."

(WILLIE hands HER a handkerchief, motioning for HERto turn. SHE does. SWEET EMMA is miffed.)

WILLIEPull your hair back.

CELINE(SHE pulls back HER hair)

I can do anything, even laundry.

WILLIEEmma Lou, take Celine upstairs; see that she's cleaned up.

CELINEOh! Thank you, Countess!

(CELINE hugs WILLIE, catching her off-guard.)

WILLIEWe'll see. And call me Willie. All my girls do.

(Resentful, SWEET EMMA LOU and CELINE EXIT. TheGIRLS descend the stairs chattering. THEY wearexpensive yet provocative clothing.)

THE GIRLS(ad-lib)

What do you think? Does this show enough on top? Don't you loveit? How's my hair look? Your hair is fine, but your dress istoo long, can't see your legs. What color would you say that is? Crimson. Crimson? Yeah, like a blood red.

11-26-14 29.

SCENE 6


(THE GIRLS flirt with PHILIPPE as HE sets up HIScamera. WILLIE ENTERS moving quickly around theroom fixing hair, arranging a skirt, etc.)

THE GIRLS(ad-lib)

Ohhhh, Philippe! Hello handsome! Philippe. Philippe! Take mypicture, Philippe. Make me look sexy, Philippe. Make these lookbig!

(SCARLET II is first, SHE sticks out HER rear end,posing lasciviously. SHE holds HER little dog. WILLIE straightens her up:)

WILLIEWe are an elite establishment, let's try to remember that. Whengentlemen visit us they should feel as though they've arrived,that they have accomplished something. We are creating anillusion. The illusion is: a woman of means.

SWEET EMMA LOUHuh?

SUGAR PIEWhat's that?

WILLIEThe means, the money, to be and do anything you want.

SCARLET II(ad-libbing)

Yes! That's what I want to be!

THE GIRLSThat's me!

SCARLET I That's my dream!

WILLIEWe're ready, Philippe.

PHILIPPELadies - pose according to your dreams. Pose according to yourheart's fondest desire.

(As each GIRL expresses HER fondest wish, PHILIPPEtakes the picture. With each FLARE of the camera,the photograph is shown in rear projection. SCARLETII, holds HER little dog and assumes an aristocraticpose.)

11-26-14 30.

SCARLET IIMOPPSY AND ME, WE'D BE HAPPY

(spoken)Wouldn't we? IN A GRAND HOUSE ON SAINT CHARLES AVENUE WHERE EVERY ROOM'S FILLED WITH DAHLIAS AND DAISIES AND EVERY DAY WE'D EAT PATE AND SWEET HONEYDEW! AND WE'D SLEEP ALL NIGHT LONG TO THE SONG OF THE TROLLEY AND WALK EVERY DAY IN THE PARK. THERE'D BE NOBODY YELLIN', 'CAUSE THERE'D BE NO MEN TO GET UNDER MY SKIN OR TO MAKE MOPPSY BARK. I'D BE A WOMAN OF MEANS. I'D JUST BE QUIET AND FRUMPY AND FREE. A WOMAN OF MEANS! AND WE'D BE REALLY HAPPY. JUST MOPPSY AND ME.

SWEET EMMA LOUI'D BE MISTRESS TO A KING. I'D SHOW HIS HIGHNESS A THING OR TWO. I'D RULE THE NIGHT COUNTRY AND GIVE THE PEASANTS "WHAT FOR!" I'D WEAR A DIAMOND RING ON EVERY ONE OF MY FINGERS, TOO. AND I'D SHOW NO PITY FOR THE WEAK OR THE POOR.

ICEBOX LILI'D TEACH A SUNDAY SCHOOL CLASS AND ATTEND EVERY MASS AND DROP COINS IN THE BASKET FOR CHARITY. WHITE GLOVES AND DRESSES I'D WEAR ALL YEAR LONG. NEVER BARING MY SKIN FOR THE SINNERS TO SEE.

ICEBOX LIL, SCARLET II, SWEET EMMALOU

I'D BE A WOMAN OF MEANS.

ICEBOX LILI'D BE ADMIRED,

SWEET EMMA LOUTRIUMPHANT,

ICEBOX LIL AND SWEET EMMA LOUAND FREE.

ICEBOX LIL, SCARLET II, SUGAR PIEA WOMAN OF MEANS.

ICEBOX LILI'D WORSHIP MY MAKER.

SWEET EMMA LOUI'D MAKE FOOLS WORSHIP ME!

11-26-14 31.

(CELINE, bathed and dressed looks on from atop thestairs. PHILIPPE looks up catching CELINE'S eye,SHE quickly darts off stage. PHILIPPE turns HIScamera to WILLIE.)

PHILIPPE(motioning upstairs)

A new girl?

WILLIEI haven't decided.

PHILIPPEShe's real pretty.

(beat - cough)What do you dream, Willie?

WILLIEDreams are for dreamers.

(sings)TAKE ME AS I AM. I AM JUST WHAT YOU SEE. TAKE ME AS I AM. FOR WHAT I AM, I CHOOSE TO BE. I'M A WOMAN WHO MEASURES HER WORTH AS A WOMAN IN MORE THAN JUST FLESH AND BONE... I DON'T OWE ANYBODY AND NOBODY OWNS ME AND WHEN I SLEEP, I SLEEP ALL ALONE. I AM A...

WILLIE AND THE GIRLS...WOMAN OF MEANS!

WILLIEI LEARNED LONG AGO WHAT IT COSTS TO BE FREE.

WILLIE AND THE GIRLSA WOMAN OF MEANS.

WILLIEI LEAD THE LIFE. THE LIFE DOESN'T LEAD ME.

11-26-14 32.

SCARLET II WILLIE SWEET EMMA LOU MOPPSY AND ME WE'D BE TAKE ME AS I AM. I'D BE MISTRESS TO A KING I'D SHOW HIS HIGHNESS HAPPY. IN A GRAND HOUSE I AM A THING OR TWO. I'D RULE THE NIGHT COUNTRY AND GIVE THE PEASANTS ON ST. CHARLES AVENUE. JUST WHAT YOU SEE. "WHAT FOR!" I'D WHERE EVERY ROOM'S TAKE ME AS I AM. WEAR A DIAMOND RING FILLED WITH DAHLIAS FOR WHAT ON EVERY ONE OF MY FINGERS, TOO. ANDDAISIES AND EVERY I AM I'D HAVE NO PITY DAY WE'D EAT PATE AND I CHOOSE FOR THE WEAK SWEET HONEYDEW! TO BE. OR THE POOR. AND WE'D SLEEP ALL I'M A WOMAN I'D TEACH A SUNDAY WHO MEASURES SCHOOL NIGHT LONG TO THE HER WORTH AS A CLASS AND ATTEND WOMAN. IN MORE EVERY SONG OF THE TROLLEY THAN JUST MASS AND DROP COINS AND WALK EVERY DAY FLESH AND IN THE BASKET FOR IN THE PARK BONE CHARITY. THERE'D BE NOBODY I DON'T OWE WHITE GLOVES AND DRESSES YELLIN', CAUSE ANYBODY AND NOBODY I'D WEAR ALL YEAR LONG. THERE'D BE NO MEN OWNS ME. AND WHEN NEVER BARING MY SKIN TO GET UNDER MY SKIN I SLEEP FOR THE SINNERS OR MAKE MOPPSY BARK. I SLEEP ALL ALONE. TO SEE.

(THEY are joined by all of THE GIRLS.)

WILLIE AND THEGIRLS

I'D BE A WOMAN OFMEANS.

SWEET EMMA LOUI'D OWN A DELTA PLANTATION!

WILLIEWEALTHY,

SUGAR PIEI'D BE IN VAUDEVILLE.

ICEBOX LILRESPECTABLE,

SWEET EMMA LOUI'D TAKE A VACATION ATSEA!

WILLIE AND THEGIRLS

FRUMPY AND FREE! A WOMAN OF MEANS

SCARLET II'D BE A GREAT ACTRESSLIKE BERNHARDT!

SWEET EMMA LOUI'D BE A MADAM LIKE WILLIE. YOU'D ALL WORK FOR ME.

11-26-14 33.

(Easy camaraderie as THEY pose for a final photograph.)

ALLA WOMAN OF MEANS!

WILLIECLEVER,

SCARLET IIQUIET,

SWEET EMMA LOUFEROCIOUS,

SUGAR PIEADMIRED,

SCARLET IFAMOUS!

SUGAR PIEFAMOUS!

SWEET EMMA LOUGENTRY,

ICEBOX LILRETIRED!

(Silence. THEY turn toward ICEBOX LIL, and thenwith unanimous consent:)

ALL... IF I COULD BE ANYTHING, THAT'S... WHAT... I'D.. BE!!!

(GIRLS laugh with an easy comradery. The FLARE ofthe camera, the image fills the rear projection. The RAZZY BOYS runs in.)

JOSH RAZZYThe police is comin'!

TREVOR RAZZYThey got warrants!

WILLIEPhilippe! Get Señor Maduro and take him out the back to yourstudio. He must not be seen! Girls - upstairs!

(PHILIPPE limps out the back as the GIRLS runupstairs. CHIEF MULLIGAN and POLICEMEN burst in.)

WILLIEWhat's this about, Chief?

11-26-14 34.

CHIEF MULLIGANWe are here investigating a health violation.

(motioning upstairs to the POLICEMEN)Get the girls.

(The POLICEMEN go upstairs.)

WILLIEA health violation?! I run the cleanest house in New Orleans!

CHIEF MULLIGANNot according to this.

(THE GIRLS come down the stairs with the POLICEMEN,ALL talking at once.)

THE GIRLS(ad - lib)

What's going on here? Get your hands offme! Willie!

WILLIEIt's alright, girls. I'll take care of this.

THE GIRLSWillie! Willie. Don't touch me, you,you - pig - you!

WILLIEChief! Wait!

CHIEF MULLIGANTell it to the judge, Willie.

(THE GIRLS are still yammering as THEY are led out.)

WILLIEEverything will be alright, girls. I'll get this fixed rightaway!

- FADE OUT -

11-26-14 35.

SCENE 7

PHILIPPE'S STUDIO

(The small studio is awash in photographs andphotographic plates. ANTONIO crosses, taking itall in.)

ANTONIODiós mio! You are a true artist, Philippe!

PHILIPPEIt was never a choice - I just was.

(PHILIPPE grabs a pipe and a tin of opium. HE fillsthe pipe.)

Hop? Or do you prefer whiskey?

ANTONIOOpium? No. Whiskey, por favor.

(PHILIPPE hands ANTONIO a bottle and a glass. ANTONIOpours the whiskey and then examines a photographicplate. PHILIPPE lights HIS pipe and inhales.)

PHILIPPEI discovered Opium after seeing pity in the eyes of a workinggirl. I no longer partake in the sporting life... I justphotograph the girls...

(PHILIPPE exhales)Hop has a delightful way of dulling my psychic and physical pain. I once asked a Priest, "Why would God put the soul of an artistin a cripple?"

ANTONIOGod's will?

PHILIPPESome damnable excuse! My brother, Father Belvedere - is a servantof God; just not much of a human being.

ANTONIOYour brother's a priest? Two brothers called to serve...

PHILIPPEOne with God... and then... there's me.

(beat)Do you know the best thing about Hop?

(ANTONIO shakes HIS head)

11-26-14 36.

PHILIPPEIt allows for such exquisite dreams...

(ANTONIO holds a plate to the light, studying thepicture.)

ANTONIOWhat do you dream?

PHILIPPE(long pause and then:)

When I photograph a girl she makes love to my camera. I dreamshe is loving me.

ANTONIOSo, you are a romantic, Philippe!

PHILIPPEI dream...

(singing)...I CAN HEAR HER HEART IT BEATS AS IF SHE SHARED MY SOUL!

ANTONIOTHE BEATING OF A WOMAN'S HEART, MY FRIEND, IS ONE THING A MAN CANNOT CONTROL.

PHILIPPEI DREAM OF HOLDING HER! HOW THIS BROKEN BIRD WOULD SING!

ANTONIOHOLDING HER IS FINE, PHILIPPE. HOLDING ON TO HER? A MUCH DIFFERENT THING.

PHILIPPEI DREAM OF LOVING HER FOREVER, ALWAYS AND A DAY!

ANTONIODIÓS! IF YOU ARE WAITING FOR DREAMS LIKE THAT, YOUR DREAMS AND YOUR CHANCES COULD BOTH SLIP AWAY.

PHILIPPEWOMEN ARE WONDERFUL!

ANTONIOTHAT PART IS TRUE ENOUGH.

PHILIPPETHEY'RE SWEET AND SOFT AND TENDER.

ANTONIOTHEY ARE... AND ALSO TOUGH.

11-26-14 37.

BOTHWOMEN!

ANTONIO...ARE PREDICTABLE.

PHILIPPEPREDICTABLE? NO! NOT AT ALL! THEY'RE AS CHANGING AS THE SEASONS.

ANTONIOSÍ! FIRST THE SPRING AND THEN THE FALL! SOMETIMES WE ARE BETTER OFF WITHOUT THEM!

PHILIPPEI DON'T BELIEVE THAT, NOR DO YOU.

ANTONIOBUT, WHO NEEDS THEM?

PHILIPPEI DO. DESPERATELY!

ANTONIO...I DO TOO.

PHILIPPEYou must have had hundreds of women.

ANTONIOI never counted.

PHILIPPEDid you love them?

ANTONIONever say, "I love you." It is dangerous.

PHILIPPEYou've never been in love?

ANTONIONo.

PHILIPPEDon't you want to experience it before you die?

ANTONIOI could die tomorrow.

PHILIPPEI would die trying.

11-26-14 38.

BOTHWOMEN ARE WONDERFUL!

ANTONIOEXASPERATING!

PHILIPPEYES AND YET... I WOULD HOLD HER LIKE THE HOLY GRAIL IF I GET THE CHANCE!

ANTONIOEVERY CHANCE I GET!

BOTHWOMEN...

PHILIPPE...CAN FILL A LONELY LIFE.

ANTONIO- OR AT LEAST, A LONELY NIGHT.

BOTHWOMEN ARE WONDERFUL! THEY'RE WONDERFUL, ALRIGHT!

- FADE OUT -

11-26-14 39.

SCENE 8

ALLEY, BEHIND THE MAISON DE JOIE

(Night. KID RICH and HIS henchman, SILKY ENTER,S.L. carrying a lantern and a can of kerosene.)

SILKYHow come we messin' 'round this side a the district, anyhow, Kid? Makes me jumpy.

KID RICHSilky, you look here, I do what Mr. Anderson tells me to do.

SILKYWhyn't the big man get his own boys do his dirty work for him?

KID RICHRight now, they's makin' sure they bein' seen elsewhere's. Thatway, Mr. Anderson keeps his lily whites - clean.

SILKYClean enough to run for Gov'nor?

KID RICHThat's right. WHEN THE BIG MAN, HE DON'T WANNA SHOW WHAT PIE HIS FINGER'S IN-- DASN'T LET Ol' JOHN Q. PUBLIC KNOW-- THAT'S WHERE THE KID COMES IN. 'CAUSE I NEVER SHIRK THAT DIRTY WORK DONE IN THE DEAD OF NIGHT AND I MAKE SURE THE BIG MAN'S HANDS ...STAY LILY WHITE.

SILKYLily white is right. How come when that ol' white man say jump,you gotta say, "How high?"

(In one, swift motion, KID RICH turns, opens HISswitchblade and holds it to SILKY'S throat.)

KID RICHThe only reason I ain't gonna gut you like a catfish right now is'cause you too ignorant to know better than to talk to me likethat.

SILKY(terrified)

S... sorry, Kid! Don't mean nothin'!

11-26-14 40.

KID RICH(putting away HIS knife)

And you too damn dumb to see which way the wind blows!(sings)

HOW COME YOU THINK IT'S ME THAT'S COMIN' AROUND COLLECTION DAY? HOW COME YOU THINK THEY SEE KID RICH AND THEY KNOW IT'S TIME TO PAY? DO YOU THINK IT'S 'CAUSE I'M SO GOOD LOOKIN' AND SUCH A FRIENDLY JOE? UH, UH. OH, NO! ...IT'S 'CAUSE THEY KNOW I GOT A CERTAIN REPUTATION IN THIS COMMUNITY AND IT'S BECAUSE OF MY ASSOCIATION WITH CERTAIN POWERS THAT BE! I ANSWER TO NOBODY 'CEPT'IN FOR ONE MAN IN THIS TOWN! AND HE AIN'T JUST A ANYBODY, ...HE'S THE BIGGEST MAN AROUND. AND HE OWNS YOU! AND HE OWNS ME! AND JUST ABOUT EVERYTHING ELSE YOU SEE ANYWHERE YOU LOOK IN STORYVILLE. HE TREATS ME GOOD! JUST LIKE A SON! SO,IF THERE'S A JOB THE MAN WANTS DONE AND ONLY KID RICH CAN DO IT,

SILKY...KID RICH WILL!

KID RICHThat's right. WHEN HE COMES FROM NUTHIN', THERE AIN'T NUTHIN' 'AT A MAN LIKE ME WON'T DO TO GET THAT PIECE O' SOMETHIN' HE'S GOT COMIN' AND KEEP IT COMIN' TOO! I LIKE TO WEAR THE FINEST THREADS AND EAT THE FINEST FOOD.

SILKYAND HAVE THEM FINE, HIGH-YALLER WOMEN, TOO!

KID RICH(stops, looks at SILKY, who freezes. Then, KID smiles)

...WHEN I'M IN THE MOOD.

SILKYSO HE OWNS YOU!

11-26-14 41.

KID RICHThat's right.

SILKYAND HE OWNS ME!

KID RICHOh, yes.

BOTHAND JUST ABOUT EVERYTHING ELSE YOU SEE ANYWHERE YOU LOOK IN STORYVILLE!

KID RICHHE TREATS ME GOOD.

SILKYJUST LIKE A SON! SO, WHEN THERE'S A JOB THE MAN WANTS DONE AN' ONLY KID RICH CAN DO IT,

KID RICH...KID RICH WILL!

BOTHCAUSE WE NEVER SHIRK THAT DIRTY WORK DONE IN THE DEAD O' NIGHT AND WE MAKE SURE THE BIG MAN'S HANDS...

BOTH(The lock clicks open)

Shhh! ...STAY LILY WHITE.

(KID RICH opens the door)...STAY LILY WHITE.

(THEY are in the:)


KID RICH...STAY LILY WHITE!

(KID RICH EXITS as SILKY piles up furniture. Heruns HIS hand over the brocade covered walls.)

SILKY(to HIMSELF)

Damn! Look at this - I sure hate to torch this 'spensive piecea real estate.

(WILLIE quietly descends the stairs, gun drawn asSILKY pours kerosene on the furniture then pullsout a lucifer to light it. )

11-26-14 42.

(WILLIE puts HER gun in HIS back.)

WILLIEYou strike that light...

(WILLIE cocks the pistol)...You won't know you're dead 'till you're face to face with thedevil himself.

(SILKY lifts HIS arms as KID RICH comes up behindWILLIE putting HIS knife to HER throat.)

KID RICHThere ain't gonna be no bloodlettin', jus' a li'l fire's all... Now, lay the gun in Silky's hand.

(WILLIE does)You done real good; ain't nobody dyin' tonight. Step back, slow -like and we'll be real fine.

(WILLIE steps back, KID RICH glances at WILLIE anddoes a double-take. HIS eyes grow wide.)

KID RICHLord Jesus!

(BLACKOUT on KID RICH. VOODOO drums come up. ASPECIAL on JULIA JACKSON undulating in a voodootrance. JIMMY SHREVE crosses, stops and watchesJULIA JACKSON. He writes in a notebook.)

JIMMY SHREVE(writing)

Dark Arts. Ecstatic trances. Animal sacrifice. Voodoo. A medleyfrom which we pick and choose our beliefs. One thing everyonehere agrees upon here in New Orleans Parish - spirits walk besideus.

(AS JIMMY EXITS, PHILIPPE and FATHER BELVEDERE ENTERand CROSS toward each other PHILIPPE nods andcontinues on.)

FATHER BELVEDEREPhilippe! Have you no shame?

(PHILIPPE stops, turns and crossesback)

Your pictures in the Blue Book.

PHILIPPEYou saw them?

FATHER BELVEDEREThey're disgusting!

PHILIPPEIn the end, dear brother, art is a reflection of our own existence.

11-26-14 43.

FATHER BELVEDEREThis is not art!

PHILIPPEA critic! Excuse me, there are ladies at Parish Prison I mustvisit.

(PHILIPPE turns, then stops)Perhaps, the good Reverend Father would join me in giving comfortto the oppressed?

(FATHER BELVEDERE'S eyes burn as HEstares at PHILIPPE)

No? Only the well-heeled and powerful are worthy of your God?(beat)

Your silence is telling, brother. Good-day.

(PHILIPPE EXITS S.R. FATHER BELVEDERE EXITS S.L.)

-FADE OUT-

11-26-14 44.

SCENE 9

THE ANDERSON ANNEX

(A solitary light illuminates KID RICH and TOMANDERSON.)

TOM ANDERSON(really pissed off)

How'd you screw this up? You were given specific instructions! Do you know what it took to get that house cleared? I had thosegirls thrown in Parish Prison so they wouldn't burn up!

KID RICHThere are ghosts inthat house, Mr.Anderson!

TOM ANDERSONYou disappoint me, Kid. Igive you a job to do and...What did you say?

KID RICHThe ghost of my mama - she's in there!

TOM ANDERSON(Tom registers that KID saw WILLIE)

Get out.

(KID RICH EXITS out the back. TOM crosses to thebar, pours a Raleigh Rye and downs it. JULIA ENTERSwith A BULLYBOY. TOM motions BULLYBOY to go.)

Ah, Miss Jackson, thank you for coming.

JULIA JACKSONI got nothin' you be wantin' to hear.

TOM ANDERSONTell me anyway.

JULIA JACKSONDamballa call this child home.

TOM ANDERSONIs that a fact.

JULIA JACKSONYes, sir, Mr. Anderson. Spirit grow stronger every day. Damballasay, "truth be known."

TOM ANDERSONWhat the hell does that mean?

11-26-14 45.

JULIA JACKSONDamballa say, "You can shut her house, you can put her inchains..." Ain't no matter what you do! "Truth be comin' allthe same."

TOM ANDERSONAh, you don't know anything! Go peddle your Voodoo to somebodywho believes in it!

JULIA JACKSONOh, you be convinced, Mr. Anderson. That's why you call for JuliaJackson.

(JULIA EXITS. TOM pours a drink, downs it, thenSMASHES the glass against the wall. A RAG WALTZrises boldly from the piano.)

TOM ANDERSON CHRIST! Go home, Ruben!

(the MUSIC continues)I said, knock it off!

(TOM crosses toward the piano, theMUSIC gets louder)

Do you hear me?

(No one is there yet, the MUSIC plays. TOM backsaway from the piano in horror! The ALDERMAN ENTERS. TOM spins around, disoriented!)

FRANK!

(The MUSIC stops)

ALDERMANYou alright, Tom?

(TOM spins around to the ALDERMAN.)

TOM ANDERSON(as HE pours a drink)

What the hell do you want?

ALDERMANI just thought a somethin', Tom.

- FADE OUT -

11-26-14 46.

SCENE 10


(The courtyard blooms. WILLIE speaks with theGARDENER who is planting Lips Flower bushes.)

WILLIEThat's enough gardening for today.

(The GARDENER EXITS. WILLIE trims leaves as ANTONIOand President Manuel BONILLA ENTER.)

WILLIESeñor Presidente! Welcome!

(THEY kiss, both cheeks)

BONILLACondesa! More beautiful every time we meet!

WILLIEYou are very kind.

(THEY cross arm in arm)I've had the cook prepare your favorite dishes! My girls howeverare unavailable; there's been a misunderstanding with the localauthorities.

BONILLANo hay problema, Querida. I have a revolution to plan.

(BONILLA EXITS. ANTONIO crosses tothe new plantings)

ANTONIOQue linda! Psychotria Poeppigiana. They are good for... headache.

(HE crosses to the Magnolia.)

ANTONIOThese are beautiful Magnolia!

WILLIEWhat do you call them in Spanish?

ANTONIOMagnolia.

(WILLIE laughs, ANTONIO examines a pot of bamboo.)

WILLIEI haven't decided about the bamboo. They say you should becareful.

11-26-14 47.

ANTONIOSi. Once rooted it is almost impossible to remove.

WILLIEPerhaps I'll avoid it altogether.

ANTONIO...Usually that is best.

WILLIE(regards HIM for a beat)

Tell me, Señor Maduro, how does a botanist become a revolutionary?

ANTONIOThe botanist returns home to find his family murdered by the enemy.

WILLIEOh! I am sorry...

ANTONIOThe revolution becomes more important than the planting of flowers. And you, Countess? How does one become the famous Willie DuPree?

WILLIEI took the only road I saw.

ANTONIOTo be the love of the moment -

WILLIEI never love.

ANTONIO...and the memory of a lifetime.

WILLIERumor.

ANTONIOI have no doubt it is true.

WILLIEYou'll never know.

ANTONIO(closing in)

Never is a long time, Willie.

WILLIE(noticing the informality)

...Yes, it is.(SHE moves away)

..But, I'm a woman who has no time for distractions.

11-26-14 48.

ANTONIOAnd, I am a man...

WILLIEWho is on a mission. LOVE IS TOO DANGEROUS--MUCH TOO DANGEROUS --FOR A MAN LIKE YOU. LEARNING TO CARE IS MUCH TOO PRECARIOUS --FOR A WOMAN LIKE ME. TONIGHT, WE COULD FALL INTO EACH OTHER'S ARMS AND WAKE UP TO FIND THAT WE'RE NO LONGER FREE. LOVE IS TOODANGEROUS FOR A MAN LIKE YOU --AND A WOMAN LIKE ME.

ANTONIOSo, you believe we might fall in love.

WILLIEBelieve? No. Belief is an opinion not based in fact.

ANTONIOBut, the fact is...

WILLIELOVE CAN STRIP THE SPINE OF IT'S COURAGE. LOVE CAN ROB THE MIND OF RESOLVE. EXCHANGING A GAME THAT WE KNOWHOW TO PLAY FOR A PUZZLE NO ONE CAN SOLVE.

ANTONIOLOVE IS TOO DANGEROUS,

WILLIEMUCH TO DANGEROUS-- FOR A MAN LIKE YOU.

ANTONIOLEARNING TO CARE IS MUCH TOO PRECARIOUS..

WILLIE--FOR A WOMAN LIKE ME.

BOTH(leaning in)

TONIGHT, WE COULD FALL INTO EACH OTHER'S ARMS..(suddenly, the GIRLS return)

THE GIRLS (O.S.)Willie, we're home! We're back! Did you miss us? I need a bath,that was the longest night of... Etc!

(The spell is broken as WILLIE looks toward the house,then back to ANTONIO. SHE smiles, then rises andEXITS toward the voices. HE watches HER go.)

11-26-14 49.

ANTONIOLOVE IS TOO DANGEROUS FOR A WOMAN LIKE YOU --AND A MAN LIKE ME.

(As the song plays out, HE rises and EXITS as we:LIGHTS FADE.)

11-26-14 50.

SCENE 11

CITY COUNCIL CHAMBERS

(A SPECIAL UP on JIMMY SHREVE typing AS the COUNCILMENfile into The COUNCIL CHAMBER.)


Kickbacks. Graft. Corruption - the lard that greases the wheelsof New Orleans. Everything from commerce to politics islubricated. There are two things you never want to see beingmade - sausage... and laws.

(MUSIC begins. SPECIAL off on JIMMY SHREVE. TOMand the ALDERMAN ENTER. THEY take their seats at atable across from the COUNCILMEN. The ALDERMANhands TOM some papers. TILLIE, the secretary, sitsidle.)

COUNCILMAN #1DO WE HAVE A QUORUM?

COUNCILMAN #2WE HAVE FIVE INCLUDING YOU.

COUNCILMAN #3IS THAT ENOUGH TO MAKE A QUORUM?

COUNCILMAN #2'DON'T KNOW. IS IT?

(Each COUNCILMAN looks to the next)

COUNCILMENIS IT? IS IT? IS IT? IS IT?

COUNCILMAN #1IT'LL DO. SO WITHOUT OBJECTION...

COUNCILMAN #4...UNANIMOUS CONSENT!

COUNCILMAN #1I DECLARE THIS SPECIAL MEETIN' OF NEW ORLEANS CITY COUNCIL OPENFOR...

COUNCILMAN #5..."IN SESSION!"

COUNCILMAN #1WHAT?

11-26-14 51.

COUNCILMAN #5"IN SESSION." YOU SAID, "OPEN."

COUNCILMAN #1WELL, "IN SESSION'S" WHAT I MEANT!

COUNCILMAN #2WHO GIVES A RAT'S ASS HOW IT'S SAID! WHO CALLED THE MEETIN', WHAT'S IT FOR?

COUNCILMAN #1TOM ANDERSON REQUESTED IT.

COUNCILMENOH, WELL THEN, WELL THEN, WELL THEN, WELL THEN.

COUNCILMENTOM, YOU HAVE THE FLOOR.

TOM ANDERSONThank you, Gentlemen.

COUNCILMENANYTHING FOR YOU TOM. WHATEVER WE CAN DO, TOM. ALWAYS NICE TOM, HAVIN' YOU AROUND. DO YOU WANT THIS ON THE RECORD, TOM?

TOM ANDERSONYes, I surely do.

COUNCILMAN #1(to TILLIE)

TAKE IT DOWN THEN, TILLIE.

TILLIEWhat?

COUNCILMAN #1TILLIE, TAKE IT DOWN.

(TILLIE opens a pad. TOM ANDERSON and the ALDERMANrise.)

TOM ANDERSONGentlemen of the New Orleans City Council, as Mayor of Storyville,I face one of the most daunting social problems of our day.

(to the ALDERMAN)Speak.

ALDERMANGentlemen, our good Mayor refers to -

(MORE)

11-26-14 52.

ALDERMAN (CONT'D)(puts on glasses and reads)

- what shall be done in respect to these vocations which ministerto human weakness, appetites and passions.

COUNCILMENWE'RE ALL FAMILIAR WITH THE DISTRICT, TOM. THE SPORTING PALACES IN TOWN. THANKS TO YOUR HOSPITALITY!

COUNCILMAN #1...TILLIE?

TILLIEWhat?

COUNCILMAN #1DON'T WRITE THAT DOWN.

(TILLIE erases what SHE wrote.)

TOM ANDERSONWe refer to the madam known as Countess Willie DuPree. Andrecommend a new law -

ALDERMAN...That restores the original 1897 Story Ordinance restrictingcolored Madams to the colored tenderloin.

COUNCILMENAYE! AYE! AYE! AYE!

TILLIEUh... Was that a motion?

COUNCILMAN #5WHO MADE THE MOTION?

COUNCILMENI DIDN'T. WASN'T ME. NEITHER DID I.

COUNCILMAN #2WE'LL HAVE TO HAVE A MOTION. AND TO PASS A LEGAL ORDINANCE WE HAVE TO HAVE SOME GROUNDS.

COUNCILMENGROUNDS! GROUNDS! GROUNDS!

COUNCILMAN #1GROUNDS, TOM. A LEGAL REASON WHY.

TOM ANDERSONI move that -

11-26-14 53.

ALDERMAN- it shall be unlawful for Madams of Color to do business ...inthe downtown portion of the district known as Storyville.

COUNCILMAN #5SECOND!

COUNCILMAN #1ALL IN FAVOR?

COUNCILMENAYE! AYE! AYE! AYE! AYE!

COUNCILMAN #1PASSED.

COUNCILMENDAMN GOOD LAW, TOM! HIGH TIME TOO. BEST FOR ALL CONCERNED!

TOM ANDERSONThank you, Gentlemen. Lawmaking is thirsty work; I propose werepair to the Anderson Annex for drinks on the house!

COUNCILMENAYE!

TILLIEShould I say that was a motion?

COUNCILMAN #1JUST SAY THAT WE ADJOURNED!

(With the rap of the gavel:)

- BLACKOUT -

11-26-14 54.

SCENE 12


(An overflowing CROWD. WILLIE and a transformedCELINE descend the stairs.)

CELINEWill someone want to make love to me?

WILLIEThis is not love, Celine; never call it love. It's business.

CELINEOkay... I'm a little nervous.

WILLIEPerhaps this life isn't for you.

CELINENo! No, I can do it.

WILLIEYou don't have to decide anything just yet, just mingle.

CELINE(to PHILIPPE)

I'm Celine. Would you like to dance with me?

PHILIPPE(HE motions to HIS bum leg)

I can't dance... I...

CELINEThat's okay. We can talk. We can... mingle.

ALDERMANHey, now! You're new!

CELINEI'm Celine.

ALDERMANCome on, Celine! I'll show you a good time!

(HE grabs HER, drags HER to WILLIE, PHILIPPE follows.)

ALDERMANHow much for the new girl?

WILLIE(WILLIE sees fear in CELINE's face)

That depends.

11-26-14 55.

ALDERMANOn what? Is she a virgin?

(With the word "VIRGIN", SILENCE - all around.)

SALESMANA virgin! I'll give you twenty dollars.

ALDERMANTwenty - five.

JUDGE HAMILTONThirty!

WILLIEStop! There is no bidding here!

ALDERMANThirty - five! And I'll put in a good word with Tom Anderson!

WILLIEStop. Now. Or I'll get the police!

ALDERMANDo that Countess and we'll testify you were holding an illegalauction for an underage virgin. They'll close this place up tight. Right, Judge?

JUDGE HAMILTONIt did look that way.

WILLIE(to the PROFESSOR)

Get the police.

CELINENo! I'll go with him.

PHILIPPEI bid my - cameras!

ALDERMANYou better keep 'em, at least you know what to do with a camera!

(EVERYONE laughs. PHILIPPE is humiliated.)

ALDERMANThe bidding stands at thirty - five dollars. Anyone?

JUDGE HAMILTONFifty!

ALDERMANJudge! What about Cora?

11-26-14 56.

JUDGE HAMILTONDon't mention her good name here, Gus! One hundred!

ALDERMANJudge, you just raised against yourself!

COUNCILMAN #1Two hundred!

ALDERMANTwo hundred and ten!

ANTONIOThree hundred.

(The CROWD gasps and parts for ANTONIO.)

ALDERMANShow us your greenbacks... amigo!

(ROUSING APPROVAL from the CROWD.)

ANTONIONo.

ALDERMANAha! Fraud!

ANTONIO(to WILLIE)

Will gold do?

(ANTONIO pours gold coins into WILLIE'S hands. HEReyes flash. SHE EXITS. SWEET EMMA approaches theALDERMAN.)

SWEET EMMA LOUMr. Mayor, I'm almost a virgin...

ALDERMANThat's Alderman, sweetheart - but you can call me Gus!

SWEET EMMA LOUEverybody calls me Sweet Emma Lou!

ALDERMANThis is your lucky day, doll! Let's go!

(THEY run up the stairs and LIGHTS FADE.)

11-26-14 57.

SCENE 13


(The courtyard is transformed to a brilliantflourishing garden. VENGA CONMIGO A BAILAR strainsfrom the Bandoneon. WILLIE is drinking champagneas ANTONIO ENTERS.)

WILLIESeñor Maduro, you have put the reputation of Latin lovers at risk.

ANTONIO(genuinely confused)

Por qué?

WILLIEShouldn't you still be with Celine?

ANTONIOAh! No, she was for Philippe.

WILLIE(beat)

An expensive gift.

ANTONIONot if she is someone he could love...

WILLIEYou don't believe in love.

ANTONIOThis is very true but Philippe - however he does!

(WILLIE laughs and drinks champagne, pours some moreand offers ANTONIO the glass.)

WILLIEChampagne?

ANTONIOThank you.

(ANTONIO takes the bottle, leaving WILLIE the glass. THEY toast and drink.)

ANTONIOFrench champagne - impossible to get in Honduras, I will miss it.

WILLIEWhen are you leaving?

11-26-14 58.

ANTONIOTomorrow. Our ship is ready.

WILLIEThat's too bad...

(HE looks at HER)I mean... about the champagne...

(The tension is palpable. WILLIE takes another sipof champagne.)

WILLIETell me about Honduras. Is it beautiful?

ANTONIOSí. But the regime is corrupt and the people are so poor.

WILLIEAnd the women?

ANTONIOQue?

WILLIEAre the women beautiful, too?

ANTONIOSí. Especially when they dance. In the bordellos the women dance.

WILLIEWhat kind of dance?

ANTONIOIt depends with whom they are dancing.

(sings)THERE IS A SHANTY BORDELLO IN PUERTO CORTEZ, WHERE DESPERATE MEN COME TO PLAY, WITH DESPERATE WOMEN OF DESPERATE MEANS WHO WILL DANCE FOR A DRINK... AND DO MORE IF YOU PAY. BUT EVERY DANCER KEEPS HER FEELINGS AT BAY. SHE KNOWS TO FEEL NOTHING AT ALL. IT'S HARD TO GET UP AND GET BACK IN THE FRAY

AFTER THE HEART TAKES A FALL. SHE SINGS... VENGA CONMIGO A BAILAR COME, DANCE WITH ME. I CAN BE SO GOOD TO YOU. VENGA CONMIGO A BAILAR- WHY NOT GIVE ME A CHANCE? I'LL DO ANY DANCE YOU WANT TO DO.

(MORE)

11-26-14 59.

ANTONIO (CONT'D) BUT ONE DAY AN HOMBRE SHE KNOWS ALL TOO WELL OR PERHAPS, NOT AT ALL, HAPPENS BY. THEN EVEN THE GREENEST OF GRINGOS CAN TELL THERE'S A CHANGE IN THE WAY THAT SHE MOVES, AND THE LOOK IN HER EYE. FOR HE HAS REACHED HER AND BREECHED THE DEFENSES OF THE HARD HEART SHE GUARDS JEALOUSLY. RELEASING THE DREAMS THERE, THAT ONLY MAKE SENSE TO THE CHICA IN LOVE, ANY WOMAN CAN BE. HE SINGS... VENGA CONMIGO A BAILAR COME DANCE WITH ME. IT WOULD BE SO GOOD FOR YOU. VENGA CONMIGO A BAILAR - YOU'VE BEEN WAITING TOO LONG TO REALLY FEEL THE SONG YOU'VE BEEN DANCING TO.

(ANTONIO offers HER, HIS hand)Dance with me.

WILLIEI don't think...

ANTONIODon't think. Dance.

(THEY dance.)

- DANCE SEQUENCE -

ANTONIO WILLIE VENGA CONMIGO A BAILAR IS THIS JUST A DANCE COME, DANCE WITH ME. THAT YOU'RE TEACHING ME? OR, ARE YOU REACHING FOR MORE? IT WILL BE DO THESE MOVEMENTS EXPRESS SO GOOD FOR YOU. WHAT THE TONGUE CAN'T CONFESS THAT THE HEART HUNGERS FOR? VENGA CONMIGO A BAILAR DO WE DANCE JUST FOR PLEASURE YOU'VE BEEN WAITING TOO LONG OR TO TAKE THE MEASURE OF EACH OTHER AS LOVERS DO TO REALLY WHO REALLY

WILLIE AND ANTONIOFEEL THE SONG WE'RE DANCING TO. VENGA CONMIGO A BAILAR -

WILLIECOME DANCE WITH ME.

11-26-14 60.

ANTONIOIT WILL BE SO GOOD FOR YOU.

WILLIE AND ANTONIOVENGA CONMIGO A BAILAR - ANTONIO WILLIE YOU'VE BEEN WAITING TOO LONG I'VE BEEN WAITING SO LONG

WILLIE AND ANTONIO...TO FEEL THE SONG WE'RE DANCING TO. ...TO FEEL THE SONG WE'RE DANCING TO.

(THEY embrace and kiss.)

- FADE OUT -

11-26-14 61.

SCENE 14

CELINE'S ROOM

(A small room with a four poster bed. PHILIPPE sitson the edge of the bed as CELINE ENTERS.)

PHILIPPEAre you nervous?

CELINEA little.

PHILIPPEHow 'bout if I take your photograph?

CELINEOh, yes! I've never had a picture taken!

(PHILIPPE sets up HIS camera. CELINE posesseductively.)

CELINEHow's this?

PHILIPPE(HE nods, dumbstruck)

Tell me your dreams, Celine.

CELINEStockings without holes. Look - silk! Three dollars a pair!

(SHE raises HER dress. PHILIPPE stares - unflinching.)

PHILIPPEWhat else?

CELINEDresses from Paris, like this one! Can you undo these buttons?

(SHE crosses to HIM. HE nervously unbuttons HERdress.)

PHILIPPEWhat kind of man do you dream about?

(The MUSIC WOMEN OF MEANS COMES UP.)

CELINEHe wouldn't hit me, I guess...

(SHE slowly removes HER dress and poses.)

11-26-14 62.

PHILIPPEHit you? No! Of course not! But dreams should be bigger thanthat! Dreams should be grand! Like...

PHILIPPEHE'D BE AMBASSADOR TO SPAIN! HE'D BE TALL...

CELINEHE'D BE RICH?

PHILIPPEYES! AND HANDSOME. THERE'D BE STATUES OF HIM IN MADRID! THEY'D PUT HIS HEAD ON BOTH SIDES OF A GOLDEN MEDALLION...

CELINEAND HE'D GIVE IT TO ME!

PHILIPPETHE VERY FIRST THING HE DID. THEN HE'D BUILD YOU A VILLA! OVERLOOKING THE SEA.

CELINE- A VILLA?

PHILIPPEA MANSION! OF WHITE TRAVERTINE! AND THERE, EV'RY NIGHT FROM AHIGH BALCONY HE'D COMMAND THE MOON RISE! AND WHISPER...

CELINEWhat?

PHILIPPE"CELINE."

CELINEYou're a kidder!

PHILIPPEI'm a dreamer. YOU'D BE A... WOMAN OF MEANS!

CELINEDOES THAT MEAN RICH?

PHILIPPEYES. AND HAPPY. AND FREE.

BOTHA WOMAN OF MEANS!

11-26-14 63.

CELINEWILL MY PICTURE LOOK LIKE THAT?

PHILIPPEJUST LEAVE IT TO ME.

BOTHA WOMAN OF MEANS!

CELINEWITH A VILLA!

PHILIPPETHE SEASIDE!

CELINEJEWELRY!

PHILIPPEA HUSBAND!

CELINE... A NICE ONE!

PHILIPPEA NICE ONE.

CELINEA RICH ONE!

PHILIPPE(resigned)

A RICH ONE.

CELINEIF I COULD BE ANYTHING -

CELINETHAT'S WHAT I'D BE!

PHILIPPETHAT'S WHAT YOU'D BE!

(PHILIPPE sticks HIS head under the hood. A FLASHas HE takes the photograph. BLACKOUT.)

11-26-14 64.

SCENE 15

ALLEY

(Night. JULIA JACKSON crosses through a darkenedalley. KID RICH stealthily follows HER. SHE turns, catching HIM.)

JULIA JACKSONWhat you want? You know not to be comin' around me.

KID RICHI need a potion. The kind for keepin' away ghosts.

JULIA JACKSONAin't no such thing as ghosts. There be spirits. But no ghosts.

KID RICHThen you tell me how come I seen the ghost of my mama in that newhouse!

JULIA JACKSONWhat you doin' in there?

KID RICHThat's my business. Tell me.

JULIA JACKSON(starts away)

I got nothin' to say to you.

KID RICH(blocking HER)

You know somethin', Hoodoo! You better say it now.

JULIA JACKSONThat's not your mama, fool!

KID RICHWho is it then? Tell me.

JULIA JACKSONThat ghost you think you see? That be your sister!

KID RICH(long beat)

You crazy! I ain't got no sister!

JULIA JACKSONThe baby your mama have before she hang.

I ain't got no sister!

(KID RICH EXITS. LIGHTS FADE.)

11-26-14 65.

SCENE 16

WILLIE'S BEDROOM

(MUSIC UNDER as WILLIE in silhouette, rises nakedand slips on a negligee. SHE leans against thebedpost looking at the sleeping ANTONIO.)

WILLIEIS THIS THE WAY IT FEELS TO LOVE? IS THIS WELCOME HURT INSIDE MY HEART THE ONE THEY WARN YOU OF? IS THIS THE WAY IT FEELS TO LOVE? IS THIS WHAT I'VE BEEN WAITING FOR? IS IT TIME AT LAST TO TAKE A STEP TOWARD THAT OPEN DOOR? IS THIS WHAT I'VE BEEN WAITING FOR? SUDDENLY I'M DANCING IN A WAY I'VE NEVER DANCED BEFORE. FOOLISHLY I'M HOPING FOR MORE. SHAMELESSLY I'M SCHEMING, DREAMING THERE WILL COME A DAY EVERY DOUBT AND FEAR WILL SIMPLY DISAPPEAR THE MOMENT WHEN I HEAR YOU SAY... IS THIS THE WAY IT FEELS TO LOVE? IS THIS TENDER TIDE THE ONE MY STUBBORN PRIDE CAN'T RISE ABOVE? IS THIS THE WAY IT FEELS TO LOVE? RECKLESSLY I'M STEERING BY A STRANGE AND UNFAMILIAR STAR. NOT KNOWING WHAT'S BEYOND. DETERMINED TO SAIL ON. WOND'RING, HAVE I GONE TOO FAR? IS THIS THE WAY IT FEELS TO LOVE? COULD THIS SWEET SURRENDER BE WHAT I WAS ONCE SO FRIGHTENED OF? IS THIS THE WAY IT FEELS TO LOVE?

(WILLIE crawls back into bed and strokes HIS hair.)

...THE WAY IT FEELS TO LOVE.

(The SOUND of a GUNSHOT! ANTONIO and WILLIE springup!)

11-26-14 66.

ANTONIODIOS MIO!

(ANTONIO grabs HIS gun and runs out. WILLIE paces. Moments later, ANTONIO ENTERS with BONILLA, bloodruns from HIS arm. HE leads BONILLA to a chair.)

WILLIESeñor Presidente!

ANTONIOThey tried to kill the President!

BONILLAPendejo!

ANTONIOOne is dead. I must see if there are others.

(ANTONIO EXITS.)

WILLIEWe must stop the bleeding.

BONILLAIt is nothing, Querida - a flesh wound.

(WILLIE takes the sash of HER robe and wraps it aroundhis arm. SUDDENLY a POUNDING on WILLIE'S door.)

THE GIRLS (O.S.)Willie, what was that? Was that a gun? What's going on?

(SWEET EMMA LOU sticks HER head in the door.)

SWEET EMMA LOUWillie?

WILLIEIt was nothing! Everything's fine. Tell the girls to go back tobed.

SWEET EMMA LOUIf you say so, Willie...

(SHE does not leave. WILLIE flashes HER a look.)

WILLIENow! GO!

(SWEET EMMA slams the door.)

11-26-14 67.

BONILLAHe had a knife... we struggled. The coward ran like a schoolboy. I followed him into the garden and repaid him in full.

(WILLIE dresses the wound. ANTONIO returns handingBONILLA papers.)

ANTONIOI found no others. The would - be assassin was an agent of theUnited States Secret Service. We must dispose of the body.

BONILLA(stuffs the papers in HIS pocket)

No, we must go, it is nearly daylight.

ANTONIOIf the body is found in the garden -

BONILLAThere is no time. We must go. Now.

(BONILLA EXITS.)

ANTONIOI cannot leave you with this...

WILLIEYou must get the President to safety.

BONILLA (O.S.)Vamanos!

WILLIE(touching HIS face)

You must not be found here. Please.

ANTONIO(ANTONIO pulls WILLIE close.)

I will be back, I swear it to you.

(ANTONIO kisses WILLIE and EXITS. WILLIE turns andsee ANTONIO'S jacket over the back of the chair. SHE takes the jacket, crosses to the door and opensit. It's too late, ANTONIO is gone. WILLIE shutsthe door pulling the jacket close inhaling HIS smell.)

(The music becomes dark as SCARLET II'S dog, MOPPSY,begins wildly BARKING. WILLIE EXITS and as thescene shifts, a LOUD KNOCKING on the door. BARKINGcontinues from the courtyard and the KNOCKING turnsto POUNDING as WILLIE hurries down the stairs andwe are in:)

11-26-14 68.


WILLIE(as SHE flies down the stairs)

Louise!

(Door knocking. MOPPSY barks throughout.)

WILLIEYes, I'm coming!

(to the PROFESSOR)Get the door.

(CALLING)Louise, call your dog!

(WILLIE finds CHIEF MULLIGAN and a POLICEMAN in HERentryway.)

Chief! You're here early.

CHIEF MULLIGANWillie, I...

WILLIEExcuse me... Just a minute...

(SHE turns to the stairway.)LOUISE!

(back to CHIEF MULLIGAN)I'm sorry for all the noise so early in the...

CHIEF MULLIGAN(cutting HER off)

Willie.

POLICEMANYou want me to shut the dog up, Chief?

(The POLICEMAN crosses, WILLIE blocks HIM.)

WILLIENo! She'll call him! LOUISE!

CHIEF MULLIGANI'm sorry to be the bearer of bad news, Willie, but I'm here toevict you.

WILLIEOver a barking dog?

CHIEF MULLIGANNo, it's a new law.

(MORE)

11-26-14 69.

CHIEF MULLIGAN (CONT'D)(reads from document)

Ordinance 4118. In violation of...

(SCARLET II ENTERS running down the stairs.)

SCARLET IISorry, Willie. I'll get him.

WILLIEJust call him!

SCARLET IIMOPPSY!

WILLIEWhat's the ordinance?

SCARLET IIMOPPSY!!

CHIEF MULLIGANOnly madams of Caucasian or white race can operate in this partof the Storyville district.

WILLIESince when?!

(SCARLET II runs, EXITING to the garden.)

CHIEF MULLIGANIt's brand new on the books, Willie.

(O.S. SCARLET II SCREAMS. The POLICEMAN runs to thecourtyard. SCARLET II runs to WILLIE who comfortsHER. CHIEF MULLIGAN crosses as the POLICEMANreturns.)

POLICEMANYou gotta see this Chief! There's a dead guy out there!

(CHIEF MULLIGAN turns to WILLIE.)

- BLACK OUT -

11-26-14 70.

SCENE 17

COURTROOM

(Voodoo drums. A SPECIAL UP on JULIA JACKSON, D.S.C.)

JULIA JACKSONVODOU SPIRIT, COME RIDE JULIA! JULIA SHE BECOME HORSE! GIVE JULIA GRANDE ZOMBIE EYES! SHAKE JULIA! MAKE JULIA FEEL ZOMBIE FORCE! DAMBALLA SAIT TOUTES- DONNEZ MOI LEZ YIEUX! LET JULIA SEE... WHAT MUST BE! WHAT MUST BE!

(LIGHTS UP in the COURTROOM. JUDGE HAMILTON is onthe bench. WILLIE is with HER ATTORNEY. TheALDERMAN acts as PROSECUTING ATTORNEY and addressesthe JURY. The courtroom is filled.)

ALDERMANMiss DuPree confessed saying, "The intruder broke in and threatenedmy girls." Judge, really. An intruder in a whorehouse?

DEFENSE ATTORNEYIt was self - defense!

ALDERMANSelf - defense? He was shot square in the back! And might Iremind you the deceased was an agent of the United States SecretService. One more thing, Judge. I have evidence this murder wasa conspiracy between Willie DuPree and a Mr. Antonio MaduroZaragosa to overthrow the Honduran Government.

JULIA JACKSONWHAT THAT YOU SAY? WHAT YOU SAY, VODOU? FATE GO THE WAY THAT IT GO? NO DIFF'RENT FOR WILLIE DUPREE! WHY YOU COME BACK WILLIE, NOW JULIA SEE! NOW JULIA KNOW!

ALDERMANI call Emma Lou Smith to the stand.

(SWEET EMMA LOU flirts with the ALDERMAN as SHEcrosses to the witness box.)

ALDERMANPlease tell the jury in your own words what you saw, Miss Smith.

SWEET EMMA LOUYou can call me, Sweet Emma Lou.

11-26-14 71.

ALDERMANGo on.

SWEET EMMA LOUWe was talking cultural things... like the weather. Willie comesright up behind him and plugs him in the back!

WILLIE(to HER LAWYER)

She's lying.

(LOUD AD LIB CHATTER from the spectators as WILLIEvehemently shakes HER head talking to HER ATTORNEY.)

JUDGE HAMILTON(pounding the gavel)

Order! Order in the court!

SWEET EMMA LOUShe said her lover made her do it!

ALDERMANI submit, Willie DuPree's mother, Pauline, was hanged for thesame crime of murder.

DEFENSE ATTORNEYI object, your Honor! Irrelevant!

(SPECIAL UP on JULIA JACKSON.)

JULIA JACKSONAIN'T NOTHING WRITTEN IN NO STARS. LIFE COMES FROM THE BELLY BE WRITTEN IN THE BLOOD, THE STARS THEY BE COLD THEY DON'T CARE LIFE BE THE FIRE LIFE BE THE FLOOD.

(LIGHT CHANGE. New day.)

JUDGE HAMILTON(to the JURY)

This is not only a capital crime but a conspiracy to overthrowthe leader of a sovereign nation. You may now retire to considerthe evidence.

JULIA JACKSONTHE FUTURE BE WRITTEN IN THE PAST! THE MARK COME FROM THE MOTHER BE CARRIED BY THE CHILD! THE CIRCLE COME 'ROUND AT LAST! FATE OF THE MOTHER BE FATE OF THE CHILD!

(LIGHT CHANGE, different day.)

11-26-14 72.

JUDGE HAMILTONWillie DuPree, the jury has found you guilty as charged. I herebysentence you to Parish Prison to await execution by hanging.

TOM ANDERSONLike mother, like daughter.

(JUDGE HAMILTON pounds the gavel.)

- FADE OUT -

JULIA JACKSONPAULINE! PAULINE! YOUR BABY WILLIE BE WALKING IN YOUR STEPS! COME SEE! COME SEE!

(WILLIE is led to HER cell in shackles.)

THE SAME JAIL CELL, PAULINE, SAME AS YOU. AND THE SAME ROPE BE WAITING FOR YOUR WILLIE TOO! WHAT MUST BE, PAULINE? WHAT MUST BE?

(The GUARD removes WILLIE'S shackles.)

DAMBALLA SAIT TOUTES- DONNEZ MOI LEZ YIEUX!LET JULIA SEE...WHAT MUST BE!

(WILLIE ENTERS the cell. It CLANGS shut!)

JULIA JACKSONWHAT MUST BE!

- BLACKOUT -

END OF ACT 1

11-26-14 73.

ACT 2

SCENE 1

STORYVILLE STREETS

(The RAZZY, DAZZY, SPASM BAND performs as PASSERS-BYtoss coins in THEIR coffers. Signs plastered onbuildings read: "TOM ANDERSON FOR GOVERNOR.")

RAZZY, DAZZY, SPASM BANDWE'RE THE RAZZY, DAZZY SPASM BOYS! WE CONJURE SUCH A JOYFUL NOISE THAT HOITY-TOITIES LOSE THEIR POISE AND... JUMP DOWN! SPIN AROUND! BEAT THEIR FLAT FEET ON THE GROUND. CAUGHT IN THE SPELL CAST BY THE SOUND OF THE RAZZY DAZZY, SPASM RHYTHM BAND!

-DANCE INTERLUDE-

RAZZY, DAZZY, SPASM BANDHI-DI! HI-DI-HO! WALK THE DOG AND STUB YOUR TOE! WIGGLE YOUR EARS AND WATCH 'EM GROW! SING SWANEE IN A TREMOLO! STRUT YOUR STUFF, PUT ON A SHOW! DANCIN' NOTHIN' FANCY TO THE SLAP, HAP, HAPPY RHYTHM OF THE JAZZY, RAZZY, DAZZY, SPASM BAND!

-DANCE INTERLUDE-

(ENSEMBLE and JIMMY SHREVE join in and dance.)

RAZZY, DAZZY, SPASM BANDHI-DI! HI-DI-HO! WALK THE DOG AND STUB YOUR TOE! WIGGLE YOUR EARS AND WATCH 'EM GROW! SING SWANEE IN A TREMOLO! STRUT YOUR STUFF, PUT ON A SHOW! DANCIN' NOTHIN' FANCY TO THE SLAP, HAP, HAPPY RHYTHM OF THE JAZZY, RAZZY, DAZZY, SPASM BAND! JUMP DOWN! SPIN AROUND BEAT YOUR FLAT FEET ON THE GROUND! CAUGHT IN A SPELL CAST BY THESOUND OF THE RAZZY, DAZZY, OH-SO-SNAZZY, OF THE RAZZY, DAZZY, OH-SO-SNAZZY,RAZZY, DAZZY SPASM RHYTHM BAND!

(The ALDERMAN and TOM ANDERSON ENTER and cross. JULIA JACKSON U.S. crosses carrying a shopping bag.)

11-26-14 74.

TOM ANDERSONWillie DuPree lost her damn appeal! When's she going to hang?

ALDERMANSoon, Tom.

TOM ANDERSONShe'd better! You hear me?

ALDERMANYes, Tom. Uh, Tom - you able to look into that other matter?

TOM ANDERSONWhat other matter? Oh. That. Word on the street is Sweet EmmaLou inherited, gave up the life and went home to Atlanta.

(beat)You have a soft spot for that whore, Gus?

ALDERMANJus' askin'.

- FADE OUT -

11-26-14 75.

SCENE 2

PARISH PRISON

(WILLIE lies on a cot as the DOCTOR packs HIS bag. There is one small window in the cell. As JULIAENTERS:)

DOCTORShe's most likely two months along.

(JULIA stops in HER tracks with the news.)

WILLIE(WILLIE sits up)

Three.

DOCTORAre you sure?

(WILLIE looks at HIM like HE'S an idiot. EmbarrassedHE turns to JULIA who hasn't moved.)

I don't foresee any complications. I assume you'll do thedelivery?

JULIA JACKSONDear, sweet Jesus - jus' like I deliver this child to her mamasome 30 years ago...

DOCTORCall if there's a problem. GUARD!

(The GUARD opens the cell and the DOCTOR EXITS.)

WILLIEHow are the girls, Julia? Julia...

JULIA JACKSONHmmm... What's that child?

WILLIEI asked how the girls are.

JULIA JACKSONEverybody be alright. Miss Icebox crack that whip and thingshummin' along in your house. She say your new lawyer wants a lota money to take up a petition to the Governor.

WILLIE(crosses to the window)

Tell her I'll give him whatever he wants.

11-26-14 76.

JULIA JACKSONI better go tell that Judge a baby is comin'. They don't hangexpectin' women in the state of Louisiana.

WILLIENot yet, anyway.

JULIA JACKSONThat'd be Louisiana law!

WILLIELouisiana law put me here.

JULIA JACKSONThat baby's papa have somethin' to do with that, too! A man,ain't it always the same...

WILLIEHe wasn't just, "aman," Julia.

JULIA JACKSON(not hearing WILLIE)

We get lonely, let ourdefense down and...

WILLIEI was never lonely.

JULIA JACKSONWhat's that child?

WILLIEI fell in love...

JULIA JACKSONSometimes we better off not doin' that. Most times we end upregrettin' it, one way or 'nother.

(JULIA EXITS. MUSIC UP for BEST THING.)

WILLIEWOULD I BE BETTER OFF IF I HAD NEVER MET YOU? NEVER KNOWN HOW SWEET THE TIME ALONE WITH YOU COULD BE? WOULD I WANT TO GO ON LIVING NOW WITHOUT YOU? DOES THE LIFE I LED MATTER NOW TO ME? WHAT HAVE I MISSED SINCE THE FIRST TIME I KISSED YOU? ONLY A FOOL WOULD NEED TO KNOW. FOR, IF MY FEET COULD POINT DOWN SOME OTHER STREET NOW, MY HEART WOULD NEVER GO. NO. I DON'T REGRET YOU! I WON'T FORGET YOU! FOR I KNOW, AT THE END OF THE DAY YOU ARE THE BEST THING--BY FAR THE BEST THING TO EVER COME MY WAY!

(FADE on WILLIE. A SPECIAL on ANTONIO in the jungle. Distant gunfire as BONILLA ENTERS with a bottle ofAñejo.)

11-26-14 77.

BONILLA(handing HIM the bottle)

You look like you could use this, mi compadre.

ANTONIO(HE drinks)

My looks are worse than I feel, mi General. (hands the bottle back)

Our ruse was a success!

BONILLADigáme.

ANTONIOThe enemy has fallen back. Gutiérrez believes you are dead!

BONILLABueño.

ANTONIO(laughing)

You died at the hands of his firing squad in Tegucigalpa! Tomorrowin Comayagua - they will watch as you rise from the dead!

BONILLAOur agents have returned from New Orleans with news.

ANTONIOQué pasa?

BONILLA(lifts the bottle to toast)

To Condesa DuPree. The most beautiful of martyrs.

ANTONIOMartyr?

BONILLAShe has been sentenced to hang for the murder of-

ANTONIONo! They cannot! She is innocent! We must save her!

BONILLAWe may not be able to save ourselves.

BONILLAThe next days will determine the outcome of our revolution. Weare at a crossroad. We either cut off the horse's head...

ANTONIOYo sé... Or lose our own.

11-26-14 78.

BONILLA(beat, a hand on ANTONIO'S shoulder)

Sleep. Tomorrow we face our destiny.

(BONILLA EXITS. A SPECIAL UP on WILLIE in HER cell.)

ANTONIOWOULD I BE BETTER OFF IF I COULD JUST FORGET YOU. COULD I FACETOMORROW EASIER IF I HAD LESS TO LOSE? HAS MY DESTINY FORSAKEN ME SINCE I GAVE MY HEART TO YOU? WOULD I SOMEHOW BE FREER NOW, IF I WERE FREE TO CHOOSE? ISN'T IT FAR BETTER TO BE THINKING OF YOU IN MY MOMENTS OF FOOLISH DESPAIR? KNOWING THAT LIVING WITHOUT LOVING YOU, I'D BE THROUGH. I'D NO LONGER CARE! NO, I WON'T FORGET YOU. I DON'T REGRET YOU. FOR I KNOW AT THE END OF THE DAY YOU ARE THE BEST THING! BY FAR, THE BEST THING! -TO EVER COME MY WAY.

WILLIEISN'T IT FAR BETTER TO BE THINKING OF YOU.

WILLIE AND ANTONIOIN MY MOMENTS OF FOOLISH DESPAIR? KNOWING THAT LIVING WITHOUT LOVING YOU, I'D BE THROUGH. I'D NO LONGER CARE!

WILLIENO, I DON'T REGRET YOU.

ANTONIOI WON'T FORGET YOU.

WILLIE AND ANTONIOFOR, I KNOW AT THE END OF THE DAY YOU ARE THE ONE, REAL, WONDERFUL THING -

WILLIETHE BEST THING -

WILLIE AND ANTONIOTO EVER COME MY WAY!

(Distant GUNSHOTS. ANTONIO runs out. LIGHTS FADE. SPECIAL on JIMMY SHREVE.)


963 nautical miles from Honduras, fall fell to winter and dampnessfinally gave birth to spring. Time appeared to halt as battlelines were drawn up against Mr. Tom Anderson.

11-26-14 79.

SCENE 3

CELINE'S ROOM

(CELINE and PHILIPPE are in bed. A POUNDING on thedoor! SUGAR PIE and SCARLET I bust in.)

CELINE(alarmed)

Who died?

SUGAR PIEThe Governor said, "No!"

CELINEOh, no!

SCARLET IThey'll hang her after the baby comes!

CELINEThat's soon!

(PHILIPPE struggles to dress under the covers. ICEBOXLIL ENTERS sporting a BLACK-EYE.)

THE GIRLS(gasps and ad - libs)

What happened? Oh, my God. Who hit you? Are you okay?

ICEBOX LILI went to see Tom Anderson, to get him to ask the Governor tochange his mind.

SCARLET IHe hit you?

ICEBOX LILHe wouldn't even see me! His boys sent me to the Alderman. Itold him Sweet Emma Lou set Willie up! And it was clear to anybodypaying attention that she never went home to Atlanta - being thather body washed up over in Waterproof!

SCARLET IWhat did old Gussie have to say to that?

ICEBOX LIL(points to HER eye)

He called me a lyin' whore!

THE GIRLS(ad - lib all at once.)

Son - of - a - bitch! Bastard! The louse! Pond scum!

11-26-14 80.

(PHILIPPE emerges from the bed, clothed.)

SUGAR PIE(to no one in particular)

What can we do? Willie's due in less than a month!

PHILIPPETom Anderson needs to be hit where it'll hurt the most!

THE GIRLS(all at once)

That'd be his cojones. He doesn't have any! Nuts! Where thesun don't shine! Balls!

PHILIPPEHis wallet! Hit him in his wallet!

CELINEWhat?

PHILIPPEStrike.

SUGAR PIEWhat!?

PHILIPPEListen, who has the power in Storyville?

THE GIRLSThe City Council. The Church. Tom Anderson!

PHILIPPEWell, they all get their wheels greased!

(THE GIRLS laugh)But you hold the power! Tom Anderson thinks he's in chargebecause...

SCARLET I...because he actually is!

PHILIPPECut off Mr. Anderson's...

SUGAR PIEJohnson?

PHILIPPEPower.

ICEBOX LILSame thing.

11-26-14 81.

PHILIPPEBut closing one house will barely dent Anderson's profits, youhave to get all the girls in Storyville to strike.

SUGAR PIEDo you think they would?

THE GIRLS(ALL at once)

They got to! Who's protecting us? Yeah, who? Yeah... WHO?

SCARLET INobody! That's who. We have to take care of ourselves!

ICEBOX LIL(pointing to HER black eye)

...It may not take much convincing.

- FADE OUT -

(LIGHT UP on JIMMY SHREVE)

JIMMY SHREVEThe weather was steamy. The temperature - a rolling boil. Therewas something in the air that had nothing to do with the heatradiating full bore from the banquettes.

11-26-14 82.

SCENE 4

STORYVILLE STREETS

(TOM ANDERSON and the ALDERMAN cross; the streetbustles with activity.)

ALDERMANThey're talkin' about Willie bein' set up!

TOM ANDERSONWho cares. There's only three things whores need to do. Paytheir tax, spread their legs and mind their own damn business!

ALDERMANThat damn cripple got 'em all riled up!

TOM ANDERSONSo what? They're whores! What can they do?

(TOM and the ALDERMAN EXIT. SISTER AGNES finds FATHERBELVEDERE in front of the CATHEDRAL.)

SISTER AGNES(singing)

THEY'VE TAKEN OVER THE CHURCH, FATHER!

FATHER BELVEDEREWHO?

SISTER AGNESPROSTITUTES! HERE IN THE CHURCH!

FATHER BELVEDEREWHAT?

SISTER AGNESWHORES!

FATHER BELVEDERESISTER!

SISTER AGNESIN THE CHURCH!

FATHER BELVEDEREI HEARD YOU!

SISTER AGNESWELL?

FATHER BELVEDEREWELL, WHAT?

11-26-14 83.

SISTER AGNESWHAT'LL WE DO?

(The ENSEMBLE converges at the church.)

FATHER BELVEDEREPERHAPS ALL OUR PRAYERS HAVE BEEN ANSWERED.

SISTER AGNESWHAT?

FATHER BELVEDEREPERHAPS WE'RE AT LAST GETTING THROUGH!

SISTER AGNESNO! THEY DIDN'T COME TO BE SAVED, FATHER!

STREET HUCKSTERTHEY CAME TO SAVE WILLIE DUPREE.

FATHER BELVEDEREHOW?

SALESMANBY OCCUPYIN' THE CHURCH. AND THEY AIN'T GONNA WORK OR TO BUDGE, THEY SAY, 'LESS THE COUNTESS GOES FREE!

FATHER BELVEDEREWHAT?

SISTER AGNESWHAT?

JUDGE HAMILTONWHAT?

SISTER AGNESTHEY FIGURE SHE GOT A RAW DEAL, JUDGE.

SALESMANCAN'T YOU GET HER ANOTHER APPEAL, JUDGE?

STREET HUCKSTERYOU COULD FREE HER IF YOU WANTED TO!

JUDGE HAMILTONI'M AFRAID THAT'S NOT UP TO ME.

SALESMANTHEN WHO?

JUDGE HAMILTONWELL...

11-26-14 84.

SALESMANWELL, WHAT?

ALLWHAT'LL WE DO?

(The Cathedral doors fly open to reveal THE GIRLS.)

THE GIRLSRELEASE WILLIE DUPREE! SHE DIDN'T DO ANYTHING WRONG!

ICEBOX LILSHE SHOT AN INTRUDER IN SELF-DEFENSE!

SUGAR PIESINCE WHEN IS THAT A HANGING OFFENSE!

SCARLET I AND CELINEIF WE CAN'T PROTECT OURSELVES, WHO WILL PROTECT US?

THE GIRLSWE'VE BEEN QUIET TOO LONG RELEASE WILLIE DUPREE! NINE MONTHS! WE'VE BEEN WAITING FOR JUSTICE!

FATHER BELVEDERE(to crowd)

SOMEBODY GET THE POLICE.

THE GIRLSNINE MONTHS!

SUGAR PIETHEY'VE ONLY IGNORED US!

STREET HUCKSTERWHAT'LL I SAY?

JUDGE HAMILTONTHEY'RE DISTURBING THE PEACE.

ICEBOX LILWE'RE NOT GOING TO WAIT ANY LONGER!

SUGAR PIEWE WON'T BE SHUT UP OR PUT DOWN!

CELINEIT'S TIME TO SHOW WHO'S GOT THE POWER!

11-26-14 85.

THE GIRLSWHO GREASES THE GEARS IN THIS TOWN! RELEASE WILLIE DUPREE!

(THE GIRLS retreat inside the church. CHIEF MULLIGANand the POLICEMAN join the fray.)

CHIEF MULLIGANWHAT'S GOIN' ON IN THE CHURCH, FATHER?

FATHER BELVEDEREWELL...

SISTER AGNESPROSTITUTES! GOING BERSERK!

CHIEF MULLIGANWHAT?

POLICEMANCHRIST!

CHIEF MULLIGANCASEY!

POLICEMANTHEY WON'T WORK!

CHIEF MULLIGANSO I HEARD.

JUDGE HAMILTONWELL?

CHIEF MULLIGANWELL, WHAT?

ALLWHAT'LL WE DO?

CHIEF MULLIGANNO LAW AGAINST GOIN' TO CHURCH, FOLKS.

FATHER BELVEDEREBUT...

SISTER AGNESNOBODY ELSE CAN GET IN!

POLICEMANAN' UNLESS THEY LET WILLIE DUPREE OUT...

CHIEF MULLIGANWHAT?

11-26-14 86.

POLICEMANTHEY SWEAR THAT THEY'LL STAY IN THERE.

SISTER AGNESHOW CAN WE PRAY IN THERE?

STREET HUCKSTERWHAT ABOUT COMMERCE?

SALESMANWORSE! WHAT ABOUT SIN?

ALLHOW COULD THIS HAPPEN? WHAT'LL WE DO? WHAT'S TO BECOME OF US ALL? WHAT IS THE DISTRICT COMING TO?

SISTER AGNESFALLEN WOMEN IN CHURCH!

SALESMANGENTLEMEN LEFT IN THE LURCH!

STREET HUCKSTERIT'S RUINOUS!

SISTER AGNESBLASPHEMY!

FATHER BELVEDERECHAOS!

JUDGE HAMILTONIT'S GALL!

SALESMANIF THE GIRLS DON'T MAKE MONEY I CAN'T SELL 'EM STOCKINGS AND I GOT A WIFE AND THREE KIDS!

STREET HUCKSTERWHO BUYS A BLUE BOOK IF THE HOUSES ARE LOCKED? I'LL BE HITTIN' THE FINANCIAL SKIDS!

JUDGE HAMILTONLORD, I HAVEN'T MADE LOVE TO MY WIFE IN YEARS. I DOUBT THAT THE OLD GIRL COULD TAKE IT.

UPTOWN WIFEMY HUSBAND'S A BEAR! WHAT'LL I...?

11-26-14 87.

CORA...DEAR. WE'LL JUST HAVE TO DO WHAT THE TROLLOPS DO.

UPTOWN WIFE...YOU MEAN, CHARGE HIM?

CORANO, DEAR. I MEAN FAKE IT.

CORA AND UPTOWN WIFERELEASE WILLIE DUPREE!

(LIGHT CHANGE, new day. TOM ANDERSON and the ALDERMANENTER and cross.)

ALDERMANWE HAVE A PAYROLL TO MEET, TOM.

TOM ANDERSONYEAH.

ALDERMANCITY OFFICIALS TO GREASE.

TOM ANDERSONYEAH.

(BULLYBOY #1 runs in.)

JUDGE HAMILTONTOM!

TOM ANDERSONNOW, WHAT?

JUDGE HAMILTONTHEY ALL QUIT!

TOM ANDERSONYOU DON'T SAY.

JUDGE HAMILTONSO?

TOM ANDERSONSO, WHAT?

TOM, JUDGE, ALDERMANWHAT'LL WE DO?

TOM ANDERSONTHEY'LL GO BACK TO WORK IF WE HANG HER.

11-26-14 88.

JUDGE HAMILTONWE CAN'T YET. THE LAW IS THE LAW.

ALDERMANSINCE WHEN DID THAT EVER STOP YOU, JUDGE!

JUDGE HAMILTONDON'T BE IMPERTINENT, SIR!

FATHER BELVEDERETHE UNBORN, INNOCENT CHILD THAT SHE CARRIES, MUST NOT BE DEFILED. TELL ME, GENTLEMEN, WHEN IS SHE DUE?

STREET HUCKSTERWHEN?

SALESMANWHEN?

ALLWHEN?

ALDERMANSOON! IN A WEEK OR SO IF WE'RE LUCKY.

CHIEF MULLIGANWE'LL HANG HER AS SOON AS SHE'S THROUGH.

TOM ANDERSONAND THIS LITTLE SHOW'LL BE OVER.

(TOM ANDERSON EXITS.)

SALESMANWAIT! HOW CAN YOU BE SO SURE?

SISTER AGNESHOW CAN WE COUNT ON HER!

CORASHE COULD BE LATE, Y'KNOW. MAYBE A WEEK. MAYBE TWO.

UPTOWN WIFEEVEN MORE!

SALESMANIN THAT CASE...!

11-26-14 89.

ALL...WHAT'LL WE DO!

THE GIRLSRELEASE WILLIE DUPREE! SHE DIDN'T COMMIT ANY CRIME!

CELINEWHEN WILLIE WOULDN'T KOWTOW TO HIM, ANDERSON FIGURED OUT HOW TO EMPLOY ALL HIS CRONIES,

SCARLET IAND LACKEYS!

SCARLET I AND CORAAND SHILLS!

ALLTO CONVICT HER!

THE GIRLSIT'S ABOUT JUSTICE!

(overlap)IT'S ABOUT TIME! RELEASE WILLIE DUPREE!

(LIGHT CHANGE, a week later. TOM ANDERSON ENTERS.)

TOM ANDERSONALRIGHT! I'VE RUN OUT OF PATIENCE! CHIEF, YOU KNOW WHAT TO DO.

SEVERAL MENALRIGHT!

FATHER BELVEDEREWE MUSN'T HAVE VIOLENCE.

CHIEF MULLIGANCAN'T DO IT, TOM.

TOM ANDERSONI'M ORDERING YOU!

CHIEF MULLIGANEVERY ONE OF MY COPS IS A CATH'LIC. THE CHURCH IS THE SANCTUM DEI. AS LONG AS NO LAWS HAVE BEEN BROKEN, I CAN TELL 'EM, BUT THEY WON'T OBEY.

THE GIRLSRELEASE WILLIE DUPREE!

11-26-14 90.

ALLHOW COULD THIS HAPPEN? WHAT'LL WE DO? COULDN'T THEY JUST LET HER GO?

CORA, UPTOWN WIFE & GIRLSSHE'S SUFFERED ENOUGH AFTER ALL SHE'S BEEN THROUGH!

SALESMANHELL, SHE'S PROBABLY INNOCENT.

POLICEMANWHY CAN'T THE GOVERNMENT GIVE HER A PARDON OR SOMETHING? THAT'S WHAT I'D LIKE TO KNOW.

SALESMANME TOO!

STREET HUCKSTERME TOO!

CORA, UPTOWN WIFE & GIRLSCOULDN'T THEY DO THAT?

ALLCOULDN'T THEY THAT?

TOM ANDERSONNO!

ALLWHAT'LL WE DO?

MALE VOODOONO ONE TO BUY JUJUS! OR POTIONS. OR GRIS-GRIS!

RAZZY DAZZY BOYNO ONE TO SPEND MONEY ON MUSIC...

ALL MENOR BOOZE!

FATHER BELVEDERENO MASSES.

SISTER AGNESNO PSALMS.

SALESMAN, VOODOO MAM, HUCKSTERNO SALES.

FATHER BELVEDERENO ALMS!

11-26-14 91.

JUDGE HAMILTONNOWHERE TO GO FOR SWEET UNDERSTANDING.

SALESMAN, HUCKSTER, POLICEMAN, CHIEFMULLIGAN

A MAN NEEDS RELEASE!

JUDGE HAMILTONHE NEEDS UNDERSTANDING.

CORA AND UPTOWN WIFEA WIFE NEEDS SOME PEACE.

STREET HUCKSTERA BUSINESS NEEDS BUSINESS!

ALDERMANTHE DISTRICT NEEDS WORKING GIRLS WHO WON'T REFUSE TO SOAK THE SUCKERS FOR REVENUE!

THE GIRLSRELEASE WILLIE DUPREE! RELEASE WILLIE DUPREE!

ALLWHAT'LL WE DO?

THE GIRLSRELEASE WILLIE DUPREE! RELEASE WILLIE DUPREE!

ALLWHAT'LL WE DO?

JUDGE HAMILTON(to TOM)

PERHAPS I COULD OPEN THE CASE FOR REVIEW?

ALLWHAT? WHAT? WHAT? WHAT?

TOM ANDERSON...Not on your tintype.

ALL...W H A T ' L L W E D O ?

(As LIGHTS FADE the ALDERMAN spies FATHER BELVEDERE. A BULLYBOY accompanies the ALDERMAN.)

ALDERMANFather!

(beat - crossing)Father, God-fearing Christians can't get in the church. How youplannin' to get rid of those whores 'fore Palm Sunday?

FATHER BELVEDEREThe church is a sanctuary for all who seek refuge.

11-26-14 92.

ALDERMANWe have it on good authority that your brother is involved.

FATHER BELVEDEREWhat would Philippe have to do with this?

ALDERMANYour brother's been seen going in and out of the Sportin' Palacessince they been closed. As the church's largest benefactor, Mr.Anderson asks - respectfully of course, that you clear the church. He doesn't care how you do it. Just fix it. Now! It'sbankrupting us all.

(beat)You understand me, Father?

11-26-14 93.

SCENE 5

THE ANDERSON ANNEX

(TOM drinks in the darkened Saloon. An open bottleof Raleigh Rye next to HIM. The ALDERMAN ENTERS.)

TOM ANDERSONHow did it go?

ALDERMAN'Bout how you'd expect, threatenin' a priest... Surely I'm goin'to hell.

(JULIA JACKSON ENTERS with a BULLYBOY who quicklyturns and EXITS.)

TOM ANDERSON(to ALDERMAN)

Take a hike, Gus.

(The ALDERMAN EXITS.)

Miss Jackson! Voodoo Queen and midwife to a certain difficultywe both share.

JULIA JACKSONThere be gatherin' storms, Mr. Anderson! Spirit cannot rest. The spirit of your brother Franklin and Miss Pauline both wailin'and sufferin' torments! Damballa say - "Judgment's comin'." Damballa - he's in a terrible state!

TOM ANDERSON(TOM downs the drink)

Everyone in Storyville is in a terrible state! Another week ofthose whores holding out and we'll all be ruined! Old Damballa'sin a state because he wants you to do something about it!

JULIA JACKSONJulia can't change nothin'. What will be, will be.

(TOM pours two drinks.)

TOM ANDERSONAh, that's where you're wrong. Care for a drink? No?

(beat - HE drinks)Willie DuPree will have her baby when? In a week or two?

JULIA JACKSON'Bout that.

11-26-14 94.

TOM ANDERSONThen she'll hang, nothing can change that. Wouldn't it be betterif she had the baby sooner? Then we could all get back tobusiness.

JULIA JACKSONBabies come when they's ready, Mr. Anderson.

TOM ANDERSONYou could move it along. You could whip up one of your specialVoodoo recipes to induce labor!

JULIA JACKSONI could never -

TOM ANDERSONDon't tell me you don't have one - you're the Voodoo Queen!

JULIA JACKSONOh, no! No, sir. I would never do that!

TOM ANDERSON(enraged)

She's dead anyway! (double - beat - suddenly calm)

You'll save her undue agony. Do this and I promise you the babywill be cared for, just like she was.

JULIA JACKSONShe - who? Willie?

TOM ANDERSONWho the hell do you think paid Old Man DuPree to take her andsend her to France?

JULIA JACKSONYou done that?

TOM ANDERSONDamn right I did. Why should an innocent baby suffer just 'causeher mother's a murderer? S'not my fault she came back here andfollowed in her mother's footsteps, is it? We just have to dowhat we believe is right, don't we, Julia? You ready to do what'sright, Julia?

(JULIA slowly backs up toward the door.)

JULIA JACKSONYou crazy drunk, Mr. Anderson.

(TOM steps behind JULIA, blocking the door.)

11-26-14 95.

TOM ANDERSONI may be a little drunk, Julia, I'll give you that. But I'm notcrazy. By tomorrow night those whores are coming out of thatchurch one way or the other. Now -

JULIA JACKSONDamballa hissin' in my ear! His ol' snake fangs spittin' poison!

TOM ANDERSONYou think it over, Hoodoo and you think fast.

JULIA JACKSONSweet Jesus!

(JULIA crosses HERSELF)Your poor, dead brother, Frank - rollin' in his grave hearin' youthreaten ol' Julia!

(TOM stops. HIS cold eyes go dead.)

TOM ANDERSONDon't make me hurt those girls.

(Shocked, JULIA runs around TOM and scurries out. TOM locks the door and crosses to the bar and poursanother drink and starts talking to the painting ofHIS dead brother.)

Is that true, Frank?

(beat)Frank, dear old brother, Frank. You rollin' in your grave? Areyou, Frank?

(beat - drinking)You should have paid attention to me thirty years ago! Maybe youwouldn't be in your grave!

(beat)But you didn't, did you?

(sings)YOU NEVER GAVE ME MY DUE, FRANK. YOU NEVER ONCE GAVE ME MY DUE! BUT THEN, I GUESS I SHOWED YOU, FRANK. Didn't I? I SURE AS HADES SHOWED YOU!

(TOM holds up HIS glass to the portrait of FRANK,takes a drink.)

TOM ANDERSONFrank, it could've been perfect, you and me.

(HE puts the glass on the bar and mimics a boxerwith a one - two jab.)

11-26-14 96.

TOM ANDERSON We could have been such a... one - two punch. But... I NEVER GOT NOTICE FROM YOU, FRANK. NO MATTER HOW HARD I'D TRY TO. IT WAS ALWAYS ALL ABOUT YOU, FRANK. YOU NEVER GAVE ME MY DUE. YOU TOLD ME TO GET OUT! YOU TOLD ME TO GO HOME AND STAY THERE AND TAKE CARE OF MA. Yeah, WHILE YOU LIVE THE HIGH LIFE, I'M S'POSED TO SPEND MY LIFE WRESTLIN' THE WEEDS AND BOLL WEEVILS AND WEATHER THAT SUCKED THE LIFE OUT OF OUR PATHETIC PA. WELL, I HAD AMBITIONS TOO, FRANK. THERE WAS NOTHING I WOULDN'T DO TO BUILD SOMETHING TOGETHER WITH YOU, FRANK BUT, YOU! YOU! YOU! NEVER GAVE ME MY DUE! DAMN YOU! YOU NEVER GAVE ME MY DUE. BUT PAULINE RICH, THAT UPPITY BITCH AND HER LITTLE, BLACK, BASTARD KID HAD YOU JUMPIN' THROUGH HOOPS, DIDN'T SHE, FRANK? THEN YOU KNOCKED HER UP, TOO. AND DON'T YOU SEE, FRANK, FROM THEN ON I KNEW! OH YEAH, I KNEW! NO MATTER WHAT I SAID OR DID, IT WOULDN'T DO ANY GOOD, WOULD IT, FRANK? ONCE SHE HAD YOUR BABY! NO MATTER WHAT I SAID OR DID. YOU'D NEVER LISTEN TO ME, FRANK. IT'D BE ONLY PAULINE AND YOU. SO, I HAD TO DO SOMETHING! YOU SEE FRANK? YOU WOULDN'T GIVE ME MY DUE. WHEN I DRUGGED THAT DECANTER YOU TOOK TO YOUR ROOM, I WASN'T SURE HOW I'D FOLLOW THROUGH. I WAS SHAKING AND SWEATING AS I CRACKED YOUR DOOR OPEN AND SAW YOU AND HER THERE, OUT COLD--BOTH OF YOU. SO, I STEELED MYSELF THEN, AND I CREPT ON IN TO DO TO YOU, FRANK, WHAT CAIN HAD TO DO. YOU OPENED YOUR EYES JUST AS I SLIPPED IN THE BLADE AND I WRAPPED THE WHORE'S HAND 'ROUND THE KNIFE. I COULD HANDLE THE BLOOD AND THE GURGLIN' YOU MADE, BUT THAT LOOK OF SURPRISE AND CONTEMPT IN YOUR EYES IS A PICTURE I'LL CARRY THE REST OF MY LIFE. YOU ALWAYS SAID I WAS NOT TOUGH ENOUGH, FRANK. DIDN'T HAVE AS MUCH MOXIE AS YOU. WELL, I GUESS I HAD MORE OF THAT STUFF, FRANK. A HELL OF A LOT MORE THAN YOU KNEW!

(MORE)

11-26-14 97.

TOM ANDERSON (CONT'D) I WAS MAN ENOUGH, WASN'T I FRANK? MAN ENOUGH TO GET RID OF YOU. AND SMART ENOUGH TOO, TO HANG IT ALL ON YOUR WHORE. AND YOU WANT TO KNOW WHY? Huh, Frank? SHALL I TELL YOU WHAT FOR?

(shouts)'CAUSE I LOVED YOU! YOU BASTARD! ...AND YOU NEVER GAVE ME MY DUE.

(TOM passes out on the floor. KID RICH ENTERS UPSTAGERIGHT. HE has an envelope with the receipts fromthe Negro tenderloin. HE has heard everything. KID crosses to the unconscious TOM, standing overHIM. A beat and KID drops the envelope on TOM andcrosses to the door. HE unlocks it, looks backonce, and EXITS.)

- BLACKOUT -

11-26-14 98.

SCENE 6

PHILIPPE'S STUDIO

(FATHER BELVEDERE bursts in.)

FATHER BELVEDEREPhilippe - you must get them to release the church! Palm Sundayis nearly upon us!

PHILIPPEMy concern is for Willie DuPree not your religious hokum.

FATHER BELVEDEREYour Willie DuPree is a...

PHILIPPEGlass houses, Brother. So was your Mary Magdalene.

FATHER BELVEDERETom Anderson is looking for blood! He wants yours, Philippe!

PHILIPPEAre you surprised? Tom Anderson owns a piece of everything inthis town, even you. You get your taste every time a girl spreadsher -

FATHER BELVEDEREStop spewing filth! Those are donations are for the orphanage!

PHILIPPEIf Anderson has his way, Willie's baby will be in that orphanage!

FATHER BELVEDEREPlease! I beg you Philippe... You know how to talk to these...

(Music for LADIES OF THE NIGHT comes up.)

PHILIPPEThese what?

FATHER BELVEDEREThese... ladies of the night!

PHILIPPE(sarcastic)

...ladies of the night...(sings)

LADIES OF THE NIGHT ARE STILL LADIES AFTER ALL, BROTHER. THEY'RE STILL YOUR GOD'S CHILDREN NO MATTER HOW FAR THEY'VE FALLEN. THEY DREAM. THEY CAN BE HURT. THEY NEED LOVE AS MUCH AS WE DO.

(MORE)

11-26-14 99.

PHILIPPE (CONT'D)IT'S NOT "WHAT" THEY ARE, BROTHER IT'S "WHO." IF IT'S TRUE THAT GOD SEES EVERY SPARROW THAT FALLS, - THAT WE ALL HAVE A PLACE IN HIS SCHEME. THEN, WHO ARE YOU TODECIDE WHAT'S TO BECOME OF US ALL? YOU'RE A PRIEST! GO ON, PRAY! LET ME DREAM.

(spoken)You have your incense, I have my opium pipe... You follow thespirit, I go where life moves me... You listen to the Angels sing,I hear the beat of the Storyville street. You lift your eyes tofind the glory of heaven. My camera records the glory of theflesh. FOR LIFE ISN'T PURE! IT JUST ENDS WHEN IT'S OVER. THAT'S ALL WE CAN EVER BE SURE OF. I WOULDN'T TRADE MY ART FOR WHAT YOU CALL YOUR VIRTUE, AND IF I HAD ALL THE GOLD IN THE VATICAN, I'D GLADLY SPEND IT ON ONE NIGHT OF LOVE! WITH A LADY OF THE NIGHT IN HER PERFUMED BOUDOIR. HER FLESH GLEAMING IN LAMPLIGHT! AND I WOULD NEVER BE SORRY THAT MY LAST LONELY HOURS ON THIS MISERABLE PLANE, WERE SUFFUSED WITH A PLEASURE THAT DIFFUSED ALL THE PAIN. IN THE ARMS OF AN ANGEL OF MERCY AND LIGHT WHO WHISPERS, "THERE, THERE, HON. IT'LL ALL BE ALRIGHT." FOR WHILE ALL OF YOUR PIOUS PRAYERS WILL NEVER SAVE ME, THOSE FEW QUIET WORDS... JUST MIGHT. Brother... I thank God for ladies of the night!

(MUSIC fades. KNOCK on the door. PHILIPPE opensthe door to find a RAZZY DAZZY BOY.)

RAZZY DAZZY BOYMr. Philippe, Miss Julia Jackson askin' for you.

PHILIPPETell her I'll be right there.

(The RAZZY BOY EXITS as PHILIPPE gets his coat.)

Tell me brother, who do you serve? God? Or mammon. Perhaps youand your God will find a way to save an innocent woman.

FATHER BELVEDEREI will pray for her.

(PHILIPPE EXITS. FATHER BELVEDERE looks through thephoto plates as they are projected.)

11-26-14 100.

FATHER BELVEDERE(reads from the plate)

...Celine... (HE blesses HIMSELF)

Why, Philippe... WHAT DEMONS DWELL IN YOUR POOR, TORTURED HEAD? CAN SALVATION BE FOUND IN THE EYES,... IN THE BED OF... LADIES OF THE NIGHT? ARE THEY STILL LADIES AFTER ALL? ARE THEY STILL OUR GOD'S CHILDREN NO MATTER HOW FAR THEY'VE FALLEN? DO THEY DREAM? CAN THEY BE HURT? ARE THEY DESERVING OF HIS GRACE, TOO? I CAN SEE WHAT THEY ARE BROTHER, BUT...

(The next plate shows a halosurrounding CELINE'S head)

NO!

(HE scratches out the plate and falls to HIS knees.)

Forgive me, Father... IF IT'S TRUE THAT YOU SEE EVERY SPARROW THAT FALLS, THAT WE'RE PART OF YOUR PERFECT DESIGN. HELP YOUR POOR SERVANT, LORD, SHOW YOUR SWEET MERCY TO ALL. FILL MY HEART WITH YOUR LOVE. LET IT SHINE!

(FATHER BELVEDERE slowly rises and crosses to thedoor. HE opens the door to find ANTONIO.)

ANTONIOI am here to see Philippe.

(ANTONIO collapses. FATHER BELVEDERE catches HIM.)

- BLACK OUT -

11-26-14 101.

SCENE 7

PARISH PRISON

(WILLIE is nine months pregnant. SHE sits at smalltable writing, one hand on HER belly.)

WILLIE(the baby kicks HER)

Oh! Please - please don't kick your mama.(SHE continues writing)

I wish you could know your father. His name was Antonio MaduroZaragosa. He was a botanist who became a revolutionary, tryingto right the wrongs in his country. He was brave and kind. Wefell in love...

(the baby kicks again, SHE strokesHER belly with both hands)

Oh! And -(addressing HER belly)

- made a very strong and healthy baby. Who...(SHE rises, still caressing andcalming the baby in HER belly)

...who will be beautiful and have a wondrous life! I can justsee you, little one. I see you running and laughing and playingand going to school! I see you. Safe and loved and... eventhough your mama won't...

(SHE sits on the cell's cot, quiteovercome, then looking up)

MAMA! I forgive you! (softly)

For leaving me... I never understood -(softly)

It isn't dying, that I fear, Mama. It's leaving my baby here, NEVER TO HEAR ME SAY...

(to the baby)THIS... IS THE WAY IT FEELS TO LOVE. THIS IS ALL I'D EVER HOPED FOR AND NEVER DARED DREAM OF. THIS IS THE WAY IT FEELS TO LOVE...

(A moment, then JULIA JACKSON is let into the cellby a GUARD. SHE carries a large bag. SHE takesout candles, incense, a stoppered bottle and cup.)

JULIA JACKSONWhat's that you're saying, child?

WILLIE(rises and moves to the window)

Nothing, Julia.

11-26-14 102.

(JULIA chants as SHE places a piece of fabric on top of an orange crate making an altar. SHE arrangesthe candles, etc.)

JULIA JACKSONPapa Legba! Ouvri barrie pou onus passer. Oh, Legba!

WILLIEI wonder if Antonio is alive.

JULIA JACKSONDamballa Wedo. m'a p'ba ou Bon Die. Damballa Wedo...

WILLIEWho will care for my baby, Julia?

(JULIA pours the contents of the bottle in the cupand takes it to WILLIE.)

JULIA JACKSONYour baby be just fine, I promise you that. Drink this child.

WILLIEWhat is it?

JULIA JACKSONGood for the baby.

(lights the candles and incense)And don't you be giving up hope, now, neither. Damballa say...

WILLIEPlease, Julia, no more of your...

JULIA JACKSONHear me, child...

WILLIEWhat Julia? Hear what? More chanting? More voodoo? More false hope?

JULIA JACKSONYour fate don't begin and end with you, Willie DuPree.

WILLIE(gives JULIA the cup and turns away)

My fate is the gallows.

JULIA JACKSONThat be your mama's fate. Your fate not be written yet.

(beat)You born in this here cell and Spirit return you to this cell.

WILLIEThere are no spirits.

11-26-14 103.

JULIA JACKSONThere be spirits, child.

(begins to wave the lighted incensearound the cell)

After your mama hang, she be laid face down in her coffin with afresh egg in each hand and nine red candles. The candles burnall night long and by morning time, your mama's body - bedisappeared. Damballa say...

WILLIEEnough! No more, Julia!

(grabs the incense stick and throwsit at the makeshift altar)

No more incense! No more voodoo!(sings as SHE grabs a candle)

DON'T BRING ME FALSE HOPE! (throws the candle on the floor)

I DON'T WANT YOUR FALSE HOPE! DID IT HELP MY MOTHER? YOUR VOODOO? YOUR FAITH? SHE BELIEVED IN YOU! WHERE DID IT GET HER? IMPOVERISHED, IMPRISONED AND HANGED!

(JULIA, picks up the incense and rearranges the altar. Between the candles and incense SHE places an eggon a mound of flour.)

NOTHING COULD SAVE HER. NOTHING CAN SAVE ME! NOT YOUR VOODOO! NOT YOUR HOLY CATHOLIC CHURCH! DON'T BRING ME CHICKEN CLAWS, STRAW MEN AND CROSSES! DON'T BRING ME FALSE HOPE! ...IT WON'T SET ME FREE! I'VE NEVER ALLOWED MYSELF TO BE VICTIMIZED. I WON'T DO IT NOW BY BECOMING A FOOL! I REFUSE TO BELIEVE IN THESE DARK VOODOO GODS OF YOURS. IF I DID I WOULD FIND THEM UNBEARABLY CRUEL. WHY THIS MORBIDINTEREST IN ME? HOW COULD MY BABY BE BORN IN THIS PLACE, NEVER TO KNOW IT'S OWN MOTHER'S FACE, JUST BECAUSE OF SOME VOODOO GOD'S PETTY DECREE THAT WOULD BE BE AWFULLY COLD COMFORT INDEED, JULIA. NONSENSE AND INCENSE ARE THE LAST THINGS I NEED, JULIA!

11-26-14 104.

JULIA JACKSONPapa Legba, Ouvribarrie pou onuspasser... O Legba! Commande, Vie Legba! Commande. Commande-yo.

WILLIEWHAT I NEED IS COURAGE. NOT CAT'S HAIR! NOT PRAYER! WE'RE ALONE IN HERE! THERE ARE NO GODS HERE! THEY'RE FIGMENTS. JUSTWISHES AND WORDS!

JULIA JACKSONDamballa Wedo m'a p'ba ou Bon Die. Damballa Wedo m' pas sotto oh!

WILLIE CHANTING CAN'T CHANGE THIS! DANCING CAN'T CHANGE THIS! I AM DYING! WHILE MY BELLY BOILS WITHLIFE! SO TAKE YOUR PATHETIC JU-JU AND GRIS-GRIS. THEY BRING ONLY FALSE HOPE. AND I DON'T WANT YOUR FALSEHOPE!

(With one gesture, WILLIE sweeps away the altar.)

WILLIE DON'T BRING ME FALSE HOPE! BRING ME... a key!

(WILLIE grabs HER belly and screams)Julia!

(WILLIE collapses, JULIA helps HER to the bed.)

The baby's coming! ARRGGHHHH!

- BLACKOUT -

11-26-14 105.

SCENE 8

STORYVILLE STREETS

(Night. TOM and the ALDERMAN ENTER.)

TOM ANDERSONHave you heard from Julia Jackson?

ALDERMANNo.

TOM ANDERSONGet the boys! We're going in to get those whores out of there,now! And when you find that crip photographer, toss him inPonchartrain!

(FATHER BELVEDERE comes to the door of the church.)

FATHER BELVEDEREStop! This is a house of God! There will be no violence!

(The RAZZY BOYS runs up.)

RAZZY BOY #1She have the baby!

TOM ANDERSONIt's 'bout damn time!

RAZZY BOY #1Willie DuPree have her baby!

RAZZY BOY #2Father! They callin' for you at the prison!

FATHER BELVEDEREYes. Yes, of course. The baptism.

RAZZY DAZZY #2No, Father! She die having her baby! Willie DuPree - she dead!

RAZZY DAZZY #1They callin' for whatever you can do for her soul!

11-26-14 106.

SCENE 9

STORYVILLE STREETS

(The next morning. D.S. a FUNERAL PROCESSION EXITSthe church and crosses toward the cemetery. VOODOOMAN leads the Brass Band and ENSEMBLE. HE isfollowed by JULIA JACKSON, FATHER BELVEDERE, PHILIPPEand THE GIRLS. THE GIRLS sob. TOM ANDERSON, KIDRICH and OTHERS watch as THEY pass.)

VOODOO MAN(sings)

SHINE ON ME JESUS, AND SHOW ME THE WAY SHINE FOR THE SINNER WHO'S WANDERED ASTRAY I'M WALKING IN DARKNESS AND I CANNOT SEE. SHINE ON ME JESUS, AND LIGHT THE PATH THAT LEADS TO GLORY! TAKE ALL MY TROUBLES AND PUSH THEM AWAY. I'M LAYING MY BURDEN DOWN TODAY. I'VE BEEN SO BLIND LORD. DON'T LEAVE ME BEHIND. SHINE ON ME, SHOW ME THE WAY!

JULIA JACKSONWAIT FOR ME, JESUS AND TAKE ME ALONG. I KNOW I'VE STUMBLED, I KNOW I'VE DONE WRONG.

VOODOO MAN, JULIA & ENSEMBLEI KNOW I'VE BEEN WEAK, LORD BUT THOU ART STRONG. WAIT FOR ME, JESUS. HOLD THAT GLORY TRAIN YOU RIDE ON! TAKE ME ON BOARD, LORD AND I'LL RIDE AWAY. INTO THE LIGHT OF THAT ENDLESS DAY! I'VE BEEN SO BLIND, LORD. DON'T LEAVE ME BEHIND. SHINE ON ME, SHOW ME... SHINE ON ME, SHOW ME... SHINE ON ME, SHOW ME THE WAY!

(MUSIC continues as the PROCESSION EXITS.)

- FADE OUT -

11-26-14 107.

SCENE 10

THE ANDERSON ANNEX

(Late that night. TOM is alone as HE locks the doorto the Annex. HE crosses to the bar. KID RICHENTERS through the back, U.S.)

TOM ANDERSONGood to see you, Kid!

(TOM waves KID RICH over)Drink?

KID RICHThat be fine.

(beat)What you celebratin', Mr. Anderson?

(TOM pours two drinks and hands one to KID RICH.)

TOM ANDERSONBusiness as usual, Kid! Whores on their backside! Cheers!

(THEY both take a drink. TOM comesout from behind the bar)

You got something for me?

KID RICHI sure do. I think you'll be real surprised.

(KID RICH hands HIM an envelope. TOM crosses to atable opening the envelope. HE paws through theenvelope finding nothing but blank paper. KID RICHfollows HIM.)

TOM ANDERSONWhere's the money?

KID RICHThere ain't none.

TOM ANDERSONWhere the hell is it?

KID RICHIt went for my dead sister's child.

(Silence. TOM turns toward KIDRICH)

You sorry, Mr. Anderson? That she die 'fore you can put thatnoose 'round her neck?

TOM ANDERSONKid, I...

11-26-14 108.

KID RICHLike you did my mama?

TOM ANDERSONNo, Kid. Your mama killed Frank. You know that.

KID RICHYou use your lily whites to kill your own brother and frame mymama? What kind a man are you?

TOM ANDERSONI was like a father to you!

(KID pulls out knife and advances on TOM.)

KID RICHYou think that could take my mama's place?

(KID moves closer to TOM.)

TOM ANDERSONWait, Kid, easy. What's gotten into you?

(TOM backs closer toward the door.)

KID RICHI want to know - How you like slippin' that blade in?

(beat)Turnin' it nice and slow? You like that, Mr. Anderson?

(TOM breaks for the door. It's locked. KID grabsHIM from behind.)

KID RICHI know I do.

- BLACKOUT -

11-26-14 109.

SCENE 11

CEMETERY

(That night. In the blackness WE HEAR:)

WILLIE (O.S.)Julia?

JULIA JACKSON (O.S.)There now, you real fine. Drink this child, that's right. Drinkit all down. Good. Everything be fine now.

WILLIE (O.S.)Where am I?

JULIA JACKSON (O.S.)You in New Orleans, child! Where else you be? Julia give you alittle somethin' to make you sleep real deep, s'all. Now get upnice and easy... that's it.

(FADE UP as the sun slowly rises on the Spanish Moss. The CEMETERY is misty. A CRYPT is D.S.R. ANTONIOand PHILIPPE in shadow with the SWADDLED BABY. Thecrypt door opens and JULIA emerges crosses to ANTONIOand takes the baby. ANTONIO slowly crosses towardthe crypt as WILLIE emerges. HE stops. WILLIElooks up and sees ANTONIO and crumbles to HER knees. ANTONIO runs to WILLIE embracing HER.)

ANTONIOWillie -

WILLIEI must be dreaming.

ANTONIOYo tambien.

WILLIE(touching HIS face)

Is it really you?

ANTONIOSí, mi amor.

(THEY kiss.)

WILLIE(tearing up)

It's been so long... I thought...

(SHE wraps her arms around HIM. HE winces in pain.)

11-26-14 110.

WILLIEOh! You're hurt!

ANTONIOI was... for too long. But now, I am well.

WILLIEAre you sure?

ANTONIOSí.

(SHE kisses HIM and sighs.)

WILLIEI dreamt...

(ANTONIO helps WILLIE to HER feet.)

ANTONIOTell me your dream?

WILLIEWe were in a rainforest... the air was fresh and sweet... thecolors! You should have seen the colors! You were teaching ourbaby the names of the...

(beat - suddenly stops)JULIA! Julia, my baby!

JULIA JACKSONShhh... hush now or you'll wake her.

(JULIA crosses to WILLIE.)

ANTONIOWe have a daughter.

(JULIA hands WILLIE the BABY.)

WILLIEA girl! She's beautiful!

ANTONIOSí, mi amor. Just like her mother.

JULIA JACKSONAnd her mama 'fore that!

(PHILIPPE cross towards THEM.)

PHILIPPEI'm sorry to impose, but your ship is ready. You must go.

11-26-14 111.

WILLIEGo? I don't understand...

PHILIPPEJulia made everyone think you died.

JULIA JACKSONShhh! She don't want to hear none a that!

WILLIEI want to hear everything, Julia.

JULIA JACKSON(shaking HER head)

Help come from unlikely places! Father Belvedere give youabsolution and he know the truth! You done real good with him,Philippe!

CELINEOh, Philippe! Don't forget about...

PHILIPPE(beaming)

My brother found this in the collection plate.

(HE hands ANTONIO an envelope.)

ANTONIO(reading and opening envelope,pulling out cash.)

"For Baby DuPree."

JULIA JACKSONThen there be Mr. Tom Anderson.

PHILIPPETom Anderson?

JULIA JACKSONHe the reason we all here! He remind Julia, she Queen of theVoodoos!

WILLIEI don't believe it!

ANTONIOMy darling, Willie - belief is an opinion not based in fact.

(WILLIE smiles)We must go.

(The MUSIC for BEST THING COMES UP.)

WILLIESo, you won the revolution?

11-26-14 112.

ANTONIOSí, and you won the war.

ANTONIO(singing)

FOR, I KNOW AT THE END OF THE DAY

WILLIEYOU ARE THE BEST THING

ANTONIOBY FAR THE BEST THING -

WILLIE AND ANTONIOTO EVER COME MY WAY!

(The MUSIC SWELLS UNDER and modulates as EVERYBODYsays goodbye, WILLIE and ANTONIO and the baby EXITUPSTAGE LEFT. SPECIAL UP on JIMMY SHREVE in HISroom above the Annex. JULIA and PHILIPPE wave andcross CENTER. THEY are joined by the rest of theENSEMBLE. All resume their usual activities as theSIGNS and SET PIECES connoting the STORYVILLE STREETSFLY IN.)


Most folks believe that Father Belvedere sent Willie's baby to beraised in a convent...

ENSEMBLERUMORS START FLYING.

JIMMY SHREVE...but there were some who swore that Julia Jackson turned thebaby into a white dove, and that it can be seen sometimes on amoonless night, perched atop the tomb of Willie DuPree.

ENSEMBLEIT'S GRIST FOR THE GOSSIP MILL!

JIMMY SHREVEAs for Kid Rich, he was never seen again.

ENSEMBLEWHENEVER THE LOW LIFE...

JIMMY SHREVERumor has it that he went up to Chicago, where he continued tolead a charmed life until the day he...

ENSEMBLEIS LIVING THE HIGH LIFE.

11-26-14 113.

JIMMY SHREVE...Well... that's another story.

ENSEMBLETHE WAY THEY DO IN STORYVILLE!

(DING of the typewriter. PHILIPPE and CELINE ENTERdressed in traveling clothes and carrying suitcases. PHILIPPE crosses to embrace FATHER BELVEDERE asCELINE calls up to JIMMY.)

CELINEJimmy! We'll miss the train!

JIMMY SHREVEBe right down.

(SPECIAL FADES.)

ALDERMAN(crossing to CELINE)

Where you folks off to?

CELINENew York. Jimmy's getting his book published and they're goingto use Philippe's pictures.

(SHE and PHILIPPE EXIT arm in arm as JIMMY ENTERSthrough the ANNEX door, suitcase in hand.)

ALDERMANSo, you finished your book, Mr. Shreve?

JIMMY SHREVE(in a hurry)

I surely did!

ALDERMAN(smiling)

Hmm... Well - what's this book of yours about anyway?

JIMMY SHREVEUh... it's a mystery - a story of conflict and pathos and grandeurand... a - se...

ALDERMANThe usual.

JIMMY SHREVEYes, sir!

(HE EXITS, running to catch up to CELINE and PHILIPPEas the ENSEMBLE turn front in their places.)

11-26-14 114.

ENSEMBLETEN BLOCKS IN THE HEART OF THE CRESCENT CITY WHERE SINNERS DO WHAT A SINNER WILL! IN THE HEART OF NEW ORLEANS, LOUISIANA, THERE ARE STORIES TOLD OF... ...S T O R Y V I L L E!

FINI

TheCountes

Documents

jimmy shreveright

jimmy shrevejuly

denizens of storyville

jimmy shrevewillie dupree

ensembleten blocks

heart of new orleans

jimmy shrevea mystery

voodoo drums