# LITTLE MASTER or DIXIE
(A Story of the Old South)

By
Clarence Muse and Langston Hughes

From an outline by Sol Lesser

TIMOTHY REID, JR. (Bobby Breen) is the son of a wealthy plantation owner in Louisiana before the war. The mother is dead. The father is handsome, gay, and careless with money. It is autumn and can cutting time. At a cane festival dance of the Negro slaves, the father is bitten by a snake and dies.

Little Tim's best friend and protector is the old coachman, UNCLE CATON, who tells him Br'er Rabbit stories and teaches him Negro songs. But the executors of the estate sell everything, take Little Tim, along with Uncle Caton and two other slaves, the woman JANIE and little STYMIE, to New Orleans. There Uncle Caton is also sold away into the rice fields. Little Tim vows to buy him back. Playing in the GUARDIANS yard one day, Tim and Stymie run away through the streets of New Orleans to the docks. There a Showboat is just coming in. But shortly the showboat owner, JACQUES BOUTON, runs afoul of the law and the boat is forced to sail without a performance. Tim decides to follow the boat up the river. Stymie remains behind.

Bouton, the showboat owner, on horseback, overtakes Tim on the road and carries him to the boat. He gives him a place to sleep in his cabin. That night on the dock while Bouton is ashore, the Negroes gather and sing. High up in the cabin, Tim Joins in their song. They think it is an angel from heaven and at first are frightened, but later

From an outline by Sol Lesser

Little Tim's best friend and protector is the old
coachman, UNCLE CATON, who tells him Br'er Rabbit stories
and teaches him Negro songs. But the executors of the
estate sell everything, take Little Tim, along with Uncle
Caton and two other slaves, the woman JANIE and little
STYMIE, to New Orleans. There Uncle Caton is also sold
away into the rice fields. Little Tim vows to buy him
back. Playing in the GUARDIANS yard one day, Tim and
Stymie run away through the streets of New Orleans to the
docks. There a Showboat is just coming in. But shortly
the showboat owner, JACQUES BOUTON, runs afoul of the law
and the boat is forced to sail without a performance.
Tim decides to follow the boat up the river. Stymie re-
mains behind.

2.

Bouton has no money, but Claire has managed to save they recognize him as a little boy, and all sing together. suddenly enough to cover that. Foster, whom she Bouton returns and sees that he has a singing find in Tim loves, but who is interested in nothing but his money, and says so to his girl-friend, CLAIRE.

Bouton is like Tim's father, careless with money, but he also drinks and gambles. Claire struggles as best she can to run the show boat. She tries to make Bouton save his money and pay the bills. The show does good business, but the actors are always hungry, and kicking. They decide to introduce Tim to the public at Cincinnati. There STEPHEN FOSTER is in the audience. Tim's debut is successful, but bought back again to the home he had always known. Picture he is heckled by some tough youngsters in the first row. He fights them outside, one by one and wins, but when they are about to gang him, Stymie suddenly turns up, pursued by half the cast of the show boat in classical costumes with spears. Stymie has hidden himself in a coffin and gets carried onto the stage in HENRY VI.

Stephen Foster and Claire become acquainted and she gets him to do some songs for Tim. Meanwhile, hurt at Bouton's continued carelessness, she falls in love with Foster. They are together often in the darkened theater where he plays over his songs and sings them with her and Tim.

One Sunday, the SHERIFF comes looking for a run away Slave boy. He is told that Tim and Stymie are in church. Thinking it to be a white church, he searches for them through the dignified white services of the town. But they are in a Negro church bursting with song. They are taken into custody there in the midst of the revival.

Bouton is arrested for harboring a fugitive slave and a runaway child. The Guardian comes from New Orleans for the trial. He sues Bouton for past salaries due the child.

LITTLE MASTER or DIXIE

EPISODE 1.

OPENING: Against a musical background of songs of the Old South, swift atmospheric shots of a vast and

PROSPEROUS PLANTATION BEFORE THE WAR: Late fall. Cotton fields, sugar-mill and boiling molasses, sweet-potatoes, pumpkins, melons, peanuts, persimmons, pecan trees, livestock, geese and turkeys, pigs, the smoke house, the smithy. With slave labor and white overseers.

THE CANE FIELD at cutting time. Black cane-cutters singing at their work. Magnificent women, strong men. The last stalks are about to fall. Ox carts arriving to haul the cane away. In the ox carts are hidden tall voodoo drums smuggled into the field. The annual cane festival dance is about to begin, preceding the New Year's Jubilation.

DRIVEWAY AND PILLARED PORCH OF THE BIG HOUSE. Carriage in which the Master, JOHN TIMOTHY REID, sits, young and handsome. From the doorway, LITTLE TIMOTHY, JR. (Bobby Breen) runs out to the carriage to go to the cane field dance with his father. The old Negro coachman, UNCLE CATON, gently helps the child in, then climbs on the driver's seat and starts away, through a lane of magnolias and trees dripping with hanging moss.

ROAD ON THE WAY TO THE CANEFIELDS. Tim and his father sing together a song Uncle Caton taught them, as the fine white horses (indicating extravagance) prance

5.

EPISODE II.

LIBRARY AND OFFICE OF THE BIG HOUSE. Time and Uncle Caton seen going through piles of papers in preparation for the coming of the executors. The Little Master is too young to understand, and the Old Slave cannot read, so they bundle together legal papers, deeds, and packages of old love letters of Tim's parents, not knowing their contents.

FRONT DOOR OF BIG HOUSE. A house servant, JANIE, answer the bell, admitting lawyers, creditors, and other sleek vultures from New Orleans.

ELEGANT DINING ROOM IN BIG HOUSE. Chandeliers, silver, imported china. Long magnificent table. On this table Tim and Uncle Caton have piled the papers of the deceased Master. And around the table now gather the city folks for the feast of the lawyers. An Elderly lawyer is Tim's GUARDIAN. He announces his policy of immediate payment of debts through a sale of property and slaves. There is a happy gleam of greed in all eyes. They go through the papers, throwing the love letters and all such useless things in the waste basket. With delicate gesture, they inspect the silverware of the dining room and the china. Everything is taken from the boy, Tim. At the end, Uncle Caton, sadle, says, "It looks like we ain't got nothin' left a-tall! Not a-tall!" But they have enjoyed their colorful company. It was like a show.

SLAVES SWEEPING UP FROM THE FIELDS at the order to report to the Big House. They are sorted out to be sold. Uncle Caton's son is sold. House servants sold. The slave dealers have come to herd them off to market.

5.

## EPISODE III.

**HOUSE OF THE GUARDIAN IN NEW ORLEANS.** Tim and Uncle Caton are surprised at the bareness of the house. Evidences of miserly living are seen. Combination of office and home. Dishes unwashed. Caton, Janie and Stymie start to cleaning up the house right away. Tim is put to bed by Uncle Caton.

**AUCTION OF GOODS FROM PLANTATION.** Familiar pieces from the dining room put up for bids. Guardian does not get as high a return as he expected.

**DINING TABLE IN GUARDIAN'S HOUSE.** He explains to Tim how profligate and careless his father has been, how little money is coming in, and how he will have to sell Uncle Caton, but will keep Janie and Stymie to attend to his housework and errands.

**BEDROOM.** Night. Uncle Caton and Tim together for the last time. The Old Negro tells his Little Master a Br'er Rabbit story. Together they sing a song of the old plantation. The song slows down. Both fall asleep. Caton awakes with a start and tiptoes out.

**SLAVE MARKET IN NEW ORLEANS.** Tim and Guardian attend the sale. Lots of ordinary field hands are sold. Then Uncle Caton is put on the block. The AUCTIONEER waxes eloquent over his many virtues. Caton is sold to a planter from the rice country. Tim is in tears as the new master takes him away. Tim promises to buy him back someday.

**IN THE CROWD** as Tim weeps, a tall young man, strangely like the young Lincoln, looks on troubled at the buying and selling of a human being. He sees the weeping child. He puts his arm about Tim and speaks. Some

7.

EPISODE IV.

YARD OF GUARDIAN'S HOUSE on Canal Street, several days later.

Streets near docks beyond. Tim and Stymie are playing
together. Tim wonders about Uncle Caton. They they
talk about the river that flowed by the old plantation.
They have heard that same Mississippi flows by New
Orleans, so they decide to run away and go swimming.

MAIN STREETS OF NEW ORLEANS. The two boys wander carelessly about buying sweetmeats, inquiring where the levee is. They pass an iron foundry and watch slaves making the beautiful iron grills of the period.

THE LEVEE. Great excitement. Crowds are gathere to watch
the anchoring of a Show Boat just coming up the
river. The band plays on deck. Tim and Stymie
look on.

PARADE ASHORE. At the head of the parade is JACQUES BOUTON, a boy who owns the Show Boat. He speaks to the crowd of the glorious spectacle to be seen within. The two boys decide to wait until evening and see the show.

A WATERFRONT TAVERN. The owner of the boat, Bouton, gets into a brawl. He and his whole show are ordered out of town by the authorities, but first he is taken into custody. Threatened by the police, the boat saild. Someone tells the boys the show will play ten miles up the river. Tim decides to follow the boat, but Stymie is afraid. Tim starts out on foot alone along the river road.

End of Episode IV.

End of Episode V.

11.

EPISODE VII.

SUNRISE ON THE MISSISSIPPI. The old showboat going up the stream. The early morning activities. Decks being scrubbed. Narcissus and Glory prepare breakfast in the galley. Actors tumbling into dining saloon to eat. They begin to kick at the meager breakfast, what with a full house the night before. Claire tries to quiet them, but they demand Bouton.

DOOR OF BOUTON'S CABIN. Narcissus come to call Bouton to calm the actors.

INTERIOR OF CABIN. Bouton and Tim awake. Bouton goes sleepily out, telling Tim to dress and come on down to breakfast.

DINING SALOON. Bouton enters and gives a spiel to the hungry actors. Then very grandly, he turns to the galley window and tells the Cook to give them two eggs apiece from now on. But as he says it, he holds up secretly one finger to the cook. Tim enters as the bedlam is still going on concerning complaints other than the food, such as back wages due, etc. There are threats to quit. As Tim comes in, the noise calms down. The child says "goodmorning". All are struck by his polished manners. Bouton introduces him as a singing marvel rivalling the angels and a new money-maker for the show.

TABLE AS BREAKFAST ENDS. Claire and Bouton together, she talking about the business of the show, money due on band instruments, etc. Bouton carelessly replies that they'll make more than enough to pay their bills in Cincinnati. Besides they will introduce Tim to

15.

EPISODE IX.

PARADE FROM SHOWBOAT THROUGH CINCINNATI STREETS.

INTERIOR OF OFFICE NEAR DOCKS. At a tall desk a handsome young bookkeeper sits, an open ledger on one side, on the other blank music sheets where he is writing a song-score. The young clerk is STEPHEN FOSTER.

In the distance he hears the band. He stops working and goes to window to look out on the passing parade.

He returns to his books, puts down a few figures in ledger from pile of bills, runs hand through hair, then turns to his music again. His BROTHER enters and catches him at his music. The brother says that even if he is working for a relative, he ought to have more concern about his job, and that he is employing a bookkeeper, not a song writer. The music of the band is heard drifting back on the wind. As the brother exits, Stephen works a moment more on the figures, adding up a short column wrong. Then he quickly closes his book and, putting his music into a brief case, he takes his hat a rushes into the street.

NIGHT ON WHARF. Crowds coming to showboat. Bouton outside in all his glory.

AUDITORIUM OF SHOWBOAT. Show in progress. Stephen Foster in a box. In front row sit a dozen little tough WHARF RATS. Bouton announces the debut of the Singing Boy Wonder, Little Tim. Excitement in audience, hostility on faces of Wharf Rats. Tim sings. In midst of song is interrupted by tough kids in front row with remarks like, "Aw, you can't sing!....But you was the teacher's pet! Etc." Tim interrupts his song to

17.

Tim rises, streaking down the gangplank and into the fray comes Stymie. Behind Stymie comes the actors with spears, and half the crew of the showboat. The tough kids flee, thinking the actors are after them. Tim and Stymie also fell in opposite directions.

DARK SECTION OF THE WHARF. Stymie and Tim greet each other. Tim asks how he got there. Stymie tells him how he has stowed away, hiding in sugar kegs, etc., all the way from New Orleans, because he wanted to tell Tim how the old Guardian was threatening to put Tim into a reform school for bad boys if he ever caught up with him. Stymie notices that Tim keeps rubbing his head. He looks and sees that Tim has a big knot on his head. Stymie says he must go get it fixed up. Tim says they'll return to the boat and that he will hide Stymie in a cabin. Tim and Stymie sneak back on showboat. Tim tells Stymie that he does not want him sold away like Uncle Caton. Tim hides Stymie in the cabin of Narcissus and Glory, telling him he will be back later soon as he finds a better place to hide him in.

ENGINE ROOM OF BOAT. Tim is looking for a place to hide Stymie when he bumps into ENGINEER. Tim says he wants some salve on his head. Engineer puts some crude oil on the bump. Glory comes into her cabin wiping her hands on her apron. She is tired and sighing from overwork. She mutters to herself that she sure will be glad to get to heaven where she can rest, because this world is nothing but worry-ation. Stymie from beneath the bunk, replies, "You she is right!" Glory says, "Huh!" Stymie

20.

EPISODE XI.

FLASHBACK TO NEW ORLEANS. HOUSE OF GUARDIAN. Janie is in the PLAYBILLS ON CINCINATTI WALLS announcing the FOURTH AND FINAL WEEK OF BOUTON'S BIG ALL STAR SHOWBOAT FEATURING LITTLE TIM, SINGING BOY WONDER, IN THE SONGS OF STEPHEN FOSTER.

GAMBLING HOUSE. Entrance of Bouton who is fawned upon by all the hangers-on and attendants at the gambling house. Bouton lays heavily and loses carelessly. Drinks. Flirts with the women of the town.

GALLEY ON BOAT. Narcissus and Glory trying to make a meal out of practically nothing, with Stymie's futile help. They search the cupboard, scrape the flour barrel, and put water into the soup to make it go farther. Glory complains loudly about Mister Bouton making so much money and bringing nothing into the kitchen to eat.

CLAIRE IN DINING ROOM trying to pacify irate actors waiting for luncheon. She is in desperation. Goes to her cabin and weeps. Her tears fall on a manuscript piece of music with Stephen's autograph thereon. Beside it, however, is Bouton's picture in a frame. Claire suddenly turns his picture to the wall.

End of Episode XI.

22.

EPISODE XIII.

THE LEVEE IN CINCINNATI. Tim, Stymie, and local Dead Enders winding in their kites. The kids sit on the levee as Tim tells them about his plantation days. They think he is lying, but take it in fun, all except one mean kid who continually casts doubt. Tim plays at being plantation master as his father was in reality. He assigns each of the kids to oversee a section of the plantation, one to the rice fields, one to the sugar mill, one to the cotton gin, and imitates his father asking each how his work is going. Then he thinks of Uncle Caton and speaks of how he is now working to buy him back. With stones, he asks one of the bigger kids to figure up how long, at a dollar a week as a singer, will it take to purchase Uncle Caton.
MEADOW OF SHOWBOAT. DECK OF SHOWBOAT. Glory peeling potatoes for supper. Narcissus THE WOODS. asleep in the sun, snoring grandly. Claire at other end of deck pacing, lonely. Suddenly, in desperation, she darts back into her cabin.

CLAIRE'S CABIN. She powders her face, seizes her hat, and quickly and decisively goes ashore. You have the feeling that she intends to leave Bouton.

STREET NEAR DOCK. Claire walks toward Stephen's office. Slowly she passes, looks up at his window, but she doesn't see him. Window shops. Walks back past his office. The glint of the peak of her umbrella reflects the sun.

STEPHEN'S OFFICE. He is seated at his books, alternating between figures and music, humming a new tune he is trying to work out, possibly OLD KENTUCKY HOME.

25. 25.

EPISODE XV.

SUNDAY IN CINCINNATI. Quiet streets. Church bells ringing.
Folks in their Sunday clothes going to church.
Glory seen dressing Stymie to accompany Tim to church.

STREET. The two boys, Tim and Stymie, walk along. They come to a church where Negroes are singing inside. Tim is fascinated by the singing. Stymie suggests going inside. They enter.

INTERIOR OF NEGRO CHURCH. The two boys take back seats as the singing continues.

DECK OF SHOWBOAT. The Sheriff of Cincinnati stops at the galley door, after having looked all over the boat for somebody else. Glory says everybody has gone ashore. Sheriff asks if there is a little slave boy on board from New Orleans, accompanied by his so-called master. Glory replies that there is, but that the Little Master has taken the slave with him to church. After Sheriff has gone, Glory begins to wonder why the Sheriff would want to know about Tim.

WHITE METHODIST CHURCH. The Sheriff naturally thinks Tim has gone to a white church. Usher receives him. Quiet sedate services going on within. No Tim.

WHITE PRESBYTERIAN CHURCH. Another refined service, slow hymns. Sheriff looks in. No Tim.

CATHOLIC CHURCH. A mass in Latin. No Tim.

THE NEGRO CHURCH. Building is rocking with song and shouting and spirited sermon. Sheriff is about to pass by, but is attracted by the joy within. Stops, not thinking of Tim, but rather of the excitement within. Decides to go in and listen.

27.

EPISODE XVI.

THE CITY JAIL. Tim and Stymie are put into jail. Tim into
the BULLPEN for whites. Stymie into the
BULLPEN FOR NEGROES. Evil characters of the slums are with
them, unhappy and homeless people of the streets.
Stymie begins to cry. Tim stands very still, his
hands on the bars.

THE GAMBLING HOUSE. The Sheriff comes to arrest Bouton. He
takes him from the bar to prison for harboring a
runaway slave and a white child.

NEW ORLEANS DOCK. Guardian shown purchasing a ticket on the fastest boat for Cincinnati.

THEATER OF SHOWBOAT. Early evening. Claire is lighting the
candles in the footlights, preparing for the evening's
show. Tears in her eyes. Stephen comes in. He has
just heard of her trouble. He tries to console her.
She says she must prepare to defend Bouton.

JAIL CELL. Tim at the bars begins to sing alone in the sunset
the spiritual: SOMETIMES I FEEL LIKE A MOTHERLESS
CHILE A LONG WAYS FROM HOME. As he sings, all the
loneliness of his life of orphanage and wandering,
all the sadness of his present situation are born
out in the song.

End of Episode XVI.

EPISODE XII

LITTLE MASTER-XI

FLASHBACK TO NEW ORLEANS. HOUSE OF GUARDIAN. JANIE is in kitchen weeping about BOBBY and STYMIE. As she serves dinner to OLD LAWYER she asks for news. Irritably, he says he has none from the ungrateful little runaways, but if he ever gets STYMIE back he will sell him into Mississippi. He looks over pile of papers, and picks up letter regarding UNCLE CATON in which the buyer bawls him out for selling him such a no-good slave.

PLANTATION WHERE UNCLE CATON IS SLAVE. UNCLE CATON shown grieving over BOBBY. Shown working in house and dropping and breaking dishes as he serves, so he relegated to the rice-fields where a cruel overseer drives him. He becomes thinner and thinner, speaking often of his Little Master, BOBBY, muttering to himself and other slaves

EPISODE XIV

LITTLE MASTER--XIII

EVENING. Audience gathering aboard showboat.

BACKSTAGE. Anxiety. Neither BOUTON nor CLAIRE are present.

Everybody knows BOUTON is off in saloon or gambling, but where is CLAIRE? (Perhaps earlier scene showing carriage horse losing **meef** horse-shoe and delay in getting it fixed makes CLAIRE and STEPHEN late returning.) Or horse could have run away.)

GALLEY. Excitement on part of GLORY and NARCISSUS as to CLAIRE'S whereabouts. GLORY says she must find BOBBY and get him ready for show.

BOBBY playing marbles on wharf under gas light. GLORY calls him.

GALLEY. GLORY washes BOBBY's face and ears. Also STYMIESS.
Music of showboat orchestra hear as show begins.

BACKSTAGE. BOUTON arrives, angry because wrong set is used for
for a scene. Is informed that CLAIRE is not there. Flies
upxx in a rage.

FINAL CURTAIN FALLS. BOUTON in curtain speech apologizes to audien
ce for absence of leading lady.

DECK IN MOONLIGHT. BOUTON pacing deck waiting for CLAIRE to come
home.

WHARF. CLAIRE and STEPHEN arrive in carriage. CLAIRE runs through
moonlight to boat. BOUTON meets her. There is a terrific quarrel.

EPISODE XIV CONT.

LITTLE MASTER--XIV Con't.

WHEN THE SERVICE IS SUDDENLY AT ITS HEIGHT, BOBBY turns around and the SHERIFF gets a glimpse of his face. Is greatly excited. Takes papers from his pocket. XXX

PAPERS OFFERING REWARD FOR RETURN OF YOUNG WHITE BOY TIMOTHY REED AND NEGRO SLAVE STYMIE.

AISLE OF CHURCH. Riot of moaning and humming as preacher reaches BOBBY'S face is shinning. climax of his sermon./ The SHERIFF walks up the aisle and lays his hands on BOBBY and STYMIE.

CONGREGATION THROWN INTO TURMOIL. SHERIFF announces that he has found a run away slave and his run away master, and that the slave goes back into slavery and the master to his home. The SHERIFF begs their pardon for interrupting the service. He takes the two boys and leaves.

AN OLD WOMAN IN THE CONGREGATION begins to hum "Go Down, Moses" and as the SHERIFF and the BOYS dissappear through the door the words break out in song: GO DOWN, MOSES, WAY DOWN IN EGYPT LAND AND TELL OLE PHAROH TO LET MY PEOPLE GO.

EPISODE XVII

LITTLE MASTER--XVI

NEWSPAPER HEADLINES OF 1850 announcing the trial of BOUTON
for harboring fugitive slave and a run away child.

COURTHOUSE. People entering for trial, townsfolks and Show-
boat people.

COURTROOM. The trial.

FINAL EPISODES

SOLUTION

BOUTON & CLAIRE REUNITED---Claire has saved money for B's salary

HAPPY ENDING FOR ALL EXCEPT GUARDIAN

BOBBY AND UNCLE CATON REUNITED

ENDS WITH UNCLE CATON singing DIDN'T MY LORD DELIVER DANIEL

Page 5.

picture of the future in store for Bobby as a star performer, with particular emphasis on the thousands of dollars he will be able to make. He will be a millionaire in no time, etc. etc. Bobby is impressed, feeling that here is an opportunity to make enough money to purchase the freedom of his colored friend. Impulsively he takes the bull by the horns and joins the show. This should not be merely a situation of a boy running away from home, but one of a boy running away in order to accomplish a very definite purpose. His ambition and purpose now is to earn enough money to remedy the deplorable conditions which were so deeply impressed upon his mind in earlier sequences. It did not occur to him before that he ever might be of any great service to his colored friends. It is only at this point that he determines upon a definite objective, and here we have the springboard for the story.

The story now deals with the circumstances and adventures of this boy with the showboat. We see that the Showboat Owner, who is a gambler and spendthrift, is paying Bobby only a couple of dollars a week, and is just bulling the kid along with promises, etc. We realize that Bobby's effort to accomplish his objective is just so much love's labor lost. It is an ironical situation, and one which offers no solution to the boy's problem.

As occasion demands we cut back to the plight of the old Negro character to show the increasing jeopardy of his position, and the conditions of the other colored people becoming more and more intolerable, and seemingly more and more unlikely ever to be corrected.

We now deal with the meeting between Bobby and Stephen Foster, basing this development upon the research material that has been compiled. Bobby becomes very friendly with Foster, learns his songs, etc.

We also introduce as an incidental character a young actor, John Wilkes Booth, whose brief appearance in the background of our story injects an ominous note of foreboding and presages tragic things to come. The sinister mood of the scene in which Booth appears should be heightened by the use of appropriate background music and effects.

Following this we go into a situation wherein some sanctimonious person secures an injunction to prevent the opening of the show, and a young lawyer, feeling that the showboat troupe is being done an injustice, pleads and wins their case for them. (See research material.) We learn that the name of this idealistic young lawyer is Abraham Lincoln, who, who is probably about twenty years of age at this time.

Bobby and Lincoln have a scene together in which Lincoln learns (perhaps not for the first time, but through the eyes of this boy) something of the colored people's situation. Although Lincoln has opinions on the Negro situation he has not yet formed his conclusions, and this scene may be so devised that it results in Lincoln reaching a definite conclusion as to the steps to be taken to alleviate the distress and suffering of the colored race. This scene, if properly developed, should be one of the most powerful and dramatic in the picture.

I think we can show the chicanery and rascality
of the Showboat Owner in his relations and dealings with
Stephen Foster, and perhaps also incorporate scenes
involving the four characters: Lincoln, Foster, the
Showboat Owner and Bobby. Perhaps we can also have
Lincoln help Foster out of some situation, although on
second thought this may be taking too great a liberty
with history.

I think that possibly the crisis of the story
can be reached through a situation that propels Bobby into
a predicament which seems absolutely impossible of solution.
He realizes that all of his hard work and effort has gone
for naught. The old Negro character whom he hoped to free
is in his worst possible state. His situation may be a
parallel to that of the Dred Scott case, if we do not,
indeed, use that actual situation. Perhaps we can even
incorporate the John Brown situation that existed in
Missouri, which would give us an opportunity to use the
song, "John Brown's Body".

This has to be a strong, vital crisis, with
political issues, sectional prejudices and hatreds, etc.,
at their height, and one which finds Bobby in one devil
of a fix. The crisis we reach must be one for which it
is seemingly impossible to find a solution.

The solution of the story must lie in Bobby's
accomplishment, and to heighten the suspense we should
strive for some sort of time element. The story will
have to end with the solution of the specific problem
with which Bobby is concerned and not the wholesale freeing
of the slaves, because of course at this time the Civil
War had not yet started. The entire story will have to
be laid within the period of a year or two because of the
element of Bobby's age.

As the first part of our story concerned itself
with the conditions that existed within one particular
section, and as the middle of the story widened in scope
to take in a comprehensive picture of conditions in general,
so now at the end of the story we must narrow it again to
the solution of the particular situation on which we opened.

Our story should be in the nature of an introductory
page from history, which, though dealing with one particular
situation, presages greater things to come. Bobby succeeds
in giving freedom and happiness to his beloved friends, and
we have the promise that the whole colored race eventually
will be freed.

In the development of this story we should strive
to avoid the typical, hackneyed Hollywood story, which
despite historical background, can be reduced to a simple
adventure story of a boy who sets out to free his friend
and does it.

---

January 26, 1939

BOBBY BREEN SOUTHERN STORY

Mr. Lesser's Story Notes during Conference with Messrs. Muse, Hughes and Vorhaus:

In most instances where Southern Gentlemen have been characterized on the screen, this has been done in a very artificial fashion. We should strive to create a real Southern Gentleman as Bobby's Father, and be careful to avoid any of the hokey attributes that make such characters extremely artificial.

I think the relationship between Bobby's Father and Uncle Caton should be definitely established. We should establish the Father's lack of knowledge as to the financial situation, and the worry and concern on the part of Uncle Caton, who, having only a general superficial knowledge of the situation, does not know how to cope with it.

I feel that Bobby's father can allay any concern Uncle Caton may have for the future welfare of Bobby by intimating that Bobby has been provided for. But this situation should be handled so that Bobby's Father does not actually say he has provided for Bobby in his will, but merely intimates that he has, so the audience will surmise that this has been done even though they have not heard the Father actually say so. If we treat the situation in this manner the audience will be pleased when they learn, in the denouement of the story, that their assumption has been correct.

I think we need more intrigue before the death of the Father. This can be achieved by the introduction of the man who is later to become the executor of the Father's will, and by establishing that Bobby's Father has misplaced confidence in this man -- or some equivalent. But here again the situation should be handled so that the audience suspects that this man is not on the level, although we do not actually show him doing or saying anything that would lend proof to the audience's suspicions of his integrity.

The first situation revolving around the death of the Father now seems in the nature of a prologue, but I feel that this can be tied in to the story proper.

It is my feeling that the mention of the showboat should result in a greater interest on the part of Bobby and Stymie, and that when the boys go to New Orleans it is for the express purpose of seeing the showboat, rather than to have them go to New Orleans for some other reason and then accidentally bump into the showboat situation.

Of course, if we develop a very strong dramatic scene between Bobby and Uncle Caton at the auction block in New Orleans, Bobby would seem rather heartless, even for a child, if shortly thereafter his interest centers on the showboat.

Some minutes later one of the loungers is prompted to take
issue with the first lounger's statement about the four
John Smiths. He doubts very much that they's four John
Smiths. Leastwise not whole ones. They's been a heap o'
feudin' lately. Lazy Bones assimilates this information,
then allows as how it must be Sam Smith he's looking for.
How can he get to Sam Smith's place? After a suitable
interval, a lounger inquires why does he want to see Sam
Smith? Nobody ever wants to see Sam Smith. If he must see
a Smith, why don't he go see Eb or Lem Smith. They're much
more sociable. Lazy Bones, between prodigious yawns, insists
that it got to be Sam Smith or no Smith at all. And what's
the best way to get to his place? The loungers differ con-
siderably on this angle. Each suggests a different route.
Lazy Bones asks which route they would advise him to take.
They wouldn't advise him to take any route. But if he insists
upon going to see Sam Smith, he can go over yonder hill,
follow Zeke Tompkins cow down to the creek, turn right at
the rotten tree where the old she-possum's got her nest, etc.
etc. Lazy Bones expresses his gratitude, makes his adieus,
goads his steed into a slow walk, and is on his way. One
of the loungers calls after him that they didn't say he could
get over the road they described, but Lazy Bones is beyond
earshot.

Finally Lazy Bones reaches Sam Smith in person and delivers
his message. Smith can't understand the message he has
received. He is a cagey old codger and he suspects a hoax.
He summons his wife for a conference. She advances many
theories -- all pessimistic ones. Maybe she even suspects
that this message is a ruse on the part of her spouse to
sneak away from the family fireside and have some fun with
the boys. Smith, his wife and Lazy Bones discuss the situation
pro and con. Various hypothetical cases are stated -- and
re-stated. Finally Smith decides to seize the bull by the
horns and go. He fears he is making a mistake, but he guesses
he is just a creature of impulse. Sam Smith and Lazy Bones
start on their way.

Eventually, of course, after playing the situation for all
its delayed suspense, Smithx arrives at the trial of Bouton
and Bobby just at the last moment, and saves the situation.

In a tag sequence Bobby's rightful heritage is restored to
him; Uncle Caton and Stymie are brought back home; the villain
is kicked in the pants, and Bouton, now married to the girl,
is living the life of Riley.

January 27, 1939

BOBBY BREEN SOUTHERN STORY

Mr. Lesser's Notes re story development:

PLOT:

Bobby is defrauded of his inheritance. His close friend, an old Negro, is sold, as is his little Negro chum, a boy of his own age.

Reduced in circumstances and subject to intolerable living conditions, Bobby takes advantage of an opportunity offered him to go away on a showboat in the hope that by singing on the showboat he may get enough money to buy the freedom of his beloved old friend. He aids his little Negro chum to make his escape with him on the showboat, thus unwittingly violating the law relative to aiding fugitive slaves, and for which he, even though a child, is subject to dire consequences.

Bobby is betrayed by the owner of the showboat who wastes through gambling the money that is being accumulated for the boy. He has many adventures on the showboat -- meeting Abraham Lincoln, Stephen Foster and John Wilkes Booth.

Finally he meets disaster when, as a result of his causing an enmity with some tough wharf rats, the law catches up with him. He is held in jail, while the little colored boy is returned to New Orleans to his owner. The showboat owner, in trying to befriend Bobby, runs afoul the law and is himself thrown into jail, and the showboat actors are in desperate straits.

Through the ingenuity of the showboat owner, when Bobby recalls some friend from the past who can help them, this man is brought into the situation. He learns of all the circumstances, becomes a benefactor, assists Bobby and the showboat owner.

Bobby is restored to his heritage. He buys the freedom of both his old friend and his little chum, and all of the slaves that were sold after his father's death are brought back home to the plantation.

The story ends on a note of hope, with the implication that there will be no recurrence of these deplorable conditions, as they might affect the Negroes in general -- this to be handled musically in a symphonic arrangement of Negro spirituals.

ALTERNATIVE PLOT:

When Bobby's father dies, the slaves are not sold. There is no money to operate the plantation and it is going to ruin. Bobby has the problem of these slaves on his hands, and no money. There are many buyers who are ready and willing to purchase the slaves, but Bobby can't see this at all. Uncle Caton is not sold. Bobby does not go with the showboat to earn money to buy Caton's freedom, but instead falls for the air castles built by the showboat owner, and goes on a love's labor lost expedition on this showboat -- hoping to earn

a respectable citizen, instead of living the harum-scum
existence of show-folk. It is for this reason that she is
trying so hard to get Bouton to save his money. To all of
this, Bouton gives patient acquiescence. It is a dream
that he himself considers in his serious moments, but which
is dissipated in his much more frequent weaker moments.
The full responsibility of running the showboat rests upon
Claire's shoulders, and when Bouton spends all the money
she gives him her jewelry or whatever else xxxxxx of value
she has. This money, too, is soon dissipated by Bouton in
gambling and drinking. Eventually Claire meets Stephen Foster.
Foster falls madly in love with her. A marriage between
Foster and Claire would be a perfect match, but Claire has
given her heart to the worthless Bouton. When Claire is
trouble by something Bouton does, she tells Foster her problem.
Foster realizes that he could marry this girl merely by asking
her. But he realizes also that in her heart she loves Bouton.
So Foster makes a gallant gesture. Sacrificing his own love
for Claire, he creates a situation whereby he forces the
girl into the arms of Bouton.

Bobby and Stymie learn about the showboat's arrival
from the kids who had been on the wharf. They sneak over the
fence of the Lawyer's house, join the gang of kids, and hurry
down to the docks.

In the meantime Bouton gets into a brawl in the
tavern and is thrown into the jail. The showboat's license
to perform is revoked.

Bobby and Stymie arrive on the docks, only to find
that there is to be no show and that the showboat is going
to another town about ten miles up the river.

The following is writers' choice, but I feel that
we need a scene between the two boys in which Stymie is
afraid to go with Bobby to the next town, and so he starts
back home while Bobby sets out on foot to see the show.

Bouton is released from jail. He gets a horse and
starts out for the next town. He overtakes Bobby, hears
Bobby's voice, and tells the boy that he's not only going to
see the show but he's going to sing in it. Bouton takes
the money Bobby has to pay his admission into the show, and
goes into a tavern to buy a drink, leaving Bobby, the little
aristocrat, holding his horse.

The showboat. This situation to be developed along
the lines of the story outline submitted. It is my feeling,
however, that Bouton would want to hear Bobby sing before
an audience before making him the proposition to join the
showboat troupe. In any event, Bobby falls a willing victim
to Bouton's proposition for he feels he can earn money to
buy back the freedom of Uncle Caton. The glorious picture
that Bouton paints, is, of course, a greatly exaggerated one.

When we definitely establish that Bobby is going
with the showboat, I think we will have to Cut Back to the
Lawyer's house and show the questioning of Stymie and the
threat against Stymie that he is going to be sold. But no
matter what the Lawyer does to him, or threatens to do, Stymie
remains loyal to Bobby, and he sets out to join him.
END OF FIRST ACT.

February 2, 1939

BOBBY BREEN SOUTHERN STORY

Mr. Lesser's notes during Story Conference with Messrs. Muse, Hughes and Simmons:

In the introductory scene between the Lawyer and the Money Lender, we need a line or two of dialogue to establish that the Lawyer is a Northerner. Although he has been living for some time in the South he has retained his Northern viewpoint. He will have to be given a typical Yankee name, of course. I feel we should do this so that we do not have a Southerner as our heavy.

We should also establish the nature of the relationship between the Lawyer and the Money Lender. It is the responsibility of the Lawyer to see that Reid meets his financial obligations to the Money Lender, who, though a very disagreeable fellow, is only demanding what is due him. The Lawyer, however, sees an opportunity to play both ends against the middle and profit thereby, and this is what he is trying to do.

There should be some reference to Bobby in the scene between Reid and Uncle Caton before we actually introduce Bobby in the William Tell scene with Stymie.

The deadliness of the water moccasin that bites Reid should be planted earlier in a cut during the height of the cane dance. A rabbit is sitting up on its hind legs, almost entranced by the music of the dance. A water moccasin strikes the rabbit and the animal dies immediately.

We will write and photograph a scene of the water moccasin actually striking Reid, which can be deleted later if we deem it advisable to do so.

In the scene of Bobby and Uncle Caton examining the papers and other effects of the father, I feel we should not play Bobby quite so immature. He is old enough to know what a mortgage is, but his interpretation of the consequences of such a document is all wrong.

The story, as now written, seems to proceed on a fairly high level of interest up to the separation of Bobby and Uncle Caton. It then lapses into interlude when Bobby becomes interested in seeing the showboat, and the essential theme is forgotten. Therefore, the following suggestions were offered by Mr. Lesser for consideration by the writers:

In the construction of the story, it might be possible that before we go to the Lawyer's home in New Orleans, we show Bobby, Stymie, and the Lawyer and Uncle Caton driving into town and they pass the docks where the showboat has already arrived, so that we get the reaction of Bobby and Stymie to the showboat.

Perhaps before Uncle Caton is sold on the auction block we can play the situation of the two boys going to see the showboat. Bouton has already gotten into trouble, and so when the two boys arrive they learn there is to be no show. Bobby determines to journey the ten miles up the river to see the show. Stymie is afraid to follow Bobby's leadership, however, so he goes back home while Bobby sets out alone.

2.

Bouton is released from jail, overtakes Bobby, hears him sing, tells the boy he's not only going to see the show but that he's going to be in it. At the showboat. Bouton realizes that this boy will be an asset to the show, makes him the proposition. Bobby rejects this proposition, however, and returns home to learn that Uncle Caton is to be sold. We play through the auction block scene between Bobby and Uncle Caton. Bobby remembers Bouton's proposition, decides that if he accepts it he might be able to purchase Uncle Caton's freedom. So he runs away, overtakes the showboat, joins the troupe. Stymie is questioned as to Bobby's whereabouts, refuses to squeal on his pal, and so is to be sold. Stymie runs away and eventually overtakes Bobby on the showboat.

When the showboat first arrives in New Orleans we must, of course, establish the relationship between Bouton and Claire and the introductory phases of the showboat side of the story.

In one of the early scenes between Claire and Bouton, when she is bawling him out for squandering his money, he retorts, in effect, "What about you throwing money away on worthless songs written by unknown composers?" He indicates a song manuscript and in an Insert we see that it is a song by Stephen Foster. "Ten dollars for that!" exclaims Bouton. "What good is it?" The song, of course, is one of Foster's most famous compositions.

Bouton's scene in the tavern in New Orleans, which results in his being jailed for disturbing the peace, should be developed along the following lines:

Two Southern gentlemen, planters perhaps, are discussing some political question of the day. Bouton, well in his cups, is seated at a nearby table. He decides to take a hand in the discussion. "Listen, my good fellows," says he, in effect, "to a refreshing word from the North. I have traveled this fair land of ours from north to south, and from east to west, and therefore I am more familiar with the subject at hand than you fellows who sit here in the narrow, cloistered confines of the provinces, etc. etc." He turns the discussion into an argument, and the argument into a fight, and as a result is thrown into jail for disturbing the peace.

Contemporaneous events and political issues, etc., should be emphasized also in later scenes when the showboat docks at the various towns along the river and Bouton purchases newspapers to keep posted on the happenings of the period. Perhaps the papers mention that Abraham Lincoln has been elected to the legislature, etc. In keeping with the characterization of Bouton, who is always the showman, when he buys a newspaper he gives the newsboy a fifty cent piece and, in his customary lordly fashion, tells the boy to keep the change.

After Bobby has joined the showboat, and Stymie has run away to follow him -- and so that the story does not become too jumpy -- I feel we should now show the objective Bobby is working for, as represented by the plight of Uncle Caton under his new master.

3.

From this we DISSOLVE to the Lawyer's home, show that Stymie's
Mother is greatly concerned about what will happen to her
boy for having run away from his master, and emphasize that
whoever aided this fugitive boy slave is going to find him-
self in serious difficulties with the law. We show also
the progress of the Lawyer's plans to defraud Bobby of his
heritage.

At this point in the story we now have definitely established:

1. Bobby's objective: To earn money to free Uncle Caton.

2. The dire consequences to Bobby for having aided a fugitive slave.

3. The progress the Lawyer is making in his scheme to defraud Bobby.

Having established these points, we can now go back to the
showboat situation and remain with it for some time without
any necessity for cutting back to the situation at New Orleans.

## Episode VII, Page 11 of the original treatment.

While Bouton's business with the two eggs in the breakfast
scene is good comedy, we must be careful not to have him do
or say anything that would tend to destroy the characterization
we have built up for him.

The display of Bobby's courtly manners in the scene where he
is introduced to the show folk at breakfast must be handled
with care so that Bobby is not characterized as a "sissy".
At all times he should be characterized as a he-boy.

During the breakfast scene there should be some casual reference to the *morgue* Stephen Foster songs that Claire had bought. Perhaps Bouton makes some kidding remark to the effect that Claire is just throwing good money away on these worthless songs. Claire glances casually in Bobby's direction, and though she says absolutely nothing, we realize that it is in her mind that if Bobby sings these songs, the way they should be sung, they are likely to become very popular in time. This scene should be treated very carefully and delicately. Perhaps Bouton tells Claire that when they get back to Cincinnati he hopes she won't be foolish enough to throw any more money away on these worthless songs.

We now play through the original story up to and including
the point where the showboat docks in Cincinnati.
Peddlers are on hand at the dock to sell clothing, vegetables
and other supplies to the showboat people. A young composer,
Stephen Foster, is in the group of peddlers. Timidly he
offers to sell some of his songs to Bouton for whatever the
latter thinks they are worth or cares to give him. Bouton
is not interested, but Claire is. She thinks that perhaps
they could use one of the songs in the show and she offers
to buy it for $5.00. The title of the song is *My First*.

KENTUCKY KNOXVILLE "Old Folks At Home", or another of Foster's greatest compositions. Foster is willing to give Claire a whole batch of songs for $50.00. He has heard that composers are getting fabulous sums for their songs. He remarks that one composer cleaned up the magnificent sum of $500.00 for one song alone. He mentions the title of the song. It should be one that has long-lasting popularity. Someone remarks that the song is all right today, but in a few years it will be entirely forgotten. Claire inquires how Foster happened to write the song he has sold her, and this leads to Foster sitting down at a piano and showing her how he composed the song.

that she guesses this one ought to be worth $5.00, too.
Foster writes on the manuscript: "To Claire ......, for
the inspiration", or some appropriate inscription, and gives
the song to her. He remarks that she seems a little anxious
or concerned. This leads to Claire telling him something
about her life on the showboat. The scene between the two
should be developed for the following values:

1. Foster's realization that Claire is in love with Bouton.

2. An indication that Foster is falling in love with Claire.

3. The recognition, on the part of the audience, that it would be better *XXXXXX* if Claire turned her attentions to Foster instead of apparently wasting them on Bouton.

Foster is timid with respect to making overtures to the girl. She inquires if he ever has been in love. He replies in the affirmative (although of course he was never in love until he met Claire), and tells her some story about an imaginary sweetheart. We realize that, by inference, he is speaking of Claire. Claire is no fool, and she realizes this, too. This scene should be treated with great delicacy and charm, and we should strive to imbue it with a lyrical quality, without, however, lapsing into sentimentality.

This scene is interrupted by the entrance of Bouton. He is inebriated, as usual. He picks up the song manuscript which Foster had dedicated to Claire, reads the inscription, and realizes the growing intimacy between Claire and Foster. Claire, realizing that perhaps she had gone a bit too far with Foster, makes some explanation to Bouton.

We now play a scene between Bobby and Stymie and *Young Booth*
a couple of the wharf rats. Stymie starts to brag to the
wharf rats about how he was going to be sold, how clever
he was in making his escape, etc. Bobby, in trying to hush
up Stymie before he spills too much, twists Stymie's story
all around. Stymie takes issue with this, tells Bobby that
he's getting the story all mixed up, and despite Bobby's
efforts to quiet him, he spills the whole story. Bobby
hustles Stymie away. Young Booth appears on the scene.
The wharf rats tell him about Stymie's story, remark that
the little Negro boy is a great liar, etc. But Booth is a
wise youth. He realizes that Stymie's story may be true.
If it is they can turn him in to the authorities and claim
the reward offered for information regarding runaway slaves.
So off they go to inform the Sheriff.

MOTHERS MARRY

In the foregoing scene between Bobby and Stymie and the wharf rats, we want to bring out the difference between these city-bred kids and our plantation-bred boys.

Episode XII, Page 21 of the original treatment has been
covered in earlier scenes.

To motivate the church episode, we should start it off with
a scene between Stymie and Narcissus. The latter is a God-
fearing man and he lectures Stymie for lying. This leads
into the situation of Stymie being persuaded to go to church,
and Bobby goes with him. Against this we play the suspense
of their being apprehended by the Sheriff if they go into town.

We now have a scene of the Sheriff being brought to the
showboat by young Booth and the wharf rats, in search of
Stymie and Bobby. He is informed that the boys have gone
to church. He assumes that they have gone to a white
church.

We play the situation of the Sheriff visiting the various
churches in search of the two boys. Finally he catches up
with them. We characterize the Sheriff not as a hard-hearted
fellow, but as a man who, though he sympathizes with the
kids, is compelled to act as the law dictates in such cases.

I feel that Bouton should not be arrested as an accessory
to the crime of harboring a fugitive slave. He just resents
the boys being taken out of the show, and so he storms into
the jail in his customary blustering fashion, insults the
officials, etc., and talks himself right into jail. Then
they pin him down as an accessory to the crime of harboring
a fugitive slave.

A boat is leaving for New Orleans, and Stymie is placed on
it to be taken back to be delivered to his new master.
Stymie accepts his fate very philosophically. He is proud
of all the attention he is receiving, feels very important, etc.
The official who has been assigned to take him back to New
Orleans should be characterized, as in the case of the
Sheriff, as a man who feels sympathy for the kid but is
forced to do his duty.

Narcissus comes to the jail with some food that Claire has
went to Bouton and Bobby, arriving just as Bouton, having
recalled that Bobby has an Uncle who might be of assistance
to them in this predicament, is trying to find someone
to take a message to the Uncle. We now play the business
of Bouton trying to make Narcissus understand the need for
haste, telling him to take a mule if necessary, etc., as
outlined in previous notes.

###

4.

II-Cont.

Amazement, wonder, fear, grief, wave after wave of
emotion sweeping over the slaves. An old preacher
from the fields rises and calms them with a song.

FRONT DOOR. The SLAVES have come to say farewell to their
LITTLE MASTER.

MONTAGE SHOTS OF DESOLATE PLANTATION stripped of crops,
of slaves, of finery, of life.

FRONT PORCH OF BIG HOUSE. The LAWYER-GUARDIAN takes TIM,
UNCLE CATON, JANIE, and her nephew, STYMIE, to New
Orleans. As they drive down the road in a rusty old
carriage, TIM looks sadly back at the beautiful old
plantation house disappearing from view.

End of Episode II.

5.

EPISODE III

## SCENES:

HOUSE OF THE GUARDIAN IN NEW ORLEANS. TIM and UNCLE CATON are surprised at the bareness of the house. Evidences of miserly living are seen. Combination of office and home. Dishes unwashed. CATON, JANIE, and STYMIE start to cleaning up the house right away. TIM is put to bed by UNCLE CATON.

AUCTION OF GOOD FROM PLANTATION. Familiar pieces from the diming room put up for bids. GUARDIAN does not get as high a return as he expected.

DINNING TABLE IN GUARDIAN'S HOUSE. He explains to TIM how profligate and careless his father has been, how little money is coming in, and how he will have to sell UNCLE CATON, but will keep JANIE and STYMIE to attend to his housework and errands.

BED ROOM. Night. UNCLE CATON and TIM together for the last time. The Old Negro tells his LITTLE MASTER a Br'er Rabbit story. Together they sing a song of the old plantation. The song slows down. Both fall asleep. CATON awakes with a start and tiptoes out.

SLAVE MARKET IN NEW ORLEANS. TIM and GUARDIAN attend the sale. Lots of ordinary field hands are sold. Then UNCLE CATON is put on the block. The AUCTIONEER waxes eloquent over his many virtues. CATON is sold to a PLANTER from the rice country. TIM is in tears as the new master takes him away. TIM promises to buy him back someday.

IN THE CROWD as TIM weeps, a tall young man, strangely like

## 1a-VI Con't.

BOUTON'S CABIN. TIM is left there alone. Seen getting into one of BOUTON'S long white shirts for a nightgown.

STREET. Show folks shown heading for tavern. BOUTON and CLAIRE leave for walk. CLAIRE asks him not to waste his money in tavern. Indicates finances are short.

WHARF. Negroes shown lounging and loving there in the moonlight. The night and the stars are so pretty that one says xxx it looks like the angels must be peeping down, right out of heaven. The Negroes begin to sing, LAWD, SEND ONE ANGEL DOWN.

BOUTON'S CABIN. TIM, in BOUTON'S shirt, looks out of cabin window as the Negroes sing. He remembers UNCLE CATON used to sing that song. In his high clear voice, TIM joins in.

WHARF. Startled, the Negroes cease their song. Frightfully, they begin to draw away. They think TIM'S voice is an angel's xxx right out of the sky. But finally someone sees TIM up there in the moonlight in the window of the cabin. They smile, delighted with the little singer. Then, joyfully, in a great burst of song, the Negroes' voices join his, and the air is filled with music. BOUTON and CLAIRE, returning, are awestruck at the sight.

### END OF EPISODE VI

KIX
15.

EPISODE IX.

INTERIOR OF OFFICE NEAR DOCKS. At a tall desk a handsome young
bookkeeper sits, an open ledger on one side, on the other
blank music sheets where he is writing a song-score. The
young clerk is STEPHEN FOSTER. In the distance he hears the
band. He stops working and goes to window to look out on the
passing parade. He returns to his books, puts down a few
figures in ledger from pile of bills, runs hand through hair,
then turns to his music again. His BROTHER enters and catches
him at his music. The BROTHER says that even if he working for
a relative, he ought not to have more concern about his job,
and that he is employing a bookkeeper, not a song writer. The
music of the band is heard drifting back on the wind. As the
BROTHER exits, STEPHEN works a moment more on the figures, and
adding up a short column wrong. Then he quickly closes his book
and, putting his music into a brief case, he takes his hat and
rushes into the street.

NIGHT ON WHARF. Crowds coming to showboat. BOUTON outside in all
his glory.

AUDITORIUM OF SHOWBOAT. Show in progress. STEPHEN FOSTER in a box.
In front sit a dozen little tough WHARF RATS. BOUTON
announces the debut of the Singing Boy Wonder, LITTLE TIM. Ex-
citement in audience, hostility on faces of WHARF RATS. TIM
sings. In midst of song is interrupted by tough kids in first
row with remarks like, "Aw, you can't sing!....But you was the
teachers pet! Etc." TIM interrupts his song to invite them
outside. Then he continues, to end triumphantly with the
audience applauding madly.

TIM, with a gesture to the KIDS to come on, exits through the wings

16-IX Con't.

without returning to take a bow, and goes outside.

WHARF. The DEAD END KIDS OF THEIR DAY shown emerging from boat
down gangplank to gaslit dock.

STAGE. BOUTON calling madly for the next act to go on. It is a
scene from a classical drama, HENRY VI. Actors shown with
spears, in doublets and hose, armour, etc. CLAIRE is made
up as a medieval maiden. Coffin lies among props in wings.
As SUPERS pick up coffin it seems to move. They clutch it
tighter.

FULL STAGE. Drama being enacted with gestures. SUPERS enter with casket. When casket is opened, STYNIE sits up therein. When he realizes where he is, STYNIE leaps up and bolts off the stage through the audience down the aisle to exit.

WHARF. TIM faces the tough KIDS. Silence. One of the kids asks TIM what he is going to do. TIM does not answer. One of KIDS walks provocatively by TIM who does not move. Then same KID puts a chip on his shoulder and bumps into TIM purposely, thus knocking chip off his own shoulder. The KID whirls around intending to come back with fist in TIM'S face, but TIM catches him with a shymaker instead. KID falls. Then the fight starts. KID rises and the battle is on. TIM is winning, when other and bigger KIDS cut in with unfair tactics, tripping TIM, etc. Five against one. TIM never stops battling. Biggest KID hits TIM a teriffic blow. Another KID kicks him as he is down. As TIM rises, streaking down the gangplank and into the fray comes STYNIE. Behind STYNIE comes the actors with spears, and half the crew of the showboat. The tough KIDS flee, thinking the actors are after them. TIM and STYNIE also flee in opposite directions.

17.

## EPISODE X.

CLAIRE'S CABIN ON SHOWBOAT. CLAIRE is working on accounts for the boat. Past her cabin window comes a young man with a portfolio of music. It is STEPHEN POSTER. He remarks that he did not know that even on a showboat one must keep books. CLAIRE answers with a sigh that it is so. STEPHEN says that he has brought the new song he spoke of the other night. He enters cabin.

CLAIRE AND STEPHEN LOOK OVER HIS SONGS, new and old, as he hums
portions of them occasionally. She sees the CHRISTY'S name
is on some. STEPHEN explains that his family do not approve
of his writing songs, and that Ethiopian songs are not con-
sidered very respectable in the best circles. CLAIRE replies
that his new tune might suit TIM. She rings for NARCISSUS to
find TIM and send him to the theatre.

DARK AND EMPTY THEATRE OF SHOWBOAT. TIM, STEPHEN, and CLAIRE at the piano as STEPHEN tries over his new song. He sings in a rich barytone voice. CLAIRE joins in. Then TIM, STEPHEN explains the background of the song, and this is seen as in a dream as TIM sings---the idyllic background of the OLD SOUTH with its slaves and its beautiful ladies.

THE SUPPER BELL RINGS. TIM runs to supper with BOUTON and the others.

IN THE DARKENED THEATRE, entranced by their own music, STEPHEN and CLAIRE linger in the dusk. Suddenly STEPHEN kisses CLAIRE.

DINING SALOON. CLAIRE appears late for supper, BOUTON gives her an annoyed look. CLAIRE begins rapidly to explain about the new songs a new song-writer has brought them.....

END OF EPISODE X

17
XXXX

EPISODE XI.

PLAYBILLS ON CINCINATTI WALES announcing the FOURTH AND FINAL WEEK OF BOUTON'S BIG ALL STAR SHOWBOAT FEATURING LITTLE TIM, SINGING BOY WONDER, IN THE SONGS OF STEPHEN POSTER.

GAMBLING HOUSE. Entrance of BOUTON who is fawned upon by all the hangers-on and attendants at the gambling house. BOUTON lays heavily and loses carelessly. Drinks. Flirts with the women of the town.

GALLEY ON BOAT. NARCISSUS and GLORY trying to make a meal out of practically nothing, with STYMPIE'S futile help. They search the cupboard, scrape the floor barrel, and put water into the soup to make it go further. GLORY complains loudly about Mister BOUTON making so much money and bringing nothing into the kitchen to eat.

CLAIRE IN DINING ROOM trying to pacify irate actors waiting for luncheon. She is in desperation. Goes to her cabin and weeps. Her tears fall on a manuscript piece of music with STEPHEN'S autograph thereon. Beside it, however, is BOUTON'S picture in a frame. CLAIRE suddenly turns his picture to the wall.

END OF EPISODE XI.

21.
EPISODE XV.

GLORY seen dressing STYMIE to accompany TIM to church.

STREET. The two boys, TIM and STYMIE, walk along. They come to a church where Negroes are singing inside. TIM is fascinated by the singing. STYMIE suggests going inside. They enter.

INTERIOR OF NEGRO CHURCH. The two BOYS take back seats as the singing continues.

DECK OF SHOWBOAT. The SHERIFF of Cincinnati stops at the galley door, after having looked all over the boat for somebody else. GLORY says everybody has gone ashore. SHERIFF asks if there is a little slave boy on board from New Orleans, accompanied by his so-called LITTLE MASTER. GLORY replies that there is, but that the LITTLE MASTER has taken the slave with him to church. After SHERIFF has gone, GLORY begins to wonder why the SHERIFF would want to know about TIM.

WHITE METHODIST CHURCH. The SHERIFF naturally thinks TIM has gone to a white church. Usher receives him. Quiet sedate services going on within. No TIM.

WHITE PRESBYTERIAN CHURCH. Another refined service, slow hymns. SHERIFF looks in. No TIM.

CATHOLIC CHURCH. A mass in Latin. No TIM.

THE NEGRO CHURCH. Building is rocking with song and shouting and spirited sermon. SHERIFF is about to pass by, but is attracted by the joy within. Stops, not thinking of TIM but rather of the excitement within. Decides to go in and listen.

22-XV Con't.

INTERIOR NEGRO CHURCH. SHERIFF enters. The revival services are in full swing. Negro MINISTER is preaching traditional Negro sermon: God's Gonna Rain Down Fire. There is a great moaning and shouting. The church is rocking with emotion. TIM and STYMIE rock along with the others. Suddenly the SHERIFF spies them. In great agitation, he gets out his papers calling for their arrest.

PAPERS OFFERING REWARD FOR RETURN OF YOUNG WHITE BOY JOHN TIMOTHY REID, JR., AND SMALL NEGRO SLAVE STYMIE.

AISLE OF CHURCH. Riot of moaning and hushing as preacher reaches the climax of his sermon concerning the suffering of the Hebrew children under Pharaoh. TIM's face is shrouded with emotion. Suddenly the SHERIFF walks up the aisle and lays hands on TIM and STYMIE.

CONGREGATION THROWN INTO TURNOIL. The SHERIFF announces that he has found a run away slave and his run away master, and that the slave goes back into slavery and the master to his home. The SHERIFF begs their pardon for interrupting the service. He takes the two boys and leaves.

OLD WOMAN IN THE CONGREGATION begins to hum GO DOWN, MOSES. As the SHERIFF and the two boys disappear through the door, the words break out in song: GO DOWN, MOSES, XNEKXTELL WAY DOWN IN EGYPT LAND, AND TELL OLE PHARAOH TO LET MY PEOPLE GO.

END EPISODE XV.

23.

EPISODE XVI.

THE CITY JAIL. TIM and STYMIE are put into jail. TIM into the BULLPEN for whites. STYMIE into the

BULLPEN FOR NEGROES. Evil characters of the slums are with them, unhappy and homeless people of the streets. STYMIE begins to cry. TIM stands very still, his hands on the bars.

THE GAMBLING HOUSE. The SHERIFF comes to arrest BOUTON. He takes him from the bar to prison for harboring a run away slave and a white child.

NEW ORLEANS DOCK. GUARDIAN shown purchasing a ticket on the fastest boat for Cincinnati.

THEATRE OF SHOWBOAT. Early evening. CLAIRE is lighting the candles in the footlights, preparing for the evening's show. Tears in her eyes. STEPHEN comes. He has just heard of her trouble. He tries to console her. She says she must prepare to defend BOUTON.

JAIL CELL. TIM at the bars begins to sing alone in the sunset the spiritual: SOMETIMES I FEEL LIKE A OTHERLESS CHILE A LONG WAYS FROM HOME. As he sings, all the loneliness of his life of orphanage and wandering, all the sadness of his present situation are born out in the song.

END OF EPISODE XVI.

25.
EPISODE XVII.

SUNNY DAY IN A JAIL CELL. BOUTON and TIM are together. BOUTON asks TIM about his mother's people. TIM doesn't know very much, but somehow he mentions an uncle who owns race horses that he has heard of in Lexington, Kentucky. Even though his trial is tomorrow, that gives BOUTON an idea.

GALLEY, CLAIR AND GLORY prepare some food to be sent to the prison for BOUTON and TIM.

STREET, NARCISSUS mossying along with the food.

JAIL CELL. TIM asleep on his bunk. NARCISSUS arrives with the food. BOUTON grabs him through the bars and tells him to find means of transportation at once, even a mule, and go to Lexington and look up the famous KIMBREWS of Kentucky race horse fame there, and find out if they know of TIM'S mother's people.

STREET, NARCISSUS looking and looking, passing all the carriages for hire, horses, etc. until he finds a mule. He starts out on the mule for Lexington.

END EPISODE XVII.

24.
EPISODE XVIII.

NEWSPAPER HEADLINES OF 1850 announcing the trial of BOUTON for
harboring a fugitive slave and a run away child.

COURTHOUSE. People entering for the trial, townfolks in common
clothes, show folks dressed in their flashy best.

STREET IN FRONT OF STEPHEN'S OFFICE. STEPHEN in doorway watching
for CLAIRE to pass. She passes sadly, alone. He offers to
accompany her to the court, but she refuses his aid.

THE COURT ROOM. The trial. LAWYERS? THE GUARDIAN, ACTORS, and in
the gallery as an observer, since this is a kind of test case,
has come ABRAHAM LINCOLN.

FLASHBACK TO COUNTRY ROAD along which NARCISSUS rides on his mule to
Lexington. As the trial gathers intensity, often we flash to
the SERVANT and the mule and their slowness in arriving at
the desired destination.

FINALLY LEXINGTON and the home of the KIMBREWS. After many difficul-
ties, NARCISSUS convinces the gouty old gentleman who turns out
to be TIM'S wealthy UNCLE that he must come to Cincinnati at
once.

ARRIVAL OF JOVIAL GOUTY UNCLE AT THE COURT. The defeat of the mercenary GUARDIAN. The freedom of BOUTON who is reunited with CLAIRE. The UNCLE who likes both horses and Showboats, buys the showboat, guaranteeing all salaries but leaving it to BOUTON to run. His son, TIM'S cousin takes TIM and his young bride to restore the old plantation in Louisiana. UNCLE CATON and STYMIE and JANIE are restored to the ancestral home, and the picture ends

BACK ON THE OLD PLANTATION where all is happy again, with UNCLE CATON
escorting TIM to bed with a Br'er Rabbit story and a song.

END

LITTLE MASTER

Characters: TIMOTHY REID, Sr., Master of the Deep River Plantation in Louisiana before the war.

TIM, Jr., his son. (BOBBY BREEN)

UNCLE CATON, trusted old coachman, singer, and story teller, slave.

JANIE, a house servant

STYMIE, her nephew and playmate of TIM's

THE GUARDIAN, a New Orleans Lawyer

JACQUES BOUTON, owner of a Showboat

CLAIRE, leading lady and his sweetheart

NARCISSUS, cook on the snowboat, a slave

GLORY, maid and waitress on boat, a slave

STEPHEN FOSTER, writer of songs

DUNNING FOSTER, his brother

A NEGRO MINISTER

ACTORS ON SHOWBOAT

A JUDGE

LAWYERS

ABRAHAM LINCOLN

JEAN CLAUDEL, TIM's uncle on his mother's side

SLAVES, RIVER FOLKS, and others

# LITTLE MASTER

A Story Of The Old South
by
Clarence Muse and Langston Hughes
From an Outline by
Sol Lesser

THE STORY:

TIMOTHY REID, JR. (BOBBY BREEN) is the son of a wealthy plantation owner in Louisiana before the war. The mother is dead. The father is handsome, gay, and careless with money. It is autumn and cane cutting time. At a cane festival dance of the Negro slaves, the father is bitten by a snake and dies.

LITTLE TIM'S best friend and protector is the old coachman, UNCLE CATON, who tells him Br'er Rabbit stories and teaches him Negro songs. But the ex Executioners of the estate sell everything, take LITTLE TIM, along with UNCLE CATON and two other slaves, the woman JANIE and little STYMIE, to New Orleans. There UNCLE CATON is also sold away into the rice fields. LITTLE TIM vows to buy him back.

Playing in the GUARDIANS yard one day, TIM and STYMIE run away through the streets of New Orleans to the docks. There a Showboat is just coming in. But shortly the showboat owner, JACQUES BOUTON, runs afoul of the law and the boat is forced to sail without a performance. TIM decides to follow the boat up the river. STYMIE remains behind.

BOUTON, the showboat owner, on horseback, overtakes TIM on the road and carries him to the boat. He gives him a place to sleep in his cabin. That night on the dock while BOUTON is ashore, the Negroes gather and sing.

LITTLE MASTER-2

High up in the cabin, TIM joins in their song. They think it is an angel from heaven and at first are frightened, but later they recognize him as a little boy, and all sing together. BOUTON returning, sees that he has a singing find in TIM and says so to his girl-friend, CLAIRE.

BOUTON is like TIM'S father, careless with money, but he also drinks and gambles. CLAIRE struggles as best she can to run the show boat. She tries to make BOUTON save his money and pay the bills. The show does good business, but the actors are always hungry, and kicking. They decide to introduce TIM to the public at Cincinnati. There STEPHEN FOSTER is in the audience. TIM's debut is successful, but he is heckled by some tough youngsters in the first row. He fights them outside, and wins one by one, but when they are about to gang him, STYMIE suddenly turns up, prusued by half the cast of the show boat in classical customes with spears. STYMIE has hidden himself in a coffin and got carried onto the stage in HENRY VI.

STEPHEN FOSTER and CLAIRE become acquainted and she gets him to do some songs for TIM. Meanwhile, hurt at BOUTON's continued carelessness, she falls in love with FOSTER. They are together often in the darkened theatre where he plays over his songs and sings them with her and TIM.

One Sunday, the SHERIFF comes looking for a run away slave boy. He is told that TIM and STYMIE are in church. Thinking it to be a white church, he seraches for them through the dignified white services of the town. But they are in a Negro church bursting with song. They are taken into custody there in the midst of the revival.

BOUTON is arreated for harboring a fugitive slave and a run away child. The GUARDIAN comes from New Orleans for the trial. He

a

LITTLE MASTER-3

sues BOUTON for past salaries due the child. BOUTON has no money, but CLAIRE has managed to save surreptitiously enough to cover that. FOSTER, whom she loves, but who is interested in nothing but his music wanders away. CLAIRE and BOUTON are again reunited.

The trial shows up the chicanery of TIM's GUARDIAN in a manner unexpected to the GUARDIAN. TIM's fortune is returned to him for his own use, since the mother had left large sums of money the father had not touched and the GUARDIAN had not spoken of to anyone. All ends happily with the LITTLE MASTER restored to the Big House, and UNCLE CATON bought back again to the home he had always known. Picture ends with UNCLE CATON singing a song of deliverance.

2.

It's obvious he would sell his soul for this girl. We know she's his mistress.

As they drive down the roadway along the Reid
plantation the girl regards with envious eyes the evidences
of Reid's wealth and position. She says, in effect, that
if Dill really loved her he'd give her these things. Dill
stalls. Someday, he promises ....

Back on the veranda of the Big House. Reid is
enjoying his julep. Uncle Caton is a bit concerned that his
Master entrusts all his affairs to this man Dill. Reid
laughs at the old man's anxiety. Tells him he's a chronic
worrier. Caton says he guesses the Master is right. Reid
tells Caton to get the carriage ready for a drive to the
cane festival dance. There is some passing reference to
Reid's son, which cues a cut to:

Young Timothy Reid and his playmate, Gumbo, a
little pickaninny, are playing "William Tell" behind the
stables. Gumbo, apple on head, is rescued from an untimely
demise by the advent of Janie, the cook and Gumbo's mother,
who summons Tim to go to the cane field dance with his father.

Enroute to the cane fields Reid, Tim and Uncle
Caton join in a Negro spiritual. We establish the fine
relations existing between masters and slaves.

The cane festival dance.

Returning home, Reid is bitten by a snake and dies.

Reid's will has named Dill executor of the estate
and guardian of Tim. This guardianship is yet to be approved
by the court. Dill takes charge. The field slaves are sold.
Tim, Caton, Gumbo and Janie are to live with Dill in his home
in New Orleans.

As they drive through the streets of New Orleans,
we see the arrival of Bouton's Mississippi showboat. We
introduce Bouton, owner of the showboat. He goes to a tavern
for a drink.

Dill's home. Tim and his slaves are not happy
here, but they try to accept their situation cheerfully.
Pauline, Dill's sweetheart, orders the slaves about. They
resent her. They belong to young master Tim.

In a scene between Dill and Pauline we learn that
Tim has inherited, either from his mother or as a part of
his father's estate, an interest in a New Orleans shipping
concern. This interest, though representing only a small
percentage of the total stock in the concern, would enable
its owner to gain control of the concern if he could also
buy out another minority interest owned by a man named
Brown in New Orleans. Dill determines to gain possession
of Tim's stock and to use Tim's money to buy out this other
minority interest.

There is a clash between Uncle Caton and Pauline.
Pauline tells Dill that the old Negro has been insolent to her.
She insists that he be sold. Dill promises to do so.

3.

Outside in the yard sit Tim and Gumbo. Tim is
despondent. Gumbo tries to cheer him up. Along comes a
Chimney-Sweep who tells them of the wonders of the showboat.
Tim, unaware that Uncle Caton is about to be sold, allows
Gumbo to drag him off to see the showboat.

We pick up Bouton in the tavern. He becomes involved in a dispute over some political question of the day. In a back room a duel is being fought. Nobody pays any attention to the duelists. Interest is centered on the political argument. Bouton is arrested for disturbing the peace (the duelists are still dueling), and thrown into jail.

Tim and Gumbo arrive at the docks to learn that no show is to be given. The disturbance created by Bouton has resulted in the showboat's license being revoked by the city fathers. The boat pulls out to give a performance at a town eight miles up the river. Tim, determined to see the show, follows. Gumbo goes back home.

Bouton is released from jail. He overtakes Tim on the road. In kidding fashion, he questions the boy, learns something of his circumstances and that he wants to see the show. Bouton takes Tim's quarter, saying that for two-bits the boy can have the run of the boat. Tim holds Bouton's horse while the showboat goes into a tavern to buy a drink with Tim's quarter.

Bouton takes Tim to the showboat at the River Town. Establish that the show is to play here for two days. Tim sees the show. From a kid flunkey on the showboat he learns it is possible for a boy to earn money doing odd jobs on the boat. Bouton offers to let Tim stay overnight on the showboat. It is too late for a kid to be out alone, etc. Tim declines. He must return home. He leaves.

Tim sneaks into Dill's house. His absence has not been discovered. In the dark bedroom, with only the whites of Gumbo's eyes visible, Tim tells his inquisitive companion of the wonders of the show. Gumbo is excited. Tim shushes him. They must be quiet lest they wake Dill.

Next morning. Tim learns that Uncle Caton is to be sold.

Follow the Muse-Hughes Treatment through the town-crier announcing the slave sale, the auction block scene between Caton and Tim, etc.

That evening, Tim remembers that it is possible for a boy to earn money on the showboat. He feels that if he gets a job on the showboat he can earn money to purchase Uncle Caton's freedom. He runs away, first swearing Gumbo to secrecy.

The showboat is playing the second night of its two-day stand at the River Town. We discover Tim telling Bouton his problem and asking for employment. Claire, sympathetic, urges Bouton to give the boy a job. Bouton does, at fifty cents a week.

Follow the Muse-Hughes Treatment through scenes of the hungry actors demanding food; flashes of the show going on; Tim going to bed; Bouton and Claire going into town after the show, etc.

4.

Negroes on the levee. They sing "Lawd, Send One Angel Down". Tim appears in nightgown at cabin window. He remembers Uncle Caton used to sing this song. He joins in.

Negroes astonished at first, thinking Tim is an angel. Then they join the boy in a great burst of song.

Bouton and Claire return. They are astonished to discover that Tim has such a marvelous voice. Bouton says the boy will be a great asset to the show. He tells Tim his salary is raised to $1.00 a week.

Dill learns Tim has run away. Questions Gumbo. Gumbo's got lock-jaw. Dill is going to sell Gumbo. The boy runs away to join Tim.

Scene between Dill and Brown, the man who owns the other minority interest in the shipping concern. Dill realizes that to complete the deal to gain control of the shipping concern he will have to use Tim's money. And he cannot do this until his legal guardianship of the boy is formally approved by the court.

Dill goes to the Gouty Old Judge in New Orleans and states his case. He makes it appear, of course, that he is acting in the interests of the boy. The Judge wants to see the boy before the judge approving the guardianship. Dill assures him that he will bring the boy. But now Dill has a problem. He has to get Tim back.

In a scene between Dill and Pauline, they hit on the solution that Gumbo has run away to join Tim, and that it will be easier to trace Tim through Gumbo, since everybody will help to trace a runaway slave just as a matter of principle.

Dill takes the necessary steps to have Gumbo traced.

Play through development as per Muse-Hughes treatment up to the trial, excepting, of course, that Pauline accompanies Dill to Cincinnati.

## THE TRIAL:

A certain group of sanctimonious, civic-minded citizens in Cincinnati have secured an injunction against Bouton opening his show. Abraham Lincoln learns of this injustice and represents Bouton in a court hearing to have the injunction removed. He traces the history of the theatre from the days of Thespis, etc., and wins the case. When the next case is called, that of Tim and Gumbo, his interest is aroused and he remains to listen to the hearing.

When Lincoln sees things going against Tim and Gumbo, and their lawyer bungling their case, he takes a hand in the proceedings, perhaps as an adviser to the lawyer.

In the course of the trial Lincoln brings up a simple point that had been entirely overlooked. The owner of the escaped slave is none other than Tim himself. How, then, can he be accused of aiding a slave to escape, if the slave is his own property? etc. etc. Lincoln now directs his attention to Mr. Dill. It is obvious that he sees right through him. Isn't it very unusual that a man would

5.

leave his business affairs to journey all the way to Cincinnati to prosecute a case for the return of a slave, when that slave is only a child? His highest value would be less than half the cost of Mr. Dill's boat fare to Cincinnati. Mr. Dill doesn't look like the sort of man who would throw money away foolishly. Could it be that Mr. Dill has some other reason for prosecuting this case so diligently? Isn't it a trifle strange, etc. etc. ...

As a result of the well-rounded case which Lincoln presents, Tim and Gumbo are exonerated. The matter of Dill's guardianship of Tim and his administration of the boy's affairs is referred to the Gouty Old Judge in New Orleans.

We play a scene between Lincoln and Tim whereby Lincoln advises the boy to return to New Orleans with Dill, and to rely upon the Gouty Old Judge there to see that justice is done, etc.

Bouton has realized, from the things Lincoln has said in court, that Dill may have ulterior motives. He decides to get the lowdown on him. Having a way with the ladies, he exerts his charm upon Pauline. He makes violent love to her, promises her jewels, social position -- everything she desires. Pauline, being the sort of woman she is, does not hesitate to betray Dill to Bouton.

Claire sees Bouton making love to Pauline. Naturally she doesn't realize that for once in his life he is trying to do the right thing. Bouton, in turn, doesn't offer her any explanations, just kids her along and allows her to believe that he has fallen for Pauline. We play this for bewilderment on the part of Claire.

Tim and Gumbo depart with Dill and Pauline for New Orleans. By this time Bouton and Claire are not on speaking terms. Bouton now announces that he is going to take the showboat back to New Orleans. He is doing this, of course, to pursue his investigation of Dill. But Claire naturally assumes that he wants to follow Pauline. Bouton allows her to think so.

We now have all of our characters in New Orleans.

Against the time element of the Gouty Old Judge rendering the decision which may enable Dill to gain possession of all the things he desires, we create the suspense situation of Bouton sending Narcissus to find the key man in the case, Uncle Caton, who may be able to supply the evidence which will expose Dill to the Judge.

Narcissus sets out on the mule, eventually reaches Uncle Caton, tells him that young master Tim needs his help. So Uncle Caton, though knowing he has placed himself in great jeopardy, runs away from his Master to go to the aid of Tim.

We now get the final situation of Uncle Caton arriving at the last moment to present his evidence, which results in the exposure of Dill. The Gouty Old Judge takes charge and clears everything up. Bouton and Claire are reunited, Tim's heritage is restored to him, Uncle Caton and the other slaves are returned to the plantation, and all ends happily.

5.

But Bouton's mind is still on the case, and he is determined to get the lowdown on Dill. He has realized, from certain things Lincoln said in court, that Dill may have ulterior motives in taking Tim away from him. He gets a flash of Pauline and remembers, from his earlier scene in the tavern with her in New Orleans, that she is a push-over. And seeing that Pauline is Dill's girl-friend, he knows how to proceed.

Having a way with the ladies, he exerts his charm upon Pauline. He makes violent love to her, etc. Pauline, being the sort of woman she is, doesn't hesitate to betray Dill to a man whom she thinks will give her the things she craves. She reveals to him how Dill is planning to defraud Tim of his interest in the shipping concern in order to gain control of the concern for himself. She tells Bouton everything he wants to know. And what she tells him make him realize that Uncle Caton, because of his knowledge of Tim's affairs and the affairs of the boy's parents, is the key man. This scene between Bouton and Pauline can be played in the gambling house, previously established, where Bouton fills Pauline with champagne, stakes her in gambling, etc.

Claire, of course, sees Bouton making a play for Pauline, and naturally she misunderstands the situation.

Dill, meanwhile, is impatient to get back to New Orleans. He and the boys are on the boat, ready to leave, waiting for Pauline. Dill can't understand where she is.

Bouton, having gotten everything he wants out of Pauline, tells her he'll see her in New Orleans.

Pauline rejoins Dill, the man she has betrayed, and the boat sails. Bouton watches the boat going downstream. We know that the solution of Tim's problem now lies in the hands of Bouton. But we don't know how he is going to use the information he has secured from Pauline. Perhaps he may use it to blackmail Dill.

Bouton confides nothing of his plans to Claire and the showboat troupe, but just announces to them that he is taking the showboat back to New Orleans immediately, instead of continuing on up the river. Naturally Claire thinks he is chasing after Pauline. Bouton neither affirms nor denies this. Claire is indignant -- and bewildered. The showboat starts down the river.

We now play a brief scene of the Gouty Old Judge in New Orleans being reminded by one of his clerks that his legal duties require his attention. The Judge is bored to death by it all. This case of affirming the guardianship of Timothy Reid by Martin Dill is a simple one, he says. He'll be able to dispose of it in a few minutes. He sets a date to hear the case. It is obvious from his attitude that he will xxxxx affirm Dill's guardianship of Tim, unless reasons are shown why he should not.

We now go to the showboat tying up at the docks in New Orleans.
In contrast to our opening scene of the showboat's arrival,
we see that this time there is no excitement, etc.

Against the time element of the Gouty Old Judge rendering
the decision which may enable Dill to gain possession of
all the things he desires, we play the suspense situation
of Bouton sending Narcissus to find the key man in the
case, Uncle Caton, who may be able to supply the evidence
which will expose Dill to the Judge.

Narcissus sets out on the mule, eventually reaches Uncle
Caton, tells him that young master Tim needs his help.
So Uncle Caton, though knowing he has placed himself in
great jeopardy, runs away from his master to go to the aid
of Tim.

We now get the final situation of Uncle Caton arriving at
the last moment (both he and Narcissus rode back on the mule)
to present the evidence which results in the exposure of
Dill. The Gouty Old Judge takes charge and clears every-
thing up. Bouton and Claire are reunited; Tim's fortune
is restored to him; Uncle Caton and the other slaves are
brought back home to the plantation; we play a gag for a
laugh at the expense of the heavies, and all ends happily.

###

2.

The Living Room. Uncle Caton and Janie are dusting and cleaning
up the place. They speculate about the change in Tim's
affairs, and what is likely to happen to Tim's fortune now
that Dill is in control. Caton says, in effect, that he
once overheard Mrs. Reid (of Mr. Reid) say that in the event
anything ever happened to the plantation, the interest in the
shipping company which is being left to Tim would be more
than sufficient to safeguard the child's future.

Pauline, passing the living room on her way out, overhears the
two slaves talking. She conceals herself to eavesdrop on
their conversation. By putting together what Dill said and
what she overhears the slaves saying, she realizes that Dill
is planning to defraud Tim, etc.

Pauline calls Dill, asks him to escort her out to the carriage.
As the two come out of the house we see Tim and Gumbo, in
the background, out in the garden.

As Pauline and Dill walk out to the carriage, Pauline conveys
to Dill what she overheard from Caton and *MIXT* Janie. She
hints that it might be wise for Dill to get rid of the two
slaves if he has any plans with respect to Tim's money.
While she doesn't come right out and say that the slaves know
everything and that Dill should get rid of them, she says
enough to make Dill realize that the two slaves are likely
to become an obstacle to his plans to defraud Tim. Pauline
gets into her carriage and drives off. Dill stands there
for a moment to wave goodbye to her.

As Dill is standing in front of the house, Brown drives up.
He and Dill greet each other warmly, and go into the house.

We Cut to Tim and Gumbo in the garden. It isn't necessary
to go into any dialogue between the boys. We just show
them sitting despondently in the garden.

We now Cut inside the house and play a scene between Dill and
Brown which discloses the nature of Dill's scheme to defraud
Tim in order to gain control of the shipping concern. Their
dialogue establishes that there are perhaps a thousand shares
of stock out in the shipping concern. Brown owns 400 shares,
which Dill desires to buy from him. We learn that Brown
wouldn't think of selling his stock if there were a possibility
of his being able to gain control. But the shares of stock
which he owns are insufficient to enable him to get control.
We realize, however, that whoever gets *MIXT* possession of
both Brown's and Tim's interests will eventually be in a
position to control the shipping company. Brown names a
certain figure for which he will agree to sell his stock,
and Dill agrees to buy it -- in his own name. Brown requires
an advance payment of a certain sum of money. Dill says he
hasn't this amount of money right now, but he assures Brown
that he will get it. (It may be here that Dill decides to
sell Uncle Caton in order to get money to meet the initial
payment which Brown requires.) Brown accepts Dill's proposi-
tion. The two men shake hands and pour a drink to bind the deal.

## SCENES:

TIM & CATON at BOUTON'S INN. TIM goes down to the at New Year's dinner upstairs, dinning room. CATON/is served in room by servants who wonder why he doesn't take off the veil. Keep yelling at him. Finally they leave. Just as CATON goes to eat, having removed his gloves, a white person comes in. CATON is compelled to drop his veil, but hasn't time to put on his gloves. WHITE stares at his black hands which tremble and trembles, WHITE thinks it is his glove, so he is saved. Just some shades. excentricity of an old woman wea ring gloves of two/ Holiday time. Entertainment in dinning room at night.

TIM is invited to BOUTON and CLAIRE'S table for the festivities. There they sing various songs.

The next day Pauline is shown there buying silks of a trader, and Tim hears her asking that the bill be sent to Dill at Bayou Lovelle Plantation. Dill tells Pauline that he is one of his clients. Meanwhile Dill has discovered Tim's absence and goes to New Orleans in search of him.

BOUTON warns Pauline that he is outside. Tim hears and they flee the inn just in time. Pauline and Dill plan to put Tim in boarding school and take a trip to Pa ris on his money. Dill tells Bouton of his runaway Client, a boy who sings. (From then on the audience keeps hoping TIM will not sing a nd thus get caught.) BOUTON discloses nothing, but hurries up to Tim's room to find him gone. CATON is hurrying undignifiedly along for an old woman, behind Tim in the street. Dill prepares a ha ndbill about a runaway boy who sings, and an old slave. Tim and Ca ton are on a lonely road at night. They sing the Frog song. Tim visits the plantation and finds that on Saturday all the slaves are to be sold. He goes back to find Caton gone. Goes to BOUTON for help.

2

BOUTON aids him. Starts flirtation with Pauline much to CLAIRE'S chagrin....Gets secrets of Dill's life from Pauline. He a nd Tim go to plantation to expose Dill....Arrive night of revival meeting of slaves. Tim goes into church with slaves. Bouton goes to Big House to face Dill. When Tim arrives at Big House, he finds only Pauline and Dill there. BOUTON has dissappea red. WHAT HAS HAPPENED TO BOUTON? WHAT HAS HAPPENED TO CATON? Caton has been found by slave-traders and brought back to the plantation to be sold. Things now look their blackest for TIM. No one to help him. Gumbo solves the mystery of BOUTON. In a race against time, he and Tim on horseback reach New Orleans and secure the Old Judge, who comes out with his clerks and legal papers and books, and invalidates the decision which permits Dill to care for Tim's affairs.

All ends happily.

NEW SYNOPSIS
OF
WAY DOWN SOUTH

Paddy as is up to departure of Dill and Pauline from the
Reid Plantation. (Following Lesser Revised Continuity from
through 3-4. (35-49))
Insert new scene on Big House porch between Reid and
Uncle Caton in which Reid acknowledges to Caton that he realizes
his lawyer is right, but owing with tremendous overhead and debts, he
cannot bring himself to the point of dismissing his slaves or mis-
treating any of them, so as long as he can keep worrying along
with the creditors halfway satisfied, he will be happy. In a
very naive way, that is best understood through the treatment to
be given the dialogue, Reid tells Uncle Caton that the boy's
mother has provided for Tim's future, and that in his safe is
a paper with a steamboat on it. He charges Uncle Caton with the
safeguarding of this information for Tim's sake.

Bring Tim and Gumbo on board to show Tim the way.

Keep Tim and Gumbo on board as scene to show Tim
(35-49)
Caton is sold before Dill takes Tim to New Orleans.
and Dill intends to sell half the slaves.
shorten.

Play through as is in New Orleans, except that Tim goes in
serrahof Uncle Caton instead of search for showboat, Tim tells
Bouton of his object, who promises to help him in return for his
singing on the boat. Half way up the river, Caton is found and
hidden in the hole of the showboat.

Dill institutes a search for Tim and Gumbo.

Bouton promises Tim that as soon as they play Cincinnati,
he will return to New Orleans with Tim and straighten out his
plight. But the dire experiences Caton has been through has
caused him to lose his memory, and he cannot think of thing he
has been holding for Tim.

In Cincinnati, the boys are overtaken by the law, and
Uncle Caton is left starving and untended in the hole
of the boat. TIM and Gumbo are carried back South by Dill.

BOUTON now rushes back South against time with Caton to save Tim
from the clutches of Dill.

## SCENES TO BE SAVED FROM
Lesser's Revised Continuity

1-8 As is.

9 Insert scene with OVERSEER and SLAVE he abuses

10-11 As is.

12-16 Insert conflict scene between REID and OVERSEER

17-19 As is

20-34 As is, except show REID being called out of field to talk with DILL.

35 Insert here the knowledge which CATON possesses being told to him by REID.

36a INSERT arrival of BOUTON and CLAIRE for visit on plantation.

36-49 As is.

49a INSERT BOUTON either leaving or going to cane field festival. WHY IS BOUTON HERE?

50-96 As is, except for BOUTON and CLAIRE insertions.

97-on CAN SALVAGE ONLY WHAT IS RELATIVE TO THE NEW PLOT.

WEAKNESSES OF THE PRESENT STORY LINE

of

WAY DOWN SOUTH

by
Clarence Muse &
Langston Hughes

CHIEF WEAKNESS: That the final solution is brought about not by TIM, as the leading character, but by the outside factors of BOUTON'S aid, and CATON'S knowledge which backs up BOUTON. But TIM has no part in bringing about his own return to happiness.

CONTRIBUTING WEAKNESSES:

That CATON'S present contribution to the solution is a very weak one.

WRITERS' RECOMMENDATIONS FOR COMPLETION OF STORY:

That a final satisfactory story line be agreed upon, once and for all, and that the writers, to save time and not backtrack, be permitted to work through said line once in its entirety, so as to have a complete script satisfactory on which to base further conferences and revisions.

February 28, 1939

"WAY DOWN SOUTH"

General Story Line, after the death of Reid Sr., as dictated
by Mr. Lesser:

Following the death of the father, the story is
motivated from New Orleans, where Tim is taken by Dill,
but we should reach the sale of Uncle Caton as quickly
as possible.

Tim's concern now is only in one thing: to reach
Uncle Caton, who possesses evidence or information which
could be used to forestall Dill's plan to dispose of the
estate.

Instead of running away, Tim deliberately walks
out on Dill, in a strong situation. He either takes
Gumbo with him, or Gumbo follows him.

Dill, realizing he must prevent Tim from reaching
Uncle Caton, and prompted by Pauline, decides to recapture
Tim through the device of sending out circulars requesting
the apprehension of the fugitive slave, Gumbo.

Aboard the showboat. Tim's quest is understood
by Bouton, Claire and the other characters on the showboat.

We play the showboat incidents along the lines now
written.

In parallel action, we have the suspense of whether
the law will overtake and recapture the boys before they
can get to Uncle Caton.

Before the showboat reaches Cincinnati, Bouton,
the rascal that he is, can aid Tim in getting Uncle Caton
aboard the showboat. So now Bouton is an accessory to
the crime of aiding and abetting a fugitive slave, and
all aboard the showboat are in an awful mess.

The law catches up with them in Cincinnati. Bouton
is in difficulties. Tim is in difficulties. Uncle Caton
is in difficulties.

END OF SECOND ACT.

THIRD ACT:

Bouton (aided by Claire, perhaps) succeeds in
getting out of his difficulties. He returns to New Orleans;
works on Pauline; gets whatever information he needs from
her; and arrives with Uncle Caton at the plantation in the
nick of time to save the situation.

2.

Mr. Vorhaus' Suggestions:

My feeling is that as quickly as possible after
the opening sequence and after Caton is sold, Tim should
set out to try to get him. Caton holds the key to the
situation, and this is why Dill had sold him.

From this point on we should maintain the driving
force that is motivating Tim.

Tim is going on the showboat in an effort to
reach Caton. Claire and Bouton become interested and
sympathetic and try to help the boy.

Against this we have the suspense of whether the
law will catch up with Tim before he reaches Caton.

I think, too, that all this should play against
the time element of all of the slaves being sold and the
plantation disposed of.

Finally, I think we must bring together much
tighter than at present xxx the three characters - Tim,
Bouton and Uncle Caton -- who join forces in the solution,
which works against the time limit.

At the moment, my feeling is that probably Caton
runs away from his master, at great risk to himself, to
go with Bouton and Tim to the Judge or other legal
authority on the plantation before the sale goes through.

It is Bouton's eloquence which helps them in this
final solution.

3.

ACT THREE (Contd.):

In the event we find it impossible to have Tim personally bring about the solution, perhaps Bouton knows what to do but characteristically is too irresponsible to do it -- and Tim has to stir up Bouton and get him to do whatever has to be done.

(I have some hopes of retaining the situation whereby Bouton works on Pauline so that she betrays Dill, who by this time has got himself so involved that he is of no further use to Pauline. We must, of course, show that both Dill and Pauline are punished.)

THE TAG:

Happiness restored to all of our sympathetic characters.

4.

The story of "WAY DOWN SOUTH" as related in one paragraph
by Mr. Lesser:

Version #1:

A boy -- whose father leaves his inheritance and the
welfare of his slaves in jeopardy due to his extravagances --
is, unfortunately for himself as well as for the welfare
of his beloved friends -- the victim of an executor whose
avaricious mistress prods him into doing untoward acts which
result in a collapse of the boy's material welfare and a
disaster to his slave friends -- and he is finally rescued
from his predicament by a flambuoyant cafe owner -- who
helps him eventually to right the wrongs that have been
done to him -- thereby saving his beloved friends and his
inheritance.

Version #2:

A boy and his beloved friend and devoted slaves --
brought to the verge of ruin due to the father's neglect
in providing against such a disaster -- and struggling
against circumstances over which they have no control --
which have been inspired by a mercenary woman who is the
mistress of the executor of the estate -- and eventually
brought to the verge of ruin and a threatened separation
between the boy and his beloved friend and devoted slaves
through an impending sale -- finally manage with the
assistance of a very colorful benefactor to regain every-
thing that had been lost at the beginning.

The story of "GONE WITH THE WIND" as related in one paragraph
by Mr. Lesser:

A story of the havoc wrought by the war upon the
happiness and welfare of a whole family, resulting in the
almost complete disintegration of the family. The heroic
attitude of these people in holding together what family
ties there are, eventuating in a rescue of the remnants
and all of the traditional glory that was Southern.

###

WAY DOWN SOUTH-New Story Line-2

In a very simple way (that is best understood through
the treatment to be given the dialogue) REID tells UNCLE
CATON that the boy's mother has provided for TIM'S future,
and that in his safe is a paper with a steamboat on it. He
charges UNCLE CATON with the safeguarding of this informa-
tion for TIM'S sake.

35-49. Shorten but retain _as is_ TIM-GUMBO apple scene to show TIM'S mischevious masculinity and GUMBO'S faith in TIM. Also for its comedy value.

50-96. Shorten but retain the trip to the cane field
and the death _as is_.

IMPORTANT CHANGE: CATON is sold before DILL takes TIM and GUMBO to New Orleans. DILL also announces his intention to sell half the slaves for sake of economy, much to TIM'S distress, and in defiance of REID'S will.

111-on. Play through _as is_ in New Orleans, except that TIM goes in search of UNCLE CATON instead of pleasure on a showboat, TIM'S aim being to prevent the slaves being sold, and to retain CATON with him.

ON THE SHOWBOAT, TIM tells BOUTON of his object, and BOUTON promises his aid in return for TIM'S singing on the boat.

HALF WAY UP THE RIVER, CATON is found and hidden in the
hole of the showboat.

DILL GETS THE LAW after TIM and GUMBO.

BOUTON promises TIM that as soon as the boat plays Cincinnati, he will return to New Orleans with TIM and straighten out his plight. But the dire experiences CATON has been through has caused the old slave to lose his memory, and he cannot think of the thing he has been holding in his mind for TIM.

WAY DOWN SOUTH-New Story Line-3

IN CINCINNATI, play as is, where the boys are overtaken
by the law, and BOUTON is involved-except that CATON is left
starving and untended in the hole of the boat while they are
in jail, since no one else knows he is hidden there.

TIM AND GUMBO are now carried back South by DILL.

BOUTON RUSHES AGAINST TIME back to New Orleans with CATON
in the hope of saving TIM from the clutches of DILL. Also to
get further information from PAULINE about DILL.

JUST IN THE NICK OF TIME in New Orleans, when TIM retells
to UNCLE CATON the hyena story, suddenly during the laughter
following the story, CATON'S memory comes back to him, and he
reveals the information of the steamboat stock left to TIM by
his mother, which DILL has already had transfered in DILL'S
name.

DILL and PAULINE now receive their just deserts from the
OLD JUDGE, TIM regains control of his fortune and prevents the
sale of the slaves just as the crowd is gathering for the
auction, the plantation is held intact, and BOUTON and CLAIRE
are reunited, as is, and all ends happily.

******************

SUSPENSE ELEMENTS OF WORRY PLOT:

Will TIM be able to prevent the breakup of the old planta-
tion, retain UNCLE CATON, and forestall the sale of
his father's slaves?

Will DILL be able to secure and retain control of TIM'S
stock?

Will TIM find CATON after he has been sold?

Will DILL and the LAW overtake TIM and GUMBO before they
find CATON.

Will DILL and the LAW overtake all three after they have
found CATON?

WAY DOWN SOUTH--New Story Line-4

What will happen to TIM and GUMBO in Cincinnati?

What will happen after their arrest? And will BOUTON be freed?

Will BOUTON wreck CLAIRE'S life through his flirtation
with PAULINE in order to aid TIM?

Will UNCLE CATON starve in the hole of the boat while
his friends are in jail?

What will happen to TIM and GUMBO back in New Orleans in
DILL'S hands again?

Will BOUTON and CATON arrive in time?

Will Caton be able to recall his secret in order to help
TIM?

Will the OLD JUDGE in New Orleans believe BOUTON and CATON,
a showman the one, a slave the other?

Can TIM get rid of DILL'S influence over his affairs, re-
tain UNCLE CATON, now that he has found him, and
clear up matters just in time to prevent the auction
which will dispose of his father's slaves?

Can he?

He does! And the picture ends as it began with
joyous activity and life on the Old Plantation,
with the showboat coming around the bend bringing
BOUTON, CLAIRE, and all the troop for a visit, as
TIM, CATON, and GUMBO welcome them to Bayou Lovelle.

2.

10. Dill angrily strides into dining room, where Pauline is appraising the rich silverware. Pauline inquires if everything is settled, then notes Dill's anger and asks what's the matter. Dill gives her the gist of his scene with Tim and Caton. The scene further exemplifies Pauline's greed. Dill shows his yen for Pauline. Dill determines to get rid of Uncle Caton if he interferes.

11. Exemplification of the attitude of the slaves over Master Tim's problems, to be treated for comedy incident.

12. Introduce Narcissus as one of the plantation slaves, and include Tim and Gumbo in the scene for light comedy incident.

13. Jacques Bouton's Cafe in a town near the Reid plantation. Pauline is in the cafe, buying silks, jewelry, etc. from a traveling merchant. Here we see further evidences of Pauline's desire for luxuries, see her squandering money, etc. She tells the merchant to send the things to her home and to go to the Bayou Lovelle Plantation where Mr. Dill will pay the bills. In this scene we introduce and characterize Bouton and his wife, Claire, establish their relations, and start a flirtation between Pauline and Bouton. Perhaps we can incorporate the situation of Bouton getting into an argument on some political question of the day, with the threat that his license will be revoked, but treated as Messrs. Muse and Hughes see it.

14. Back at Reid Plantation. Uncle Caton, realizing the seriousness of the state of affairs, tries to make Tim understand that he is now the master of the plantation and that it is his duty to shoulder the responsibilities, since the slaves are accustomed to rely upon the master in the big house to solve their difficulties for them.

15. Tim's assurances to the plantation slaves. The exchange of loyalties between master and slaves -- ending in the joyous singing of a Negro song, in which Tim joins.

16. Extension of the extravagances of Pauline, which causes Dill to do some untoward act against Tim's interests.

17. Scene between Bouton and Dill. It is a matter of old debts incurred by the deceased Reid. Bouton reveals his sympathetic attitude toward Tim.

18. Scene between Bouton, Dill, Tim and Uncle Caton, which establishes Bouton's friendship for Tim, his admiration for Uncle Caton's loyalty, and his sympathy with them in their predicament and the hard road they have ahead of them. In this scene Bouton is to be treated characteristically

(CONT'D.)

3.

18. (CONTD.)

for entertainment opportunities. He extends
credit for certain things that Caton needs.
To aid them financially, he buys the expensive
horses which Reid had purchased before his death.

19. Dill, having money troubles because of Pauline's continued extravagances, takes the money which Tim and Caton had obtained from Bouton for the horses. This leads to an issue between Dill and Uncle Caton. Caton, because of his interference, is going to be sold.

20. Tim and Uncle Caton play their farewell scene. Tim tells the old Negro that he will buy him back. Caton says, "Dat's what I knows." Caton tells Tim the fable about the rooster and the laughing hyena.

21. Next morning. Tim is aroused by the sound of the plantation Negroes wailing a spiritual song. He rushes downstairs to see Uncle Caton about to be taken away to his new master. Tim rescues Uncle Caton.

22. Tim induces Bouton to aid him and Gumbo to help Uncle Caton escape into free territory.

23. Tim and Gumbo, aided by Bouton, start their escape with Uncle Caton toward free territory. This situation is to be treated in a comedy fashion, so the audience can laugh off its anxieties at the risk everyone is taking in aiding a runaway slave. Perhaps Uncle Caton is sneaked away in some absurd disguise which Bouton has brought from his cafe. Bouton has now become seriously involved.

24. Against the efforts of our sympathetic characters to reach free territory, we play the suspense situation of Dill completing his plans to liquidate the plantation. In a scene between Dill and Pauline we establish that it is necessary for Dill to get Tim back so he can have his guardianship of the boy approved by the court, and thereby legalize his acts. They decide to locate Tim through the device of sending out circulars requesting the apprehension of the fugitive slave.

25. In a scene between Dill and the official whom he contacts re sending out the circulars, we get the significance of the fugitive slave law.

4.

26. In some kind of a situation, Gumbo spills the beans to the law, and he, Tim and Bouton are apprehended. Uncle Caton is not discovered.

27. Tim, Bouton and Gumbo are brought back to the plantation town to stand trial for aiding a fugitive slave. Uncle Caton, still undiscovered, has followed them.

28. Dill, having got Tim back, now is triumphant and secure. He can proceed with the sale of the slaves and the liquidation of the plantation, and can legalize his acts by having the court affirm his guardianship of Tim.

29. The Negro Church scene with the plantation slaves who are about to be sold. The Negro Preacher кон-кунинъю soles his flock. The slaves sing spirituals. Tim participates in this scene.

30. At court next day. All our characters, excepting Uncle Caton, are present. Presiding is the Gouty Old Judge. Bouton is arraigned, and things are going very much against him. Dill is impatient about the Bouton case; he's anxious to get the guardianship matter settled as quickly as possible. The Judge is impatient with Dill's impatience. He considers Bouton's case the more important of the two. To him the guardianship case is just a routine matter to be disposed of in a few minutes at most. At the last moment Uncle Caton appears to present his testimony, which the eloquent Bouton uses to expose Dill. The Judge announces that Dill will be punished for misusing Tim's funds, etc., and that the court will take over the administration of Tim's estate.

31. TAG. Happiness restored to our sympathetic characters.

###

STORY LINE--2

DILL'S home, and the hope of earning money to buy
CATON back.

7. The SHOWBOAT and BOUTON & CLAIRE bring hope and a
measure of joy back into TIM'S life.

8. But this hope is overcast by the fact that BOUTON is
a spendthrift and a lovable rogue, and also because
there is trouble between him and his fiancee that
worries the boy.

9. Meanwhile DILL & PAULINE institute a chase after the
boy, TIM, and GUMBO also, who has left New Orleans.

10. All these troubles pile up against TIM, culminating in
his arrest in Cincinnati, also the arrest of his
friends, BOUTON & GUMBO.

11. The trial only brings deeper trouble in that TIM & GUMBO
are to be returned South to the clutches of DILL.

12. Here, however, BOUTON'S roguish qualities serve him
well. He seduces PAULINE into disclosing secrets
of DILL'S life that later lead to his ruin.

13. In New Orleans, BOUTON uses these secrets against DILL.
With JANIE'S aid he also finds CATON who possesses
further incriminating evidence that puts DILL &
PAULINE out of the picture and restores to TIM
both his fortune and his friends.

14. All ends happily, TIM and his friends back on the old
plantation, BOUTON & CLAIRE reunited, and the
villains foil'd.

SUGGESTED STORY LINE
for
**WAY DOWN SOUTH**

for
March, 1939.

1. As is through the death.

2. DILL'S activities as executor.

3. CATON gets in bad with DILL over TIM.

3. TIM takes UNCLE CATON to New Orleans, disguised in woman's clothes, to try and keep him from being sold, using the gold money REID had hidden in the chimney corner. They flee in the dead of night by carriage.

4. ROMANAY tells them of Papa Dondon's Inn.

5. TIM goes to the Inn and passes CATON off as his old Auntie who is deaf. BOUTON wonders if she is also dumb.

6. BOUTON gives them a suite of rooms upstairs and is amazed at the bag of gold pieces they carry.

6. TIM is invited to sit at BOUTON and CLAIRE'S table for the New Year's eve festivities. There is singing and entertainment by various artists who live at the Inn.

7. UNCLE CATON is served in his room by servants who wonder why "she" never removes her veil. The SLAVE SERVANTS keep yelling at CATON to eat. He can hardly resist the fine food they place before him, but he waits until they are gone then he takes off one glove. They return with the plum pudding to find him with one black and one white hand. He has quickly dropped his veil, but hasn't time to put on his glove. His hands tremble, but they take it to be the fantasy of an eccentric old woman to wear gloves that are not mates, so he is saved.

8. Downstairs in the dinning room the New Years festivities are at their height. PAULINE perhaps is there. TIM sings. But by then Pauline has gone on to livelier places.

9. PAULINE buys silks in the inn next day of a trader. TIM hears her request that her bill be sent to Martin DILL at the Bayou Lovelle Plantation. TIM

10. TIM is told by BOUTON that PAULINE is one of DILL'S clients.

12. Meanwhile, DILL has discovered TIM'S absence and comes to New Orleans to minimum minimum search for him and CATON.

TEM

MARCH STORY LINE-2

13. DILL comes to the Inn in search of Pauline.

14. BOUTON wants PAULINE that DILL is outside. She quickly leaves a party of gay young blades who is with.

15. TIM sees DILL from the balcony and he and CATON flee the Inn just in time.

16. DILL tells PAULINE that as soon as he gets TIM back they will put him in a boarding school and take a trip to Europe with his income.

17. DILL also tells BOUTON of his run-away charge, a boy who sings beautifully and has an old SLAVE with him. (From then on, the audience keeps hoping TIM will not sing and thus get caught.)

18. BOUTON discloses nothing, but hurries up to TIM'S room to find him gone.

19. CATON hurries undignifiedly along behind TIM in the street. They have had no time to call for their horses. TIM'S one aim is to get out of town with CATON and hide him.

20. DILL orders the printer's to prepare him a handbill about a run-away SLAVE and a white boy who sings.

21. TIM and CATON on a lonely road at night. They sing the frog song.

22. TIM hides CATON in an abondened sugar mill on the edge of the plantation.

23. TIM secretly visits the plantation at night and finds out from GUMBO, who eyes gleam in the dark, that most of the slaves are to be sold on Saturday, families broken up, and the plantation house closed.

24. TIM returns to find CATON gone from his hiding place.

25. TIM returns to BOUTON'S for help from him and CLAIRE.

26. BOUTON aids him by planning to expose DILL.

27. BOUTON starts a flirtation with PAULINE, much to CLAIRE'S chagrin—in order to get the low-down on DILL.

28. BOUTON and TIM go to the plantation to face DILL.

29. THEY arrive the night the slaves are holding their last church meeting together. TIM goes into the church to comfort the SLAVES.

30. BOUTON goes to Big House to face DILL. DILL is surprised to see him. Takes him into his den.

31. The SLAVES sing GO DOWN MOSES. But there is no Moses to lead them. They call on the Lord to send one angel down. TIM sings with them. At first they think he is an angel, but they are happier when they find out he is Mars TIM come back.

32. When TIM arrives at the Big House, he finds only DILL who angrily takes him in charge. BOUTON is gone, disappeared. TIM learns that CATON is in chains, having been captured, waiting to be sold.

33. MIMEMOM Things now look their blackest for TIM. No one to help him, the SLAVES about to be sold, DILL in power.

MARCH STORY LINE-3

33. GUMBO solves the mystery of BOUTON who has been locked up by force by DILL.

34. TIM and BOUTON fly to New Orleans by horse back to reach the JUDGE at dawn Saturday.

35. GOUTY OLD JUDGE agrees to accompany them to the plantation to stop the sale and revoke DILL'S guardianship of TIM and his power over his affairs.

36. In a race against time, they arrive. DILL is foiled. All ends happily. REID'S distant cousins of Virginia come to take charge of the old Plantation and secure tutors for TIM and all ends happily.