## SCENE II: (SERENA'S ROOM)

4 chairs, bed with body under sheet, wash stand, 1 candle
lantern

1 electric lamp on mantle.

Large blue saucer with coins and paper money on bed.

### OFF L.

Revolver

Coins

Sea effect

## ACT TWO

### SCENE I:

Same as Act I, also:

Fishing nets and lines, two bobbins, knife C. stage
Jake's sash with lettering

Many other sashes, with lettering

Breakfast food, perishable, on Maria's table

Wash basket off R. for Lily

Bucket of wood in arch

### OFF STAGE:

(In Maria's room)

Kettle

Large picnic basket and red umbrella

(In Porgy's room)

Bess' hat

Small copper pail

Sash for Porgy

Couple of dishes, for rattle

Knife, large.

Honey tray in Peter's room R.

Bil l for Archdale off R.

Divorce document L.

Huge seal L.

Many bundles and baskets R. and L.

Sunshades

Burlap sack in Serena's room

Apples and bowl in Lill Ys room

Band L.

Chimes L.

Boast whistle R.

## SCENE II: (Kittewah)

1 blanket behind 1st drop.

OFF R.

Band

"PORGY"

LIGHT PLOT

BRIDGE:

1000 - Watt - Spots - Numbers - From Left To Right.

Lamps - 1-A - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 -
Color - Straw - S.B. - D.B. - A. - S.B. - D.B. - A. - S.B-DB- A -
10 - 11 - 12
S.B. - D.B. - A.

Focus - General - Lamp - Right - Stage Focus - To left ) Base of
) set back
- " - Left - " " - To right) Head-high
) shoes

400 Watt - Spots number from left to right.

Lamps-1 -2 -3-4 -5 - 6-7 - 8 - 9-10 - 11 - 12
S.B.-D.B.-S.-S.B.-D.B.-A-B.B.-D.B.- A-S.B.-D.B.- A

Focus - Steel - Blue&Amber-Focus-Same as-1000 Watt-Bridge Spots
Dark Blue- All Focus - Across top of set.

X-Ray - Borders ) Ge- X-Ray - Borders ) Gen-
Right ) ner- . Amber Left ) er-
9 - 300 Watt Lamps ) al 9-300 Watt Lamps ) al
Colors; SB-A-W-SB-A-W-SB-A-W SB-A-W-Sb-A.W- S.B.-A.-W.

Foots 3-colors - 3 circuits - 20-60 Watt Lamps to f color.

Colors - 20-White - 20-Blue - 20-Amber

Foots-2-Baby-Spots- Amber-Spot-Center-Blue-Spot Left stage
and angled - to right for Act II. Scene IV.

Front-House Spots - 3 S.B. ) All Angled ( 1
3 Amber)on Fore- ( Auto
3 Pink )Part of ( Effect
&Straw)Stage

1 - Lamp - Post - Lamp For over - Gate - ) 2 Automatic
(2- fans for Act II. Scene IV) ( lightning
Strip Lights - 2-30 light strips- blue for ( effects
Act II. Scene II. ( 7-30 Watt
Strip Lights - 12-2 light strips - for win- ( Portable Dimmers
dows and doors.

Baby spots- 2-on-5' stands 4-en brackets.

Trucks - R & L. Stage - R.S. 5-1000 Watt spotsL. S. 6 - 1000
Watt Spots.

Colors - Truck R. S. 2 - D.A.
3 Straw
L.S.- 4 Straw
2 Dark B.

3.

PROPERTY PLOT

ACT ONE

## SCENE I:

A: - Bridge - 400 Watt Overhead to 7
Front - Pink-Straw-to out )
Front - Amber )
Bridge - 1000 Watt- Spots
Straw & Pink ) To
Amber ) Out )

Right & Left Tormentor Lamps #7-8- To Out)
" " " " " #1-2- to " )
" " " " " #3-5- to 9 )

Foots. Amber - To Out.

Skyl - Overhead Blue to 6
" - Bottom & Sides Red & Amber To Out
Green " " )
Blue " 6 )

) All - dimming
) very gradually
) and all together
) so that marks for
) same are reached by
) time of killing
) of
) Continue with (B)

B: - Then Overhead- Steel Blue - 1000 Watt spot #3-4- to 5
Right & L. Tormentor's Lamps #3-4-5-6 to 5.

## SCENE II:

Overhead - 400Watt Spots. Amber to 6
St. Blue to 6
Dark " " " 3

Foots - Ambert - to 7
Front- Amber - to 6
Steel Blue- to 5

) Back at window
) 1000 Watt - olivette
) Frot and dark blue to
) mark 3. Oil lamp on mantle right on dim

Cue: Take off - front - lamps

Cue - Flicker oil lamp and gradually dim - all 400 watt spots and foots - and at same time gradually bring on baby spot - amber in foots

Cue - 400 Watt spots & foots & oil lamp to out - bringing up amber spots in foots - to 3/4 - at same time

Cue - Curtain - down - spot - in foots - off.

1-2

Lily

(At pump left)

C'lose he nyam fish and he nyam yam. Scipple nigger yent got s
muthin' cep' he belly fuh study 'bout.

Maria

Mekso onna nigger yent hol' onna mout off dat boy! Lef' um
be 'fore I loose my han' an' ongizzard yuh.

(SPORTING LIFE to down L. MINGO
come to his R. JAKE start toward
them)

Scipio

Yeddy Auntie talk succa buckra.

(NELSON to C. MARIA to pump. CLARA
back C.)

Lily

If dey's any ongizzardin' I'll be dere.

(To Crap Shooters)

Huccum onna nigger yent shoot? Enty done fus' daak?

Mingo

Wait for Porgy. Yent yuh onnerstan' he gots plenty of de
buckra money.

Maria

Sho he hab um but onna nigger nebber shum. He gits onna money
succa buckra.

Annie

I nebber hyuh summuch talk 'bout nuttin' as I gits off yuh
niggers.

Maria

Well, yo' ain't no shut-mout' 'oman yo' self.

Mingo

Shut up - shut up.

(The noise dies away so that in-
dividual lines may be heard)

Yo' all in too talky, 'round hyuh. A nigger can't get time
tuh read de bones atter he done t'row um.

(The CHILDREN drift off thru the
gate and sit on wall talking and
playing)

Maria

(Cross to hous e)

Oh, go ahead.

1-3

Jake

(Rolling twice)

Seem like dese bones don't gib me nuttin' but box-cars to-
night. It was de same two weeks ago, an' de game broke me.
I ain't likes dat luck.

(SPORTING LIFE produces his own dice
and without picking up other pair,
throws with a loud grunt and snap of
his fingers. MINGO snatches the dice
and balances them in his hand)

Here, here what's this.

Mingo

(Showing Dice to Jake)

Whut yo' say to dese, Jake?

Sporting Life

Damm yo', gib me dem bones.

(MINGO holds him off with one hand
while he hands the dice to Jake. JAKE
rises, MINGO to his knees)

Jake

(Rise)

Dem's de same cock-eyed bones whut clean de gang out las' week.
Ef dey rolls in dis game, I rolls out.

(Hands the dice back to Sporting Life)

E everybody rolls de same bones in dis game.

Mingo

Damm right.

Jake

Sportin' Life - take 'em or leabe 'em.

Sporting Life

Go ahead, old man, take your own dice and I'll like you with
'em.

(ROBBINS comes from door, rear R. 2nd.
floor. He is a well set-up negro of
about 30. The window by him opens
and SERENA leans from sill)

Serena

(Pleadingly)

Honey-boy!

Robbins

(Come down to floor - turn and look
at her)

Now, fuh Gawd sake, don't start dat again. I goin' play -
git dat!

1-5

Jake

Better come 'long on de Sea Gull. I gots place fo' nudder
fishermans.

Jim

Dat suit me. Dis cotton hook hab swung he las' bale ob
cotton.

Jake

Then throw it away.

Jim

Here, who wants a cotton hook? Scipio?

(He throws cotton hook to the floor.
SCIPIO, EDDIE, BILL, MARGARET, LONZO
SYLVIA and RUTH all pile up over it.
SCIPIO gets it - THEY howl. BRUCE,
TAYLOR and ALLEN pulls them apart.
The GIRLS run upstairs. BRUCE carry
Eddie upstairs)

Maria

(To Scipio and Kids)

Get away from the front of this door.

(CLARA walking up and down R., passes
the Group at R., crooning softly)

(TAYLOR spanks Lonzo - PERRY slaps Bill.
FRANCIS comes C., screaming to child.
When KIDS are off, OTHERS go back to
their places. THEY laugh at the kids)

Warn

Dim

Bruce

Get up stairs.

(Go to group and pull SCIPIO out and
start him up stairs)

Clara

"Hush, lil baby, don' yo' cry

Fadder an' mudder born to die."

TAYLOR and REED pull out boys and
start them off. SCIPIO, NIXON up stairs,
OTHERS through Lily's door. MARGARET and
MAC out arch. BLUE up stairs. DONOHOW
up stairs. When KIDS are off, CLARA is
singing to baby)

"Hush lil baby, don' yo' cry,

Hush lil baby, don' yo' cry,

(She crosses to R. of crap game at
finish)

1-6

Jake

(Standing up at L. of Clara)

Whut! Dat chile ain't 'sleep yit.

Clara

Not yet.

Jake

Gib 'um to me. I'll fix up fo' yo'

(The KIDS drift back on one at a
time)

Sporting Life

(SCIPIO enters, sits on bench up
R. He comes from R.2.E.)

Come on back here Jake, what's the matter with you?

Jake

Wait till I put this baby to sleep.

Sporting Life

(EDDIE enters, sits in door R.2.E.)

Make the point, man, make the point.

(JAKE takes baby from Clara. SPORTING LIFE ad lib to Jake "Come on Jake". JAKE rocks it in his arms, sings)

Jake

"My mammy tell me long time ago,
Son, don' yo' marry no girl yo' know,
Spen' all yo' money - eat all yo' bread -

(ALL join)

Gone to Savvanah, lef' yo' fo' dead."

(Several of the MEN join in on the last line. JAKE rocks the baby more violently and begins to shuffle. CLARA watches anxiously)

Clara

(Interrupts Jake during song)

Jake, stop shaking the baby, you'll frighten him to death.
Give me the baby. Give the child here.

Jake

"My mammy tells me long time ago,
Son, don' yo' marry no gal you know,
Spen' all yo' money, steal all yo' clothes.

(ALL join)

(SERENA enters and crosses down
stairs to first landing)

Whut will become ob yo' Gawd only knows."

(The light leaves Serena's window.

JAKE swings the baby back to CLARA,

START
DIM

1-7

Jake (Cont'd)

(who goes up Left to pump)

Dere now! Whu I tells yo'. He 'sleep already.

(The BABY wails)

Dere now -

(The MEN laugh)

Mingo

(One of Serena's GIRLS sits in her
window)

You're no good as a mammy Jake.

(CLARA carries baby to her room.
Closes door)

Sporting Life

Come on back here, Jake.

You make a better crap shooter.

Robbins

(Pause)

Come on back here fellow.

(JAKE returns to game)

Serena

(Cross down to Right of Robbins)

Robbins - Robbins!

Robbins

Now, money, go on back up stairs.

Maria

(Who has been arranging table at R.,
now sits L. of table. To Serena,
who has crossed to R. of Robbins)

Serena, whu worryin' yo'? Yo' gots one ob de bes' mans in
Catfish Row. Why yo' ain't let um play widout pickin' on
um?

Serena

(Crosses to step U.R., sits)

He gots licker in um to-night, an' Robbins ain't de same man
wid licker.

(MINGO is rolling and retrieving
the dice, while he does so, he looks
and laughs at ROBBINS, then sings at
him)

Mingo

(Singing)

"My mammy tell me long time ago
Son, don't yo' marry no gal yo' know.

1-8

Mingo (Cont'd)

(Speaking to Robbins)

Ought to be single like Porgy an' me. Den yo' kin - shoot
bones widout git pick on.

Robbins

Oh, my lady all right; only 'cep' she don' like craps. She
born a w'ite folks nigger. She people b'long to Gob'nor
Rutledge. Ain't yo' see Miss Rutledge come to see she when
she sick?

Maria

Does Mis' Rutledge eber sell any ob she ole clothes?

Serena

Not she. But sometime she gib 'em away.

Maria

(Singing)

I wish I could git a dress off she. She de firs' pusson I
eber see whut hipped an' busted 'zacly like me.

(ALL laugh)

Extra

Some hips!

Robbins

(Boasting)

Yes, suh! My lady - -

Sporting Life

Yo' bes' sabe yo' talk fo' dem dice. Bones ain't got no
patience wid 'omen.

Mingo

Dat's de trut!. Course dey can't git along togedder. Dey is
all two atter de same nigger money.

(Several laugh. ANNIE in window
laughs loudly)

Jake

Oh, look at Annie. Annie dere likes de single life, ain't
it, Annie?

Annie

I'll bet you and I'll bet you again.

Jake

Whut become ob dat ole fisherman used to come fo' see yo'?

Annie

He no fisherman.

1-9

Jake

No? Whut de do?

Annie

Him ain't do nuttin' mos' all de time. Odder time him is a shoe carpenter.

(The Voice of PETER, the old "honey-man" is heard in the street, drawing nearer and nearer)

Peter

Here come de honey man.

Yo' gots honey?

Jim

(Rise)

I don't like your dice.

Sporting Life

Hit for fifty cents.

(JIM crosses to Annie)

Peter

(Enter Gate, close it)

Here come the Honey Man.

Jim

Hey, Annie, loan me a quarter.

I've been robbed.

(TAYLOR crosses to L.)

Annie

If I've got it and I've got good sense with it, get away ron here.

Peter

I gots honey in the comb.

Yo' gots honey cheap?

Lily

(Crosses to C.)

Here come my old man.

Peter

(LILY goes to meet him)

Yes, ma'am, I gots honey in de comb.

Yo' got honey cheap?

Yes, ma'am, my honey cheap.

(He is a gentle, kindly negro, verging on senility. A large wooden tray, covered with a white cloth is balanced on his head)

1-10

## Lily

(Takes tray from his head and shouts in his ear)

Now gimme de money.

(PETER hands her some coins. She points to bench U.R.)

Now come sit an' res'. Here!

(PETER does as he is told. LILY puts tray in door, crosses to crap game L. - Gets on knees to join game. Take Pantomimes that "They don't want her" and she sticks out her tongue at him)

## Maria

Yo', Scipio!

Here come Porgy!

Open de gate fer um!

(PORGY, familiarly known to every Charlestonian as the "Goat Man", drives up to the gate in his soap box chariot. PORGY is a crippled beggar of the Charleston Streets, who has done much to overcome his handicap of almost powerless legs by supplying himself with a patrimonial and very dirty goat, who draws a cart made of an upturned soap box on two lopsided wheels which bears the inscription "Wild Rose Soap, Pure and Fragrant." PORGY is no longer young, and yet, not old. There is a suggestion of the mystic in his thoughtful, sensitive face. He is black, with the almost purple blackness of unadulterated Congo blood)

(SCIPIO reluctantly interrupts his performance on a mouth organ, shuffles across court, and opens one side of the ponderous gate. PORGY drives through and pulls up beside the crap game. JIM opens the other half)

## Jake

(Rise - X to him)

Here de ole crap shark!

## Mingo

(Rise, X to Porgy)

Oh boy!

1-11

Porgy

All right, Mingol Jakel Gib me a han' out dis qagon.

(MINGO and JAKE help Porgy from
wagon. HE hurriedly crawls to
down L. SCIPPIO takes goat off
L., thru the arch and goes back
of gate to join EDDIE, BILL and
SYLVIA and BELLE, who come on from
R. after Porgy's entrance)

Robbins

Come on Porgy.

Porgy

Look out Sporting Life, look out.
(Crosses over L. to money)

Sporting Life

(As PORGY crawls over money)

Look out for that damn money!

Porgy

(Throws cap on floor)

I gots a pocket full ob de buckra money, an' he goin' to
any man whut gets de guts fo' shoot 'em off me!

Mingo

Get on down, son, we'll take it.

Sporting Life

Lay it down.

(JIM saunters to gate and looks out)

Robbins

All right mens. Roll 'em. We done wait long 'nough.

Jim

(Returns to above group)

Yo' bes' wait fuh Crown. I see um comin'. Takin' de whole
sidewalk, an' he look like he ain't goin' to stand no
foolin'.

(PETER crosses to door step L. upstage.
NELSON crosses from step to gate, cross-
es back and sits on stair, R.)

Porgy

(Wistfully to Sporting Life)

Is Bess wid um?

Jake

Ah, listen to Porgy.

1-12

Porgy

What's the matter?

Jake
I t'ink he sof' on Crown's Bess.

(All the MEN laugh)

Porgy

(Counting his money)

Gawd make cripple to be lonely. Tain't no use fur 'em to be
sof' on a 'oman.

Maria

Porgy got too good sense to look twice at dat likker-guzzlin'
slut.

Lily

(Cross R. from crap Group to R.
of Serena)

Likker-guzzlin'. It takes more'n likker fuh to satisfy
Crown's Bess.

Maria

You said it Lily.

(EXTRA go in his room U.L., gets a
small prop, returns to seat at
Porgy's step)

Serena

Yeah! Happy dust. Dat's what it take. Dat gal Bess ain't
fit fuh Gawd-fearin' ladies to 'sociate wid.

Lily

Why, ain't I see every might in Jake.

Maria

(Together)

That's the truth sister.

Annie

Nothin' else but--

Sporting Life

(With gesture of a peacemaker quelling a riot)

Sistuh, yo' needn't worry. Gawd-fearin' ladies is de last
t'ing on eart' Bess is wantin' fuh to 'sociate wid.

Maria

Mind your own business.

Lily

Oh, shut up.

1-16

Robbins

(As he passes dice to Jake)

Cover hell! I goin' pass 'em along an' see if I kin break my
luck.

(JAKE rolls dice)

Mingo

(Looks at Serena. Straighten up)

He lady ain't 'low um but fifty cent, and he can't take no
chance wid bad luck.

(ALL laugh at Robbins)

Bess

(With a provocative look at Serena)

Dat all right, Honey-boy, I'll stake yo' when yo' four bits
done gone.

Serena

(To Robbins)

Go ahead an' play, yo' ain't need no charity off no she-
devils.

Bess

(To Robbins)

See whut I git fuh yo'. De she-gawds is easy when yo' knows
de way.

(JAKE loses, pass dice to Mingo)

Mingo

(Singing)

My mammy tell me long time ago =

Bess

Gal don't yo' marry no man yo' know.

All

Spend all yo' money, steal all yo' bread,
Gone to Savannah, befo' yo' dead.

(ALL laugh)

Mingo

(Throws out money)

 Fade me.

(Looks at Serena when she speaks,
takes off cap, shakes dice, looks
at Bess on her speech, puts his cap
back on when CROWN slaps Bess)

1-18

Mingo

Come home again to yo' pappy.
(Shoots)

Four shoots to make! Come four!

Seven. (Shoots. MINGO passes dice to Crown)

Jake

Seven.

(Sporting Life)

I ain't drunk enough to read 'em, de'ts de trouble. Licker ain't strong enough. Gits happy dust, Sporting Craped out.

Porgy

Seven.

(Takes off hat to get dope)

Sure.

Bess

Mama wants a new dress.

(Places money)

Crown

I shoots like that. Come clean, yo' little black-eyed bitches!
(Shoots)

Sporting Life

Six to make.

Robbins

Six

and crowds in between Sporting Life and Crown putting a hand on the arm of each)

Mingo

Six.

(Cries of "Six", "Six to make", etc.
CROWN takes up bones, and produces
rabbit foot from pocket. He touches
dice with it)

Crown

Kiss rabbit foot and show these niggers how to hit.
(Shoots)

Sporting Life

(Reaching for dice)

Crapped out! Come to your pappy.

(BRUCE Cross to Crap Game. CROWN
extends a huge arm and brushing Sport-
ing Life back, tries to focus his eyes
on dice)

Crown

Turn them dice loose.

1-20

CROWN, who threatens the gang, THEY
draw away)

Lily

Leave him alone, you Big Bully.

(She grabs a rolling pin from table
R. and runs over to Crown, waving it
at him)

Crown

(To Lily)

Go on.

I'll knock you down too. I'll knock all you niggers
down.

(LILY takes PETER over Right - HE
sits on bench. SHE sits on box
under window - the Game goes on)

Bess

Oh, hell, go on with your game.

Sporting Lift

Huh, seven! Huh, seven!

Huh, seven!!

(Shoots)

'Leven!

(Whistles, snaps fingers and pulls
in pot. ALL ante)

Crown

God damn it. I ain't read 'um yet. That ain't no 'leven
for my God damn money.

Jim

Crown's too cock-eyed drunk to read "um".

(CROWN chases JIM up stage)

Crown

Why in hell ain't you leave me alone nigger.

(Comes back to the game)

Mingo

You can't tell dice from watermelon.

(ALL laugh at him)

Sporting Life (Shooting)

Six to make! Get um again!

Get um again!

Mingo

Seven.

1-21

Jake
Craped out.

Robbins
Craped out.

(PORGY takes up dice and commences to sway, with his eyes half closed. He apostrophyzes dice in a sort of sing-song chant)

Porgy
(NELSON crosses from stairs to game; JIM comes back above Bess)
Oh, little stars, little stars, roll, roll, roll me some light.

(Shoots)
'Leben little stars, come home.
(Pulls in pot. ALL ante)
Roll dis poor beggar a sun an' moon!
(Shoots)

Nelson
Hit him, Porgy.

Jim
Faded.

Mingo
Snake eyes!

Porgy
Dem ain't no snake eyes. Day is de mornin' and ebenin' star. An' jus' yo' watch um rise for dis po' beggar.

(CROWN grabs his arm)
Turn me loose.
(Shoots)

Jim
Made "em".

(PORGY pulls in pot)

Crown
Roll up dat nigger sleeve.
(PORGY rolls up his sleeve and laughs)

Well, yo' gots dem damn dice conjer den.

Porgy
Boy, I'm a crap shootin' idiot.

1-22

(ALL ante. PORGY rolls. Cries of
"Crapped out." ALL ante. ROBBINS
takes up bones, whistles, shoots,
snaps them back up very rapidly!)

Robbins

Nine to make!

(Whistles, shoots, snaps fingers)

Readum!

Nine spot! Nine right.

(Sweeps them up, and reaches for
money. CROWN seizes his wrist)

WARN
CREW
CURTAIN

Crown

'Tech dat money, an' meet yo' Gawd.

Robbins

Take yo' han' off me, yo' lousy houn'!!
(Turns to Jake)

Han' me dat brick behin' yo'.

(CROWN shoves ROBBINS R., turns and
faces others. ROBBINS get up, THEY
fight. SERENA comes down R.C. JAKE
and MINGO grab her. BESS and SPORT-
ING LIPE grab Crown. NELSON takes
Bess from Crown, throws her up C.)

(JAKE reaches brick-bat. ROBBINS gets
up and starts for CROWN, who grabs him
and throws him over left)

(Light from Maria's door lights up
the woman's terrified face as she strains
her gaze into the darkness. Several MEN
ad lib trying to stop fight by words)

(MARIA, CLARA and the OTHERS of her
Group stand behind her over right)

(From the Crap ring comes cries and
curses. Suddenly shutters are thrown
open in right and left walls of build-
ing, and forms strain from the sills.
As the shutters are banged open, shafts
of light from them flash across the court,
latticing it with a cross-play of light)

(CROWN and ROBBINS are revealed facing
each other; CROWN reaches for a knife in
his pocket)

(ANNIE in her window watches the fight)

1-23

(SERENA trying to come down to help. ROBBINS, JAKE and CLARA hold her back. ROBBINS defenceless, his back to the wall. Then ROBBINS lunges under the hook and THEY clinch. The fight proceeds with no distinguishable words from the combatants, but with bestial growls and breath that sobs and catches in their throats. In and out of the cross-play of light THEY sway - now revealed, now in darkness. The watchers move back and stand around the wall. THEY commence a weird, high-keyed moaning that rises as the FIGURES take the light, and subsides almost to silence when THEY are obscured. Ad lib for fight.

Suddenly out of the dark, CROWN swings ROBBINS into a shaft of light. CROWN is facing the audience, and is holding ROBBINS by the throat at arms length. With a triumphant snarl he swings the knife down.

ROBBINS drops at L. near Porgy's door and CROWN stands in high light. He throws his knife at Robbins.

There is dead silence now. In it CROWN lookdown at his hands, opening and closing them. He crosses to R., then he draws his arm across his eyes. The silence is shattered by a piercing scream and SERENA runs across the court and throws herself on the body. When she sees he is dead, she screams. CROWD rushes over to look at Robbins. CROWN to Table R.)

Jake
'Jedus', he's killed him.

(BESS appears in the light beside CROWN, R. of him - she shakes him violently by the arm)

Bess
Wake up an' hit it out. Yo' ain't got no time to lose.

1-24

Crown

(Looking stupidly into the gloom at
SERENE and the Body of her Man)

What de matter?

RING
ACTORS

Bess

(Hysterically)

Yo' done kill Robbins, an' de police'll -

(This is the final word to make the
CROWD disappear. ALL close windows.
CROWD disperses. SPORTING LIFE to
under stairs. ALL doors and windows
closed. EVERYBODY exits to their own
room)

be comin'.

(She starts to pull him towad the
gate)

Crown

Whar yo' goin' hide? Dey knows you an' me pulls togedder.

(In the half light it can now be seen
that the court has been deserted ex-
cept for SERENA who sits beside the
body with her head bowed, and sways
from side to side with a low, steady
moaning)

Bess

Dey wouldn't look fuh me here. I'll stay here an' hide.
Some man always willin' to take care ob Bess.

Crown

Well, git dis; whoever he is - he's temporary. I' se comin'
back when de hell dies down.

Bess

All right, only git out now.

(CROWN starts for gate)

Here, take dis.

(Stops. BESS crosses to him, reaches
to her stocking, gives him money. She
pushes him out of the gate and he
disappears. She turns toward gate. She
is afraid to go out and runs down right
to Maria's room. It is silent and empty,
except for the body and SERENA. SPORTING
LIFE enters from under stair, crosses to
L. of table. BESS crosses back from
door R. to R. of Sporting Life)

Dat yo', Sporting Life.

Sporting Life

Sure.

1-25

Bess

Fuh Gawd's sake, gib me a little touch happy dus'. I sure shakin' so I can hardly stan'.

(Suddenly remembering)

Oh - - I done gib all de money to Crown. I can't pay for um. But fuh Gawd's sake, gib me jus' a touch.

(He takes off his hat - gets out powder - she reaches for it. He draws it away. She is in great agony for want of dope)

Bess

For Gawd's sake.

(He hands her dope)

Sporting Life

Yo' ain't needs to pay for um Bess. Sportin' Life ain't go back on a friend in trouble like dese odder low-live nigger.

(BESS swallows powder and sighs with relief. SPORTING LIFE looks around court)

Listen. I'll be goin' up to New Yo'k soon. All yo' gets to do is to come wid me now. I'll hide yo' out an' take yo' wid me when I go. Why yo' an' me'll be a swell team. Wid your looks an' all de friend I got there, it'll be every night an' all night - licker, dust, bright lights, an' de sky de limit.

(BESS is backing away from him in distaste. HE looks apprehensively toward the gate and takes her arm)

Come 'long. We gets to beat it while de beatin's good.

(BESS draws back sharply from his grasp)

Nobody 'round here goin' to take in Crown's Bess. Yo' bes' go wid your only frien'.

Bess

(Slowly)

I ain't come to dat yet.

Sporting Life

Well, de cops ain't goin' to find me here for no 'oman.

(Slinks out of gate)

(BESS looks desperately for shelter. Starts at rear left, and tries all of the doors as she goes. They are either locked, or slammed in her face as she reaches out to them. She comes to Maria's shop door, and as she reaches it, it is jerked open and MARIA

L-27

## ACT ONE

### Scene 2

Serena's room door is in left wall, L.I.E.

Bed in center.

SERENE on floor at foot of bed. Seated Left of bed MARIA - above her, ANNIE; standing at head of bed is BRUCE; Seated on Floor, left of Maria in first row, RIDLEY, BLUE, DONOHOO; sitting on floor, left of Annie, MUSA, JIM, MORRISON, REMSON; last line against wall, MILLS, PERRY, JOHNSON; right of bed, JAKE is seated at foot; above him, T. BROWN; standing at head of bed is ALLEN. First line R. of Jake, seated on floor COWAN, WILSON, CLARA, MINGO. Second line R. of T. Brown, MAHON, JOHNSON, THOMAS. At Fireplace BOOTH, TAYLOR. Right of Allen, FRANCIS, BROWN, GORDON, REED. LILY HOLMES is below door left.

The Curtain rises on Serena's room, a story room in Catfish Row, which still bears traces of its ancient beauty in its high panelled walls and tall, slender mantel with Grecian frieze and intricate scroll work. The Door is in L. wall down front.

Left of center back wall a window looks toward the sea. The fireplace is in R. wall.

LANTERN LIGHTED. LAMP ON FIREPLACE LIGHTED. THE SEA SURGES THROUGHOUT.

The room is vaguely lighted by a kerosene lamp, center stage, below Serena, and is scantily furnished; a bed against the back wall at C. and a few chairs, two each side of bed. ROBBINS' body lies upon the bed, completely covered by a white sheet. On

1-29

(The singing dies gradually as One
by One the NEGROES stop to listen,
but the rhythm continues)

Serena
(Dully)

Fourteen dolluh and thirty-six cent.

Maria
(At L. foot of bed. Encouragingly
leaning toward her)

Dat's acomin' on, Sistuh. Yo' can bury him soon.

Serena
De boa'd ob healt' says he gets to git buried tomorruh.

Clara
It cost thirty-four dolluh for bury my grandmother, but she
gots the three carriage.

Serena
What I goin' to do ef I ain't gots de money?

Peter
(Understanding that THEY Refer to
the saucer. Ad Lib "Yes Lor'")

Gawd gots plenty coin fo' de saucer.

Serena
Bless de Lor'!

Peter
An' He goin' soften dese nigger heart fo' fill de saucer till
he spill over.

All
Amen, my Jesus!

Peter
De Lor' will provide a grabe fo' he chillun.

Clara
Bless de Lor'!

(The swaying gradually changed to
the rhythm of PETER'S prayer)

Peter
An' ge gets comfort fo' de widder.

All
Oh, my Jesus!

1-31

### Serena (Cont'd)

toward corpse. BESS starts to lead
him across the room. SERENA stands
defiant, silent, till THEY have gone
half the way)

What yo' bring dat 'oman here fo'?

### Porgy

She want to come help sing. She's a good shouter.

(BESS, self-possessed, crosses to saucer, brings it to Porgy. PORGY deposits his coins. Then BESS stretches her hand toward saucer)

### Serena

I don't need no money fo' bury my man.

(BESS hesitates)

I ain't takin' money off his murderer.

### Bess

Dat ain't Crown's money, it's Porgy's.

### Serena

All right. Yo' can put um in.

(BESS drops the money in saucer)

### Peter

(Trying to make peace)

Sing, Sistuh, sing. Time is passin' an' de saucer ain't full.

(BESS puts saucer on bed)

### Serena

(To Porgy)

She can sit ober dere in de corner ef she want to, but she
can't sing!

### Bess

(Cross R., sib R. of Mingo)

Dat's all right wid me, Sistuh.

### Porgy

(Cross, sit Right of Bess)

Bess don't want fo' sing anyway.

(The Spiritual begins again, softly
with a moan)

"Leabe dese chillun starve, starve,
Leabe dese chillun starve, starve,
Leabe dese chillun starve, starve,
Dat ain't yuh gots no shame?

1-34

### Detective

(Shouting)

You're sure you saw him?

### Peter

(Lifts hands)

I swear to Gawd, Boss.

I was right here, close beside um.

### Detective

(With satisfied grunt. Laughs)

Umph!

I thought as much.

(Looks through Crowd R. of bed. Crosses C. to R. Looks at Porgy, looks to Serene. Swings suddenly on Porgy and points the pistol in his face)

You saw it too!

(PORGY trembles but does not speak. He lowers his eyes)

Come! Out with it! I don't want to have to put the law on you!

(PORGY sits silent. The DETECTIVE shouts with fury)

Look at me you damned nigger!

(PORGY slowly raises his eyes to the Detective's face)

### Porgy

(Very much afraid)

I ain't know nuttin' 'bout um, Boss.

### Detective

(Angrily)

That's your room in the corner, isn't it?

(Points downward toward L.)

### Porgy

Yes, Boss. Dat's my room.

### Detective

The door opens on the court, don't it?

### Porgy

Yes, Boss, my door open on de court.

### Detective

And yet you didn't see or hear anything?

### Porgy

I ain't know nuttin' 'bout um. I been inside asleep on my bed wid de door closed.

1-35

### Detective

(Exasperated)

You're a damned liar.

(Turns away disgusted. Saunters toward door. To Policeman, indicating Peter)

He saw the killing, take him along and lock him up as a material witness.

(Both POLICEMEN cross to R of Peter)

### 1st Policeman

(Helping Peter to his feet)

Come along, Uncle.

### Peter

(Shaking with terror)

I ain't neber done um, Boss.

### Policeman

Nobody says you did it. We're just taking you along as a witness.

(But Peter does not understand)

### Serena

What yo' goin' do wid um?

### Policeman

Lock him up. Come along. It ain't going to be so bad for you as for Crown anyway.

### 2nd Policeman

(To Detective)

How about the cripple?

### Detective

(Sourly)

He couldn't have helped seeing it, but I can't make him come through. But it don't matter. One's enough to hand Crown--

(With a short laugh)
if we ever get him.

) BOTH COPS LIFT PETER TO HIS FEET)

### Maria

(To 1st Policeman - anxiously)

How long yo' goin' to lock um up for?

### 1st Policeman

Till we catch Crown.

### Porgy

(Sadly)

I reckon Crown done loose now in de palmetto tickets, an' de rope ain't neber made fo' hang him.

1-39

Undertaker (Cont'd)

Wid de box an' one carriage, it'll cost me more'n twenty-five. But I'll see yo' t'rough.

Jake

Jedus bless you, Brother.

(SERENA silently relaxes across the foot of the bed, her head between her outstretched arms. BESS starts to sway ecstatically. UNDERTAKER takes money)

Undertaker

Yo' can all be ready at eight to-morrow. It's a long trip to de cemetery.

(Turn to go. BESS sinks to floor. CLARA and MINGO nod heads, yes. UNDERTAKER goes out door. The Negroes gaze silently after him with eyes filled with gratitude. There is a moment of silence after his departure. Then carried out of herself, by sympathy and gratitude, BESS, forgetful of the ban laid upon her, lifts her strong, beautiful voice triumphantly rising to her knees. All hum till BESS starts song. After song starts, lamp on mantle R. flickers and goes out - it is electric)

Bess

Oh, I gots a little brudder in de new grabe-yahd What out-shine de sun, Out-shine de sun.

(PORGY'S voice joins hers, MINGO, LILY, MARIA)

Out-shine de sun.

Jake

Sing it sister.

(The song grows steadily in volume and fervor)

All

Oh, I gots a little brudder in de new grabe yahd what out-shine de sun,

All - Bess

An' I'll meet um in de Primus Lan'.

LIGHT FLICKER 2 SLOWLY SPOT
LEFT ON

1-40

All

I will meet um in de Primus Lan'!
(Then a full chorus, with deep
basses predominating, crashes
in on the second of the refrain.
SERENA, last of all, joins exstati-
cally in the chorus)

Jake
Sing it Sistuh.

All
Oh, I'll meet um in de Primus Lan'!
I will meet um, meet um, meet um,
I will meet um, meet um, meet um,
I will meet um in de Primus Lan'!

Mingo
Hallelujah!

(One man in back rises,
ANNIE, MARIA, then all)
Thru the song.
Porgy

(Rises)

Hallelujah!
(Turn)
Going to Glory

Mingo
Hallelujah!

All
Oh, I gots a mansion up on high
What ain't make wid han'
Ain't make wid han', ain't make wid han'
Oh, I gots a mansion up on high,

(SERENA rises goot of bed.
EMBRY screams
What ain't make wid han',

(WILSON screams)
An' I'll meet um in de Primus Lan'!

Porgy
Ride on Jedus

(Refrain - loud)

CURTA IN SLOWLY

All
(WILSON scream)
I'll meet um, meet um, meet um.

(JOHNSON scream)
I'll meet um, meet um, meet um.

1-41

All (Cont'd)

(EMBRY scream)

I'll meet um in the Primus Lan'!

(EMBRY screams.

The beautiful old spiritual
beats triumphantly through
the narrow room, steadily
gaining in speed.

SERENA is the last to leap to
her feet and begin to "shout".

One by one, JAKE and MARIA,
JIM and CLARA as the spirit
moves them, the negroes follow
her example till they are all
on their feet, swaying, shuffling,
clapping their hands.

BESS leads the "shouting" as she
has the singing, throwing her
whole soul into an intricate
shuffle and complete turn. Each
negro "shouts" in his own indivi-
dual way, some dancing in place,
others merely swaying and patting
their hands.

"Allelujahs" and cries of "Yes,
Lord" are interjected into the
singing. And the rhythm swells
till the old walls seem to rock
and surge into the sweep of it.
EMBRY screams.

SERENA stands at foot of bed, hands
above head, shadow on back wall as
curtain falls)

(THIS TAKES PLACE THRU THE SINGING
SERENA RISES ON THE LAST REFRAIN)

C U R T A I N

On second line of last chorus (Slow)

"Shouting" is the term given by
Carolina negroes to the body rhythms
and steps with which they accompany
their emotional songs.

## ACT II

### SCENE I

SERENA is seated on first landing of steps sewing. MUSA is standing looking out the gate. BRUCE is lying on Annie's door step; PORGY and BESS are sitting on his door step BESS is darning a sock. JAKE sitting on floor R. of C. JIM sits on floor W. of C. and ALLEN is slightly above him - they are repairing nets.

NELSON sits on steps above Serena. CLARA and THOMAS are sitting on bench above table. CLARA has the baby.

FRANCIS is sitting in door way upstairs left.

(St. Michael's Chimes the hour and strikes one. Morning.)

The Court is full of movement. The NEGROES going about their tasks. At Left front a group of fishermen are rigging their lines. They are working leisurely with much noisy laughter and banter.

CHIMES-HOUR 9:30 A.M. (1) SOFT-CURTAIN.

JAKE and JIM working on fish lines)
MINGO enters from R. 2.E. as Curtain Rises:

Jake

Fish runnin' well outside de bar dese days.

Mingo

(As he crosses to right of Jake)

Hear tell de Bufort mens bring in such a catch yesterday dat de boat look like he gots floor ob silber.

Jim

(Stopping work for a moment)

I hears dey gots to t'row away half de catch so as not glut de market.

Jake

Yes, suh! Fish runnin' well an' we mens bes' make de mores ob it.

2-3

Bess

(In unconvincing voice as she goes into house)

I ain't care much 'bout picnic.

(Exit to Porgy's room)

Porgy

(Crawling after Bess)

Oh, but Bess - well cut my throat.

Jake

(Rising)

All right mens. I'm all fuh ridin' luck fur as he will
tote me. Turn out at four tumorruh mornin' an' we'll puch
de Sea Gull clean to de Blackfish Banks 'fore we wets de
anchor.

(LILY crosses to Jake. She comes from
R. 2. E. and has a basket of washing.
She crosses between Mingo and Jake)

Allen

Yes, sir.

Mingo

Oh, boy.

Jake

I gots a feelin' we goin' be gunnels under wid de pure fish
when we comes in at night.

Mingo

Good luck.

Jim

Tell her jake.

(MINGO crosses to table R. CLARA
crosses to R of Lily)

Lily

Yuh goin' fuh takes de Sea Gull out behond bah!

(She laughs. Calls out to NELSON
who is on R. side of court upstairs)

Heah dis, Nelson. Dese mens aimin' fuh take de Sea Gull to
de Blackfish Banks!

(NELSON joins the group from stairs.
CLARA, overhearing, slowly approaches,
her baby in her arms. LILY turns to
the others)

Lily

Yo' mens bes' keep yo' ole wash tub close to home. Wait
till yo' gets a good boat like de Mosquito 'fore yo'
trabbie.

(All the men and LILY laugh
delightedly)

2-4

Jake

Mosquito born in de watch, but he can drown jus' de same.

(Several assent. ALL laugh. LILY slapping NELSON'S shoulder in her appreciation. CLARA has stood silently beside them at R. with anxious eyes)

Nelson

That's right, Jake.

Jim

Get her told Jake.

Clara

(Cross to Jake)

Jake! Yo' ain't plannin' to take de Sea Gull to de Blackfish Bank? It's time fuh de Septembuh storms.

Jake

(Laughing reassuringly)

Honey, ain't yo' know we had one stiff gale las' yeah, an' he nebber come two yeah han' runnin!

Clara

Jake, I don't want yo' fuh go outside de bah!

Jake

How yo' t'ink we goin gib dat man child college edication?

WARN
CHIMES
1/4 HOUR

(They all laugh, except CLARA. LILY crosses to crosses to clothes line. Men to pump)

Take 'at baby and go on in the house.

(CLARA to house. NELSON out arch. JAKE sit with SERENA. ALLEN out gate to left. JIM sit back of table R) (ALLEN & JIM & JAKE take their nets with them. JAKE puts his on Bench up R. JIM puts his under the window right)

Bess

(In her room singing)

My Mammy tells me long time ago, etc.

(St. Michael's chimes the quarter hour. MARIA crosses to pump to fill kettle. After a few pumps, SERENA says to Jake, loudly

Serena

It's a shame when good Christian 'omans gots to lib in de same yard wid a murderin' she-debil like dat Crown's Bess.

2-5

Jake

(MARIA crosses to L. of Serena)

She don't seem to harm nobody, an' Porgy seem to like to hab
she 'roun'.

Maria

Porgy change sense dat 'oman go to lib' wid he.

Serena

How he change?

Maria

(Crosses to L.)

He ain't cross wid chillun no mo', and ain't yo' hear how
he an' Bess all de time singin' in dere room? I tells yo'
dat nigger happy now.

(Cross back)

Serena

Go 'long wid yo'. Dat 'oman ain't de kin' fo' make cripple
happy. It take a killer like Crown to hol' she down.

Maria

Dat may be so, but Porgy don' know dat yet. An' sides ef a
man is de kin' what need a woman, he goin' be happy reahdless.

Jake

(SERENA and JAKE sitting on steps facing
front. MARIA is left of Serena)

Dat's de trut,' Sistah. Him dress she up in he own eye, till
she stan' like de queen ob Sheba to he.

Maria

Porgy t'ink right now dat he gots a she-gawd in he room.

Serena

Well, dere is Gawds and Gawds, an' Porgy sho' got de kin'
what goin' gib um hell.

(BESS enters with pail. JAKE touch
Serena. BESS stops on door step and
then goes to pump)

Oh, I don't care. Much as I likes Porgy, I wouldn't swap
a word wid she.

(On her way to the pump BESS pauses
and listens to Serena)

I can't onderstan' how a decent man like Porgy is willin'
to have she aroun'

Lilly

(Hanging her washing on line in arch,
by the big gate up center. BESS looks
at her as she pumps water.

Huh, I ain't so sure Porgy an angel heself. Dey sompin'
queer about dose crap game. Sompen bery queer 'bout de way
all money always go to de same place.

2-6

Maria

Go along wid yo'. Porgy always lucky at crap.

Lily

(Is not conscious Bess is there)

Lucky eh! It onnatural for luck neber to change. Ebery
Saturday-night I gets to laugh at all dem simple niggers
lettin' Porgy clean 'Um out of dere week's wages.

Bess

(Turning on her)

Yo' say dab bout Porgy?

(

Lily

(Surprised and a little frightened)

I ain't say nuttin' to yo'

Bess

(Cross right a bit)

Yo' say Porgy's tief. Yo' say he cheat at crap?

Lily

(Come out to L. of Serena)

I ain't say he cheat, I say he queer he always win.

Bess

I ain't care what you say bouts me, but keep yo' mout'
offen Porgy.

Lily

(Tormenting her)

I ain't say dey conjure; maybe dey's jus' plain loaded.

(BESS rushes at Lily - they fight.

SPORTING LIFE and MINGO rise and
start as if to egg them on Jake
comes down and stops them.)

Maria

(MARIA grabs Bess. MUSA grabs Lily.

BRUCE wakes up in Annie's doorway
and enjoys the fight)

Grab dat gal, Serena.

(She holds Bess. BESS starting for
Lily. LILY screams, runs to front of
steps. MUSA holding Lily as she runs)

Lily

You city hussy, I goin' to run yo' out ob Cat Fish Row if
it's the last thing I do.

Maria

No yo' ain't an' I hope she taches you to keep yo' mouth
off Porgy.

2-7

Lily

Oh, go ahead, old lady.

(Exits R. 2)

Serena

It ain't safe to hab a she debil like dat 'roun Catfish Row.

(Crosses to Maria. BESS to pump gets bucket)

Maria

And it ain't goin' to do Catfish Row no harm to hab a 'oman
in 'um dat got de guts to stan' up for she man. That's
right, don't you let nobody run over you.

(She pats Bess on shoulder. BESS whirls on her, not realizing it is Maria.)

All laugh. BESS starts for Porgy's door)

Whoa tilly.

Jake

(BESS steps and glares at him)

Ain't she game.

Sporting Life

She sure is.

Jake

(BESS cross to door. At R. downstage)

Don't she look cute. I think she's trying to vamp me.

(BESS crosses to door, slams it.)

"What the -)

Dat's de t'ing. She sho' ain't axin' no favor often none
ob she neighbors.

Maria

I say she ain't.

Sporting Life

I'll say she ain't.

Jim

You tell her Jake.

(SPORTING LIFE crosses and sits
of table. JIM back of table. MINGO

R. of table. JAKE gets pipe from step)

Serena

(U.R.C.)

Yo' poor sof-headed fool! Ain't yo' shame to stan' dey
before me an' talk sweet-mout' bout dat woman.

Jake

Now Serena!

Serena

(Making eyes at him)

2-8

## Serena (Cont'd)

Now, ef I was a man, I'd sabe my sof' wo'd fuh de God'
fearin' 'omans.

(All laugh)

### Jake

Ef yo' was a man -

(Pauses, looking thoughtfully at her,
then shakes her head. MARIA gets
kettle from floor up center L of
center. SERENA sits on step)

No, it ain't no use. Yo' wouldn't understan'. Dat's some-
thin' shemale sense ain't goin' help yo' none wid.

(JAKE to her, knocks ashes from his
pipe. Sits on steps R. SERENA sits
L. of him. MARIA has crossed toward
her table above and around it. She
suddenly puts down her kettle on her
door step, strides to the table,
seizes Sporting Life's hand, opens
the fingers before he has time to re-
sist and blows white powder from his
palm)

## Sporting Life

(Furiously rises)

What yo' t'ink yo' doin'! Dat stuff cos' money.

(MARIA stands back, arms akimbo, star-
ing down at him for a moment in sil-
ence. SPORTING LIFE shifts uneasily)

### Maria

(In stentorian tones)

Nigger! I jus' tryin' to figger out wedder I better kill
yuh decent now, wid yo' frien' about yo' - or leabe yo'
fuh de white folks to hang after a while.

(MINGO at R. of table enjoys Maria's
harangue)

### Maria

I ain't say nutting no matter how drunk yo' gets dese boys
on yo' rot-gut whiskey.

(MINGO rise)

But nobody ain't goin' peddle happy-dust roun' my shop. Yo'
heah what I say?

(LILY enters L. 2, sits on bench, she
has a pan of apples and starts to
peal them)

## Sporting Life

(Rises)

Come now, ole lady, don't talk like dese ole-fashioned, lamp-
oil niggers.

2-10

Frazier

Porgy live here, don't he?

Lily

(Calling as she runs on left)

Porgy?

Marie

Sho' he do.

Lily

(Pull barrel out to edge of steps and sits)

Porgy!

Maria

Right ober dere he room.

Frazier

T'ank yo' Sisteh.

(Crosses toward PORGY'S door. MRS. JOHNSON in window on top floor left)

Lily

(Who is near Porgy's door)

Porgy!

Lawyer Frazier to see yo'.

(She bows to Frazier. MARIA gives Sporting life final glare and enters shop)

Jake

How you do Lawyer.

(Hold out hand)

How - how - how -

(LAWYER looks at him. JAKE walks back to steps, looking at his out-stretched hand to see what is wrong with it. LAWYER crosses to Porgy. PORGY into door step)

Frazier

(X to Porgy)

'Mornin,' Porgy.

Porgy

'Mornin', Lawyer.

Frazier

I come to see yo' on business fo' one ob my w'ite client.'

Porgy

Huh?

2-11

Frazier

I been in to see Mistah Alan Archdale yesterday an' he gib'
me message fo' yo'.

Porgy

(Suspicious)

Who he?

Frazier

(In disgust)

Who he? Yo' ain't know who's Mistah Alan Archdale? He
lawyer, same as me.

Porgy

(Uneasily)

Whut he wants wid me?

Frazier

I been in to see um on private business like we lawyers
always has togedder. An' he say to me. "Mistah Frazier,
do yo' know dat black scoundrel -

(Cough, JAKE looks at Porgy)

dat black scoundrel dat hitches his goat outside my window
ebery mornin'? I sez: "Yes, Archdale, I knows um". An'
he say: "Well, when yo' goes out, tell um to mole on. When
I comes out, yo' is gone, so I come heah fo' tell you'.
Mobe on.

(Turn R. to go)

Porgy

Why he don't tell me heself?

Frazier

(Turn back)

Yo' t'ink Mistah Alan Archdale gots time fo' tell nigger to
mobe on? No suh! He put de case in my han,' and' I

(LILY razzes him)

is authorize fo' tell yo' yo' gots to fin' mudder hitchin'
place.

(BRUCE rises. EMBRY enters arch to
Annie's door. JAKE rises crosses to
L. of C. FRAZIER looking at BESS who
is in the room)

Ain't dat Crown's Bess?

(BLUE comes down steps. Right from
Serena's door.)

Porgy

No, suh, she ain't. She Porgy's Bess.

Frazier

(Sensing business. COWAN leans out
window. second floor just over Porgy's

2-12

door. REMSEN lean out window second
floor over archway. JAKE to L. C.
PORGY look at him)

Oh, I guess den she goin' be wantin' divorce.

Huh!

Porgy

Frazier
Ef de 'oman goin' e wid yo' she gets to hab divorce from
Crown or else it ain't legal.

(Takes legal looking document from
pocket. Shows it to Porgy. PORGY
looks at it much impressed)

Porgy
How much it cos'?

Frazier
One dollah, ef dere ain't no complications.

(This is Cue for everyone of the extras
to enter. Extras are named by their
own names)

(Taking back document from Porgy. PORGY
looks dubious. FRAZIER quickly takes
huge seal from his coat-tail pocket.
Shows it to Porgy. LILY to Porgy at
step. NELSON from pump to between Jake
and Lawyer. CLARA opens door to C. has
pail. She x to pump fastens pail on
it an joins other at Porgy's door.
MORRISON from arch to step. BROWN
down steps on double to C. WILSON to
Embry. THOMAS comes down below table.
SERENA at steps L, C. FRANCIS in door.
second floor - over Porgy's. CHAVES in
to window of floor. BRUCE to crowd.
DONOHOE in window upstage. MUSA window
R. ANNIE to C. from her door way. TWO
BOYS to platform on floor)

When yo' gits divorce I puts seal on de paper.
(PORGY reaches for seal. FRAZIES
draws it away)

To show you has paid cash.

Porgy
(Calling into room)
Bess, yo' likes to hab divorce?
(JOHNSON out of window on top floor
down left. NELSON to platform)

Bess
(Coming to door, with longing)

2-13

(FRAZIER nonchalantly lets document fall open toward Porgy. The other NEGROES are gradually edging nearer to listen, one by one, people begin to look out of windows. REED move to Bruce. ALLEN on and cross to crowd from gate)

Porgy

I goin' buy yo' divorce.

(JIM crosses to R. of Jake. BESS to L. of Lawyer. PORGY laboriously counts out a dollar in nickels and pennies. In meantime FRAZIER is filing in document with fountain pen. Group of NEGROES now listening frankly, FRAZIER takes coins from Porgy. Counts them. BESS holds out her hand for document. JAKE stands behind Frazier)

Frazier

(Pocketing coins. BESS reaches for paper)

Wait a minute. Tain't legal yet.

(MINGO pantomime. To Sporting Life crosses to R. of Jim. TAYLOR on from arch L. to L. of NEILSON. holding paper in hands. Lowers glasses on his nose. Begins in solemn tones)

Yo' name?

All

Bess!

(FRAZIER looks around. JAKE backs away. FRAZIER repeats question)

Frazier

What is this?

Bess

Bess.

(FRAZIER makes note. JAKE walk away from Lawyer - by play of looks.)

Frazier

(JAKE back to Lawyer)

Yo' age?

(JAKE over his shoulder. LAWYER looks at Jake)

Bess

Twenty-six yeah.

(LILY and EMBRY snort. All look at floor)

2-15

(General movement on this. The word
complication means much or little to
them)

Bess

(Bewildered)

I ain't know dat mattered.

Porgy

Yo' can't gib she divorce? Gibe me back my dollah.

Frazier

Who say I can't gib she divorce? But under circumstances dis
divorce cost two dollah. It take a expert fuh divorce 'oman
whut ain't marry.

Bess

Don't yuh pay 'um no two dollah, Porgy. It ain't wut it.

Frazier

(Puts document under arm)

Berry well den.

(Takes coins from pocket and begins
to count very slowly)

Ef yo' wants to go on libbin' in sin.

(Seeing that they do not weaken, he
pauses abruptly in his counting,
puts money in pocket.)

Seein' that we is ole frien', I goin' make dis divorce
dollah an er half.

Jake

Dat's too much money.

Frazier

Whut did you say?

Jake

That ain't much money.

(FRAZIER again takes out impressive
seal. PORY'S eyes seal, greatly
impressed. Begins counting out more
pennies. FRAZIER hands hat to Jake,
making much formality, affixes seal,
hands it to Porgy. Pockets extra
money, JAKE very interested, has drop-
ped hat, and crossed to Porgy looking
at document. PORY and BESS business
over the document. LILY hands pan of
apples to Mingo)

Frazier

Dat ain't much money considerin' whut yo', gets. One dollah
an 'er half to change from a 'oman to a lady.

WARN
CHIMES
1/2 HOUR

2-18

Archdale ( cont'd)

(Address Scipio at his L. SCIPIO approaches, reluctant, shuffling)

I'm looking for a man by the name of Porgy. Which is his room?

(SCIPIO shuffles and is silent)

Don't you know Porgy?

Scipio

(His eyes on the ground)

No, suh.

Archdale

He lives here, doesn't he?

Scipio

I ain't know, boss.

(SCIPIO exits R 2 E. with armful of wood. CLARA is nearest at pump.)

ARCHDALE crosses to her. She listens submissively, her eyes lowered. JAKE over right is fixing some nets - JIM above table is eating-MINGO R. of table and SPORTING LIFE left of table pretends to eat)

Archdale

I'm, looking for a man named Porgy.

(Crosses to Clara)

Can you direct me to his room?

Clara

(Polite, but utterly negative)

Porgy?

(Slowly, as though trying to remember)

No, Boss, I ain't nebber heah ob nobody 'roun dese parts name Porgy.

Archdale

(Look about)

Come, you must know him.

I am sure he lives in Catfish Row.

Clara

(Raising her voice)

Anybody heah know a man by de name Porgy?

(SERENA enter from her room up L. fans stands on top landing.) Several of the negroes repeat the name to one another, with shakes of their heads.

JAKE last one to repeat name and shakes head)

Jim

Porgy?

2-19

Mingo

No sir Boss.

Jake

Porgy?

Archdale

(Laughing reassuringly. Cross to center)

I'm a freind of his, Mr. Alan Archdale, and I want to help
him.

(SERENA at her door upstairs looks keenly at Archdale)

Serena

Go 'long an' wake Porgy. See um.

Can't yo' tell folks when yo'

(A light of understanding breaks over CLARA'S face)

Clara

Oh, yo' means Porgy! boss.

I ain't understan' whut name yo' say,

(VOICES all about the court repeat name knowingly)

Mingo

Oh, de gen'man mean Porgy.

Jim

How come we ain't onderstan'!

(CLARA crosses to PORGY'S door, all smiles)

Archdale

(Seeing Serena)

Thank you Serena.

Clara

A gen'man come fuh see yo' Porgy.

(JAKE crosses to Porgy, pointing to Porgy. BRUCE enter, sit in Annie's doorway)

Jake

Dat's him, dat's Porgy. Glad to serbe yo'.

(PORGY appears to awake. ARCHDALE crosses to him)

Porgy

How yo', does, Boss?

Archdale

You're Porgy?

(Then recognizing him)

Oh, you're the fellow who rides in the goat cart.

2-20

Jake

He sho' does.

Porgy

Yes, boss, I gets goat.

(ARCHDALE starts to pull barrel down)

JAKE gets it dust it off.)

Archdale

Thank you.

Jake

Glad to serve ye, Sir?

Archdale

(Sits on small keg moved down to steps
by Jake, who stands at R. of Archdale)

Tell me about your friend who got locked up on account of the
Robbins murder.

(Every time JAKE answers for Porgy
ARCHDALE looks at him as if to say
"Shut up")

Jake

(ARCHDALE turns to Jake)

Yeah! Go ahead and tell him, Porgy.

Porgy

(ARCHDALE turn to Porgy. His face still
inscrutable)

How come yo' to care, boss?

Jake

(ARCHDALE glare at Jake)

Yeah? How?

Archdale

(To Porgy)

Why I'm the Rutledge's lawyer, and I look after their colored
folks for them.

Jake

(ARCHDALE glare at Jake)

Uh, huh, I see.

Archdale

(To Porgy)

Serena Robbins is the daughter of their old coachman, and
she asked them to help out her friend.

(JAKE ad lib throughout)

Jake

(ARCHDALE glares at Jake)

Uh, huh!

2-21

Porgy

(A shade of suspicion still in his
voice)

Peter ain't gots no money, yo' know, boss; an' I jus' begs
from do' to do'!

Jake

(ARCHDALE glare at Jake. TAKE right)

Yes, sir - that's what he does.

Archdale

(Turn to Porgy reassuringly)

It will not take any money. At least, not much. And I am
sure that Mrs. Rutledge will take care of that.

Jake

(ARCHDALE glare at Jake)

That's very nice of her. Yes, sir.

Archdale

(Turn to Porgy)

So you can go right ahead and tell me all about it.

Jake

Yeah, go ahead, Porgy. You see it was like this - uh, huh.

(ARCHDALE looks at Jake, irritated and
for the first time JAKE gets it and
moves up to pump)

Need me right here. Glad to serve you, sir. I'll be right
round here if you need me.

(Points C)

Porgy

(Earnestly, dropping his suspicion.
SERENA exits into her room.)

It's like dis, boss. Crown kill Robbins, an' Peter see um
do it. Now Crown gone he ways, an' dey gone gots ole Peter
lock up.

Archdale

I see, as a witness.

Porgy

'Til dey catch Crown, dey say, but ef dey keep um lock up
'til den, dat ole man gots er life sentence.

Archdale

(Under his breath)

The dirty hounds.

(He is silent for a moment, his face
set and stern. Porgy waits. ARCHDALE
turns wearily to him)

Of course we can go to Law about this. But it will take no
end of time. There is an easier way.

2-23

Archdale

(Turning back to Porgy)

Now, listen, Peter must have someone to go his bond. Do
you know a man by the name of Huysenberg who keeps a corner
ship over by the East end wharf?

Porgy

(His face darkening)

Yes, Boss, I knows um. He rob every nigger he git he han'
on.

Archdale

(Sit on barrell)

I see you know him. Well, take him this ten dollars and
tell him that you want him to go Peter's bond. He has an
arrangement with the magistrate that makes him entirely
satisfactory.

(Hands Porgy a ten dollar bill)

Do you understand?

(Rises. FRAZIER enters from Maria's
shop)

Porgy

Yes, Boss. T'ank yo', Boss.

(ARCHDALE about to go. Going up, to-
ward gates C.)

Frazier

(Crosses to C.)

Good mornin' Mistah Archdale. I done gib dis nigger yo'
message.

(Crosses to Porgy. Sternly)

'Membuh whu I tell yo' - Mobe on!

Archdale

All right, Frazier.

(To Porgy)

If Peter isn't out in a week let me know.

(Turning to take leave)

I suppose you're all going to the picnic to-day?

Porgy

My Bess say she ain't care much 'bout picnic!

(Looks wistfully at BESS, who stands
behind him in doorway)

Yo' ain't change yo' min', Bess, now yo' gots divorce?

Archdale

(Come down to Porgy, looking at
Frazier)

Divorce?

2-24

Porgy

(Proudly to Archdale)

Lawyer Frazier, Jus' sell my 'oman a divorce. She er honest
'oman now.

(Hand document to Archdale)

Archdale

(Reading)

"I, Simon Frazier, hereby divorce Bess and Crown for a
charge of one dollar and fifty cents cash. Signed, Simon
Frazier." Well, that's simple enough. "Sealed Charleston
Steamboat Company." Where did you get this seal?

(Crosses to Frazier in his manner rather
than his voice is the threat of the white
man to the negro.

Frazier

(Center)

I done buy um from de junk shop Jew, Boss.

Archdale

Don't you know that there is no such thing as divorce in
this state?

Frazier

I heah tell dere ain't no such er t'ing fuh de w'ite folks;
but de nigger need um so bad.

Bess

Ain't mah divorce no good, boss? Porgy done pay one dollah
an' er half fuh it.

Archdale

(Looking at paper. Crosses to R. of
Porgy)

I could hardly say that it is legal.

Bess

Legal! Dat wo'd mean good?

Archdale

Well, sometimes.

Porgy

Plenty ob our frien' is divorce, Boss.

Archdale

(With accusing look at Frazier who
cring es)

So I hear.

(Again consults paper)

You've left this man, Crown, and intend to stay with Porgy
for good?

Bess

Er - yes, Boss, yes, suh.

2-25

## Archdale

(Tapping paper)

I suppose this makes a respectable woman of you. Um - on the whole - I'd keep it. I imagine that respectability at one-fifty would be a bargain anywhere.

(Hands paper to Bess. Turns to Frazier crosses to him)

WARN
CHIMES
3/4 HOUR

But remember, Frazier, **No More divorces!** Or to jail you go. I won't report you this time.

(ARCHDALE turns to go)

Good morning.

(Crosses toward gate. Stops to talk to Nelson L. side of arch. Pats boy on head as he passes)

## Frazier

(Crosses to Porgy. Close by PORGY'S door. Recovering from his emotion enough to speak)

Gawd bless yo', Boss. Good mornin', Boss.

(To Porgy)

The trouble with you -----

## Porgy

(Imitating Frazier's professional manner)

Mobe on, please. Mobe on! I gots er bery polite goat in heah whut object to de smell ob de jail bird.

(ARCHDALE, overhearing, laughs suddenly. Goes out gate, his shoulders shaking with laughter. Then all the court laughs. FRAZIER, moves off, talks to Negroes in background, and soon leaves the court, still talking to himself. BESS stands by Porgy on step. Everybody exit to their various houses. One of the kids makes faces at Fraxier as he goes out and follows him. SPORTING LIFE up to the gate and watches others off)

Ain't yo' hear de Boss laugh?

## Bess

Fo' sho' I heah um laugh.

## Porgy

No, no, Sistuh! Me and my goat ain't goin' mobe on. When de nigger make de buckra laugh, he done win. We goin' spend we life under Mistah Archdale's window. Yo' watch!

(Draws himself up by door frame, goes inside singing. CHIMES 3/4 HOUR. closes door. SPORTING LIFE saunters over to BESS who is sitting on step reading divorce document.)

CHIMES
3/4
HOUR

2-26

Sporting Life

(Crossing to Bess. Looks over set to
see no one looking)

'Lo, Bess! Goin' to picnic?

Bess

No, guess I'll stay home.

Sporting Life.

(One foot on step leaning over her)

Picnics all right for dese small town nigger, but we is use
to de high life. Yo' an' me onderstand each odder. I can't
see for de life ob me what yo' hangin', 'roun' dis place fo'.
Wid your looks Bess. an' your way wid de boys dere's big
money for you an' me in Noo Yo'k.

Bess

(Quietly looking straight at him)

I can't remembuh eber meet a nigger I likes less dan I does
yo'.

WARN
BAND

Sporting Life

(Laughing. Look about. Lean to her)

Oh, come on now! How 'bout a little touch happy dus' fo'
de ole time' sake?

(Takes off hat. Sit above her on step)

Bess

(Drawing away)

I t'rough wid dat stuff.

Sporting Life

Come on! Gib' me yo' hand.

(PORGY opens door and listens to this.
BESS starts to withdraw her hand., but
as SPORTING LIFE opens the paper, she
gazes, fascinated at the powder)

Bess

(Wavering)

I tells yo' I t'rough.

Sporting Life

Jus' a pinch, not 'nough to hurt a flea.

Bess

I done gib up dope.

Sporting Life

Tell that to somebody else. Nobody 'eber gib up happy dus.'

(Reaches out and takes her hand, draws
it toward him, and with other hand
unfolds paper ready to pour powder.

2-27

(PORGY'S hand reaches suddenly into the open space of the door, seizes Sporting Life's wrist in an iron grip. SPORTING LIFE looks at the hand in astonishment mixed with a sort of horror. Rises)

Leggo, yo' damn cripple!

(The hand twists Sporting Life's wrist till he relinquishes Bess' hand and grunts with pain. Then Porgy's hand is silently withdrawn)

Gawd, what a grip fo' a piece ob a man!

Porgy

Sportin' Life, you keep away from my woman or I'll break your damn neck!

Sporting Life

Break my neck, will yo'?

(Laugs sneeringly)

I like to see a lousy cripple like yo' break my neck.

Porgy

If I jus' git dese han' on yo' once, you'll see quick enough.

Bess

(Rising, coming between them)

Go 'long now.

Sporting Life

(Regaining his swagger)

All right! Yo' men friend' come an' dey go. But 'membuh, ole Sportin' Life an' de happy dus' here all along.

(JAKE and CLARA come from his door to C. with basket)

Porgy

Now, git out, you louse, hay, you rat.

(Make a start for him. SPORTING LIFE saunters along, crosses up and out to R. PORGY on doorstep sits. BESS stands beside him absorbed. PORGY looks at her keenly, troubled. SERENA and one child on and down step. NELSON on from rear, cross to Lily's door. Child to Serena's window and close shutters an other child from arch to gate and out to Band.

Jake

Honey, we're going to strut our stuff to-day.

(Crosses to C. in the midst of his preparations puts his basket down on floor center.)

How many chicken you put in her.

2-30

Maria

What de mattuh wid yo', sistuh! Ain't yo' know yo' late fo'
de picnic?

(A sudden wave of happiness breaks over
Bess' face. She is too surprised to
answer)

Porgy

Bess say she ain't figgerin' to go.

Maria

(Crossing rapidly to them)

Sho' she goin'! E everybody goin'. She gots to help me wid my
basket. I gots 'nough fo' six.

(Basket on floor)

Where yo' hat?

Porgy

(Talking sash from pocket)

Right in the room, dere. Hanging on the nail. Go on in
there and get that hat woman.

(Laugh)

Maria

You talk about stayin home and everybody else going to the
picnic.

(Exit into house L.)

Bess

(Crosses to Porgy. Drops pail)

Porgy, I hates to go and leave you all alone.

Porgy

Bess, I'm only to glad to have you go. I've been wanting you
to be happy here in Catfish Row 'cause I've been so happy
since you come to stay with me.

Bess

Yes, Porgy, I knows.

Maria

Come on child, get this hat on yo' head. Yo' stay around
here yo' die of the lonesome blues.

Porgy

Here Maria, take that girl away from here.

(MARIA unties Bess' apron. Throws it
through door. Takes sash from PORGY,
pins it across Bess' breast, jerking
her peremptorily about to save time.
Then starts for her basket)

2-32

## ACT II

### SCENE II

Kittiwah Island. Moonlight revealing a narrow strip of sand backed by a tangled palmetto ticket. In the distance the band is playing. Several extra People cross from left to Right, singing, laughing. Of left others are singing, "All the gold in the mountains." All the silver in the mines.

Band is heard through change of scene. Stop with Curtain up and Crowd is heard singing. Cheers Chorus of "Aunt Jane fighting the devil."

PERRY and four kids cross at rise of curtain yelling ad lib)

Perry

Come you kids, going to miss that boat.
(REMSEN and THOMAS cross. TAYLOR stag-
gers on, falls center. ALLEN happy,
slapping hands in time to song)

Allen

He's drunk. He always gets drunk when he goes out this way.
(ALLEN and BRUCE Pick him up. Exit R)

Bruce

Good Lord!

Mingo

(Enter from left to R.)

Dis been some picnic, but Lor' I'se tired.

Jake

(Enter from left X. to R.)

Dis basket some lighter to carry dan when we come out.

Mingo

I guess so.

Jake

(He hears the singing off L. and shouts)

Where is de res' ob dat crowd?

2-33

Clara

(Who has entered with them)

Go an' call dem, dere comin'

Jake

(Cross back to C.)

You' all best stop dat singin' and hurry up, or you'll miss
dat boat.

(Some few enter from left among them
being BLUE, FRANCIS, EMBRY, COWAN,
NELSON, ANNIE. They stop L. of C.
They are singing, "Oh there's Gold in
the Mountains" then ANNIE breaks into
a solo)

Amie

(Stand C. just left of Jake)

"He lead me to the window and the light was dark,
The moon was shining bright,
The hills and mountains all 'round, laid terror to my sight.
He said all these things will be your'n, while you live,
If you be my general when you dead,
But I look ole Satan right plum in the face,
And what do you reckon I said?

Chorus:

(MUSA crosses in front of her on
first line of chorus and exits right)

"Get you gone old Satan,
Don't you come here again.
You mought fool a white gal with that sail,
But you can't fool ole Aunt Jane."

Jake

(Lets it go on for a moment, then in-
terrupts it with)

Here, cut dat out. We comin' from a picnic, not a prayer
meetin.' Nobody knows wedder you getting religion or doin'
a juba dance, so cut it out.

Annie

Not let me write you a few lines right here. Ever since
you can't git no more licker, you been "chippie-chipping"
me, Hamp, Hamp, Hamp and blaspheming and scandalizin' my
name 'Til I'm plumb got nervous calculations of the heart.

Mingo

She got you told Jake.
(CHAVES and REED Enter left and exit R.
WILSON GORDON cross and stand R.)

Jake

Well, let me tell you somethin', old Lady, You've been a
good old wagon, but you done broke down.

(All laugh.)

2-34

## Annie

(To the crowd)

Shut up. I don't see nothin' to laugh at.

(To Jake)

Let me tell you some thing your wheels is kind of wobbly.

## Jake

Now be careful. Remember, I'm a pillar of de' church.

## Johnson & Brown

(Look at each other)

That's right he is.

## Annie

I wouldn't give a consarn if you' se a bolster and matress of
the church.

(She jumps and stomps. She then breaks
into "All the gold in the mountains".
The others pick it up and they march off
right. Order of exit: CLARA, JAKE, MINGO,
ANNIE, EMBRY, NELSON, COWAN, MINNIE
JOHNSON, LOTTIE BROWN, MAHON, ROSEBRUGH,
CLARK. Then JOHNSON staggers on crosses
as clark calls.

## Clark

Come on Mandy -

(Exits right. SERENA and LILY enter
with their baskets. LILY crosses to C)

## Maria

(Calling from off L. as she comes on)

Hey, you all, wait for me, you know I ain't no hand to walk
so fas' on a full stomach.

## Xerena

You bes' hurry up. You goin' miss dat boat.

## Maria

If dat boat go widout me dey's goin' be some sick niggers in
Catfish Row when I git back.

(The boat off R. whistles SERENA
and LILY go off)

WHISTLE

Hey dere, hold your holt. I'se comin'.

(It whistles again)

WHISTLE

Hurry up, Bess, dis boats gittin' de whoopin' cough.

(MARIA exits R. BESS runs in, crosses
to R. A great black hand creeps slowly
out among the palmetto branches and
draws them aside. A whistle is heard
in thicket. BESS hears the sound.
Straightens, stands rigid, listening.
Snap of fingers she drops basket)

2-35

Bess

(In a low, breathless voice)

Crown?

listen to what I got's for tell you. I waitin' here
till de cotton begin comin' in. Den libin'll be easy.

Crown
I libin' to hide you an' me ribber boat fur as Savvannah.
She turns and looks at him. He partly
emerges from the thicket, stretches him-

self. He is naked to the waist, his
cotton trousers frayed away to the knees.
Steps to her)
Crown

I seen yo' land an' I been waitin' all day fo' yo." I mos'
dead on his damn islan'!
man -

Bess

(Looks at him slowly)

Yo' ain't look mos' dead. Yo' bigger'n eber.

Crown

Oh, plenty bird' egg, oyster an' t'ing. But I mos' dead ob
lonesome wid not a Gawd's person fo' swap a word wid. Lor'
I'se glad yo' come!

Crown, I
(Steps to her, stops. He takes her by
the right arm and she pulls away)

Bess

(Back R.)

I can't stay Crown, or de boat go widout me.

Crown

(Crosses to her R.)

Damn that boat. Got any happy dus' wid yo'?

Bess

No.

Crown
Come on! Ain't yo' gots jus' a little?

Bess

No, I ain't. I done big' up dope.

Yo' hear 'em say in couple week I comin'
yo' an' yo' goin' tote fair 'less yo' wants to meet you

Crown
(Cross over L. C.)
Gawd. Yo' gits dat?

It sho' do a lonesome man good to hab' he 'oman come an'
swap a couple jokes wid um.
I's stayin' wid Pergy fo'

WARN

CREW

curtain

Bess

(Cross C. following him)

Dat's de Gawd's turt'. An' 'sides - I gots some-pen
fo' tell yo'

WARN

MOON

2-41

Maria

Hopes yo' has den same good luck to-day!

Jim

(At C. Turn to NELSON who crosses to
L. of C. JAKE comes to Clara)

I bet dat catch we made yesterday de bigges' catch eber make
'round dese parts.

(JAKE embraces Clara as he passes.
SERENA enters from her room on landing
up stairs)

Nelson

We bes' make de most ob to-day. Look to me like de las'
good day we goin' hab'.

Jim

Gots a wet tas' to um.

(MARIA to R. of table)

Jake

Don't yo' know dat ain't de kin' ob' talk to talk 'fore my
'Oman. Ain't yo' hears de raggin' I gits ebery day?

(All laugh)

But see! I gots 'er trained now.

Jim

You got her trained alright.

Jake

She ain't sayin' a word. So long, Clara!

(JAKE gives Clara a hurried, affect-
ionate pat and follows the other men
as they troop out the gate, talking
and laughing. The gate clangs shut
behind them. CLARA goes silently with
them out gate. JAKE has an arm around
her waist.)

Nelson

Come on Jake, come on Jim.

(As they exit C. to L.)

Bess

(Off stage left)

Mus' be right heah on de groun'. Bess goin' fin' um -

(BESS' voice drones on. MARIA in her
doorway, listens a moment. Crosses
to PORGY'S door. Then hesitates, awed
by the mystery of delirium. SERENA
silently crosses the court and joins
Maria. They listen a moment longer)

2-42

### Serena

(In a low voice at Maria's R.)

She still out she head?

(PETER appears outside the gate. MARIA nods. They stand silent)

### Bess

(From room off left)

Eighteen mile to Kittiwah - palmetto bush by de shore -

Eighteen mile to Kittiwah -

(PETER seems older and feebler, but his face is joyful. Pushes gate open, comes into court, looking eagerly about. Sees the two women and crosses toward them. Comes between them)

### Peter

How every body?

(They turn and see him)

### Maria

(Joyfully)

Ef it ain't ole Peter!

### Serena

Hey Lily, heah Daddy Peter home again. Heah yo' ole man. Lordy we is glad fo see yo'!

### Lily

(Off R.)

What? Wait I can't find my other shoe.

(LILY comes running from her door with one shoe on. Hurries to PETER and greets him joyfully)

### Lily

Ef it ain't my ole peter!

### Peter

I begin fo' tink mebby I ain't eber see Catfish Row -

(BESS' voice rises in a sudden wail. The Women turn awe-stricken faces toward Porgy's door. PETER, who has not heard, is mystified by their expressions. His words die away. He looks questioningly from one to another. BESS again takes up her monotonous refrain)

### Bess

(Off)

Palmetto bush sort ob twisted like - rattle-snake an' t'ing -

2-43

Peter

(Looks at women - first at Lily, then Serena, Maria, Lily)

Whut de mattuh?

Maria

(Shouting into his ear)

Forgy's 'oman bery sick.

Lily

Dat's rig (Shouting)

She out she head.

Peter

How long she been like dat?

Maria

More'n a week now. Eber since we hab de picnic on Kittiwah.

Serena

(Crosses to speak in his ear)

She wander off by sheself an' git lost in de palmetto t'icket.

She ain't come home fo' two day.

(Cross back. Silence in the room.

After a moment FORGY comes from his door, softly closes it behind him)

Forgy

I t'ink mebby she goin' sleep now.

(Sinks wearily onto step. Dully)

A whole week gone now an' she ain't no better! Dat yo', Peter?

(A moment of silence. PETER crosses to Porgy. MARIA crosses up to L. of Lilly)

Welcome back home ole frien'.

Peter

I advise yo' to send she to de w'ite folks' hospital.

(Blank consternation. MARIA is first to find her voice)

Maria

(Speaking into his ears, crosses to him. SERENA and LILY to each other aghast)

Fo' Gawd's sake, Peter! Ain't yo' know dey lets nigger' die dere so dey can gib um to de student'? I say dey gib um to de student!

Porgy

Alleluia! (Moaning)

Oh, Gawd! Don' let um take Bess to de hospital!

2-44

Serena

(In injured tone to Porgy)

Hospital! Mus' be yo' is all fergit how I pray Clara's baby out ob de convulsion. Dey ain't hebber been a sick person or corpse in Catfish Row dat I has refuse' my prayers. Dey is fo' de _righteous_ an' fo' de _sinner_.

(Meaning Bess)

All two.

Porgy

Dat's right, Sistuh. Yo' pray ober um. Dat can't hurt um none.

(LILLY go R. of Serena. MARIA L. of her from triangle. SERENA closes her eyes and begins to sway face front)

Serena

Oh, Jedus who done trouble de watuh in de Sea ob Gallerie -

(LILLY hums an accompaniment)

Porgy

Amen!

Serena

An' likewise who done cas' de debil out ob de afflicted time an' time again -

Porgy

Time an' time again.

Peter

Oh, Jedus!

(Begins to sway)

Serena

What make yo' ain't lay yo' han' on dis sisstuh' head? -

Lily

Oh, my fadder!

Serena

An' sen' de Debil out ob she, down a steep place into de sea, like yo' used to do, time an' time again.

Porgy

Time an' time again.

Serena

Lif' dis poor cripple up out ob de dus' -

Peter

Allelujah!

2-45

### Serena

An' lif' up he 'oman an' make she well, time an' time again.
And save us all for Jedis sake. Amen.

(They away a moment in silence, then
serena hums and crosses up to her
room. PETER and LILY follow her
exit R' 2. E.)

### Maria

(Looking out of the corner of eye at
the departing Serena)

Now yo' jus' be easy in yo' mind Porgy, Serena has pray over
um need yo' know bery well dat de prayers of all righteous -

(Sees that Serena is out of earshot,
change tone of voice, turning on PORGY)

Listen to me! Yo' wants dat woman cure up, ain't yo'?

### Porgy

Yo' know I does.

### Maria

Bery well den, why ain't yo' send to Lody?

### Porgy

Lody de conjun' woman?

### Maria

Yo' hear Serena say she done pray Clara baby out ob de convulsions. Humph! A lot Serena done for um! While's Clare's a prayin' wid Serena Jake and me is gone to Lody. Lody conjur de convulsions out of dat baby and yo' just ask Lily who cast de.

(MINGO enter from Lily's room)

debil out ob her stomach - Serena or Lody. Yo gots <u>two dollars</u>?

(PORGY nods)

Den yo' bes' waste no time. Yo' go quick to Lody an' gib she de two dollah an' tell she to make conjur fo' cas' de Debil out ob Bess.

(MINGO has sauntered in and taken a seat at the table by Maria's door)

### Porgy

How I goin' leab Bess?

### Mingo

Hey, Maria! How 'bout a little serbice?

### Maria

Here, yo', Mingo, come here! Come here you good for nothing hound.

(He crosses to them slowly)

Yo' do little job fo' Porgy, an' I gib yo' de free breakfasts
when yo' gits back. Yo' know Lody, de conjur 'oman?

2-46

Mingo

Who don't know Lody!

Maria

Yo' go to Lody an' tell she fo' make conjur fo' cas' de
debil out ob Porgy's Bess. He goin' gib' yo' two dollah
fo' she.

(Porgy has taken out his money bag
and is counting out pennies)

Mingo

Dat long way to Lody's 'fore breakfast.

Maria

Long way! Listen to de niggerF It's jus' round de corner.
Ef yo' mwa'n't dead on yo' feet, yo' could get dere an'
back in five minutes.

Mingo

What yo' gots fo' breakfast?

Maria

I gots de butts meant fo' grease yo' mout', an' de corn
bread an' lassus fo' sweeten yo' mout'.

Mingo

How 'bout er little shark steak?

Porgy

I goin' gib yo' quarter fo' goin'.

Mingo

(Crosses, to Porgy)

Ah!

Porgy

(Handing him money)

Here do two dollah fo' Lody an' de two bits fo' yo' self.

(Mingo starts for gate, counting money
without looking up)

Come on Mingo, make haste, hurry, run.

Mingo

Mus' I bring lody here?

Maria

(C)

No. Dat'll be jus' waste time. Tell um to make de charm
quick right where she is.

(Start him up stage, follow him)

Dat breakfasts I promise yo' goin' be on de table in ten
minutes. Ef yo' ain't hurry he'll be cold.

2-47

Mingo

I be back fo' yo' can crack yo' teet'.

(Goes out gate and off to right)

Maria

(Returning to Porgy after looking at
town clock off R.)

Most five o'clock. Eben dat lazy nigger can't spend more'n
five minutes gittin' to Lody's.

(Comes closer)

By fib o'clock sure, she goin' hab she conjur make.

Porgy

(Eagerly)

Yo' t'ink dat cure she?

Maria

I ain't t'ink. I know. Yo' watch what I say, my brudder.

Bess good as cure right now. Come five o'clock dat 'oman
well.

(Turn to go. CLARA who has come through
gate from outside, closes gates, stands
looking off L. starts R. CLARA is crying
softly)

Why you been out on that wharf - so long, Clara. Boats must
be out ob sight by now.

Clara

(By steps)

Dey been out ob sight fo' long time now.

Maria

(Working at her table)

Yo' ain't gots no call fo' worry 'bout yo' man. Dis goin'
be a fine day.

Clara

(At foot stairs)

I neber see de watuh look so black.

WARN
WHISTLE

Maria

(Standing below table R.)

Well, has yo' eber see it look so still?

Clara

My head alistening fo' dat hurricane bell.

Maria

Hurricane bell! Ebeney time dat poor old bell start to ring
yo' ain't wait to count um. Yo' jus' sure he for Hurricane.

I gettin' pretty ole, and jus' three times in my life I hab
heard dat bell ring fifteen.

2-48

(MARIA R. l. exit and CLARA exits upstairs to Serena. DADDY PETER comes from his door followed by LILY who carries the honey-tray. She places it on his head and returns to room, closing the door. PETER crosses toward gate, beginning instantly to chant)

Peter

I gots honey,
Has yo' got honey?
Yes, ma'am I gots honey,
You got honey cheap?
(A woman leans from an upper window R. and calls)

WARN
CHIMES

The Woman

Peter

(Going on)
Yes, ma'am, my honey cheap.

Annie

Peter, Peter.

The Woman

Hey dere! I wants some honey!

(ANNIE tries to help woman get Peter's attention. He doesn't hear. ANNIE laughs)

Annie

Peter, honey-man. God almighty, I'm just wasting my breath on you, 'cause you can't hear no how.

(Closes window. PETER goes out gate and off to left)

Peter

(As he goes off left)

You gots honey in de comb?

Yes, ma'am I gots honey in de comb.

Heah come de honey-man!

I gots honey.

(The CRABMAN dressed in white with basket, enters from R. thru the gates C. chanting)

BOAT
WHISTLE

Crabman

(Full chorus off R.)

(Repeat on stage)

I am talking about deviled crabs. I am talking about Devil crabs. Oh I'm not talking about Deviled Crabs - I'm talking

2-49

## Crabman (Cont'd)

about the food I sell. Deviled Crabs - Devil-crabs.

(Puts basket down. left of center
rather upstage sees Porgy)

Devil Crabs? Devil crabs?

## Porgy

(Wave him away)

Go way fellow.

## Crabman

(Start song, look up to Annie. She
shakes head and closes window. MUSA
opens window on Sec line and says no
Sir, not to-day. MARIA on from cook
shop to table, pause, business of
getting out crabs)

## Maria

(After MUSA closes window)

Hey, Crabman.

## Crabman

(Crosses to her)

When I done talking about the food I sell, talking 'bout
your pocket book.

(MARIA counts money in his hand)

Talking about dev -

(Pause while money business)

Viled crab, talking about steam crab.

(Count money look about court cross
to Basket)

## Remsen

Nothing to-day.

## Crabman

Talking about food I sell, when I done talking 'bout the
food I sell, talking 'bout devil crab.

(Turn to Porgy)

Devil crab, devil crab.

(Start song again, closes basket
as he sings, exits to L. Hitch
pants at gate, eccentric walk.)

PORGY still waiting. St. MICHAEL'S
begins to chime the hour. PORGY
grows suddenly rigid. As the chimes
continue, MARIA comes to her doorway
and stands motionless, also listening.
She and PORGY gaze at one another a-
cross court with tense expectant faces.
The chimes cease)

CHIMES
HOUR

## Porgy

(In low vibrant voice)

2-50

Porgy (Cont'd)

Now de time! Oh, Gawd!

(Chimes five. St. Michael's strikes five, as PORGY and MARIA still wait motionless, Bess' voice is heard, weakly, on fourth bell, off stage)

Bess

Porgy!

(PORGY electrified by the sound)

Porgy! Dat yo' dere, ain't it?

(At door)

Porgy

(With a half-laugh, that breaks in a sob)

T'ank Gawd! T'ank Gawd!

(Reach for her, help her out. BESS appears in the doorway in her white nightgown. She is very weak)

Bess

I lonesome here all my myself.

(Sit by Porgy below him on steps)

It hot in deay. Let me sit here awhile in de cool.

Porgy

Maria, ain't she ought to go back to bed?

Maria

(At her door)

Let sheebe. What I done tell yo'? Ain't dat conjur cured she?

(Exit into shop)

Porgy

Oh, Bess! Bess!

Bess

I been sick, ain't I?

Porgy

(Almost sobbing with relief)

Yo' been bery sick! T'ank Gawd de conjur cure yo'!

Maria

I knowed it.

(Exit in door R. l. E.)

Porgy

I got yo' back, Bess!

Bess

How long I been sick, Porgy

2-52

Porgy

How t'ings stan' 'tween yo' an' Crown?

Bess

(After a pause, turns away, look
out front, look at Porgy)

He's comin' fo' me when de cotton come to town.

Porgy

Yo' goin'?

Bess

I tell um - yes.

(Look away, take hand from his arm,
turn away from him. PORYG turns
his head from her and sits looking
straight before him. After a moment,
BESS reaches out timidly and lays
her hand on his arm. Then she tries
to encircle it with her fingers)

Porgy! Gawd! Yo' gots de arm like stebedor! Why yo'
muscle pull up like dat?

(He looks at her, his face set and
stern. She cowers, her hand still
on his arm)

It makes me 'fraid!

(A pause)

Porgy

(Jerk arm away, slide to upper end
of steps)

Yo' ain't gots nuttin' fo' be 'fraid of. I ain't try to
keep no 'oman what don' want to stay. Ef yo' wants to go
wid Crown, dat fo' yo' to say.

Bess

I ain't wants to go, Porgy.

(She rises, crosses C. PORGY looks
at her with hope)

But I ain't yo' kin'.

(Return, kneel before Porgy. He
helps her down to knees.)

When Crown put he hand on me dat day, I run to he like watuh,
Some day again he goin' put he han' on my throat. It goin'
be like dyin' den. But I gots to talk de trut' to yo.

When time come I goin' to go.

(Bend to ground. ,Silence her head
in his lap)

Porgy

(In a whisper, leaning over her, after
he looks over all windows)

Ef dey wa'n't no Crown, Bess! Ef dey was only jus' yo'
an' Porgy, what den?

2-53

(She rises, looks into his face with an expression of yearning. Then suddenly the weakness of her illness sweeps down upon her and she breaks out hysterically, trembling with fear, embracing him)

WARN
WIND

Bess

Oh, fo' Fawd sake, Porgy! Don't let dat man come an'
handle me! Ef yo' is willin' to keep me, den lemme stay!

(Her voice rises hysterically, broken by sobs)

Ef he jus' don't put dem hot han' on me, I can be good!
I can 'membuh'! I can be happy!

(The sobs overcome her)

Porgy

Dere, dere, Bess.

(Pats her arm soothingly, waiting for the storm to spend itself. She grows suddenly quiet, except for occasional silent, rending sighs)

Yo' ain't need to be afraid. Ain't yo' gots yo' man? Ain't yo' gots Porgy fo' take care ob yo'? What kin' ob nigger yo' tinks yo' gots anyway, fo' let amudder nigger carry he oman! No, suh! Yo' gots yo' man now! Yo' gots Porgy!

(BESS has become quiet. A pause)

Dere now. Yo' been set up too long. Let Porgy help yo' back to bed.

(He helps her to her feet and they exit, into Porgy's house. BESS weeping, PORGY soothing her.)

Mingo

(Off stage R)

My mammy tell me, long time ago,

Son, don't you marry no gal you -
(Pause at gate, head in gate, close gate, cross to wall L. U. still singing, points to Maria's table. Crosses to it, still singing song. Sits at table, calls for shark steak. He is drunk. He sings these two lines three times - once as he comes on. Then as he crosses to wall left. Then as he crosses to table as he falls into chair L. of table he speaks)

Shark Steak!

(As she comes on with tray of food)

Maria

Oh, dat yo', Mingo!

SOFT
WIND

2-57

## ACT II

### SCENE 4

WIND
SEA
THE SEA BEATS
THROUGHOUT
1st STANZA
BEFORE CURTAIN.
LIGHTENING
ACCOMPANIES
EVERY THUNDER

WIND

Before the rise of the curtain the sound of wind and water begin and swiftly swell and rises. Through the wind the chimes and bell of St. Michael's are heard, sometimes rising clear and strong as the wind lulls, then lost completely in a sudden gust.

The curtain rises on Serena's room, dim and shadowy in the light of guttering kerosene lamp on mantel R. The Negroes are huddled together in groups. A few have found seats on the chair and bed at R, against mantel. Others sit on the floor. A small group at L. including Peter and Lily are on their knees, sway-ing and singing the monotonous chant of "The Judgment Day Spiritual."

PORGY and BESS sit together on the floor at R. front. CLARA stands motionless at window, L. her baby in her arms. Every face is filled with fear. They shudder and draw closer together as the wind rises. They all sway back and forward and lift their hands in unison)

The Singers
"We will all sing togedduh on dat day,
We will all sing togeddah on dat day,
An' I'll fall upon my knees an' face de risin' sun,
Oh, Lor', hab' me'cy, on me!

Curtain up

(Their positions on floor. PORGY and BESS at foot of bed over right - on Bed. are MUSA- Booth-EMBRY-CORDON - on floor at side of bed as REMSON and RIED sitting in chairs at head of bed against back wall Ave. Aunt ANNIE and BROW - on the floor under windows at back wall - FRANCIS BROWN-MORRISON BROWN, CLARA stands at window left in back wall- with her Baby in her arms. THOMAS-CHAVERS- JOHNSON and DONOHOO and MAHON sit on floor along left wall

With the
Curtain.
THUNDER
LIGHTENING
WIND
TOGETHER
CRASH

2-58

above the door. LILY and PETER sit
on a line with PORGY and BESS-
Below the door - in the center MARIA
SERENA- MINGO and BLUE sit huddled
together. SPORTING LIFE is above
them, ALLEN & TAYLOR on the floor at
lower corner of the bed.)

"We will all sing togedduh on dat day,
We will all sing togedduh on dat day,
An' I'll fall upon my knees an' face the risin'
Oh, Lor', hab' me' cy on me!

(All through following dialogue
is heard the above song with the
word Sing changed to pray)

WIND, LIGHT-
ENING, THUNDER
sun, (LIGHTEN-
ING, THUNDER,
WIND. CRASH
LIGHTENING,
THUNDER

Peter
(Pause)

Clara, yo' bes' come sing wid we. It makes yo' feel better.

(SONG:- "WE'LL ALL PRAY - TOGETHER ON
THAT DAY)

WARN
EFFECTS

Clara
(Suddenly hysterical)

I mos' lose my min' wid yo' singin'. Yo' been singin' de
same speritual since daylight yesterday!

(SONG:- "WE WILL ALL PRAY TOGETHER ON
THAT DAY)

Serena
(Severely)

Ain't we want to be ready when de grabe gib up de dead,
an' Gabriel sound he trumpet?

(SONG:- "AN I'LL FALL UPON MY KNEES)

Sporting Life
(Sneeringly)

I ain't so sure dis de Judgment day. We hab had storm 'fore.

(SONG:- "AND FACE THE RISING SUN)

Serena
Not like dis anyway. Dis ain't no time fo' takin''chances.

(At this point the others lift their
song above the dialogue with last
line of "Oh Lord Hab Mercy On Me and
all sing with Serena)

(Bursts into song)

Oh, we'll all sing togedduh on dat day,
We will all sing togedduh on dat day,

WIND
SHUTTER

2-59

(Crash, wind, shutter. The shutters suddenly fly apart and flap violently in the wind, drowning out the singing which rises. The Negroes cower and draw closer together. MINGO, SPORTING LIFE cross to window. Some of the men struggle to capture the flying shutters, BRUCE, PERRY, MAHON, CHAVERS, THOMAS, they sit after this. As they were. BESS sits calm, gazing straight ahead of her. PORY is watching her thoughtfully)

Porgy

(In a brief moment of quiet)

Yo' ain't 'fraid, Bess?

(BESS shakes her head - a pause)

What make yo' ain't say nuttin'?

Bess

I jus' t'inkin'.

(The MEN finally lash the shutters together with rope)

Yo' know whut I t'inkin' 'bout, Porgy?

WARN WIND

CRASH

Porgy

Yo' t'inkin' whut storm like dis mus' be like out on de sea islands.

(BESS nods)

Bess

Wabe' like dese mus' wash clean across Kittiwah.

(After a moment she lays her hand on his arm. PORY looks keenly into her eyes)

Porgy

Yo' sorry?

Bess

I can stop a-listenin' now fo' his step a-comin'.

(Puts her hand in his)

I guess yo' gots me fo' keeps, Porgy.

Porgy

(Take her in his arms)

Ain't I tells yo' dat all 'long.

(Wind, Lightening, Thunder, Glass crash, strip tin, actual wood crash lightening. Shot & thunder, Roof tin, thunder till PETER rises. BLUE runs to bed sits. SERENA kneels at foot of bed. MARIA to bed above Serena. MUSA goes R. a few feet

WIND

LIGHTENING

THUNDER

GLASS

CRASH WINI

STRIP TIN

2-60

TAYLOR, ALLEN, to Serena's side at
bed. REID to side of Remsen.
FRANCIS rises to knees. L. BROWN
to T. Brown, kneel in front of her.
MUSA, EMBRY, BOOTH rise to knees
on bed. GORDON moves over on bed.
REMSEN, JOHNSON to their knees.
DONOHOO cross to R. of Brown.
JOHNSON, kneel. COWAN cross to C.
on knees. MORRISON cross to R. of
Francis on knees. CHAVERS to be-
tween Cowan and Mills. MAHON cross
to C. below Cowan. WILSON cross to
front of Mahon. PERRY front of
Wilson. THOMAS back of Lily, and
PETER JOHNSON back of Wilson huddled
in the R of Center at Lily-Maria-
Mingo Serena- and Peter)

ACTUAL WOOD
LIGHTENING

SHOT
THUNDER
ROOF
TIN

THUNDER TILL
PETER RISES

## Lily

(As she crosses - Terror-stricken)

Here he come now!

(Girls on bed rise on knees)

Maria

) These
) lines

Yo! can see um, Clara?

Clara

) spoken
) as they

He somebody's roof goin' by.

Annie

) take
) positions

(All cross to R. Wall)

Gawd A'mighty.

(Group begins to sing as before.
Then BESS begins to sing "Somebody
knockin' at de door" and one by
one the others join her till the
whole room is singing. Some beat
time on floor with their hands)

## All

"Dere's somebody knockin' at de door,

(Wind, thunder, lightening)

(Wind, thunder, lightening)

Oh, Mary, Oh, Marta.

(Swing arms up on "Mary" down "Marta")

Somebody knockin' at de door."

(Wind, thunder, lightening)

(PETER rises, the rhythm of the pat-
ting and swaying grows. A few begin
to shout.)

2-61

Peter

I hear death knockin' at the door.

(Looks fearfully at door. His haunt-
ed expression draws the attention of
the others. One by one they stop
singing)

Maria

What yo' say, Daddy Peter?

(The singing stops but the rhythm
continues)

WARN
KNOCK

Peter

I hear death knockin' at de door.

(A horrified silence. All eyes turn
to door)

Lily

(In an awed whisper. Pause)

It mus' be death, or Peter can't hear um.

WIND
SOFTLY

Mingo

He ain't hear nuttin'. Nobody knock.

Lily

Yes, dey is! Somebody dere!

Peter

Death is knockin' at de door.

Maria

Open de door an' show um nobody ain't dere.

Mingo

Open up yo'self.

Lily

(Wildly)

I tells yo' dere is somebody dere! An' Peter can't
hear no libbon' person!

(PERRY, MINGO, CHAVERS hold door back-
ed up by THOMAS, ALLEN, BRUCE, TAYLOR.
MARIA hesitates. A loud knock is heard.

The Negroes immediately burst into a
pandemonium of terror. There are cries
of "Oh, Gawd, hab' me'cy!" "Don't let
um come in!" The knock is repeated,
louder. Some begin to pray, but the
more energetic ones run to door hold-
ing it. The door is shaken violently)

KNOCK
THUNDER
LIGHTEN-
ING
WIND

KNOCK
THUNDER

KNOCK
RISING
WIND

Bess

Dat ain't no use. Ef he death, he comes in anyway.

2-62

Maria

(Now the most terrified of all)
Oh, Gawd! Gawd! Don't let us in!

PUFF
OF WIND

(With a sucking sound of the wind the door slowly opens, pushing those away who are holding it. They run to R. crouching in terror Shrieks of terror and prayers fill the room.

THUNDER
TIN

CROWN, bent double against the wind, enters D. L. CHAVERS crosses to Box, fall. PERRY fall in corner by wash stand. MINGO fall back behind Peter.

SOFTLY

BRUCE fall up stage. ALIEN fall stage C. front. TAYLOR fall L. stage C. front. SMITH fall R. stage C. front.

As one by one they gain courage to look toward the door, the prayers die away. For a moment the Negroes stare at him in silence. Then there are cries of "Crown!" "Gard, it's Crown!" BESS sits silent, rigid. PORYGY gazes at her searchingly. MARIA goes to R. by bed. PETER goes L. C. LILY with him)

Crown

(Stands at door)

Yo' is a nice father of a nigger!
(SERENA comes out from bed to R. C.)

Shut a friend out in a storm like dis!

Serena

Who's your friend is yo'?

Crown

(Moving to R. from L.)

I yo' friend, Sistuh.
(Sees Bess crosses C.)

Oh, dere's who I'm looking at! Why ain't you come say hello to yo' man?

(Crowd falls back as he passes, leaning away from him)

Bess

(Rises)

Yo' ain't my man.

Crown

It's her time I was coming back!

Keep you out of Porgy!

Yo' ain't done much for yourself, while I've been gone. Ain't dere no whole ones left?

Bess

(Facing him)

Keep you out of Porgy!

## ACT III

### Scene I

CHIMES

SONG - CURTAIN

(Song, chimes, curtain on third chime.
Clock strike one o'clock.

Chimes. St. Michael's strikes.

The Court, dark except for lights
around the closed shutters of a
second story room at back left,
and the glow from MARIA'S open
door.

From the second ANNIE'S room comes
the sound of a spiritual muffled
by the closed shutters.

PORGY is at his window, but only
vaguely seen in the darkness. He
holds the shutters partly closed so
as to screen himself, while he is
abide to look out.

Door to stairway at back L. opens
and SERENA comes out. Through the
open door the spiritual is heard
more plainly. It is sung by women's
voices, a slow, mournful dirge.

The song is heard through the dia-
logue.

The song and chimes start. Curtain
rises on third chime.

SERENA enters when curtain is up)

### Women

(Heard thru following dialogue)

"Nelson, Nelson, don't let you brudder condemn you,
Nelson, Nelson, don't let you brudder condemn you,
Nelson, Nelson, don't let you brudder condemn you,
Way down in that lonesome grave-yard".

(SERENA crosses toward her room.
sees the light from MARIA'S door
and pauses crosses to L. of MARIA)

### Serena

(Sees Maria below table D.R.)

Yo' still up, Maria? How come yo' ain't sing wid we women fo'
de dead in de storm?

3-3

Maria (Cont'd)

Bery well, Sistuh. But I know die. Gawd gib dat cripple
to see many t'ing yo' an' me can't see - an' if he is watch
for sompen, den dere is sompen fuh -

(JIM's song ends at this poing)

watch for.

(Start JAKE's song)

(BESS, the baby in her arms, opens
door at L. back. The spiritual
is again heard clearly. BESS
does not close door but stands
listening, holding baby close.
MARIA and SERENA listen. BESS
crosses down L.)

Women's Voices

"Jake, Jake, don' let yo' brudder condemn yo',
Way down in date lonesome grabe-yahd, etc."

Bess

Dey singin' fo' Jake an' Clara now. I couldn't stay.

(The THREE WOMEN listen a moment
in silence)

Song

"Clara, Clara, don' let yo' sustuh condemn yo',
Way down in date lonesome grabe-yahd - etc. -,

(BESS presses baby to her. Softly
closes door, muffling the singing,
turns toward her own door. CLARA'S
song carries thru this until scene
is over)

Serena

Whut we all goin' to do wid dat poor, mudderless baby?

Bess

(Stopping short. Turns slowly back)

Mus' be Clara has come back already.

WARN
SPOT
ON

Serena

(Looking fearfully about her)

Whut yo' means?

2ND
FLOOR

Bess

(Crosses to C.)

Mus' be Clara has come back an' say sompen to yo' I ain't hear.
I ain't hear her say nuttin' 'bout "we". She say, "Bess, will
yo' keep dis baby fuh me till I comes for um?"

3-4

### Serena

Somebody oughts to make sure de poor chile get a good Christian raisin'.

### Bess

Clara, aint say nuttin' to me 'bout dat, an' till she do, I goin' stan' on her last libbin' word an' keep the baby fuh she till she do come back.

(Again starts toward her door.

Again turns back, impulsively.

Passionately. Start CLARA'S song)

Oh, let me be, Serena! Can't yo' see I ain't de same 'oman whut used to run wid Crown! Gawd wouldn't ha' let Clara gib me dis baby if he hadn't seen I was different inside. He wouldn't ha' gib me Porgy, if he didn't want to gib me any chance. Oh, I gots my baby - Serena.

(Holds baby out to SERENA)

Look at um now, Serena - hol' um a minute. Tell um he gots a good ma whut goin' stan' by um!

(SERENA takes baby reluctantly, but responds when it touches her bosom. She rocks it in her arms)

### Serena

Yes, I reckon yo' gots a good ma now. She gots Gawd in she heart at las'.

(Hands baby back to BESS, who draws it close. BESS crosses to L.C.)

Good night, Sistuh.

(BESS pauses slightly as though taken by surprise. SERENA crosses down to her door. MUSA opens door up L. holds door open to listen to song for a moment)

### Bess

Good-night - Sistuh.

(Start song for Crown)

(Serena goes in her door. Closes it. Maria begins shutting up her shop for the night. Carries articles inside. Bess crosses to her rown door and exits. One Woman comes from door L. with lighted lantern - exits L. under arch. Singing continues for Crown. Maria sets about barring her shop windows. She hums with the others. The light goes out in Porgy's window. Suddenly Maria stops short and peers into the darkness. A short laugh from darkness. The singers singing for

SPOT

ON

2ND

FLOOR

3-5

Crown. Sporting Life laughs,
crosses to L.C. Maria crosses to his
right.)

Maria

Yo' low-live' skunk! Whut yo' hidin' 'round here fuh?

Sporting Life

I jus' been listenin' to de singin'. Nice, happy little
tune dat day stowin' away my old friend Crown now.

Maria

Yo' ain't gots no shame - laughin' at dem poor 'mans
singing fuh dere dead mens!

Sporting Life

(Turns to face Porgy's door)

I ain't see no sense makin' such a fuss ober a man when he
dead. When a gal's man gone, dere's a plenty men still
libbin' what likes good-lookin' gals.

Marie

(Turn to him)

I knows it ain't dem gals yo' is after. Ain't yo' see Bess gets
no use for yo'? Ain'g yo' see she gots a man?

Sporting Life

(Turn back to her, laughing)

I see more dan dat, Auntie! I see she got two men.

Maria

(Threateningly)

Whut yo' means by dat? Bess got two men?

(PORGY opens window and listens)

Sporting Life

What makes you so sure Crowndead?

Maria

Ain't we see the wharf wash away under him?

Sporting Life

Mus' be the ghost I seen hangin' 'round here.

Maria

(Mediatatively)

So you has seen um.

Sporting Life

I ain't tellin' yo' nothin'. But a woman got jus' one man
mebby she gots um for keep. But, when she got two men, dere's
mighty apt to be carvin' an' de cops takes de leavings.

WARN
SPOT
2ND
FLOOR
L. OFF.

ACT III

Scene 2

"SHARK STEAK"
SIGN

(The curtain rises on the Court.)

Above MARIA'S door hangs a sign: "Shark Steak To-day".

SERENA is at clothes line, taking clothes down. She is singing a hymn. Looks off L. Runs upstairs and disappears. After a moment two white men appear outside the gate. One is the DETECTIVE who arrested PETER. The second is the CORONER, a fat easy-going, florid man)

### Detective

(Off stage to policeman)

Wait for us at the corner Al.

(The DETECTIVE and CORONER come in at gate)

We'll put the widow through first.

(Crosses up to window, knocks on it, returns to stage)

Come on down, Serena Robbins, and make it damn quick!

(There is silence for a moment, then the shutters of SERENA'S window are slowly opened, and ANNIE looks out)

### Annie

Huh? Serena been sick in she bed three day, an' I been here wid she all dat time.

(Close shutters)

### Detective

The hell she has! Tell her if she don't come down, I'll get the wagon and run her in. Hey!

### Annie

(Slowly opening shutters again)

Huh? She bery sick, boss. She can't leave she bed.

### Detective

She'll leave it damn quick if she knows what's good for her.

(ANNIE disappears. A loud moaning is heard. Then ANNIE reappears accompanied by MUSA.)

3-2-2

Between them they support

SERENA. She wears a voluminous white nightgown and her face and head are bound in a towel. She collapses across the window sill with a loud groan.)

Drop that racket.

(SERENA is silent)

Where were you last night?

Serena

(Slowly and as though in great pain)

I been sick in his bed now three day an' night.

Annie

We been sittin' wid she an' nursin' she all dat time.

Musa

Dat's de Gawd's trut'.

Coroner

Would you swear to that?

(SERENA, ANNIE and MUSA in unison as though answer had been learned by rote. "Yes Boss, we swear to dat'. Detective C.R. CORONER L. of step landing. To DETECTIVE)

There you are - an airtight alibi.

(DETECTIVE regards CORONER WITH SCORN)

Detective

(To Serena)

You know damn well you were out yesterday. I've a good mind to send for the wagon and carry you in.

(THE WOMEN are silent. DETECTIVE waits, then shouts abruptly)

Annie and Woman

Uh, huh?

Detective

(Bluffing)

Ah-huh. That's what I wanted. So you swear you were in last night, eh?

(Women frightened and silent)

3-2-3

### Detective (Cont'd)

And just two months ago - right here - Crown killed your husband, didn't he.

(No answer)

Answer me.

(Crosses up steps)

You'll either talk here or in jail, get that! Did Crown kill your husband? Yes or no.

Serena, Annie and Musa
We swear to dat, Boss.

### Detective
Huh! And last night Crown got his - right here, didn't he?

Serena
We ain't know nuttin', boss.

Annie
Didn't that gentleman say we's alibi?

### Detective
How do you know he was killed here if you didn't see it?

Serena
We ain't seen nuttin' boss. We been here three days and nights and the window been close'.

### Detective
Look at me, Serena Robbins. Do you mean to tell me that the man who killed your husband was bumped off right under your window and you didn't know it?

Annie and Musa
We ain't seen nuttin', boss. We been in here three days and nights.

### Detective
(Speaking with them)
Three days and nights

Coroner and Detective
(Speaking with them)
We swear to that boss.

Annie
(As she closes shutter)
And the window been closed.

### Detective
You needn't do that one again.
(Window is closed)

3-2-4

### Detective

(Turning away disgustedly,
coming down stairs)

Oh, hell! You might as well argue with a parrot, but you'll never break them without your own witnesses, and you'll never get 'em. Come on, let's put the cripple and his woman through. I'll get you a witness here.

(Crosses toward Porgy's door.
Coroner follows. Kicks the
door open with a bang)

Come on out, both of you niggers. Step lively now!

(BESS helps PORGY to seat on
doorstep. Then she stands by
him, the baby in her arms.
Detective goes to above CORONER
who is R. of PORGY. Sporting
LIFE enters from CLARA's room
and overhears the scene but is
not seen by others)

### Coroner

(To Porgy)

What is your name?

(PORGY looks at him keenly, then,
reassured, smiles. CORONER has
note book and pencil)

### Porgy

Ju's Porgy. You know me, boss, yo' done gib me plenty ob pennies on Meetin' Street.

### Coroner

Of course! You're the goat man. I didn't know you without your wagon, I'm the coroner. Now, this nigger Crown - you knew him by sight, didn't you?

### Porgy

(As though remembering with difficulty)

Yes, boss - I membuh um when he used to come here long ago.

### Coroner

You could identify him, I suppose.

(PORGY looks blank)

You'd know him if you saw him again, I mean.

(Slowly) Porgy

Yes, boss, I'd know um.

(With dawning apprehension)

But I ain't care none 'bout see um.

(BESS starts, warns PORGY to be careful)

### Detective

You've got to see him anyway. Come along.

### Coroner

You needn't be afraid. All you've got to do is view the body and tell us who it is.

(PORGY IS suddenly terror-stricken. His voice shakes)

### Porgy

I gots to go an' look on - Crown's face?

### Coroner

Yes, that's all.

### Porgy

Wid all dem w'ite folks lookin' at me.

### Coroner

Oh, cheer up! I reckon you've seen a dead nigger before. It'll be all over in a few minutes.

### Porgy

Dere ain't goin' to be no nigger in de room 'cept me?

### Detective

Just you and Crown - if you still call him one.

### Porgy

(Scarcely able to speak for terro)

Boss - I couldn't jus' bring a 'oman wid me? I couldn't eben carry my - my 'oman?

### Detective

(Slightly impatient)

No, you can't bring anyone. I'll send a cop in to help you out.

(Starts for gate)

### Porgy

(Desperately crosses two steps to him)

### Boss -

### Detective

(Turn)

Now, listen, I've summoned you and you've got to go, or it's contempt of Court.

(Exit with CORONER. Goes out gate and off to L. SPORTING LIFE comes to foot of steps. BESS crosses toward PORGY)

3-2-6

Porgy

Oh, Gawd! Whut I goin' to do?

Bess

Yo' gots to go, Porgy. Mebby yo' can jus' make like to look at um an' keep yo' eye' shut. Yo' goin' be all right, Porgy. You jus' gota be a witness.

Sporting Life

I ain't so sure of dat.

(They look at him in alarm)

What I know is when the man whut done it goes in dat room, Crown wound begin to bleed.

Porgy

Oh, Jedus.

Sporting Life

Dat's one way de cops got ob tellin' who done um.

Porgy

(In panic. Moaning. Sporting Life crosses to table R. Stand back to Cops)

I can't look on he face. Oh, Gawd! What I goin' do.

Policeman

(Enter us with another Policeman)

Hey, you there! Come along.

(PORGY is taken out resisting and protesting)

Porgy

I ain't goin' look on his face.

Policeman

You'll look all right.

(Policemen cross to Porgy)

Porgy

Yo' can't make me look on his face. Ain't nobody make on his face. Turn me loose, turn me loose -

(Both POLICEMAN laugh and take him off to L. BESS follows up to gate)

Bess

Oh, Gawd, they're goin' to make him look on Crown's face.

(SPORTING LIFE crosses to R. of her)

3-2-7

Sporting Life

(Laughing)

Sistuh. Dat nigger ain't witness now. Dey goin' lock um up
in de jail.

(POLICE BELL. On bell BESS
comes down C. SPORTING LIFE
CROSSES TO HER)

Bess

Lock um up?

(Fearfully)

Not for long, Sportin' Life?

Sporting Life

(Sympathetically)

"No, not for long. And mebby - um - ju' a yeah, - and mebby -

(Business, suggest hanging)

Bess

WARN
CHIMES
1/2 HOUR

Huh!

Sporting Life

(Bess drops her face into her
hands)

Jus' like I tol' yo'. Nobody home now but Bess an' ole
Sportin' Life.

Bess

I ain't gots no time fo' yo'.

Sporting Life

(Laughing)

Fo' sho' yo' has. Yo' jus' gets nice little vacation now
fo' play 'round wid yo' ole frien'.

Bess

(Pleadingly)

Sportin' Life, yo' ain't T'ink dey puts Porgy up fo' a yeah?

Sporting Life

(Soothingly)

A year for sure, Cheer up, Sistuh! Ole Sportin' Life got
de stuff fo' scare away de lonesome blues. Gimme your han'!

(Pours powder into her hand.

Bess looks down at it)

Bess

Happy dus'!

(Gazes at powder with a sort
of fascinated horror)

I ain't want none ob dat stuff, I tella yo'.

3-2-8

Sporting Life

Ain't nuff ter hurt er flea.

Bess

Take dat stuff away, nigger!

(But she continues to hold it
in her hand. BESS suddenly
claps her hand over her mouth.
When she takes it away it is
empty. SPORTING LIFE smiles
with satisfaction)

Sporting Life

Dat de things, ain't it? An' membuh, dere's plenty more
where dat come from.

(He looks around court to
see that they are alone)

Dey's a boat to N. Y. to-morrow and I'm goin'.

(Pauses significantly.
BESS says nothing)

Why you such a fool Bess. What yo' gong to do a whole year
here by yourself now's yo' chance.

(BESS leaps to her feet, her
eyes blazing. She glares
at SPORTING LIFE with con-
tempt and hatred)

Bess

Yo' low, crawlin' houn'! Git 'way from my door I tells yo'
Lef it, yo'! Rattlesnake! Dat's whut yo' is! Rattlesnake!

Sporting Life

(He hands her second paper.
She knocks it out of his hand,
goes to door R. I. E. angrily -
turns at Sporting Life's voice)

How about de second shot. All right. I'll leave it here.
Maybe you change your mind.

(He puts dope on doorstep where
she can reach it from where she
stands. She runs suddenly into
her room, and slams door behind
her.

(SPORTING LIFE exit gate smiling
to himself and leisurely blowing
smoke rings. After he is gone,
BESS enters, looks round, reaches
for package, as she reaches for it -
quick curtain)

CURTAIN

3-3-4

Mingo

(When he sees it's Porgy he enters
sits R. of table)

It's Porgy, Uncle Peter.

Porgy

Dem white folk sho' ain't put nuthin' ober on dis nigger. Ain't
I tell yo' I ain't goin' look in Crown face?

Lily

(She slaps his shoulder and he
almost falls)

Yo' ain't look on um Porgy?

Porgy

I keep dese eye shut in dat room till dey put me in jail fo'
contemp' ob court.

(SERENA looks up, sees PORGY, and
hunches over the baby as though
to hide it. She is seated on lower
landing of steps up R.C. PORGYY is
too preoccupied with his secret to
notice anything. He stops beside
Maria's table. LILY and PETER and
MINGO start away, then see that it
is too late to escape and stay)
(PORGY, in a joyous, but guarded
voice)

Sh, don't nobody let on yet dat I is home again. I gots a
surprise for Bess, an' I ain't want she to know 'til I gots
everyt'ing ready.

(ALLEN exits arch left. BROWN thru
door L.U. ALL in windows gets out
of sight. He does not notice that
the others are silent and embarrassed)

Where's my bundles?

(Turn takes packages, talking volubly
all the while. He unwraps a harmonica
and hands it to Scipio. Several exit,
they steal away, unable to face Porgy
in what is to come. EDDIE and SCIPIO
go out gate)

Here boy, look what I bought for you? T'row away dat ole mout'.
organ you got an' start in on dis one. See he gots pictures
of brass band on um. Work on dat an' fust'ing yo' know, yo'll
be playin' wid de orphan. Lily Holmes, Dily Holmes.

(He turns to LILY who has started
U.R. She comes to him)

Here gal, hol' up yo' head. Dat's right. I nebber did like dem
ole funeral bonnet Peter buy for yo'. Get down sisteh.

(Unwraps a gorgeous father trimmed

3-3-5

hat and hands it to her. She
kneels in front of him and he puts
hat on her head)

Get unnerneat' dat, an' make all de red bird and de blue jay
jealous. Now, dat's de stuff, my, my, my.

(LILY exits L. through small arch,
but is unable to speak her thanks.
But PORGY is hurrying on, and does
not notice this. He opens a pack-
age and shakes out a gay dress, then
lays it on the table. Several others
of the crowd steal away thru gate C)

Now dat's de style for Bess. She is one gale what always look
good in red.

(He opens a hat and places it beside
the dress. Notices that most of the
people have disappeared. PETER ex-
its R.2.E. PETER has been seated on
box under window R)

I reckon I is de fus' nigger anybody roun' here ebber see what
go to jail po' an' leabe dere rich. But Porgy luck ridin' high
now. Cain't nuttin' stop 'um. Listen when de buckra search
me to de jail, I all de time gots my lucky bones in my mout' -
see! An' time I get settle in my new boardin' house, I start
to go right through dem odder crap-shootin' nigger like Glory-
Hallelujah.

(FRANCIS gets out of door way up-
stairs. He takes a package from
the table, opens it, and holds up
a baby dress. REMSEN exits from
window)

Now, ain't dis de t'ing!

(MUSA leaves window. Extra girl
exits L. EMBRY starts to exit
slowly to L)

Co'se de baby ain't really big enough for wear dress yet, but
he goin' grow fas'. You watch, he goin' be in dat dress by
fus' fros'.

(MADISON leaves window - PORGY con-
tinues his story. BRUCE exits out
gate. SERENE turns her back to Por-
gy. PERRY exits thru door L.U.E.
TAYLOR and MAHON exit through arch
L. His purchases are now all spread
out on the table, and he looks from
them to the faces of the negroes.
JOHNSON closes window)

Now, it time to call Bess. Oh, Bess, here Porgy come home.
You just wait til that gal see me---

(There is a moment of absolute sil-
ence. MINGO rises and goes out

(People who have exited return
one by one)

Porgy

Won't somebody tell me where is Bess?

Serena

(On her landing. BLUE enters
from Serena's)

Bess was very low in she mind 'cause she t'ink yo' is gone
for a year.

(Pauses)

Porgy

But I home now. I want to tell she--

Serena

She gone back to de happy dus' and de red eye. She been
bery drunk two day.

Porgy

But where she now? I don't care if she was drunk. I want
she now.

(ANNIE appears at her window)

Lily

(By pump. PETER enters, standing
in his door. FRANCIS in door -

MINGO Xes to R. of table)

Dat houn' Sportin' Life was forever hangin' around and gettin'
she to take mo' dope.

Porgy

(Calling)

Bess! Bess! Won't nobody tell me--

Maria

Ain't we tellin' yo' - dat houn' Sporting Life--

Porgy

(Desperately)

Yeh? What? What?

Serena

She gone, Porgy. An' I done take dis chile to give um a
Christian raisin'.

Porgy

Where she gone?

Serena

Dat gal ain't neber had Gawd in she heart and now de debil got
um at last.

3-3-8

Maria

T'Ain't de debil. De happy dus' done um.

Porgy

(Wild - pause)

You ain't means - Boss dead?

Serena

She worse dan dead. She gone to New Yawk.

(BRUCE enters C. from gate. PERRY enters door - goes to gate. BROWN follows Perry. EMBRY from arch to pump. EDDIE and MELVIN on from gate. FRANK ALLEN on from gate. ED. CHAVER on from gate. COWANIN window. REMSON, JOHNSON, and DONOHOO in windows)

Porgy

Gone? Where dat?

(PETER to R.C)

Mingo

Noo Yawk.

Porgy

I hear you say Noo Yawk - where dat?

Mingo

Most a t'ousand miles from here.

(PORGY repeats it)

Maria

It take two days by de boat. Yo' can't find um.

(Pause)

Porgy

(Sinks down then resolutely -

MINGO playing with coins in his hand)

Which way Noo Yawk?

Maria

Dat's way up Nort'.

Porgy

It dat way?

(Points off L)

Lily

(Points off R)

Up North - past de Custom House.

WARN
CHIMES
1/4 HOUR

Porgy

Bring my goat.

(EXTRA GIRL appears at door
of Serena's room. All others
start on at this. Those on
stage left are standing from
Porgy's door up to gates in an irre-
gular line - those stage are group-
ed above table)

Maria

What yo' wants wid your goat. Yo' bes' not go any place.

Porgy

(Starts to gate)

Bring my goat!

(MELVIN & ED exit for goat)

Serena

Yo' bes' stay wid yo' frien', Porgy. A little res' will
make you feel better.

Porgy

Won't nobody bring my goat?

(It is brought)

Maria

Ain't we tell you you can't find Um?

(PORGY starts toward it)

Serena

For Gawd sake, Porgy, where yo' goin'?

Porgy

Ain't yo' say Bess gone to Noo Yawk? Dat where I goin'.
I gots to be wid Bess. I gonna find her.

(Kneels U.C. Raises his hands.
Prays silently)

I'm on my way.

(MARIA starts to sing softly)

Lily

Porgy, Porgy.

Mingo

Don't go, Porgy.

Lily

Yo' best stay wid us.

(HE repeats "I'm on my way" - then