267. SIGN: HEBRON METHODIST CHURCH enlarging to full Church Building.

268. SHERIFF FOLLOWED BY DEAD END KIDS approaching the church. The KIDS stay outside as the SHERIFF enters.

269. INTERIOR OF METHODIST CHURCH. The SHERIFF naturally thinks TIM has gone to a white church. Usher receives him. He looks about. Quiet sedate services, very draggy hymn. No TIM.

270. SIGN: FIRST PRESBYTERIAN CHURCH and entrance. SHERIFF arrives, followed now by only two of the DEAD ENDERS, BOOTH and another. Enters.

271. INTERIOR PRESBYTERIAN CHURCH. Beautiful altar. FATHER and CHOIR in lace robes. Organ. MINISTER speaking in cultivated Oxford accents. Near the rear of the church CLAIRE sits lost in meditation, but SHERIFF does not know her. He looks around. No TIM.

272. ALONE APPROACHES CATHOLIC CHURCH. SHERIFF WALKING BUZZLING DOWN THE STREET. DEAD END KIDS have gotten tired and gone to play.

273. INTERIOR CATHOLIC CHURCH. Holy water stand. Images. Censers. PRIEST chanting mass in Latin, with congregation's response. No TIM.

273. SHERIFF WALKING PUZZLED DOWN THE STREET. about to pass the Negro church when he is arrested by the singing within. The building is fairly bursting with song, rocking with joy and hands clapping. He pauses to listen and then decides to go in a moment.

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

275. OFFICIAL DOCUMENTS in trembling hand of SHERIFF including the handbill issued by DILL in New Orleans offering a reward for the return of JOHN TIMOTHY REID, Jr. and the Negro slave GUMBO.

276. AISLE OF CHURCH. Rioting of moaning and humming as the PREACHER reaches his climax in the sermon concerning the suffering of the Hebrew children under Pharoah. TIM'S face and GUMBO'S are filled with emotion.

277. SUDDENLY THE SHERIFF WALKS UP THE AISLE and lays hands on TIM and GUMBO.

278. CONGREGATION THROWN INTO TURMOIL. THE SHERIFF announces that he has found a

278. (cont.)

runaway slave and the runaway master,
and that the SLAVE goes back to slavery
and the MASTER to his proper guardians.

279. A VERY OLD NEGRO WOMAN BEGINS TO HUM:
"Go Down Moses."

280. THE SHERIFF BEGS THEIR PARDON FOR IN-
TERRUPTING THE SERVICES. He takes the
two BOYS and leaves.

281. AS THE SHERIFF AND THE BOYS DISAPPEAR
THROUGH THE DOOR, the song breaks out in
its full teriffic volume: GO DOWN, MOSES,
WAY DOWN IN EGYPT LAND, AND TELL OLD
PHAROAH TO LET MY PEOPLE GO.

282. POLICE CHIEF'S DESK. BOUTON RAISING HELL ABOUT THE BOYS BEING taken into custody.
CLAIRE is beside him. The SHERIFF and
POLICE CHIEF say they take BOUTON and lock
him for having hidden the facts from the
police. Besides he has not paid his show
tax. BOUTON IS LED AWAY before CLAIRE'S
helpless eyes, and held as a material
witness.

283. INTERIOR OF JAIL. White and Negro bullpens shown filled with EVIL CHARACTERS of the town. MONTAGE of separate cells with terrible people behind bars. Rats darting about onfloor. Cock roaches. General filth. Outside the sun is setting, casting long shadows of bars over everything.

284. GUMBO FRIGHTENED IN A CELL ALONE.

285. BOUTON ANGRY IN A CELL ALONE.

286. TIM SAD IN A CELL ALONE.

287. THEATRE OF THE SHOWBOAT. EARLY EVENING.
Sadly CLAIRE prepares the stage for the
show, lighting the candles in the foot-
lights, tears in her eyes. STEPHEN FOSTER
comes. He has heard of her trouble and
offers to help her, saying he knows that
she loves BOUTON, but that he, STEPHEN,
will always be her servant. He tries to
console her, and she asks him to get a
lawyer for her tomorrow.

288. TIM'S JAIL CELL. In the glow of the setting sun, TIM stands with his hands on the bars. Softly, he begins to sing the old Negro spiritual, SOMETIMES I FEEL LIKE A MOTHERLESS CHILE A LONG WAYS FROM HOME. As he sings all the loneliness of his life of wandering and all the sadness of his present situation are born out in the song.

289. MANTAGE, AS TIM SINGS, OF VARIOUS ROGUES AND VAGABONDS in jail, and their faces as the song effects them, some crying, some heart-breakingly sad, some grim.

290. LETTER FLOWING FROM SHERIFF'S PEN advising DILL that the BOWS are being held subject to his orders.

291. NEW ORLEANS. DOORWAY OF DILL'S HOUSE.
Aided by JANIE, who carries the baggage,
DILL and PAULINE emerge to take a carriage
for the dock. DILL tells the coachman
to hurry as they must catch the night
boat for Cincinnati.

292. NEWSPAPER HEADLINES OF 1850 announcing the
arrest of BOUTON as material in fugitive
slave and kidnapping trial.

293. BOUTON'S CELL. CLAIRE AND A LAWYER talk
to him through the bars. BOUTON instructs
CLAIRE to take out an injunction to prevent
DILL FROM TAKING TIM since he is under
contract to the Showboat. The LAWYER says
he will take care of that for them, but
where is his fee coming from. BOUTON looks
blank. CLAIRE says she will raise the money.

294. A PAWN SHOP. CLAIRE is stripping her
rings from her fingers, taking her ear-
rings from her ears.

295. NEWSPAPER HEADLINE: BOUTON SECURES IN-
JUNCTION TO PREVENT RETURN OF LITTLE TIM,
SHOWBOAT'S SINGING MARVEL, TO NEW ORLEANS.

296. NEWSPAPER HEADLINE: DILL PREFERS CHARGES
AGAINST BOUTON FOR HARBORING A FUGITIVE
SLAVE. TRIAL OPENS TODAY.

297. YARD OF THE COURTHOUSE. People entering
for the trial, townsfolks in common
clothes, show folks dressed in their
flashy best --- even NARCISSUS and GLORY.

297. (cont.)

DEAD END KIDS seen in crowd. And
STEPHEN FOSTER.

298. SPRINGFIELD, ILLINOIS NEWSPAPER with headlines about the trial.

299. MONTAGE SHOTS OF PEOPLE IN VARIOUS PARTS OF the country reading papers and expressing interest in trial. A YANKEE in Boston, a COWBOY in Texas, etc., narrowing down to one man in Springfield, Illinois:

300. A TALL MAN, ABRAHAM LINCOLN, reading of the trial in his law office. There is a look of intense interest on his face.

301. DILL WITH PAULINE ON HIS ARM ENTERING THE COURTHOUSE.

302. INTERIOR OF COURTHOUSE. THE TRIAL. MONTAGE SHOTS OF CROWD. THE JUDGE. TIM. GUMBO. BOUTON WITH CLAIRE AND HIS LAWYER BESIDE HIM. THE WORRIED FACES OF THE SHOWBOAT PEOPLE. THE SYMPATHETIC FACE OF STEPHEN FOSTER. The clashing voices of lawyers, the bang of a gavel. the rasping voice of the old JUDGE.

303. PROSECUTING ATTORNEY establishes case against BOUTON as having violated the law in holding the slave GUMBO and in aiding and abetting a white child to escape from the guardianship of his legal guardian.

304. DILL gives points to his lawyer.

305. CROSS EXAMINATION OF TIM as to how he got on the showboat, and securing from TIM an incriminating statement showing that BOUTON knew that GUMBO was an escaped slave.

306. GUMBO IS CALLED and named as GUMBO DILL. But GUMBO denies that his name is DILL (implying that he belonged to DILL) but instead he is GUMBO "REID" belonging to Mars TIM.

307. AUDIENCE LAUGHS AT GUMBO, but in the crowd we see the solemn face of LINCOLN as an observer, and LINCOLN is not laughing.

308. THE JUDGE DECLARES A RECESS until after lunch.

309. A HOTEL DINING ROOM. LINCOLN shown rising from his lunch and passing the table of CLAIRE and her lawyer. LINCOLN stops to remark on the case, saying he sees a point to help their side. CLAIRE and her lawyer invite him to participate in the defense, which he modestly and reluctantly does.

310. YARD OF COURTHOUSE. Groups of people near entrance. THE DEAD END KIDS. LINCOLN approaches the steps. He sees the youngsters and stops to greet them as coming young Americans. He waves his hand on the head of young BOOTH.

311. PROSECUTING ATTORNEY SUMS UP AN VERY
BLACK CASE AGAINST BOUTON.

312. LINCOLN COMES BACK WITH A MASTERFUL
DEFENSE OF BOUTON, TIM, and the slave,
refuting the JUDGES' contention that
Showboat people are unreliable vagabonds.
He calls Mr. DILL to the stand. He
cross-questions him until he brings out
the unusual fact that a man would leave
his business affairs to journey all the
way to Cincinnati to prosecute a slave
who is only a worthless child in price
value, less than half the cost of DILL'S
boat fare to Cincinnati; and that DILL does
not look like the sort of man who would
throw money away foolishly.

313. FLASH OF PAULINE GAZING INTENTLY AT THE
proceedings. BOUTON studies her face, re-
marking to CLAIRE that he has met her
somewhere.

314. LINCOLN BRINGS OUT THAT THE OWNER OF THE
ESCAPED SLAVE IS NONE OTHER THAN LITTLE TIM
himself. How then can he be accused of
aiding a slave to escape if the slave is
his own property? Could it be that Mr. DILL
has some other reason for prosecuting this
case so diligently?

315. JUDGE ASKS DILL IF HE IS LEGAL GUARDIAN
OF THE BOY, TIM, and if so to show his
papers.

316. DILL REPLIES THAT TIM HAS RUN AWAY BEFORE THE PAPERS CAN BE NOTARIZED but that the matter is ready to be taken up with the learned old JUDGE in New Orleans.

317. JUDGE CLOSES OUT CASE SEEING NO REASON TO GO ANY FURTHER. He suggests to DILL to go back at once with the BOYS to New Orleans and legalize his guardianship. BOUTON is freed with the advice that if he is still interested in TIM as an artist for his snowboat, that he follow the matter through in New Orleans.

318. CLAIRE EMBRACES BOUTON. BOUTON speaks lovingly to her, expressing his great and eternal devotion from now on. Also distrust of DILL.

319. BOUTON SHAKES HANDS WITH LINCOLN, surrounded by a crowd of people.

320. DISSOLVE ON THE FACE OF LINCOLN. XNEX&IXIXIX XTXTEBXXIXXHOTELXCLUBRDOMY

321. BOUTON AND CLAIRE AT TABLE IN HOTEL CLUBROOM. Music, Guests of hotel, including PAULINE. FOSTER hovering over piano-player and looking at CLAIRE, offering piano-player one of his arrangements.

322. DILL IN HOTEL ROOM still pouring over his papers.

323. BOUTON SEES SOME OLD FRIENDS AT BAR, and excuses himself from CLAIRE a moment.

324. BOUTON AT BAR Rolling dice with his friends.
He sees PAULINE in crowd and goes over to
her.

325. BOUTON MAKING UP TO PAULINE and finding
out from her incriminating fact about
DILL. CLAIRE watches, her anger and
jealously rising.

326. FOSTER SEES CLAIRE SITTING ALONE. He
approaches her.

327. FOSTER SPEAKS TO CLAIRE but she is so angry
and upset that she snubs him completely and
gives him such short answers that he backs
away in amazement and leaves the place.

328. DINING ROOM HALF EMPTY. BOUTON STILL TALK-
ING WITH PAULINE. And learned why UNCLE
CATON was sold. He has pumped her on DILL.
BOUTON SEES CLAIRE.

329. CLAIRE FUMES AT HER TABLE ALONE.

330. BOUTON, SAYING THAT HE WILL SEE PAULINE
IN NEW ORLEANS, goes back to CLAIRE who is
furious. He kids her. They leave.

331. DILL, PAULINE, TIM, and GUMBO shown leaving
for New Orleans on packet boat.

332. BOUTON, FISHING ON AFTERDECK OF SHOWBOAT,
sees boat sail with TIM and PAULINE aboard.

333. BOUTON PULLS A BIG FISH FROM THE WATER
AS NARCISSUS STANDS THERE with a worm in his
hand as bait. BOUTON says we won't need
the next worm, as we're sailing down the
river to New Orleans right away.

334. HURRIED PREPARATIONS FOR SHOWBOAT TO SAIL. Everybody scurrying about. Lines being cast off.

335. CLAIRE DEMANDING WHY THEY ARE SAILING. She upbraids BOUTON, believing that he is only following PAULINE to New Orleans. CLAIRE is indignant and bewildered.

336. SHOWBOAT IN MID-STREAM AS IT SAILS.

337. MAGNIFICENT DRAWING ROOM OF GOUTY OLD JUDGE. Fine furniture. Picture of Napoleon. Two slaves stand beside the JUDGE waiting on him. Medicine, snuff, liquor on small table beside him. The JUDGE dismisses his WIFE in elegant French, then orders the SLAVES about in Creole. DILL, TIM, and GUMBO enter.

338. DILL SEEKS TO ESTABLISH LEGAL GUARDIANSHIP OF TIM. JUDGE asks for the will. The will discloses that REID'S house slaves were never to be sold, mentioning particularly UNCLE CATON who is to be provided for life. JUDGE postpones his decision until the next morning, as he has a sudden spell of gouty pain.

339. CEREMONIOUS DISMISSAL OF THE guests as OLD JUDGE rings bell, orders WIFE and servants to see DILL to the door, all the while suffering with pain and keeping the SLAVES running.

340. BOUTON AT DILL'S HOME. He learns from PAULINE what is going on. From JANIE he learns where UNCLE CATON is.

341. SHOWBOAT. BOUTON SENDS NARCISSUS ON A MULE TO FIND UNCLE CATON and get him to town at one.

342. NARCISSUS ON COUNTRY ROAD ON MULE.

343. AT DUSK NARCISSUS ARRIVES ON RICE PLANTATION AND FINDS CATON. As soon as he tells CATON that LITTLE TIM is in trouble, CATON is willing to risk his hide and run away to New Orleans to aid in thwarting DILL in getting guardianship over TIM. They start out.

344. BOUTON AT DILL'S BACK DOOR asking JANIE if CATON has arrived yet. He learns that the case is postponed until morning.

345. CATON AND NARCISSUS ON THE MULE'S BACK going through the dark. Strange noises. Forking roads. CATON tells NARCISSUS if they just follow the North Star they will be all right.

346. NORTH STAR BRIGHT IN THE NIGHT SKY.

347. UNCLE TOM CATON HAS A SICK SPELL and has to get off the mule and lie in the grass beside the road a while, but finally summons up his strength to travel on to the aid of TIM.

348. NARCISSUS AND CATON ARRIVE AT SHOWBOAT

348. (cont.)

JUST AS DAWN IS BREAKING, BOUTON RECEIVES
them with a shout of delight.

349. GLORY GIVES THEM COFFEE AS BOUTON TELLS
CATON WHAT HE WISHES HIM to disclose to
judge.

350. MORNING AT THE HOME OF THE OLD JUDGE. DILL
is faced by BOUTON with his incriminating
information, and this is further backed
up by UNCLE CATON who discloses something
of importance hidden up to now.

351. THE REUNION OF TIM AND UNCLE CATON. Touch-
ing scene of the OLD MAN and the little
BOY, which so moves the OLD JUDGE that he
now sees how little DILL means in the case.

352. BOUTON PRESENTS HIS ARGUMENT AGAINST DILL.
DILL is proven to be a villian of the lowest
form. CATON discloses that DILL has killed
a former mistress of his once on a visit
to the plantation.

352a. SCENE IS SHOWN IN FLASH---DILL drunk,
knocking woman down against a rock. CATON'S
master has allowed this to remain undis-
closed.

352b. But now that DILL is seeking to do harm to
little TIM, CATON can no longer keep silent
and he tells all this to the OLD JUDGE.
BOUTON grabs DILL by the neck as he tries
to break out of the room.

352c. PAULINE IS ARRESTED AS AN ACCESSORY TO HIS SWINDLING SCHEMES.

353. BAYOU LOVELLE PLANTATION. A carriage containing TIM, BOUTON, and CLAIRE, with UNCLE CATON driving and GUMBO beside him drives over the road of the old plantation. All the hustle and bustle of former days have been restored, the cane fields blow in the wind, the cotton gin creaks, the smoke house is being filled with meat.

354. MONTAGE SHOTS OF VARIOUS PLANTATION ACTIVITIES AS OBSERVED FROM THE CARRIAGE. Medley of old Southern airs fading into the theme song of the picture about the life of a showboat as

355. THE CARRIAGE DRIVES ALONG THE RIVER and BOUTON'S MISSISSIPPI SHOWBOATS rounds the bend to come to anchor on the banks of TIM'S own plantation and all the actors come trouping down.

356. CLOSE UP OF TIM'S RED FACE UNCLE CATON'S as they sing the song of the river------

357. TIM'S HAPPY FACE ALONE SINGING.

END.

February 15, 1939

"WAY DOWN SOUTH"

Mr. Lesser's Revisions of First Rough Draft Continuity
by Michael Simmons:

Scenes #1 to #17, inc. should be condensed into
approximately 7 scenes.

### SCENE #2:

Instead of an ivy-covered wooden arch lettered
"Bayou Lovelle Plantation - John Timothy Reid,
Prop.", there should be a wrought-iron arch
with a grill formed by wrought-iron letters
which read: "Bayou Lovelle". From this we
PAN DOWN to an old-fashioned iron mail box of
the period, on which is lettered: "John Timothy
Reid".

### SCENE #3:

There should be approximately sixty slaves at
work cutting cane in this scene.

### SCENE #19:

Reid should not be too young a man. He is probably
thirty-five years of age.

### SCENE #21:

In the conversation between Reid and Dill relative
to the slave problem, we should draw a parallel
between conditions of that period and those of
modern times. In those days it was slave labor
that created an economic issue, whereas today it
is the enslavement of labor that has created a
similar economic problem.

### SCENE #28:

The writers are to use their own discretion re the
advisability of retaining or deleting the situation
of Uncle Caton expressing his concern that Reid
entrusts all his affairs to Dill.

This scene should end of some cue line from Uncle
Caton to antecede the introduction of young Tim
in the next scene.

### SCENES #29 to 44, INC:

The scene between Tim and Gumbo is to be shortened.
It should not run longer than 1-1/2 pages.

Dialogue is to be revised to establish that it is
a customary procedure for Tim to accompany his
father to the cane dance festival.

## SCENES #95 to #107, INC.:

In treating the situation of the sale of the Reid estate, the writers should consider the advisability of establishing briefly in the opening of this sequence that everything has already been sold and that Dill is in complete control.

We can then Cut outside and show the field slaves who have been sold, being herded away.

We then show Dill coming out of the house to his carriage, accompanied by Tim who is carrying a few personal belongings, and followed by Uncle Caton, Janie and Gumbo.

(If Pauline is present, we see that she has in her possession some of the effects of the Reid estate, although it isn't necessary to indicate how she came into possession of them.)

As Tim, Uncle Caton and Janie walk out to the carriage, they turn to look back at their home. Gumbo characteristically is nonchalant about the whole thing. To him the idea of going to New Orleans to live is a great adventure.

We conclude the sequence by showing the carriage going down the road away from the plantation, with Tim and the slaves turning around for a last look at their home.

If the sequence is handled in this fashion, perhaps it may be possible to let the picture tell the story, so that only a minimum of dialogue is required.

4.

Mr. Lesser's general notes re development of Second Draft Screen Play by Messrs. Muse and Hughes:

This story is designed for entertainment, of course, and if we keep this thought uppermost in our minds, we will find that when it comes to telling the plot, we will want to minimize the time necessary to relate the plot, so that we deal only with the bare essentials of the plot.

We should strive for simplicity of plot, and at the same time broaden the scope of the picture to embrace all of the contemporaneous issues of the period.

Messrs. Muse and Hughes are to be given the utmost liberty in developing the Second Draft Screen Play, so that it will contain every element of their conception of the story -- characterizations, business, incident, entertainment features, etc.

No restrictions are to be imposed upon Messrs. Muse and Hughes with respect to the length of this Second Draft Screen Play, as this can be condensed later if it is found that the story is too lengthy.

Mr. Hilton is to act as technical adviser and consultant to Messrs. Muse and Hughes and assist them in translating their ideas into screen play form.

Messrs. Muse and Hughes are to submit their material to Mr. Hilton, and he in turn will translate this material into screen play form.

###

February 15, 1939

"WAY DOWN SOUTH"

Mr. Lesser's Revisions in Muse-Hughes Scene-by-Scene Treatment, picking up with Scene #194:

## SCENES #194 to #205, INC:

To be developed along the lines of the Muse-Hughes Treatment.

## SCENE #206:

At the conclusion of this scene, Claire looks after the departing Foster and then at the tipsy Bouton. Obviously she is contrasting the characters of the two men.

## SCENES #207 to #213, INC:

These scenes are to be eliminated at this point, and are to be used later.

## SCENES #214 & #215:

It is the same day. We pick up Tim and Gumbo playing with the wharf rats. Gumbo boasts how clever he was in running away, etc. Young Booth sees a chance to earn a reward by informing the authorities that Gumbo is a runaway slave.

## SCENES #211, #212, #213:

Bouton fishing from deck of showboat. He sees the handbills floating by on the water.

## SCENE #216:

This comedy scene between Narcissus and Glory is to be eliminated at this point. It will be used later.

## SCENES #217 to #231, INC:

Play through the scenes of Claire going into town to talk with Stephen Foster; their drive into the country, etc.

The comedy scenes (#208, #216) between Narcissus and Glory which were deleted previously, can be used for timing of the Claire-Foster episode.

4.

FADE IN:

On Newspaper Headlines of the day:

They announce the arrest of Bouton and Tim as material witnesses in the case of the fugitive slave, Gumbo; Bouton's injunction against Dill to prevent the return of Tim to New Orleans, and Dill's counter-charges against Bouton for harboring a fugitive slave.

DISSOLVE TO:

Hotel or Lawyer's Office in Cincinnati, where we pick up Dill and Pauline. There is some reference to the general excitement this simple case is causing by reason of the possible legal precedents and political issues involved. We lead into dialogue between Dill and Pauline as per Scene #257, deleted previously. At the end of this, Dill's Lawyer comes in. We play enough dialogue to establish that Dill is confident he will win an easy victory at the trial.

DISSOLVE TO:

Springfield, Illinois. We see groups of citizens reading Springfield newspaper *KENTUCKIAN* accounts of the forthcoming trial and the issues involved, dramatized in terms of its effect upon the country as a whole.

We Cut to a C.U. of a man's hands holding one of the Springfield newspapers. CAMERA PULLS BACK to reveal the man is Abraham Lincoln, who is the center of a group of interested citizens. We get Lincoln's interpretation of the issues involved in the forthcoming trial, and we see that he is vitally interested in it.

It is the day of the trial in Cincinnati.

The Trial is to be developed along the lines of the Muse-Hughes Treatment.

During the recess for lunch, as Bouton and Claire, and Dill and Pauline are having lunch in the hotel dining room, there is some flirtatious byplay between Bouton and Pauline. Bouton does something characteristic which attracts Pauline's attention to him and causes her to smile. Dill notices this. Pauline realizes Dill has seen her smiling at Bouton. Hypocritically, she feigns an air of virtuous innocence. Claire, too, has noticed the byplay between Bouton and Pauline, and we play a *KENTUCKIAN* situation between Bouton and Claire similar to that we saw between Dill and Pauline. Here Bouton should make some veiled remark which indicates he is interested in Pauline. We should not, however, reveal the nature of Bouton's interest in Pauline either to Claire or to the audience. Both Claire and the audience should assumex that Bouton's interest in Pauline is a personal one.

5.

We now play through the trial to its conclusion
along the lines of the Muse-Hughes Treatment.

At the end of the trial:

Tim and Gumbo are disconsolate because they have
to return with Dill to New Orleans.

Claire is happy that Bouton has succeeded in getting
out of his predicament, but she is concerned because of
the interest he has shown in Pauline. She is troubled, too,
because Tim and Gumbo are being taken back to what is
obviously an unhappy environment for them.

Bouton regrets losing Tim. But he is not one to
be downhearted for long, and besides he's got Pauline on
his mind.

We play a scene between Tim and Bouton wherein the
two bid each other farewell, and Tim explains the reasons
why he doesn't want to go back to New Orleans with Dill.

Bouton, following his farewell scene with Tim,
seeks out Pauline to continue the flirtation which was
started during the court recess.

***

The story, from this point to conclusion, is to
be developed along the general lines of the Muse-Hughes
Treatment.

###

Simmons - 2/3/39

13.

31. EXT. REAR OF STABLES (DAY)
MEDIUM CLOSE SHOT

on Gumbo slightly relieved. He stares at the approaching Tim wonderingly. Tim enters the shot, takes the apple off Gumbo's head and deposits it on top of the fence post, which is exactly Gumbo's height.

TIM
(starting to retreat)

Now watch.

Tim's intention is patent. He is going to demonstrate his markmanship of shooting the apple off the post. As Tim exits shot, Gumbo eyes the apple speculatively and alertly steps several feet away from the post to be well out of range.

32. EXT. REAR OF STABLES (DAY)
MEDIUM FULL SHOT

taking in Tim at the fence post as he reaches his original position. He raises his gun and takes aim. There is a report as he pulls the trigger.

33. EXT. REAR OF STABLES (DAY)
CLOSE SHOT

of fence post. We see a tracer bullet spit up against the post about two inches below the apple. The apple remains untouched.

34. EXT. REAR OF STABLES (DAY)
FLASH CLOSEUP

of Gumbo, his eyes bulging in reaction.

35. EXT. REAR OF STABLES (DAY)
FLASH CLOSEUP

of Tim -- a somewhat sheepish expression on his face. He starts forward.

36. EXT. REAR OF STABLES (DAY)
MEDIUM CLOSE SHOT

at fence post as Gumbo enters to it. He examines the bullet mark on the post and scratches his head speculatively. Then, as Tim enters the shot to look at the bullet mark, Gumbo denotes the bullet mark and gestures toward his head, indicating with eloquent pentomime what would have happened to his head if the apple were on it.

TIM
(quickly slibing)

A fellow's entitled to one mistake.

CUMBO
(meaningly)

I'se only got one haid.

(continued)

6.

Simmons - 2/6/39.

17. (CONT'D.)

DRIVER
(mumbling)

I hope Massa Reid won't mind.

WIPE TO:

18. EXT. DRIVEWAY IN FRONT OF BIG HOUSE (REID HOME)-(DAY)
MEDIUM SHOT

of a carriage and pair of horses. A small Negro
boy holds the bridles of the horses. In the
carriage sits MONS. CAPET, Creole, fiftyish, with
an ingrown wizened face. He is bending over
slightly to peer through the lilac bushes at the
big house. He sees:

19. EXT. REED MANSION (DAY)
MED. LONG SHOT

SHOOTING THROUGH lilac bushes, from Capet's point
of view.

It is a beautiful stately mansion lined with long
white columns, the type of Southern dwelling that
suggests graceful opulence and expansive living.
On the veranda, seated at a small table, is the
Master, JOHN TIMOTHY REID, talking to his friend
and lawyer, MARTIN DILL. To the rear of the table
is old UNCLE CATON, a white-haired, benewel-
visaged, Negro family servant, who has entered the
veranda from within the house and who is carrying
the hat of Dill, who presumably is leaving soon.

20. EXT. DRIVEWAY - IN CARRIAGE (DAY)
C.U. CAPET

His eyes narrow as he peers hard through the lilac
bushes as though by so doing he might get some kind
of an idea what's going on in the conversation.

21. EXT. VERANDA REED MANSION (DAY)
MEDIUM SHOT

On the table at which Reid and Dill are seated are
coffee cups and liquer glasses. On the steps of
the veranda are several large ripe pumpkins. There
is also one pumpkin on the table. As we open on
this scene CAMERA MOVES IN for a CLOSER SHOT of
Reid and Dill, with Caton standing respectfully at
attention holding Dill's hat. During the following
conversation there will be no sense of urgency or
choler in the talk. Reid is a young, gallant type
of Southerner, easy-going and smiling. Dill is
a suave lawyer type with the incisiveness of a
Northerner.

(CONT'D.)

121. FADE IN:

INT. DILL'S LIBRARY (DAY)
MEDIUM SHOT

Dill is seated at a table on his desk going over some papers on top of which is a stock certificate.

### SOUND

Pulley-bellum rings violently. up

Dill finally looks annoyed, leaves his papers, goes to the hall and calls.

### DILL

Caton: Front door!

Dill slams office door and returns to his work.

### CATON

(o.s. in hallway) It is in - but he is doing his work!

### PAULINE

At work? Nonsense!

The door opens and Pauline dances into the room dressed to kill. Caton's face, expression disapproval, closes the door behind her. But Dill looks up pleased.

### PAULINE

Martin!

### DILL

Bless your heart!

Pauline chatters like a magpie as she crosses to the window and pulls the shade high, letting the sunlight stream in.

### PAULINE

It's the hour of the siesta, honey. Time for lovers to quit work and play. I feel good! — warm outside. Balmy! Lovely! Everybody's out.

She goes vivaciously up to Dill, a swift of laces and perfume, and takes his head in both her hands, planting a kiss firmly but quickly on his lips.

### PAULINE

There!

Dill tries to hold her but she backs away.

### DILL

Ah! You smell like a lilac bush!

### PAULINE

(Grandly)

It's perfume d'haleine de rose!

### DILL

(Correcting his mistake)

That's right! 'Tis rose.

### PAULINE

From Madame Bigon's shop. Just from France. And the most beautiful laces came in best yesterday, too. Madame says they're not.

She smiles coquettishly, then picks up the stock certificate from his desk cutely and reads.

### PAULINE

A hundred and eighty shares......

121. CON'T.

shares? Greek for manx:XX dollars?

DILL

(Placing it back on desk)
That, my dear, is a valuable little
instrument that will open the door
to a substantial fortune.

PAULINE

Still my clever boy, Martin.

DILL

Brown will be here in the next few minutes.

PAULINE

(Petulantly)
Then maybe I should wait for you at Papa
Dondon's?

DILL

(Appeasingly)
It shouldn't take long.

He notices that a diamond brooch on her breast is unclasped.
Dill fixes it for her.

PAULINE

Oh! I wouldn't lose that for the world! It's
the first thing you ever gave me---when I was
just a baby.

DILL

That's not so long.

Dill takes his hand in mine and accompanies her to the hall door,
taking his purse from his pocket and producing a bill.

PAULINE

The money I received from you.

I will pay you the amount I received.

MILLIONS

MILLION

Pauline purses her lips provocatively as she receives the money.

PAULINE

Is that all?

Dill kisses her, a long greedy kiss.

PAULINE

Such a long kiss, Martin!

DILL

I'll tell you a little about me.

Pauline laughs gaily as Dill opens the door for her.

PAULINE

I'll order terrapin a la Creole for our supper.

DILL

Lovely!

122

INSERT

of certificate. It is a stock certificate for 180 shares of
the Gulf Coast Shipping Company made out to John Timothy Reid.

PAULINE'S VOICE

What is this---shares? Greek for dollars?

IV.-1

162 EXT. FRONT OF POLICE COURT (DUSK)
MEDIUM SHOT

Bouton is coming down the jail steps accompanied by Cappy.
BOUTON pauses.

BOUTON
Cappy, old fellow, with a good fast <u>hmmmm</u> saddle-horse, an old showman like me could over take my boat at <u>Pointe Coupe</u> before the curtain rises. But the problem is to rent a horse.

CAPPY
a horse?

BOUTON
Yes, a horse!

(Comprehending)

CAPPY

(Comprehending)

OH!

Bouton Cappy digs down in his jeans and fishes up a handful of coins which Bouton takes and hurries off.

163 (YELLOW SHEETS)

L6#

"

165 EXT. COUNTRY ROAD (DUSK)
MED. FULL SHOT

Bouton reins his horse in and speaks to Tim.

BOUTON
Kinder late for a young fellow like you to be out on the road, ain't it?

TIM
Pointe Coupee
I'm only going as far as <u>Pointe Coupee</u> to see the showboat.

BOUTON
Bouton's
Travelling four miles afoot to see <u>Pointe Coupee</u>'s Famous Mississippi Showboat! Climb aboard, my lad, you're with none other than the sole owner himself, Jacques Bouton.

He pulls the boy up on the horse behind him, and they jog along.

TIM
Gee! You own the whole show?

BOUTON
(Laughingly)
admission
Oh, yes! Oh, yes! Of course you know what the price of is?

TIM
I got a quarter, Mr. Bouton.

Tim takes a quarter from his pocket and shows it to Bouton.
Bouton takes it.

BOUTON
I reckon you can get in for half fare. heh?
Run away from home, <u>Tim</u>

TIM
I haven't got any home.

BOUTON
That's the way I started.
DISSOLVE TO:

IV-2

167 EXT. STREET IN POINTE COUPEE (NIGHT)
MED. SHOT. ♃-BOUTON AND TIM

BOUTON, SHOT, AND TIM

singing as they enter the lighted Main Street of the town
on horse back.

TIM & BOUTON

He rode up to Miss Mouses' door. Um-hum!

Hit it so hard he made it roar. Um-hum!

She opened the door and let him in. Um-hum!

She said you're late. It is a sin! Um-hum!

Suddenly Bouton reins in his horse directly in front of
a grog shop: VICTOR'S TAVERN.

168 EXT. VICTOR'S TAVERN (NIGHT)
MED. SHOT -- BOUTON AND TIM

as they dismount from the horse. Lighted showboat seen
at foot of street. Faint music.

BOUTON

Tim, old codger, hold Jacques Bouton's horse
just a minute while I run in here and change
my bankm roll so I'll have some small change
for the ticket seller.

TIM

Yes, sir.

Bouton enters the tavern.

169 EXT. STREET (NIGHT)
LONG SHOT -- TIM

of showboat at end of street. People passing and carriages
going toward boat. Tim standing holding horse. Music comes over.

170 INT. VICTOR'S TAVERN (NIGHT)
MED. SHOT -- BOUTON

approches the bar. Crowd. Smoke. Bar-tender waits. Bouton
takes out Tim's quarter and throws it down grandly on the bar.

BOUTON
Change for this quarter, please. and
take a whiskey out of it.

Bartender places a glass in front of Bouton and reaches for the
bottle.

171 EXT. STREET (NIGHT)
MED. CLOSE -- TIM

holding horse, impatient now. Street empty and dark. Tim restless
and tired.

172 EXT. SHOWBOAT (NIGHT)
MED. CLOSE -- TIM AND BOUTON

at the gangplank. The ticket booth is closed. Sounds of music
and applause within as Tim and Bouton enter. Flash of show through
a window.

BOUTON
Well, we made the finale, anyhow. The
best part of a show, my lad, is the
entrance and the exit. Come on, son.

Bouton heads for the stage door, as Tim cranes his neck at the win
dows along the deck.

Simmons - 2/8/39

22.

62. EXTERIOR CANE FIELD (DAY)
MEDIUM SHOT

A large group of slaves - men and women - are assembled around a small area of uncut cane, as several women cutters, led by a magnificent black amazon, attack the remaining stalks with their huge knives. Swiftly they move down the rows, the stalks falling before them.

63. EXTERIOR CANE FIELD (DAY)
CLOSE LOLLYING SHOT

at the ground. We see knives severing stalks and the stalks tumbling over.

64. EXTERIOR CANE FIELD (DAY)
CLOSE SHOT

of the tall woman, swishing away like med.

65. EXTERIOR CANE FIELD (DAY)
FLASH SHOT

of Reid, Tim and overseer, all watching intently.

66. EXTERIOR CANE FIELD (DAY)
MEDIUM CLOSE SHOT

of the last remaining stalk. The tall woman enters the shot and stops as she comes to the solitary stalk. She holds her knife poised in the manner of a ritual about to begin.

67. EXTERIOR CANE FIELD (DAY)
MEDIUM SHOT

Featuring the tall woman against the background of the slaves, all charged with heavy breathing and expectation--- all ready to explode into motion when the final ninth stroke severs the stalk. First, a significant pause, now she wields the knife swiftly - three times - and the stalk falls. Simultaneously, a great concerted cry goes up from the slaves. There is a rush and a rustle.

68. EXTERIOR CANE FIELD (SUNSET)
FULL SHOT

of the complete ensemble as the Festival Dance begins. Wild cries fill the air. The voodoo drums are heard beating rythmically.

SOUND
Of drums and cries of slaves.

44.

Simmons - 2/16/39.

146. EXT. STREET SCENE (DAY)
MED. SHOT - IN FRONT OF PAPA DOUDON'S

Among the passersby we spot Tim and Gumbo looking
a bit lost. CAMERA, which has INCLUDED the sign
on cafe lettered: "PAPA DOUDON'S", GOES IN ON THE
BOYS as Tim stops a man about to enter the cafe.

TIM
Pardon me, sir -- which way
is the river?

The man good-humoredly turns Tim around and indicates:

MAN
Just keep going this way and
you'll find yourself right in it.

The man laughs at his joke.

TIM
Thank you, sir.

Tim and Gumbo start off. HOLD on the man as he
turns and enters Doudon's.

147. INT. PAPA DOUDON'S CAFE (DAY)
MED. FULL SHOT

(Muse and Hughes will characterize what this place
is like.)

Bouton is the focal center of a half-tipsy, arguing
group at the bar. Cappy is alongside Bouton. A
general hubbub of laughs, talk, hurrying feet of
waiters, fills the place. CAMERA GOES IN on Bouton
and group. Bouton is saying grandiloquently:

BOUTON
Anyone who votes Whig is either
a sycophant or a monkey-donkey.

MAN
(belligerently)
You can't call me a monkey-donkey!

BOUTON
All right, you're just a sycophant.

This seems to stop the belligerent man who doesn't
know what it means. He turns to his companion.

MAN
Sycho -- what?

The companion waves the question away and indicates
the man's half-filled glass on the bar.

COMPANION
Come on, drink up.

CAMERA PANS AWAY to a small table and discloses
Pauline sitting alone. There's a smile on her lips
and a come-on look in her eyes as she gazes at Bouton-

["Simmons - 2/16/39.", "FADE IN: SHOWBOAT (DAY)", "203. EXT. MISSISSIPPI RIVER (DAY)\nLONG SHOT: It is a big, broad river, with a wide, open bed. The water is clear, and the bank is high. On the right side of the river is a large city. On the left side are two small towns. In the distance, you can see some white houses. A man is standing on the bank, looking over the water. He has a gun in his hand. He calls out, \"Showboat! Showboat!\" and points to the water. The man in the boat answers, \"Mr. Dill.\" The man on the bank says, \"Of course we know about the showboat on river.\" and points to the water. He waves his hand and calls out, \"Mr. Dill.\" The man in the boat says, \"Yes, he does.\" and points to the water. He takes a step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes another step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a tenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a eleventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twelfth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirteenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fourteenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifteenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixteenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventeenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighteenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a nineteenth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twentieth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a twenty-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a thirty-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a forty-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a fifty-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a sixty-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a seventy-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a eighty-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes an eighty-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-first step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-second step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-third step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-fourth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-five step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-sixth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-seventh step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-eighth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a ninety-ninth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water. He takes a hundredth step towards the river and calls out, \"Showboat! Showboat!\" The man on the bank calls out, \"Mr. Dill.\" The man in the boat calls out, \"Yes, he does.\" and points to the water.", "204. EXT. DECK OF SHOWBOAT (DAY)\nMEDIUM SHOT", "Tim is leaning on rail, looking out over water\nand humming a song.", "205. INT. SHOWBOAT MESS HALL (DAY)\nMEDIUM SHOT", "Claire and Bouton are finishing breakfast. She\ndiscusses the business of the show with him, money\ndue on band instruments, etc. Bouton carelessly\nreplies that they'll make enough to pay their\nbills in Cincinnati. Besides, they will introduce\nTim to the public there. As to the question of\nwhat songs he will sing, Claire shows him some\nStephen Foster music. Bouton says that the music\nisn't worth the money Claire paid for it.", "206. INSERT:\n\nINGREDIENTS: Water, sugar, salt, pepper, salt, pepper, salt, pepper, salt, pepper

56.

Simmons - 2/16/39.

209. EXT. RICE FIELDS (DAY)
MEDIUM SHOT

We see Caton, bare to the waist, bowed and worn,
working feebly in the field. Other slaves are
about him. Caton mentions something about his
former days, how happy he was with his master
and little son, until the affairs of the family
were taken over by a Mr. Dill.

DISSOLVE TO:

210. INT. DILL LIBRARY (DAY)
MEDIUM SHOT

Scene between Dill and Pauline in which they hit
on the solution that probably Gumbo has run away
to join Tim. That all they have to do to trace
Tim is to start the usual hue-and-cry of
apprehending Gumbo, a runaway slave. Dill says
he'll notify the authorities immediately.

DISSOLVE TO:

211. INSERT: -- A FULL SCREEN SIZE HANDBILL:

Announcing the escape of Gumbo Dill, runaway
slave, etc. etc., perhaps mentioning also the
disappearance of Timothy Reid, who is suspected
of having aided and abetted the young slave's
disappearance, etc.

On top of this handbill, after the audience has
had sufficient time to read it, we superimpose:

MONTAGE OF FOLLOWING SCENES:

212. (A) -- A search party with hounds.

213. (B) -- Swamps, bloodhounds on trail.

214. (C) -- Officers searching slave cabins.

DISSOLVE TO:

215. INSERT: -- OF A NEWSPAPER IN A MAN'S HAND:

A small advertisement announces the escape of
Gumbo in wording similar to the handbill.

CAMERA DRAWS BACK SLIGHTLY. The hand turns the
page over and discloses the masthead of the
newspaper, which tells us it is the CINCINNATI
ENQUIRER. We now see a small-headlined new
notice, which tells of Jacques Bouton's
Mississippi Showboat arriving in town that day.
The hand puts the paper down.

CAMERA DRAWS BACK TO A MED. SHOT and reveals
that we're in an office. The person looking at
the paper is a young bookkeeper. On his desk
is a ledger. From underneath the ledger, he
takes out a sheet of music paper, and starts
writing at the top of it.

59.

Simmons - 2/16/39.

230. (CONT'D.)
MEGAT AUDITORIUM (NIGHT)
FULL SHOT
of the kids get in with unfair tactics, tripping
him, etc. Tim doesn't stop battling. He is
knocked down. As he rises Gumbo streaks down the
gangplank and comes into the fray.

237.
EXT. WHARF (NIGHT)
MEDIUM SHOT
ANOTHER ANGLE - MED. FULL SHOT
The rope
and the boat begin to drift slowly.

231. EXT. WHARF (NIGHT)
ANOTHER ANGLE - MED. FULL SHOT
As behind Gumbo come the actors with spears, and
some of the crew. The wharf rats flee, thinking
the actors are after them. Tim and Gumbo also
flee in opposite direction.

232. EXT. SHELTERED SECTION OF WHARF (NIGHT)
MED. CLOSE SHOT
As the first persons of the audience reach the
boat, the rats drift swiftly into the
water.

239.
EXT. SHELTERED SECTION OF WHARF (NIGHT)
MED. CLOSE SHOT
As Tim and Gumbo take shelter behind a cotton bale
and greet each other. Tim asks how he got there.
Gumbo tells him an exaggerated story of his escape.
Although there is some basis of fact in what he
says, he makes things seem a great deal worse than
they actually are. Gumbo notices that Tim has
a black eye and suggests that he get a poultice
for it. Tim says they'll return to the boat and
he'll hide Gumbo in a cabin where nobody will see
him. They start back to the showboat.

240.
MED. SHOWBOAT AUDITORIUM (NIGHT)
INT. SHOWBOAT AUDITORIUM (NIGHT)
1st one hand on
MED. FULL SHOT
As Tim and Gumbo approach, he makes a grandiose
breach of assurance to the crowd.
Don't worry, bottom will see
you through - every gentleman

233. INT. SHOWBOAT AUDITORIUM (NIGHT)
MED. FULL SHOT
Final curtain of the show is descending. Audience
applauds, starts to rise.

254. EXT. WHARF (NIGHT)
MEDIUM SHOT
The wharf rats come stealthily back to the dock,
assuring each other that they will get Tim later.
Meanwhile, they will fix these showboat people.
They draw knives and start to cut the ropes that
moore the boat to anchorage.

251.
CLOSER UP OF INSERT (DAY)

235. INT. GLORY'S CABIN (NIGHT)
MEDIUM SHOT
Glory enters cabin, wipes her hands on her apron.
She is tired, sighing from overwork. She sings
a little tune to the effect that she sure will
be glad to get to heaven where she can rest.
(Messrs. Muse and Hughes will supply lyrics for
a little tune.)

Glory suddenly starts back in fright as she hears
from beneath the bunk "Me, too." Gumbo's head
sticks out from under bunk.

Simmons - 2/16/39.

63.

250. EXT. WHARF (DAY) (OFFICE (DAY)
TIGHT SHOT

of Tim, Gumbo and a dark member of the wharf rats, who says, aw his whole family are actors. He reveals his name as John Wilkes Booth. As Tim and Gumbo run off up the levee to fly their kites, Young Booth informs the other kids of the possibility of getting a reward for disclosing to the authorities that Gumbo is a runaway slave.

250. EXT. DECK OF SHOWBOAT (DAY) (OFFICE (DAY)
MED. CLOSE SHOT - BOUTON

a fishing pole in his hand, looking lonely and solitary. He reacts as he feels a tug on his line and looks down over the side, and sees:

251. INT. STEPHEN'S OFFICE (DAY)

261. EXT. RIVER (DAY)

MED. CLOSE SHOT

of Stephen on her婚iedly starts out of office.
A flat mass of handbills that have become caught
in Bouton's line.

262. EXT. DECK OF SHOWBOAT (DAY) (OFFICE (DAY)
MED. CLOSE SHOT - BOUTON

as he hauls in the handbills, realizes the wharf rats have thrown all the bills he gave them to distribute, into the Mississippi.

263. INT. CLAIRE'S CABIN (DAY)

MED. CLOSE SHOT

260. INT. COUNTRY ROAD (PROCESS) - (DAY)
Claire is pacing the cabin, looking pensive and lonely. Suddenly, as though in response to a desperate impulse, she seizes her hat, powders her face, picks up her parasol and starts for the door.

DISSOLVE TO:

264. EXT. STREET OUTSIDE IRVIN & FOSTER OFFICES (DAY)
MEDIUM SHOT

Claire passes slowly, looks up at Stephen's window, doesn't see him. She stops to look in the window of a shop next door. We have a view of the quaint styles of the times in the window. She slowly returns, passing Stephen's office. The glint of the peak of her parasol reflects in the scene.

271. INT. FULL SHOT
as Stephen and Claire leave the carriage to wander into the woods, hand in hand.

65.

Simmons - 2/16/39.

272. EXT. WOODS (DAY)
MED. CLOSE SHOT

They sit down and rest on a fallen tree. Stephen puts his arm around her.

273. EXT. COUNTRY ROAD (DAY)
MED. CLOSE SHOT - CARRIAGE

with old coachman in carriage seat. He nods drowsily. A bee buzzes close to his head, then swerves and lights on the horse.

274. EXT. COUNTRY ROAD (DAY)
CLOSE SHOT - HORSE'S HEAD

as it rears from the sting.

275. EXT. COUNTRY ROAD (DAY)
ANOTHER ANGLE - MED.SHOT

as the Old Coachman is thrown to the ground and the horse starts dashing madly away. The coachman stumbles after runaway horse in ineffectual pursuit.

CUT TO:

276. EXT. DECK OF SHOWBOAT (DAY)
MED. CLOSE SHOT - BOUTON

With a gesture of disgust, since he's caught nothing, Bouton throws the fishing pole aside. Then, smacking his lips with evident thirst, he starts for the gangplank. As he exits shot, CAMERA PANS OVER AND PICKS UP Glory on deck, peeling potatoes. Narcissus is asleep in the sun near her, snoring grandly. Glory wakes him up and puts him to work. They discuss a quarrel. Bouton has had with Claire the evening before. Narcissus says he don't care how much of the white folks quarrel -- if they would only buy something good to eat just once before they leave Cincinnati.

CUT TO:

277. EXT. COUNTRY ROAD (DUSK)
MED. LONG SHOT

of Stephen, Claire and Old Coachman trudging along the road. The sun is setting on the horizon.

DISSOLVE TO:

Simmons - 2/16/39.

66.

278. INT. SHOWBOAT - BACKSTAGE (NIGHT)
MEDIUM SHOT

There's bustle and anxiety among the actors. Neither Bouton nor Claire are present. Glory is lighting the candles in the footlights. Narcissus slowly gets in everybody's way. CAMERA PANS AROUND and spots Gumbo up in the flies letting down the wrong back drop. Someone sends Narcissus for Bouton at the tavern. Narcissus delays, but finally gets off. Everyone wonders where is Claire. Actors take their places.

279. INT. SHOWBOAT AUDITORIUM (NIGHT)
MED. SHOT - ORCHESTRA PIT

The musicians are tuning up. The show is about to begin.

280. INT. BACKSTAGE OF SHOWBOAT (NIGHT)
MEDIUM SHOT

All are very nervous. Glory is testing sound effects. She is cautioned by someone to wait, the curtain hasn't gone up yet. Actors are all in their places. The curtain rises.

281. INT. SHOWBOAT STAGE (NIGHT)
MED. SHOT

FROM AUDIENCE'S VIEWPOINT, as the act goes on. It is noticeable that the performance is crude -- misses something.

282. INT. BACKSTAGE OF SHOWBOAT (NIGHT)
MEDIUM SHOT

as Bouton arrives breathlessly. He looks out on stage, catches a missed cue, hurriedly adjusts his tie and walks on stage.

283. INT. SHOWBOAT STAGE (NIGHT)
MED. SHOT - FROM AUDIENCE'S VIEW

We see Bouton with unerring trouper's instinct save the situation. HOLD BRIEFLY.

284. INT. BACKSTAGE OF SHOWBOAT (NIGHT)
MED. SHOT - IN WINGS

as Bouton exits and comes into wings. He is very angry that Claire isn't there. He picks another girl to take Claire's place. He fumes and paces up and down in the wings. The actors exit from stage. Actors for the next act enter on to stage.

Simmons - 2/16/39.

67.

285. INT. SHOWBOAT STAGE (NIGHT)
MED. SHOT - FROM AUDIENCE'S VIEW

as act goes on.

286. INT. BACKSTAGE OF SHOWBOAT (NIGHT)

MED. SHOT - IN WINGS

as Claire enters breathlessly. Bouton berates her terrifically. Claire, tears in her eyes, quickly grabs make-up, powder puff of another actress, and as the orchestra strikes up the music for her regular entrance she hurries on stage.
(Bouton keeps berating her up to the very minute that she makes her stage entrance.)

287. INT. SHOWBOAT STAGE (NIGHT)

MED. CLOSE SHOT - CLAIRE

as she enters. Gone are the lines of worry and tears. She smiles the trouper's smile.

288. INT. SHOWBOAT STAGE (NIGHT)

FULL SHOT - FROM AUDIENCE'S VIEW

Claire frisks around in a French comic opera.

289. INT. SHOWBOAT AUDITORIUM (NIGHT)

REVERSE ANGLE - MED. SHOT OF AUDIENCE

They/ people are responsive to Claire's performance.
PANNING CAMERA PICKS UP:

(a) Man cracking nuts.

(b) Mother trying to "ssh" crying baby.

(c) A wharf rat chewing tobacco and spitting.

290. EXT. SHOWBOAT STAGE (NIGHT)

Claire bows as she finishes performance, smiling and gay in character. Applause comes over.

291. INT. BACKSTAGE OF SHOWBOAT (NIGHT)

MED. SHOT - IN WINGS

Bouton and Tim are there. As Claire enters from stage Bouton starts upbraiding her again. Tim looks on sadly. Gone again is Claire's stage smile and gaiety. A couple of comedians bounce past her onto the stage.

292. INT. SHOWBOAT STAGE (NIGHT)

as comics announce their skit, entitled: "Husbands are always in the wrong, even when they're in the right". Laughter and applause of the audience.
HOLD BRIEFLY as the comics pull a couple of antics.

Simmons - 2/16/39.

68.

293. INT. BACKSTAGE OF SHOWBOAT (NIGHT)
MED. SHOT → IN WINGS

Bouton and Tim. Bouton is telling Tim that he's
on next.

294. INT. SHOWBOAT STAGE (NIGHT)
MED. SHOT - FROM AUDIENCE'S VIEW

as comics finish and exit to laughter and applause
from audience. Tim enters for his song.
(Theme Song of picture by Clarence Muse and
Langston Hughes. It is a song of life and
laughter, the levee, the showboat, the
plantations, the gamblers, the romance, etc.)

As Tim sings, we INTEROUT with:

295. Negro wharf hands peeking through the windows
on deck, getting their glimpse of the show.

296. MED. SHOT of audience.

297. Negroes spontaneously joining their voices as
Tim repeats chorus.

298. INT. SHOWBOAT STAGE (NIGHT)
CIOSE SHOT - TIM

finishing the number. Applause comes over.

299. INT. SHOWBOAT STAGE (NIGHT)
FULL SHOT

As the entire cast enters stage behind Tim and
joins in with a grand finale of a medley beginning
with Stephen Foster's "Open Thy Lattice, Love",
with Claire as the sweetheart, going into the
plantation jig.

300. EXT. DECK OF SHOWBOAT (NIGHT)
MEDIUM SHOT

The Negroes dance hilariously.

301. INT. SHOWBOAT STAGE (NIGHT)
FULL SHOT

The finale, closing with "There's A Good Time
A Comin'" by Foster. Wild applause. Claire and
Tim are in center stage, bowing.

302. INT. SHOWBOAT AUDITORIUM (NIGHT)
REVERSE ANGLE - MEDIUM SHOT

of rising audience. We spot Stephen Foster gazing
entranced at Claire and being jostled in the rising
audience as the curtain goes up and down. HOLD as
Foster almost regretfully turns and follows part
of audience up the aisle.

FADE OUT.

70.

Simmons - 2/18/39.

308. (CONT'D)
know -- just church. The Sheriff turns and leaves briskly. Glory's hand suddenly goes to her gaping mouth as she realizes she might have given something away.

DIS SOLVE TO:

309. INSERT OF CHURCH SIGN (DAY)

317. lettered: Hebron Methodist Church.

310. EXT. HEBRON CHURCH (DAY)
MED. CLOSE SHOT OF ENTRANCE

318. showing Sheriff entering. Behind him are the dead end kids who remain outside.

311. INT. HEBRON CHURCH (DAY)
CLOSE UP OF OFFICIATING ECCLESIASTIC

319. who is entoning quietly and sedately.

CUT TO:

312. CLOSE SHOT OF SHERIFF (DAY)
gaping around. He turns to leave.

DIS SOLVE TO:

313. INT. CATHOLIC CHURCH (DAY)
CLOSE UP OF PRIEST

315. intoning ritual in Latin. Holy water stands, censer, etc. We hear the congregation's subdued response.

DIS SOLVE TO:

314. INT. PRESBYTERIAN CHURCH (DAY)
CLOSE SHOT OF PRESBYTERIAN FATHER

316. in lace robes. We hear the quiet tones of a subdued hymn come over.

DIS SOLVE TO:

315. EXT. STREET (DAY)
MEDIUM SHOT

318. The Sheriff walking slowly down the street, the dead end kids looking kind of tired and bored at the unsuccessful quest. They make a remark that they've been to every white church in town - no use looking any more. They leave the Sheriff. TRUCK with Sheriff as he walks along and is about to pass the Negro Church. He halts suddenly, arrested by the singing within. The building is fairly bursting with joy, rocking with hand-clapping. He pauses to listen and then decides to go in.

71.

Simmons - 2/18/39.

316. INT. NEGRO CHURCH (DAY)
MEDIUM FULL SHOT

Revival services are in full swing. Negro minister is preaching traditional sermon: "God's gonna rain down fire!" There is a great meaning and shouting. The church is rocking with emotion.

SOUND
Great meaning and shouting.

317. INT. NEGRO CHURCH (DAY)
MEDIUM CLOSE SHOT - TIM AND GUMBO

rocking along with the others.

318. INT. NEGRO CHURCH (DAY)
CLOSE SHOT - SHERIFF

as he looks around and then starts. He has spied the boys. Hurriedly he takes papers out of his pocket. He starts down the aisle.

319. INT. NEGRO CHURCH (DAY)
MEDIUM SHOT - REVERSE ANGLE -

SHOOTING FAST the preacher up the aisle. We see the writhing and meaning of the congregation as the preacher reaches his climax in the sermon concerning the suffering of the Hebrew children under Pharaoh. We see Tim's and Gumbo's faces filled with emotion. The Sheriff enters the SHOT and lays hands on Tim and Gumbo.

320. INT. NEGRO CHURCH (DAY)
MEDIUM FULL SHOT

as the congregation rises in turmoil. The Sheriff announces that he has found a run-away slave and a run-away master, and that the slave goes back to slavery and the master to his proper guardian.

321. INT. NEGRO CHURCH (DAY)
CLOSE SHOT OF OLD NEGRO WOMAN

beginning to hum: "Go down Moses"......

322. INT. NEGRO CHURCH (DAY)
MEDIUM SHOT - SHERIFF

as he begs the congregation's pardon for interrupting the services. He takes the two boys and leaves. As the Sheriff and the boys disappear up the aisle, the song breaks out into its full terrific volume.

CONGREGATION (singing)
Way down in Egypt land......
And tell old Pharaoh......
To let my people go......

DISSOLVE TO:

Simmons - 2/18/39.

323. INT. POLICE STATION (DAY)
MEDIUM CLOSE SHOT

of Bouton, with Claire beside him, blustering and threatening legal reprisals to the police chief. The scene is climaxed by Bouton being "booked" for having hidden the facts of and giving asylum to a runaway slave and his abettor. Claire assures Bouton that she'll get him a lawyer at once. Bouton, who knows they are broke, says with what? Lawyers cost money. Claire says, never mind, she'll manage somehow, and as he's led out of the room, she looks down at her hands.

324. CLOSE UP OF CLAIRE'S HANDS (DAY)
wearing some rings, bracelet, etc.

DISSOLVE TO:

325. CLOSE SHOT OF CLAIRE'S HANDS (DAY)

The rings are gone, so is the bracelet. CAMERA PULLS BACK and reveals that she's in Stephen Foster's office.

326. INT. FOSTER'S OFFICE (DAY)
MID. CLOSE SHOT OF THE TWO

It is apparent from their conversation that Claire has come to him for help, to recommend a local lawyer, etc. Foster assures her of his help, and adds that he'll always be her servant despite her devotion to Bouton. He picks up his hat, and they start out.

WIPE TO:

327. INT. JAIL CORRIDOR (DAY)
328. MEDIUM CLOSE SHOT

329.
330. Bouton in a jail cell. CAMERA DOLLS PAST cell and reveals Tim in the next cell and finally Gumbo in the third cell. CAMERA FOCUSES BACK on Tim. In the glow of the setting sun, Tim stands with his hands on the bars. He begins to sing the old negro spiritual: "Sometimes I Feel Like a Motherless Child", etc.

As Tim sings INTERCUT with the following shots:

1. CLOSE SHOT of a derelict in jail cell, holding bars, spellbound by the song.

2. CLOSE UP of a villainous-looking white prisoner obviously moved by the song.

3. CLOSE SHOT of pen in Sheriff's hand, advising Bill that the boys are being held subject to his orders.

FADE OUT.

Simmons 2/18/39.

FADE IN:

331. MONTAGE SHOT OF NEWSPAPERS,

332.

333. featuring the following mastheads and headlines:

1. CINCINNATI ENQUIRER

Headline regarding charges against Bouton and Tim.

2. COVINGTON EAGLE

Headline regarding Bouton's injunction against Dill to prevent the return of Tim to New Orleans.

3. NEW ORLEANS BLADE

Headline regarding Dill's countercharges against Bouton for harboring a fugitive slave, etc. etc.

334. CLOSE UP OF THE SPRINGFIELD (ILL.) REPUBLICAN

being held in the hands of a man. A voice comes over, reading the headline and lead paragraph of the story regarding the Dill-Tim-Bouton-Gumbo case. The case has now attracted nation-wide attention. CAMERA PULLS BACK and reveals that the reader and holder of the newspaper is Abe Lincoln. He remarks to a man who is with him that the outcome of this case may have an important bearing on the future application of the fugitive slave law. The trial should prove very interesting, etc. etc.

DISSOLVE TO:

335. INT. COURTROOM (DAY)

MED. FULL SHOT

We see our various principals present, including court attaches, judge, newspaper reporters, etc. Dill, with Pauline on his arm, enters courtroom.

336. INT. COURTROOM (DAY)

MED. CLOSE SHOT OF DILL AND PAULINE

She whispers to him that when they get back to New Orleans she wants that rope of California gold he once promised her. They're interrupted by Dill's lawyer entering to him, greeting him and then assuring him in a confident undertone that the case is as good as in the bag. The bang of the judge's gavel is heard, and the case is opened.

DISSOLVE TO:

337. INT. COURTROOM (DAY)

338. MED. CLOSE SHOT AT WITNESS CHAIR

339.

340. We present the courtroom sequence in a series of brief scenes, each dissolving swiftly into another:

341.

(CONT'D.)

77.

DISSOLVE TO:

358. EXT. WHARF (DAY)
MED. SHOT - SHIP

lettered: "DELTA QUEEN".

We see Dill, Pauline, Tim and Gumbo enter onto the gangplank of the ship while a deck-hand yells: "Last call! All aboard for New Orleans!"

C

DISSOLVE TO:

359. EXT. DECK OF SHOWBOAT (DAY)
MEDIUM SHOT

Bouton is again fishing. He looks off as he hears the churning of a boat and sees:

360. EXT. RIVER (DAY)
MED. LONG SHOT

of "THE DELTA QUEEN".

CUT BACK TO:

361. EXT. DECK OF SHOWBOAT (DAY)
MEDIUM SHOT

as Bouton hauls in his empty fishline and Narcissus offers him a worm for his next bait. Bouton says he won't need it - he's going to catch his next fish -- a big one -- down in New Orleans. He shouts orders to the crew to cast off -- the ship's to get under way immediately. Claire has entered SHOT in time to hear this. She protests at leaving so suddenly -- they're supposed to play here another two weeks. After an equivocal reply from him, she lets him know patently that the only reason he's heading for New Orleans is to follow Pauline. Bouton admits Claire is right, but not for the reason she thinks. This leaves her bewildered and more indignant than ever.

DISSOLVE TO:

362. FULL SCREEN SHOT OF THE SHOWBOAT'S PADDLE WHEEL (DAY)
churning the water.

DISSOLVE TO:

363. NEW ORLEANS WHARF (DAY)
MED. FULL SHOT OF THE SHOWBOAT
being moored to the wharf.

364. MED. CLOSE SHOT - SHOWBOAT'S GANGPLANK - (DAY)

as Bouton and Narcissus come down. CAMERA PICKS THEM UP AND TRUCKS WITH THEM as they continue along. Bouton is instructing Narcissus to go to a livery yard and rent a conveyance of any kind -- a horse, a carriage, or even a mule -- with which to travel post-haste to the Delta rice fields and pick up Caton, whom he's to bring to the address of Judge Clambake (the gouty old judge). He scribbles the Judge's address on the back of an envelope, and gives

(CONT'D.)

73.

384. (CONT'D.)

Narcissus some money, then shoves him off on his way.
Narcissus looks at the amount of money, and mumbles;
to himself, "It'll be a mule." Bouton, meanwhile,
proceeds in another direction, on his way to Judge
Clambake's home.

DISSOLVE TO:

385. INT. DRAWING ROOM - JUDGE CLAMBAKE'S HOME (DAY)
MED. FULL SHOT

It is a magnificent drawing room, sumptuously appointed,
with a huge picture of Napoleon in evidence. The Judge
is seated at a small library table, his bandaged gouty
foot in evidence. Seated in chairs in front of him are
Dill and Tim. As we open on scene the Judge dismisses
his wife in elegant French, then gives orders to two
black servants in Creole; finally, picks up some docu-
ments with slow easy movements, and remarks to Dill
that he'll proceed as soon as he looks these over.

WIPE TO:

386. EXT. STABLE YARD (DAY)

MED. SHOT

of stable attendant giving Narcissus a spavined, dilapi-
dated looking mule. Narcissus has some difficulty
mounting the balky animal, but finally gets on him and
starts off lackadaisically.

387. INT. JUDGE'S DRAWING ROOM (DAY)

MED. SHOT

The Judge says to Dill that the papers seem in good
order. He seems about to pick up a quill pen, when all
are suddenly started by the sudden entrance into the room
by Bouton, who barges in unceremoniously past the dis-
tressed servant at the door. Bouton immediately asks the
astonished judge to please defer decision, as there are
certain important factors to be considered before he
affirms the guardianship of Dill.

388. INT. JUDGE'S LIBRARY

CLOSE SHOT OF JUDGE (DAY)

who fumes and splutters at Bouton's audacious entrance.
He bellows: "What factors?" "And who are *you* -- What
have you got to do with this, etc., etc."

389. INT. JUDGE'S LIBRARY (DAY)

MEDIUM SHOT

Bouton answers him equivocally, as much to stall for
time as to give him an answer -- he says almost in double-
talk that he's got new evidence coming -- facts which
will alter the case, prima facie, and writ of replevin,
habeas corpus, etc., etc. If the judge will be only so
good as to wait a few hours, the evidence in question is
on its way by mule-back.........

(CONT'D.)

81.

Simmons - 2/18/39.

398. INT. JUDGE'S DRAWING ROOM (DAY)
MEDIUM SHOT

The judge, at his writing table, has picked up the
pen, ready to sign the fateful document. Bouton,
at his wit's end to forestall him, notices the judge's
bandaged foot protruding out at the side of the desk.
Slyly, before the judge can get started, he pushes a
metal desk-weight off the desk so that it lands on the
judge's foot.

399. INT. JUDGE'S DRAWING ROOM (DAY)
CLOSE SHOT - JUDGE

as he lets out a roar as though he's been shot. (He
doesn't know, of course, that Bouton engineered the
falling of the desk-weight.)

400. INT. JUDGE'S DRAWING ROOM (DAY)
MED. SHOT OF THE GROUP

as Bouton asks with great concern, what's happened?
The judge bellows, "My foot! Gout! etc., etc."

"Gout?" repeats Bouton solicitously, and then he begins
a persuasive but sympathetic assurance that there's no
reason for anyone to suffer from gout any more.
"Why not?" asks the judge crustily.

"Because of that new remarkable remedy that has come
on the market," answers the smooth Bouton -- surely the
judge must have heard of it. The judge, his attention
caught, asks what remedy.

401. INT. JUDGE'S DRAWING ROOM (DAY)
CLOSE SHOT - BOUTON

as he answers: "Oil of Tiger's Marrow", the most im-
portant medical discovery since Harvey discovered that
blood circulates.

402. INT. JUDGE'S DRAWING ROOM (DAY)
MEDIUM SHOT

as the judge repeats, "Oil of Tiger's." But before
the judge can even complete the phrase, Bouton starts
to go off on an exposition of the genesis of this mar-
velous cure-all. He describes first how the tigers
are caught, under special conditions - how the natives
trek through the jungles with them to a seaport on the
African coast, where they are loaded alive on a fast
ships, and fed a peculiar diet of oil which goes right
to their marrow and becomes rich in albumen, salts,
iron and glucose. But the greatest marvel of all, is
how, when they're finally lodged in cages in the ports
of their arrival, the chemists ingeniously extract
this oil from the living tigers without any pain to
the animals. Then they ingeniously turn it into a
nostrum which has proved the most astonishing cure for
rickets.

403. INT. JUDGE'S DRAWING ROOM (DAY)
CLOSE SHOT OF JUDGE

as he roars, "But I haven't got rickets!"

Simmons - 2/18/39.

408. INT. CARRY-ALL (PROCESS) (DAY)
MED. CLOSE SHOT

of Bouton as he exchanges a few brief informal words with the judge (enough to establish for us that the judge now has taken over the executorship of the estate, and that Bouton and Claire have been invited to spend a month's holiday on the plantation.)

409. CLOSE SHOT OF TIM IN CARRY-ALL (DAY)

waving off and calling in greeting to slaves lined up along the road.

410. EXT. DRIVEWAY (DAY)
MED. FULL SHOT OF GROUP OF SLAVES

alongside the road, as they "praise the Lawd" and yell welcome greetings to their young master. They break into song.

411. INT. CARRY-ALL (DAY)
CLOSE SHOT TIM

Returning the greetings of the slaves lined up on the road. Then his voice joins their's in song.

412. EXT. PLANTATION DRIVEWAY (DAY)
FULL SHOT

CAMERA SHOOTS from rear of vehicle as it continues on up the driveway, between lines of singing slaves. HOLD until carry-all recedes in distance, and then

FADE OUT.

THE END

WAY DOWN SOUTH

FADE IN:

1. Enormous brown cotton bale fills entire screen. A black hand splits the bale wide with a cotton hook. CREDIT TITLES are superimposed against pattern of white cotton tumbling from bale in the sunlight, accompanied by a Musical Background of DEAR OLD SOUTHLAND in tempo. Cotton bale rolling away wipes the titles off.

DISSOLVE TO:

2. EXT. COUNTRY ROAD (DAY)
MED. LONG SHOT

Road bordered by luxuriant foliage approaches the
domain proper of a vast plantation. CAMERA TRUCKS
FORWARD and focuses on a wrought iron gate and
arch with grill whose wrought-iron letters read:

BAYOU LOVELLE

CAMERA PANS DOWN to an old-fashioned iron mail box
of the period on which is lettered:

John Timothy Reid

CAMERA HOLDS briefly on the legend and:

DISSOLVE TO:

3. EXIT CANE FIELD (DAY)
FULL SHOT

Emphasize vastness of field where slaves, men and
women, are at work cutting cane, long knives
flashing in the sun. Ox-carts loaded with cane
moving off. Rasp of knives, grunts of workers,
creaking of wagon wheels. Music comes over.

DISSOLVE TO:

4. EXT. VEGETABLE SHED (DAY)
FULL SHOT

The shed is piled high with sweet potatoes, melons,
pumpkins, peanuts. Slave women are packing the
sweet potatoes into bags, as a wagon arrives loaded

2.

4. (CONT.)

with more produce. PANNING CAMERA picks up a jolly-looking woman slave bagging peanuts. She has stopped to crack a peanut, one kernel of which she has stuffed in her mouth and is chewing with relish.

Her companions yelp mirthfully.

DISSOLVE TO:

5. INT. COTTON GIN (DAY)
FULL SHOT

A white overseer is in charge. Bales piled high. Work is going on full blast. Black men are baling the cotton, singing as they work: "COTTON NEEDS GINNIN' SO BAD." SOUND of the gin is heard.

DISSOLVE TO:

6. EXT. CATTLE FIELD (DAY)
MED. LONG SHOT

CAMERA PAN PAST a herd of fine-looking cattle. The SOUNDS of wild birds come over. Above, wild geese and pheasants sail by and mingle their cries to the medley of harmonious sounds.

CUT TO:

7. EXT. CATTLE PEN (DAY)
MEDIUM SHOT

Pickaninies are driving calves into the pen. Turkeys and chickens, shooed away by the boys, scatter with scolding squawks.

DISSOLVE TO

8. EXT. HOG PEN (DAY)
MEDIUM SHOT

A white overseer checks off the large, fat hogs as two slaves drive them out of the pen. CAMERA PANS over to one side and takes in a slave sharpening a butcher knife on a rotating mill stone. Two women slaves are carrying pans of hog fodder nearby. One remarks jovially:

SLAVE WOMAN

We gits de feet an' heads!

3.

8. (CONT.)

ANOTHER SLAVE
(smacking his lips)

Yeah, boy!

DISSOLVE TO:

9. INT. SMITHY (DAY)
FULL SHOT

Forges glow, sparks fly, as slave blacksmiths
repair tools and shoe mules and horses, etc.
The rang of hammers on anvils, beat to the
tempo of music which runs through the sequence.

DISSOLVE TO:

10. INT. SUGAR MILL SHED (DAY)
FULL SHOT

Slaves are feeding raw cane into the sugar mill.
Oxen trudge round and round rotating the grinder.
SOUNDS of hoofs clumping ground, grinding noise
of mill and mirthful cries of slaves are heard.
Music continues to come over.

DISSOLVE TO:

11. INT. SUGAR MILL (DAY)
CLOSE SHOT

Spout of grinder. A stream of liquid juice
pours into a copper kettle. SOUNDS, as above,
come over.

DISSOLVE TO:

12. INT. SUGAR MILL (DAY)
MED. CLOSE SHOT

of syrup boiling in huge copper kettle. We
hear the hiss of steam and bubling of syrup.
A slave skims the syrup into a container. A
drop drips over the side, which he catches
with his index finger, brings to his mouth and
tastes appraisingly;

DISSOLVE TO:

13. EXT. CANE FIELD (DAY)
MED. LONG SHOT

of an area of the cane field still to be cut.
(CONT.)

4.

13. (CONT.)

The rest of the field has been cut down,
and we see bunched cane lying on the ground
in different spots, some being lifted and
loaded into ox carts. The cane cutters, men
and women, are singing at their work. Now
and then joyous cries and shouts are heard.

14. EXT. CANE FIELD (DAY)
MED. CLOSE SHOT

Group of cane cutters, at closer hand, show-
ing the splendid physical character of the
slaves. The women are magnificent specimens,
reflecting a rich plasm of virility. The men
are brawny, strapping, their skins glowing
in the sun like oiled bronze. There is a sense
of urgency in their actions as they slash away
at the stalks with their knives. The very
air seems charged with a current of joyous ex-
pectation. CAMERA MOVES IN on two men and a
woman cutting away at the cane. They are
arrested by the creaking arrival of an ox cart.
They look up alertly.

15. EXT. CANE FIELD (DAY)
ANOTHER ANGLE - MED. SHOT

The ox cart coming to a halt. The cart is
piled high with branches and leaves as "a cover"
for something hidden underneath. Two slaves
enter and approach the Negro cart driver.

FIRST SLAVE
(eagerly)

Got 'em?

DRIVER
(warningly)

Shut yo' big mouth!

He indicates the inside of the cart. One of the
slaves climbs up and stands on the hub to look
in. The driver lifts off top covering of branches
and leaves and brings up from within a voodoo
drum.

FIRST SLAVE:

Voodoo drums!

They slide three drums out quickly and ease them
to the ground, covering them with cane leaves.
A slave starts to strike one of the drums.
Second slave catches his hand.

SECOND SLAVE:

Careful!

(A white Overseer passes and they cover the drums
quickly. Camera follows Overseer.)

5.

WIPE TO:

16. EXT. ROAD NEAR BIG HOUSE (REID MANSION) - (DAY)
MEDIUM SHOT

In a carriage on the road sits a beautiful, seductive, flashily-dressed Creole woman of about thirty, PAULINE. Evidently she is waiting for someone -- and waiting none too patiently. She turns to peer through the lilac bushes at the big house. She sees:

17. EXT. REID MANSION (DAY)
MED. LONG SHOT

SHOOTING THROUGH lilac bushes, from Pauline's
point of view.
It is a beautiful stately mansion lined with
long white columns, the type of Southern dwell-
ing that suggests graceful opulence and expan-
sive living.

(SEE P. 325 IN SAXON'S "OLD LOUISIANA")

(Sketch of house.)

On the veranda, seated at a small table, is the
Master, JOHN TIMOTHY REID, talking to his friend
and lawyer, MARTIN DILL. To the rear of the
table is old UNCLE CATON, a white-haired,
benevolent-visaged Negro family servant, who pours
black coffee for them from a silver urn.
Liquor, cigars, on table.

18. EXT. ROAD NEAR BIG HOUSE (DAY)
C.U. PAULINE

With a gesture of suppressed impatience she tears
her her lace kerchief in two, and settles back
angrily in the carriage to continue to wait.
A startled pickaninny holds the horse.

19. EXT. VERANDA REID MANSION (DAY)
MEDIUM SHOT

Of Reid and Dill seated at the table, as Uncle
Caton deposits liquor glasses. Reid picks up his
drink, sips it appreciatively. Dill ignores his.
As we open on this scene CAMERA MOVES IN for a
CLOSER SHOT of Reid and Dill, with Caton hovering
about. During the following conversation there
will be no sense of urgency or unfriendliness in
the talk. Reid is a young, gallant type of South-
erner, easy-going and smiling. Dill is a suave
lawyer type with the incisiveness of a Northerner.

(CONTD.)

6.

19. (CONT.)

(DILL has risen to take his
departure. CATON stands
(holding hat.)

DILL

Timothy, you're never serious. Fifty dollars a year for the upkeep of a slave is absurd.

REID

(Laughing)

Just like a Northerner, Martin---figuring in
dollars and cents on a plantation that's got
plenty! Let them eat.

DILL

(Pushing his glass away)

If you keep on, they'll eat you up.

REID

My friend, you have enslaved yourself so deeply
in mortgages and law books, until I reckon it's
just about humanly impossible for you to under-
stand the kind relationship of a master to his
slaves.

DILL

What! to eat and drink all they want and leave
you to worry about the bills?

REID

(Quietly)

Sir, that's not it. They're happy. From sunup
to sundown---and I never use the whip. Either--
they work, to give me the biggest crops in this
parish.

DILL

(Lightly)

Then, maybe you'll pay some bills this year.

REID

If I do those New Orleans bankers would drop
dead of surprise.

DILL

(Raising his glass from them
(table good humoredly)

I'll drink on that one.

REID

Why, for generations, nobody's pressed a Reid
for a settlement. My word is good. They know
I'll pay my notes eventually. (With rising
(impatience)

(CONT.)

7.

19. (CONT.)

REID

I declare, if I thought-----

DILL

Now, Timothy, nobody's pressing you, but as
your lawyer---and your friend---I wouldn't
let old debts go too long.

REID

(UNCLE CATON registers apprehension)

As my friend you might provide me with a
pleasanter afternoon, you old city slicker, you!
By the way, what kind of deal have you made for
that thoroughbred mare I ordered from Kentucky?

DILL

She'll be on the next boat, Timothy.

REID

I'm enchanted by that remark. Now, your conver-
sation pleases me immensely.

DILL

But I've got to go. She's waiting.

REID

(Both look same direction.)

(REID rises.)

Would it be presumptious for me to present you
with the largest pumpkin of Bayou Lovelle planta-
tion for your holiday pies, Martin?

DILL

I would consider it an honor, sir!

REID

Caton, to the carriage with the pumpkin.

(DILL exits down the veranda)

(steps followed by CATON)

(bearing a huge pumpkin picked

(up on the step.)

20. EXT. ROAD NEAR BIG HOUSE (DAY)

MED. CLOSE SHOT

Of PAULINE waiting impatiently in the carriage
as DILL, followed by CATON, enters to her.

PAULINE is furious.

(CONT.)

8.

20. (CONT.)

PAULINE

Do you realize that I'm not accustomed to
waiting like this for anyone?

DILL

But, Pauline, my dear, our business took
longer than I thought. I beg your pardon.

PAULINE

I trust by business, you mean you've brought
back some money---

DILL

(Flustered), as he gets in the carriage and
Caton deposits the pumpkin!

Well--er--er, no, but Mr. Reid presented me
with this lovely pumpkin.

PAULINE

(Angrily as DILL slaps the
(flanks of his horse with the
reins and drives off. And
CATON smothers a grin.)

A pumpkin! A pumpkin?

21. EXT. ROAD NEAR BIG HOUSE (DAY)

MED. FULL SHOT

The carriage containing Dill and the angry
Pauline rolls down the roadway which borders
the Reid plantation.

22. EXT. ROAD
TWO SHOT (PROCESS)

(PAULINE upbraids DILL as he
drives.)

PAULINE

(Pointing at the pumpkin)

Can I use this to pay my dressmakers? Can I
use this for the opera? Will this buy me a
rope of California gold? Will this pay for a
dinner at Papa Dondon's?

DILL
sauses
( Pointing at the dressmakers)

A place where I'm really wanted--not like your
friend Reid's!

DILL

But darling, I can't change traditions.

PAULINE

Traditions? (screaming) Stop! Stop!

9.

22. )CONT.}

(DILL in astonishment reins in the
(horses. PAULINE rises, stoops down
(and picks up the pumpkin and, with
(all her might, smashes it in the
(road.

DILL

(To the horses)

Git-up!

[Carriage disappears in a whirl
of dust down the road.]

23. EXT. ROAD (DAY)

CLOSE UP

Camera pauses briefly on the broken pumpkin.

24. EXT. VERANDA REID MANSION (DAY)

MED. CLOSE SHOT

Reid is smoking as Uncle Caton, worried, clears
off the table.

CATON

Mars Timothy, when I hear that there Mr. Dill
talkin', it makes me think about de bank panic
of '37. Dem's was terrible times in Louisiany.

REID

Yes, fourteen New Orleans banks went out, but
we still had plenty to eat on this plantation.

CATON

Dat's what I knows. And dat's why I didn't like
it de way he say you better pay yo( old debts.

REID

Nothin' to it, Caton. He's just trying to be
staid and dignified as befits a lawyer.

CATON

Um-hum! De cat's mighty dignified 'till de dog
comes by.

(THRY BOTH LAUGH ALOUD. REID RISES)

REID

Go get the carriage ready, Caton, and find my son.
Let's go see them cut the last stalk of cane.

(UNCLE CATON starts off with tray of glasses.)

10.

25. EXT. REAR OF STABLES (DAY)
MEDIUM FULL SHOT

IN CAMERA FOREGROUND is young TIMOTHY REID
(Bobby Breen) aiming at something with a rifle.
CAMERA shoots past him at an angle which takes
in the stable over which, from various stalls,
sleek heads of expensive horses protrude.
AS CAMERA PANS on, it reveals the object of
TIM'S aim, GUMBO, a Negro boy about TIM'S age
standing near a fence post at the edge of the
table. A large apple is perched on his head,
a la William Tell. GUMBO quivers with un-
controllable nervousness.

TIM
Hold still, Gumbo.

GUMBO
I am!

26. EXT. REAR OF STABLES
CLOSE SHOT

TIM pointing his aim.

27. EXT. REAR OF STABLES ANOTHER ANGLE (DAY)
FULL SHOT

taking in both boys. They are about twenty feet
apart.

GUMBO (Taking apple off)
Are you sure William Tell had the apple
on his head?

TIM
Why, certainly!

GUMBO
(Putting apple back on head)

I just didn't want you to go shooting
at the wrong thing.

TIM
(Lowering his aim)
A Reid never misses. But we'll try it
first on the fence post.

28. EXT. REAR OF STABLES (DAY)
MEDIUM CLOSE SHOT

ON GUMBO slightly relieved. He stares at the
approaching TIM wonderingly. TIM enters the
shot, takes the apple off GUMBO'S head and
deposits it on top of the fence post, which is
exactly GUMBO'S height.

11.

28. (CONT)

TIM
(Starting to retreat)

Now watch.

29. EXT. REAR OF STABLES (DAY)
MEDIUM FULL SHOT

taking in TIM as he reaches his original po-
sition. He raises his gun and takes aim.
There is a report as he pulls the trigger.

30. EXT. REAR OF STABLES (DAY)
CLOSE SHOT

31. EXT. REAR OF STABLES (DAY)
FLASH CLOSE-UP

32. EXT. REAR OF STABLES (DAY)
MEDIUM CLOSE SHOT

at fence post as Gumbo enters to it. He ex-
amines the bullet mark on the post and scratches
his head speculatively. Then, as TIM enters
the shot to look at the bullet mark, GUMBO de-
notes the bullet mark and gestures toward his
head, indicating with eloquent pantomime what
would have happened to his head if the apple
were on it. TIM takes the apple off the post
and assures GUMBO confidently--

TIM

Now that I've had some practice,
I'll do better.

He starts to move GUMBO towards the stable.

33. EXT. REAR OF STABLES (DAY)
TWO SHOT

TIM'S VOICE

Come on--we'll try again. (assuringly) A Reid
NEVER misses. Just wait

12.

33. (CONT.)

GUMBO

You're right, Little man.

(He gulps hard and his limbs shake again
(as he awaits his fate.)

CLOSE SHOT

on TIM as he reaches a spot about fifteen
paces away. He turns and faces GUMBO, then takes
aim, his eyes glued to the sight intently,
when suddenly he starts, his eyes widen and his
jaw falls agape.

37. EXT. REAR OF STABLES (DAY)

CLOSE SHOT

at GUMBO. Directly over his head, the head of
a horse protrudes over the open stall gate.
The horse snatches the apple from GUMBO'S
head and starts chewing it.

38. EXT. REAR OF STABLES ANOTHER ANGLE (DAY)

MEDIUM SHOT

CATON approaches from around the corner of the
stable. From an opposite direction comes JANIE,
colored cook and GUMBO'S mother. She carries a
small pan in one hand and an egg beater in another,
which she manipulates throughout the following
scene. CATON addresses TIM, as he lowers his
rifle.

CATON

(Smilingly benignly)

Massa Tim---yo' dad says it's time to see de last
stalk o' cane cut.

TIM

Gee! Can GUMBO go, too?

(Before CATON can answer, JANIE
says regretfully:)

JANIE

Sorry, Mars TIM! Dere's a heap o' taters to
peal for supper. Come on, GUMBO!

CATON

(To TIM)

Let's hurry, Yo' dad's waitin in de carriage!

(They go their separate directions, JANIE
(dragging GUMBO away resistingly, a disap-
pointed look on his face.)

38. CONT.

13.

DISSOLVE TO:

39. 45. EXTERIOR ROAD (DAY)
MEDIUM SHOT (PROCESS)

Old Caton is driving a carriage drawn by a handsome pair of throughbred grays. REID, SR., and TIM REID, JR. are seated talking in comradely fashion. The carriage passes beneath the spreading branches of magnolias and live oak trees drenched with hanging moss. It crosses the wooden bridge of a bayou. Suddenly a owl hoots.

40. 46. EXT. ROAD (DAY)
MEDIUM MMEM CLOSE SHOT

The pair of horses suddenly rear and plunge, but UNCLE CATON firmly reins them in.

41. 47. EXT. ROAD (DAY)
MEDIUM SHOT

showing REID, TIM, and CATON'S back as he drives. REID slaps CATON on the shoulder approvingly for the way he checked the horses.

MMEM REID

Good work, Caton! But what do you suppose happens to these horses when they cross this bayou?

CATON

Didn't you hear that owl hoot, Mars Timothy?

REID

Owl hoot?

Nonsense!

Speaking to his son; TIM:

These same horses ran away with your mother once right along here. But she held them.

TIM

She did?

REID

They kicked the dash board into a million pieces, but your mother kept the reins and subdued them. And she brought them back to the Big House meek as lambs---dragging the carriage behind them. A great horsewoman, your mother!

TIM

She was beautiful, wasn't she, dad?

REID

Like a magnolia in the moonlight.

SOUND

In the distance, from the cane field the single beat of a big Papa-Bass Drum is heard

42. 46. EXTERIOR CANE FIELD (DAY)
CLOSE SHOT

Negro slave sounds the big drum as a signal-call to other all slaves to gather for the festival of the cane.

14

## 48. INTERIOR CARRIAGE (PROCESS) (DAY)
TWO SHOT

of Reid and son.

TIM

They're about to cut the last stalk of cane,
Dad!....But why do they always dance afterwards?

REID

Son, dancing in the harvest field is as old as the
earth! The peasants of ancient Greece danced when
their crops were cut. The Africans have always done
it. It's their way of giving thanks for the bless-
ings of the earth, I reckon.

## 44. EXTERIOR ROAD (PROCESS) (DAY)
MEDIUM SHOT

taking in all three. UNCLE CATON begins to hum softly.
REID looks up at him.

REID

What are you singing for Caton?

CATON

To drown out that old hoot owl, Mars Timothy!

REID

(Joyouhly)

Let's really drown it out then!

CATON

(Singing happily)

I can fill ma basket if I choose---
Den I's gwine home!

REID

(Taking a line in turn)

Somebody's gwine to give me Christmas shoes---
Den I's gwine home!

TIM

Two red han'k'chiefs and a walkin' cane---

Den I's gwine home!

Den I's gwine to strut down de big house lane---
When I's gwine home.

The carriage travels under the expansive branches of the
trees as the three sing. All join in each time on the
refrain of "Den I's gwine home!" And it is clear there is
a fine rapport between father and son. All three sing the
chorus:

ALL THREE

You kin do jes' what-a you please,

I's gwine ter pick off-a Massa's peas!

I's gwine to pick off-a Massa's peas,--

An' den I's gwine home.

## 45. EXTERIOR ROAD (DAY)
CLOSE SHOT

of Caton on the driver's seat. His head swings in tempo to
the lilt of the song. He takes his line:

CATON

Dat ole possum is up de tree,--

Den I's gwine home!

16

52 EXTERIOR CANE FIELD (DAY)
MEDIUM SHOT

A large group of slaves, men and women, are assembled
around a small area of uneut cane, as several women
cutters, lead by/magnificent black amazon, attack the
remaining stalks with their huge knives. Swiftly they
move down the rows, the stalks falling before them.

63 EXTERIOR CANE FIELD (DAY)
CLOSE DOLLYING SHOT

64 EXTERIOR CANE FIELD (DAY)
CLOSE SHOT

of tall woman, swishing away like mad with great rythmic
strokes of the knife.

65 EXTERIOR CANE FIELD (DAY)
FLASH SHOT

Reid, Tim, Gumbo, and Caton dismounting from the
carriage. As Gumbo ties the horses, the others start
across the field to the cutters.

SOUND
Rythmic swish of cane knives
and the snap of the stalks.

56 EXTERIOR CANE FIELD (DAY)
MEDIUM SHOT CLOSE SHOT

REMAINING of the last remaining stalk. The tall
woman enters the shot and stops as she comes to the
solitary stalk. She holds her knife poised in the
manner of a ritual about to begin.

57 EXTERIOR CANE FIELD (DAY)
MEDIUM SHOT

Featuring the tall woman against the background of the
slaves, all charged with expectation---all ready to ex-
plode into motion when the final stroke severs the
stalk. First, a significant pause, now she wields the
knife swiftly---three times---and the stalk falls. The
final stalk. EM As the woman screams in triumph, a
great concerted cry goes up from the slaves.

58 EXTERIOR CANE FIELD (SUNSET)
FULL SHOT

of the complete ensemble as the Festival Dance begins.
Wild cries fill the air. The voodoo drums are heard
heating rythmically.

Following Yellow Script from Page 27--No. 95
(Remember to follow consecutively Hughes-Muse Re-write)

FADE IN:

INT. REID DINNING ROOM (DAY)

CLOSE UP

One hand puts a pinch of snuff into his nose as other hand holds a snuff box.

SOUND

Dill sneezes.

AS THE CAMERA DRAWS AWAY SLIGHTLY, we see that Dill is at the head of a table, evidently facing a group of people. On the table before him are the sheafs of a legal document.

SOUND

Dill sneezes again.

In putting his snuff box down, he takes advantage of the sneeze to quickly pull one of the sheets of the document toward him, allowing it to fall to the floor.

INT. DINNING ROOM

INSERT OF PAPER ON FLOOR

The page is seen through the rungs of a chair lying on the floor. Outstanding to the eye are the important lines reading:

Under no circumstances shall the Bayou Lovelle Plantation be broken up, nor the slaves sold.....

SOUND

Dill still sneezing.

INT. DINNING ROOM (DAY)

MEDIUM SHOT DILL

Dill replacing a large lacy handkerchief in his coat pocket.

DILL

Pardon me, gentlemen. It seems I'll never be able to take my snuff gracefully.

THE CAMERA BEGINS TO DRAW BACK TO A MED. FULL SHOT revealing the long dinning room table, around which are seated the city creditors of Reid's estate, some with their hats on the table, some smoking. It is a beautiful room with heavy sideboards, tapestries, chandeliers, silver, crystal, imported china, cut glass, mirrors, and behind the camera, tall French windows opening onto a terrace. The eyes of the creditors are eager as Dill picks up the last page of the document and replaces his square glasses to read.

DILL

Now, that's the end of the will.

(Reading)

"....signed and notarized before me on the 10th day of December, 1846."

2.

(CONT.)

CAMERA CONTINUES TO DRAW BACK until we see the
high chair at the opposite end of the table where
little Tim is sitting, his back to the French
windows.

DILL

Therefore, gentlemen, as executor of this
estate and legal guardian of the late
John Timothy Reid's sole surviving son and
heir.....

INT. DINNING ROOM (DAY)

98.

CLOSE SHOT TIM

Tim, a lonely figure in a handcarved chair in the
midst of his father's creditors. His face is con-
fused and sad, but manly as Dill calls his name.

DILL

John Timothy Reid, Junior.

INT. DINNING ROOM (DAY)

99.

MEDIUM GROUP SHOT

Dill addresses the group, as his wan smile to
Tim fades.

DILL

It will be my policy to liquidate the
assets and pay all debts as soon as
it is legally possible.

The creditor's faces light up with satisfaction.

Dill turns to the clerk seated at his side. Caton enters and deposits a great pile of antique silver trays on the table.

DILL

Ready, clerk?

CLERK

Yes, sir!

DILL

We will now proceed to an evaluation
and accounting of the assets.

Some of the men make notes on memorandum pads
as Dill picks up a document and begins to intone.

DILL

Item one, land holdings---eleven
hundred acres of cane......

SOUND

Shower of pebbles on window pane.

INT. DINNING ROOM (DAY)

100.

MEDIUM CLOSE

Tim, restless in the midst of the creditors all
facing toward Dill, turns as he hears light
pebbles on the window panes behind him. He sees
GUMBO on the terrace, but motions him to silence
and turns back to the table.

3.

DILL

....bounded on the north by Bayou Conique....

SCaUND

Small pebbles striking window pane again

DILL

...and on the west by the Mississippi

INT. DINNING ROOM (DAY)

MEDIUM CLOSE

Tim finally slips quietly out of his chair and
tiptoes through the French windows to the terrace.

DILL --- 200 acres of Hardwood

timber, Mahogany, Magnolia and Cottonwood------

Total evaluation, Nineteen Thousand, Seven
Hundred and Sixty Two Dollars and Eighty
Three Cents.....

EXT. REID HOUSE (DAY)

MEDIUM CLOSE SHOT

GUMBO is on the terrace as TIM enters to him from
room. GMB@XXXX

GUMBO

Massa Tim---

TIM

(cautioning him)

Sh-h.......I'm presidin' at a meetin'.

GUMBO

(awed)

Oh........

TIM, catching his wretched expression, now asks:

TIM

What's the matter?

GUMBO

(tremulously)

I....I heah say de slaves gonna be sold.

TIM

(incredulously)

Sold?

GUMBO

(tears in his eyes)

Dey's all be called to the yard--
for the city folks to look at.

(TIM'S face expresses great concern. Without
(another word he turns and starts inside)

4.

103

Dill at head of table as Tim comes up and with ill-restrained excitement addresses Dill as the latter is intoning.

DILL
...We will proceed now to item two--
live stock and--

TIM
Mr. Dill--

Dill turns to him, a bit annoyed at this ob-
streperous interruption. Tim continues ir-
repressibly, as Caton moves into scene.

TIM
We're not selling the SLAVES, are we?

DILL
(unctuously)

Now, don't trouble yourself about these matters,
Tim.

TIM
But I've got to know! Dad wouldn't
have wanted that.

104

INT. DINNING ROOM (DAY)
CLOSE SHOT

on Dill and Tim, as Dill says in a tone of concession-

DILL
We'll keep the house servants like Caton
and Janie. They'll come along with us to
New Orleans.

TIM
(relating the truth)
Then you are selling the others?

DILL
(nodding)
In the interest of the estate.

Tim's face furrows in consternation. Caton's worried.

TIM
But I won't stand for it!

DILL
It's not my bidding, my dear child! It's
your father's will.

105

EXT. YARD BACK OF HOUSE (DAY)
MEDIUM FULL SHOT

A large group of male and female slaves are assembled, meaning and wailing, being grouped by several white overseers. Their wailing

(CONT.)

6.

107 EXT. YARD BACK OF HOUSE (DAY)
FULL SHOT

of slaves singing.

### SOUND
Slaves singing.

108 EXT. YARD BACK OF HOUSE (DAY)
CLOSE SHOT

at a rear window of the house. Tim, Caton, Janie and Gumbo look on with strained expressions at the slave dealers guarding the slaves, whose song comes over in musical lament.

### SOUND
Of slaves singing.

109 EXT. YARD BACK OF HOUSE (DAY)
MEDIUM FULL SHOT

of slaves. HOLD until their song is completed.

### SOUND
Of slaves singing.

### DISSOLVE TO:

#### EXT. ROAD (DAY)
MEDIUM SHOT

of Dill's two-seated carriage drawn by two horses coming down the road. AS IT PASSES CAMERA, we get a prominent shot of Dill and Tim in the first seat- Gumbo, Caton and Janie in the rear seat, holding big bundles. Tim turns around to look wistfully at the Redi house in the distance.

### DISSOLVE TO:

### INSERT

A full screen drawing to simulate a photographic reproduction of a bird's yey view of New Orleans. Superimposed is the caption:

NEW ORLEANS
New Year's Day- 1847

### DISSOLVE TO:

110 EXT. NEW ORLEANS STREET (DAY)
FULL SHOT

Gayety, music, street noises, cries of street revelers and vendors come over.

### SOUND
Music - laughter - etc.

Masked dancers cavort in the middle of the street. Passengers in passing vehicles throw out confetti and streamers. CAMERA PANS UP to a balcony on one of the buildings and reveals several lovely girls, fanning themselves languidly and smiling down at the passersby, as a guitarist plays.

7.

111

### EXT. RIVER FRONT (DAY)
MEDIUM FULL SHOT

of docks and boat wharf. Cotton bales are piled high. Huge, black wharf hands stack the bales. CAMERA PANS OVER and reveals a gaily painted stern-wheeler showbeat pulling into the wharf. A band plays on deck. Wharf hands cut the pigeon wing. Joyous cries issue from the blacks. On the side of the boat is painted in large, legible letters: MISSISSIPPI SHOWBOAT.-The boat's whistle blows. Kids are running down to the wharf.

112

### EXT. WHarf (DAY)
MEDIUM SHOT

CAMERA SHOOTS3 to the gangplank as it is thrown by deck-hands. Before it can be fairly secured, JACQUES BOUTON enters on it from the deck and starts swaggering down to the wharf. He is tall, smiling, grandiloquent, radiates a magnetic personality and acts like one who knows it. CAMERA PULLS BACK for a WIDER SHOT. A group of kids start toward him with excited exclamations:

BOUTON
Greetings to the city of charm and gorgeous and ridiculous beauties!

### KIDS
(ad lib)

Hello, there chief! / There's the owner of the boat!
Hello, Skipper! / Happy New Year? / Etc.

AS Bouton comes TOWARDS CAMERA, the kids crowd around him. He starts digging his hand into his pocket.

### BOUTON
Now, don't crowd....

He brings out a handful of copper pennies and starts distributing them around, continuing as the CAMERA FOLLOWS:

### BOUTON
Here you are--brand new coppers with President Polk on 'em!

113

### EXT. WHarf ANOTHER ANGLE (DAY)
MEDIUM SHOT

as Bouton brings out more pennies and throws them to a group of black boys nearby.

### BOUTON
Here's yours, Ethiopians,! New pennies for the New Year!

The kids begin to scramble on the ground for the pennies. The CAMERA MOVES with Bouton as several tradesmen, each of various nationalities, among them even an Indian with grass baskets, carrying samples of his wares, press in around him.

### TRADESMEN
(ad lib) (In English, French, Creole)

Fine bed sheets - cheap!

Need any engine oil?

Aqui hay frutas! / Best brooms on the market!
Etc.

8.

BOUTON
(waving them aside)

See my assistant, folks. {

TRADESMEN

Who? Who is he? Where!

BOUTON

The lady--Miss Claire.

Bouton pushes his way past the tradesmen. He stops as he hears a rousing voice in greeting off scene.

VOICE

Jacques Bouton! Bonne année!

Bouton's face lights up as a fat jovial man enters shot to him.

BOUTON

Cappy! You old spern whale!

Cappy gives him a hug.

CAPPY

Greetings from the Louisiana Steamboat Owners Association!

BOUTON

Been waitin' a month--
(makes drinking gesture)
to have the pleasure of a drink with you!

CAPPY

(jovially)

I'll buy the first one.

They link arms and start out as Bouton exclaims:

BOUTON

Lead on--to Poppa Dondon's where the flowing
bowl of the New Year's libation will be filled
and refilled until we are---saturated.

EXTERIOR - DILL'S CARRIAGE - (DAY)

MEDIUM SHOT (PROCESSED AGAINST A BACKGROUND OF A (STREET SCENE)

The occupants of the carriage excepting Dill look off with deep curiosity at the sights. Dill is dead-pan. The carriage begins to turn a corner.

EXTERIOR CARRIAGE (DAY)

CLOSE SHOT TIM

looking off. His eyes widen as he sees something
particularly arresting. He turns slightly and indicates
off to Gumbo. They both see:

EXTERIOR OLD NEW ORLEANS CEMETERY (DAY)

The tombs, surmounted by crosses, are built high above
the damp earth. HOLD on this so that we get a good view
of it for human interest.

III. - 1

118. EXT. DILL'S HOME (NEAR CANAL STREET) (DAY)
MEDIUM SHOT

It is a small combination home and office which looks as if it could stand a coat of paint. We see a hanging shingle lettered;

MARTIN DILL, LAWYER.

Dill has inserted a key in the lock. He opens the door and is followed in by TIM behind whom follows GUMBO, JANIE and CATON, carrying the baggage.

119. INT. HALLWAY OF DILL'S HOME (DAY)
MEDIUM SHOT

It is dim an uninviting, exhaling a dank, musty odor which is indicated by JANIE who sniffs the close air critically. TIM gapes around, his expression eloquent of the contrast of this place to the home he just left. DILL walking on, stops in front of a door which he unlocks with another key. He speaks curtly:

DILL
Caton, wait here.

They stop and lay the baggage on the floor. DILL enters the door into a room which is his office. TIM follows him. As they enter and DILL closes the door behind him and TIM, CAMERA HOLDS on JANIE and FOLLOWS with her as she proceeds up the hall, apparently looking for something. GUMBO follows JANIE.

120. INT. DILL'S OFFICE (DAY)
MED. FULL SHOT

There's an untidy hodgepodge of law books, desk covered with papers, cardboard files, several chairs, an old safe in the corner, etc. TIM looks around gapingly at the dirt and confusion, as DILL takes some documents out of his pocket and kneels down at the corner safe to open combination. TIM puts his hand down on a pile of books, but lifts it quickly, his palm covered with dust.

TIM
Don't you have any slaves, Mr. Dill?

DILL
(with a faint note of distaste)
I hire 'em when I need 'em! Cost too much to feed slaves.
(commandingly)
And don't ask me any more questions!

121. INT. DILL KITCHEN (DAY)
MEDIUM SHOT

SHOOTING through the door from the hallway. JANIE with unerring instinct has gravitated

(CONT.)

III. - 3.

122.

FADE IN:

Dill is seated at a Louis XVI Desk going over some papers on top of which is a stock certificate.

SOUND
Pulley-bell rings violently.

Dill finally looks up annoyed, leaves his
papers, goes to the hall and calls.

DILL
Caton! Front door!

CATON
(o.s. in hallway)
Yes'm - Mr. Dill is in - but he's doing
his work!

PAULINE
At work? Nonsense!

The door opens and Pauline dances into the room, dressed to kill. Caton's face, expresses dis-approval, as he closes the door behind her. But Dill looks up pleased.

PAULINE
Martin!

DILL
Bless your heart!

PAULINE
It's the hour of the siesta, honey. Time for lovers to quit and play. I feel good! --It's nice and warm outside. Balmy! Lovely! Everybody's out.

She goes vivaciously up to Dill, a swirl of laces and perfume, and takes his head in both hands, planting a kiss firmly but quickly on his lips.

PAULINE
There!

Dill tries to hold her but she backs away in-
dignantly.

DILL
Ah! You smell just like a lilac bush!

PAULINE
(grandly)
It's perfume d'haleine de rose!

III. - 4.

122. (CONT.)

DILL
(correcting his mistake
(self-consciously)

That's right! 'Tis rose.

PAULINE

From Madame Ligon's shop! Just from France.
And the most beautiful valenciennes laces
came in--

(She smiles coquettishly, then
(picks up the stock certificate
(from his desk cutely and reads.)

PAULINE

128. INSERT

PAULINE'S VOICE

What is this --- SHARES? Greek for dollars?

124. INT. DILL'S LIBRARY (DAY)
TWO SHOT

Dill and Pauline as Dill, somewhat amused returns the certificate to his desk.

DILL

That, my dear, is a valuable little instru-
ment that'll open our door to a substantial
fortune.

PAULINE

(Patting him on the head)

Still my clever boy, Martin.

DILL

(Smiling, pleased)

PAULINE

(Petulantly)

DILL

(Appeasingly)

Our business shouldn't take long, Pauline.

Dill notices that a diamond brooch on her breast is unclasped. He fixes it for her.

PAULINE

Oh! I wouldn't lose that for the world!
It's the first thing you ever gave me --when
I was just a baby!

DILL

That's not so long ago.

(CONT.)

LII. - 11

143. EXT. SLAVE MARKET (DUSK)
FULL SHOT

The buyer pulls Caton away through the crowds, as Dill
calls Tim.

DILL

Let's go!

Tim follows Dill in opposite direction from Caton's.
Caton and Tim look back, a last glimpse of each other.

146. EXT. STREET (DUSK)
--- --- Dill and Tim

Their backs seen going down a quiet street, Dill clutch-
ing his bag of gold.

147. EXT. DILL GROUNDS (DAY)
MED. CLOSE SHOT - TIM AND GUMBO

Standing side by side looking sadly through the high
iron fence, bored like little prisoners. They suddenly
rouse up out of their torpor and react to the sing-song
sound of a voice coming over from outside the iron fence.

VOICE
Romanay, Romanay, Romanay, lady!

CAMERA PANS OVER and SHOOTS THROUGH BARS OF THE FENCE,
disclosing a black Chimney Sweep of the perior, ambling
along lackadaisically, and chanting:

148. CHIMNEY SWEEP
I know why yo' chimney won't draw,
Stove won't bake
And you can't make no cake.
And I know why yo' chimney won't draw.

149. EXT. OUTSIDE DILL FENCE (DAY)
CLOSE SHOT - CHIMNEY SWEEP

He wears an old top hat and carries a bundle of sacks,
ropes and brushes over his shoulder.

CHIMNEY SWEEP
Romanay, Romanay, Romanay, lady!

TIM'S VOICE
(calling him)
Hey!

150. EXT. DILL GROUNDS (DAY)
MED. CLOSE SHOT - SIDE ANGLE TAKING IN ALL THREE

Tim and Gumbo have come up against the fence and stare
at the newcomer with deep curiosity.

TIM
How much is that Romanay you're selling?

A huge grin sweeps over the Chimney Sweep's face,
answering with a Creole accent.

CHIMNEY SWEEP
Stranger yo' all is? I'se chimney sweep.
Creole folks say -- Romanay!

III. - 13.

155. EXT. DILL GROUNDS (DAY)
MED. LONG SHOT - SHOOTING ALONG FENCE

as the two boys continue toward the gate in the fence,
with an occasional cautious look towards the door of the
house. Then they break into a run through the gateway
and disappear off.

DISSOLVE TO:

156. EXT. STREET SCENE (DAY)
MED. SHOT IN FRONT OF PAPA DOUDON'S

Among the passersby we spot Tim and Gumbo looking a bit lost. CAMERA, which has INCLUDED the sign on cafe lettered: "PAPA DOUDON'S," GOES IN ON THE BOYS as Tim stops a man about to enter the cafe.

The man laughs at his joke.

TIM
Thank you, sir.

157. INT. PAPA DOUDON'S CAFE (DAY)
FULL SHOT

Typical French creole tavern crowded with late afternoon
merrymakers, including Bouton, Cappy, and Pauline.
General hubbub of laughs, talk, feet of waiters.
Tables gleaming with silver and white linen. Wine
carafs. Long bar. Mirrors, alcoves. Large doors at
rear opening on a courtyard. PANNING CAMERA pauses
briefly on two fiery creole gentlemen who leap at a
table.

GENTLEMAN

Ca c'est-n'est pas vrai, m'sieur!

The other replies by slapping him across the face with
a glove, the challenge for a duel. CAMERA FOLLOWS them
to courtyard door, then picks up Bouton who is the
focal center of a half-tipsy, arguing group at the
bar. Cappy is beside him. CAMERA PANS AWAY to a
small table and discloses Pauline sitting alone,
smiling come-hitherish at Bouton.
Bouton and group at bar.

BOUTON

To run a no-gooder like Zackaria
Taylor on the Whig ticket is, in
my humble opinion (which ain't humble)
a disgrace to the entire country.

(CONT.)

165.

Ext. Wharf (Day).

Med. Close (Day). Tim and Gumbo

Cappy

Don't worry, Monsieur Bouton, I'll get your fine rig
away.

Bouton--

You'RE the greatest fellow in all Louisiana!
Cappy, before you do anything, run down to the boat and
tell Miss Claire, I'll be there before show time. Hurry!
That was a great fight though wasn't it?

Cappy--Syncophant--Ha, ha,--

IV. - 1

162. EXT. FRONT OF POLICE COURT (DUSK)
MEDIUM SHOT

BOUTON is coming down the jail steps accompanied by
CAPPY. BOUTON passes.

BOUTON
Cappy, old fellow, with a good fast
saddle-horse, an old showman like me
could over take my boat at Pointe
Coupee before the curtain rises. But
the problem is to rent a horse.

CAPPY
A horse?

BOUTON
Yes, a horse!

CAPPY
(Comprehending)
Oh!

163. EXT. COUNTRY ROAD (DUSK)
MEDIUM SHOT - TIM

The sun is low on the horizon. CAMERA TRUCKS with
TIM as he trudges on. Night noises are heard--frogs,
katydids, a meadow-lark. TIM imitates some of them,
then begins to sing an old Negro song.

TIM
(Singing)
The frog went a-courtin'
He did ride. Um-hum.
He carried his pistol by his side.
Um-hum.
He said, Miss Frog, will you marry me!
Um-hum.
Yes, Mr. Frog, where will the wedding be?
Um-hum.
Way down yonder in a hollow tree.
Um-hum.

As the song nears the end, a horse's hoof-beats are
heard.

164. EXT. COUNTRY ROAD (DUSK)
MEDIUM SHOT - BOUTON

He reacts with a smile as he listens to TIM sing-
ing ahead of him. HOLD WITH HIM until he draws
abreast of TIM.

165. EXT. COUNTRY ROAD (DUSK)
MED. FULL SHOT

BOUTON reins his horse in and speaks to TIM.

(CONT.)

IV. - 2

165. (CONT.)

BOUTON

TIM

I'm only going as far as Pointe Coupee
to see the showboat,

BOUTON

Travelling four miles afoot to see
Bouton's Famous Mississippi Showboat?
Climb aboard, my lad, you're with none
other than the sole owner himself,
JACQUES BOUTON.

He pulls the boy up on the horse behind him.

166.

EXT. COUNTRY ROAD (DUSK)

MED. SHOT - BOUTON AND TIM

As they jog along.

TIM

Gee! You own the whole show?

BOUTON

(Laughingly)

Oh, yes! Oh, yes! Of course you know
what the price of admission is?

TIM

I got a quarter, Mr. Bouton.

TIM takes a quarter from his pocket and shows it
to BOUTON. BOUTON takes it.

BOUTON

I reckon you can get in for half fare.
Run away from home, heh?

TIM

I haven't got any home.

BOUTON

That's the way I started.

DISSOLVE TO:

167.

MED. SHOT - BOUTON AND TIM

Singing as they enter the lighted Main Street of
the town on horse back.

TIM and BOUTON

Um-hum!

Um-hum.

Um-hum.

Um-hum.

(CONT.)

IV. - 3.
TIM and BOUTON

167. (CONT.)

168. EXT. VICTOR'S TAVERN (NIGHT)
MED. SHOT -- BOUTON AND TIM

As they dismount from the horse. Lighted Showboat
seen at foot of street. Paint music.

BCUTON
Tim, old codger, hold Jacques
Bouton's horse just a minute while
I run in here and change my bank
roll so I'll have some small change
for the ticket seller.

TIM
Yes, sir.

BCUTON enters the tavern.

169. EXT. STREET (NIGHT)
LONG SHOT -- TIM

of showboat at end of street. People passing and
carriages going toward boat. TIM standing holding
horse. Music comes over.

170. INT. VICTOR'S TAVERN (NIGHT)
MED. SHOT -- BOUTON

approaches the bar. Crowd. Smoke. Bar-tender
waits. BOUTON takes out TIM's quarter and throws
it down grandly on the bar.

BCUTON
Change for this quarter please, and
take & whiskey out of it.

Bartender places a glass in front of BOUTON and
reaches for the bottle.

171. EXT. STREET (NIGHT)
MED. CLOSE -- TIM

holding horse, impatient now. Street empty and dark.
TIM restless and tired.

172. EXT. SHOWBOAT (NIGHT)
MED. CLOSE -- TIM AND BOUTON

at the gangplank. The ticket booth is closed.
Sounds of music and applause within as TIM and BOUTON
enter. Flash of show through a window.

(CONT.)

IV. - 4.

172. (CONT) BOUTON heads for the stage door, as TIM cranes his neck at the windows along the deck.

173. EXT. SHOWBOAT (NIGHT) DECK
CLOSE UP -- TIM'S

face against a window pane looking at the show.

TIM
Play-acting and singing!

174. INT. SHOWBOAT BACKSTAGE (NIGHT)
MED. SHOT -WINGS

Finale of show is on. CLAIRE, in rich costume of a queen, is running the show backstage. We see the curtain go up and down by old-fashioned hand grinder. BOUTON followed by TIM enters shot. BOUTON walks up to CLAIRE, clamps both hands on her shoulders, and asks eagerly:

BOUTON
How's she going, honey?

CLAIRE
(Relieved to see him)
Fine.

As actors troup off to continued applause,
CLAIRE addresses the leading man:

CLAIRE
Take a bow!

BOUTON
(quickly)
Never mind, I'll take it.

BOUTON strides onto the stage. TIM stands in a daze taking it all in.

DISSOLVE TO:

175. INT. BOX OFFICE OF SHOWBOAT (NIGHT)
MED. SHOT -- BOUTON, CLAIRE, TIM

CLAIRE, seated at table, looks around and sees a man at the door. The man is counting a pile of money before her. BOUTON and TIM enter.

BOUTON
This is a young man I came across on the road, Claire, a former plantation master and slave owner -- a little down on his luck just now like me, most successful people, at times, --Mr. Timothy Reid.

IV. - 6.

177/ (CONT.)

**CLAIRE**
the tickets, play the queen in the Henry VI. bit, and then you walk in at the finale and take a bow?
After all, I'm not your manager, I'm not you wife, I'm just your leading lady.

**BOUTON**
Now, honey......

**CLAIRE**
Not that I am complaining, but the least you could do----

**BOUTON**
(Quieting her down)
------is to walk with you arm and arm to the town's one and only tavern. But first, just let me escort our guest to bed. He can occupy that top bunk in my cabin. Just about fit him.

**CLAIRE**
I'll put the money away.

**BOU TON**
No, no! not in that condition, dear!
Suppose I take the bills and change 'em for Twenty Dollar gold pieces.

He picks up the greenbacks as 2X10^24 CLAIRE'S face expresses hopelessness.

**BOUTON**
Come, Tim, to the captain's cabin.

178. INT. BOUTON'S CABIN (NIGHT)
MED. SHOT --TIM AND BOUTON

BOUTON hands TIM one of his enormous shirts to use as a nightgown.

**BOUTON**
Get into this, fellow, and try the top bunk. I'll be back shortly. Sweet dreams!

**TIM**
Goodnight, Mr. Bouton.

**DISSOLVE TO:**

188. EXT. WHARF AND LEVEE (NIGHT)
MED. SHOT - NEGROES

lounging and loving. Just finishing a humming tune.
CAMERA GOES IN one black boy and girl.

**GIRL**
Look at de stars --just a-peepin' down on me like angels out o' de sky.

**BOY**
Lawd! Send me an angel down.

1.

2/22/39.

FADE IN: THE WOOD (DAY)

1. Enormous brown cotton bale fills entire screen. A black hand splits the bale wide with a cotton hook. CREDIT TITLES are superimposed against pattern of white cotton tumbling from bale in the sunlight, accompanied by a Musical Background of DEAR OLD SOUTHLAND in tempo. Cotton bale tumbling forward, obliterates last card, and discloses -- Wild geese and phasants sail by and single their ears to the wind of harmonic sounds.

Road, bordered by luxuriant foliage and showing the
domain proper of a vast plantation. CAMERA TRUCKS FORWARD
and focuses on a wrought-iron gate and arch with grill
whose wrought-iron letters read:

Picknicians are driving salves into the pen. Parakeets
and chickens, and the boys, scatter with
scolding sconks.

EXT. DOG PEN (DE John Timothy Reid)

CAMERA HOLDS BRIEF ON the legend and

DISSOLVES TO:

3. EXT. CANE FIELD (DAY)
FULL SHOT

Emphasize vastness of field where slaves, men and women,
are at work cutting cane, long knives flashing in the
sun. Ox-carts loaded with cane moving off. Resp of
knives, grunts of workers, creaking of wagon wheels.
Music comes over.

DISSOLVE TO:

The shed is piled high with sweet potatoes, melons,
pumpkins, peanuts. Slave women are packing the sweet
potatoes into bags, as a wagon arrives loaded with more
produce. PANNING CAMERA picks up a jolly-looking woman
slave bagging peanuts. She has stopped to crack a
peanut, one kernel of which she has stuffed in her
mouth and is chewing with relish. Her companions yelp
mirthfully.

DISSOLVE TO:

A white overseer is in charge. Bales piled high.
Work is going on full blast. Black men are baling
the cotton, sipping as they work: "COTTON NEEDS GINNIN'
SO BAD." Sound of the gin is heard.

DISSOLVE TO:

3.

2/22/39.

10a. CLOSER SHOT
on grinder.

DISSOLVE TO:

11. INT. SUGAR MILL (DAY)
CLOSE SHOT - SPOUT OF GRINDER

A stream of liquid juice pours into a copper kettle.
Sounds, as above, come over.

DISSOLVE TO:

of syrup boiling in huge copper kettle. We hear
the hiss of steam and bubbling of syrup.

12a. INT. SUGAR MILL (DAY)
LONGER SHOT

as slave skims the syrup into a container. A drop
drips over the side, which he catches with his index
finger, brings to his mouth and tastes appraisingly.

DISSOLVE TO:

to
of an area of the cane field still/be cut. The rest of
the field has been cut down, and we see bunded cane
lying on the ground in different spots, some being
lifted and loaded into ox carts. The cane cutters, men
and women, are singing at their work. Now and then
joyous cries and shouts are heard.

14. EXT. CANE HELD (DAY)
MED. CLOSE SHOT

Group of cane cutters, at closer hand, showing the
splendid physical character of the slaves. The women
are magnificent specimens, reflecting a rich plasm of
virility. The men are brawny, strapping, their skins
glowing in the sun like oiled bronze. There is a sense
of urgency in their actions as they slash away at the
stalks with their knives. The very air seems charged
with a current of joyous expectation. CAMERA MOVES in
on two men and a woman cutting away at the cane. They
are arrested by the creaking arrival of an ox cart. They
look up alertly.

15. EXT. CANE HELD (DAY)
ANOTHER ANGLE - MED. SHOT

(CONT'D.)

4.

2/22/39.

15. (CONT'D.)

FIRST SLAVE
(sagerly)

Got 'em?

DRIVER
(warningly)
Shut yo' big mouth!

FIRST SLAVE
Voodoo drums!

They slide three drums out quickly and ease them to the
ground, covering them with cane leaves. A slave starts
to strike one of the drums. Second slave catches his
hands.

SECOND SLAVE
Careful!

A white overseer passes and they cover the drums
quickly. CAMERA FOLLOWS OVERSEER.

WIPE TO:

16. EXT. ROAD NEAR BIG HOUSE (REID MANSION) (DAY)
MEDIUM SHOT

17. EXT. REID MANSION (DAY)
MEDIUM LONG SHOT

SHOOTING THROUGH lilac bushes, from Pauline's point of
view. It is a beautiful stately mansion lined with
long white columns, the type of Southern dwelling that
suggests graceful opulence and expansive living. (NOTE:
See page 325 in Saxon's "Old Louisiana". Sketch of
house.) On the veranda, seated at a small table, is
the master, JOHN TIMOTHY REID, talking to his friend
and lawyer, MARTIN DILL. To the rear of the table is
old UNCLE CATON, a white-haired, benevolent-visaged
Negro family servant, who pours black coffee for them
from a silver urn. Liquor, cigars, on table.

18. EXT. ROAD NEAR BIG HOUSE (DAY)
CLOSER - PAULINE

With a gesture of suppressed impatience she tears her
lace handkerchief in two, and settles back angrily in
the carriage to continue to wait. A startled pickaninny
holds the horse.

8.

2/22/39.

22. (CONT'D.)

PAULINE
(pointing at the pumpkin)

Can I use this to pay my dressmakers?
Can I use this for the opera? Will
this buy me a rope of California gold?
Will this pay for a dinner at Papa
Dondon's? -- A place where I'm really
wanted -- not like your friend Reid's!

PAULINE
Tradition? (screaming)
Stop! Stop!

Dill in astonishment reins in the horses.

22a. EXT. ROAD (DAY)
MEDIUM SHOT ON CARRIAGE

Pauline rises, stoops down and picks up the pumpkin
and, with all her might, smashes it in the road.

DILL
(to the horses)

Git-up!

23. EXT. ROAD (DAY)
CLOSEUP OF PUMPKIN

as CAMERA PAUSES BRIEFLY on the broken pumpkin.

GATON

Mars Timothy, when I hear that
there Mr. Dill talkin', it makes
me think about de bank panic of 1837.
Dem's was terrible times in
Louisiany.

REID

GATON

Dat's what I knows. And dat's why I
didn't like de way he say you better
pay yo' old debts.

REID

(CONT'D.)

["10. 9.", "2/22/39.", "24. (CONT'D.)", "CATON\nUm-hum! Do eat's mighty\ndignified 'till de dog comes by.", "we'll try it first on the\nThey both laugh aloud. Reid rises.", "REID", "EXT. REAR Go get the carriage ready, Caton,\nMEDIUM and find my son. Let's go see\nthem cut the last stalk of cane.\non Gumbo, slightly relieved. He stands at the\nUncle Caton starts off with tray of glasses. shot,\ntakes the apple off Gumbo's head, and deposits it\non top of the fence post, which is exactly Gumbo's", "25. EXT. REAR OF STABLES (DAY)", "MEDIUM FULL SHOT", "IN CAMERA FOREGROUND is young TIMOTHY REID (Bobby Breen) aiming at something with a rifle. CAMERA SHOOTS PAST HIM at an angle which takes in the stable over which, from various stalls, sleek heads of expensive horses protrude. AS CAMERA PANS ON, it reveals the object of Tim's aim, GUMBO, a Negro boy about Tim's age standing near a fence post at the edge of the table. A large apple is perched on his head, a la William Tell. GUMBO quivers with uncontrollable nervousness.", "25a. EXT. REAR OF STABLES (DAY)", "CLOSEUP OF TIM", "TIM\n(lowering rifle)\nHold still, Gumbo.", "26. EXT. REAR OF STABLES (DAY)", "CLOSEUP OF GUMBO", "GUMBO\n(taking violently)\nI am!", "27. EXT. REAR OF STABLES (DAY)", "ANOTHER ANGLE - FULL SHOT", "taking in both boys. They are about twenty feet\napart. Tim takes aim.", "GUMBO", "at fence post (taking apple off). He examines the\nbullet. Wait a minute! Do you sure\nWait a minute! He sure\n

10.

2/22/39.

27. (CONT'D.)

32. EXT. REAR OF STABLES (DAY)
TWO SHOT - TWO SHOT - TWO SHOT
TIM
(lowering his aim)
A Reid never misses. But
we'll try it first on the
fence post.
TIM
(assuringly)
A Reid never misses. Just wait.

on Gumbo, slightly relieved. He stares at the
approaching Tim wonderingly. Tim enters the shot,
takes the apple off Gumbo's head and deposits it
on top of the fence post, which is exactly Gumbo's
height.

30. EXT. REAR OF STABLES (DAY)
CLONE SHOT ON TIM
TIM
Tim's intention is patent. He is going to demonstrate
his marksmanship of shooting the apple off the post.
As Tim exits shot, Gumbo eyes the apple speculatively
and alertly steps several feet away from the post to
be well out of range.

taking in Tim as he reaches his original position.
He raises his gun and takes aim. There is a report
as he pulls the trigger.

30. EXT. REAR OF STABLES (DAY)
CLOSE SHOT OF FENCE POST

We see a tracer bullet spit up against the post about
two inches below the apple. The apple remains un-
touched.

31. EXT. REAR OF STABLES (DAY)
FLASH CLOSEUP

at fence post as Gumbo enters to it. He examines the
bullet mark on the post and scratches his head specu-
latively. Then, as Tim enters the shot to look at
the bullet mark, Gumbo denotes the bullet mark and
gestures toward his head, indicating with eloquent
pantomime what would have happened to his head if the
apple were on it. Tim takes the apple off the post
and assures Gumbo confidently:

He starts to move Gumbo towards the stable.

2/22/39.

11.

33. EXT. REAR OF STABLES (DAY)
TWO SHOT - TWO SHOT - GUMBO AND TIM

as they enter shot.

TIM
(assuringly)

He places Gumbo in position and puts the apple on
his head.

GUMBO
You're right, Little Master.

He gulps hard and his limbs shake again as he awaits
his fate. Tim exits.

36. EXT. REAR OF STABLES (DAY)
CLOSE SHOT ON TIM

as he reaches a spot about fifteen paces away. He
turns and faces Gumbo, then takes aim, his eyes glued
to the sight intently, when suddenly he starts, his eyes
widen and his jaw falls agape.

37. EXT. REAR OF STABLES (DAY)
CLOSE SHOT AT TUMBO

Directly over his head, the head of a horse protrudes
over the open stall gate. The horse snatches the apple
from Gumbo's head and starts chewing it. Gumbo is very
grateful.

38. EXT. REAR OF STABLES (DAY)
MEDIUM SHOT - ANOTHER ANGLE -

Caton approaches Tim from around the corner of the
stable. From an opposite direction comes JANIE, colored
cook and Gumbo's mother. She carries a small pan in
one hand and an egg beater in another, which she manipu-
lates throughout the following scene. Caton addresses
Tim, as he lowers his rifle.

CATION
(smilingly benignly)

TIM
Gee! Can Gumbo go, too?

Before Caton can answer, Janie says regretfully:

JANIE

Sorry, Mars Tim! Dere's a heap
o' taters to peel for supper. Come
on, Gumbo!

CATION
(to Tim)

Let's hurry. Yo' dad's waitin' in
de carriage!

(CONT'D.)

14.

2/23/39.

44b. INT. CARRIAGE (D.Y)

CLOSEUP OF REID

taking a line in turn.

REID

(singing)

Somebody's gwine to give me Christmas shoes ---

Den I's gwine home!

44c. INT. CARRIAGE (DAY)

CLOSEUP OF TIM

TIM

Den I's gwine home!

Den I's gwine home.

44d. EXT. ROAD (DAY)

MEDIUM SHOT OF THE THREE (PROCESS)

The carriage travels under the expansive branches
of the trees as the three sing. All join in each
time on the refrain of "Den I's gwine home!" And
it is clear there is a fine friendship between father
and son. All three sing the chorus:

ALL THREE

It's gwine ter pick off-a Massa's peas!

It's gwine to pick off-a Massa's peas---

An' den I's gwine home.

45. EXT. ROAD (DAY)

GLOST SHOT OF CATON

CATON

Dat ole possum is up de tree ---

Den I's gwine home.

GUMBO'S VOICE

(o.s. answering)

I bet he's waitin' dere fer me---

Den I's gwine home!

Caton's eyes bulge as he starts, thinking it is a
ghost.

CATON

(reining in the horses
to a dead stop)

Whoop, Satan!

Caton sits petrified without turning his head an inch.

16.

2/23/39.

51. EXT. CANE HELD (DAY)

MEDIUM CLOSE SHOT

of two slaves in a corner of the field shielded by
foliage heating their drums over a fire. One is
testing a drum by thumping on it with the palms of
his hands.

52. EXT. CANE FIELD (DAY)

MEDIUM SHOT

A large group of slaves, men and women, are assembled
around a small area of uncut cane, as several women
cutters, lead by a magnificent black amazon, attack
the remaining stalks with their huge knives. Swiftly
they move down the rows in tempo, the stalks falling
before them.

53. EXT. CANE FIELD (DAY)

CLOSE DOLLYING SHOT

54. EXT. CANE FIELD (DAY)

CLOSE SHOT OF TALL WOMAN

swishing away like mad with great rhythmic strokes
of the knife.

55. EXT. CANE HELD (DAY)

FLASH SHOT

Reid, Tim, Gumbo, and Caton dismounting hurriedly
from the carriage. As Gumbo ties the horses, the
others start across the field to the cutters.

SOUND

Rhythmic swish of cane knives
and the snap of the stalks.

Bedlam of excited voices.

56. EXT. CANE FIELD (DAY)

MED. CLOSE SHOT

57. EXT. CANE FIELD (DAY)

MEDIUM SHOT

Featuring the tall woman against the background of
the slaves, all charged with expectation -- all ready
to explode into motion when the final stroke severs the
stalk. First, a significant pause, now she wields
the knife swiftly -- three times -- and the stalk
falls. The final stalk! As the woman screams in
triumph, a great concerted cry goes up from the
slaves.

17.

2/23/39.

58. EXT. CANE FIELD (SUNSET)
FULL SHOT

of the complete ensemble as the Festival Dance begins.
Wild cries fill the air. The voodoo drums are heard
beating rhythmically.

57.

SOUND
of drums and cries of slaves.

59. EXT. CANE FIELD (SUNSET)
FLASH GROUP SHOT

of the drummers beating the primitive instruments.
alligators slide down into the water. We hear
the sound of drums and clogs over the scene.
SOUND
of beating drums.

60. EXT. CANE FIELD (SUNSET)
FULL SHOT

of the dance from a raised platform, SHOOTING DOWN
on the dancers below.

69.

of drums and music.
SOUND
of the dancers' bare feet rising and falling on the
earth.

61. EXT. CANE FIELD (SUNSET)
MED. CLOSE SHOT

of a view of the dancers.

62. EXT. CANE FIELD (SUNSET)
GROUND SHOT

63. EXT. CANE FIELD (SUNSET)
MED. CLOSE SHOT

of the amazonian woman gyrating with abandon.

64. EXT. CANE FIELD (SUNSET)
MED. CLOSE SHOT

of Reid, Tim and white overseer, rapt with interest,
CAMERA PANS away a few feet and takes in Uncle Caton,
swaying with the music.

75.

SOUND
of drums and singing.

65. EXT. CANE FIELD (SUNSET)
FULL SHOT

of dancers from raised platform. The dance has
grown more and more intense.

74.

66. EXT. CANE FIELD (SUNSET)
MED. CLOSE SHOT

of some of the dancers, lost to the rapture and
frenzy of atavistic emotion. The thumping of the
drums increase in volume.

(CONT'D.)

18.

2/23/39.

66. (CONT'D.)

**SOUND**
Of drums and slaves.

67. EXT. CANE FIELD (SUNSET)
CLOSE SHOT

of dancers, their expressions intensified.

68. EXT. CANE FIELD (SUNSET)
MEDIUM CLOSE SHOT

at the back of a brackish pool. We see two alligators slide down into the water. We hear the sound of drums and music over the scene.

**SOUND**
Of drums and music.

69. EXT. CANE FIELD (SUNSET)
ANOTHER ANGLE - CLOSE SHOT -

of a rabbit darting out of a hole. It sits up on its haunches, as though entranced by the rhythm of sound coming over.

**SOUND**
Of drums and music.

70. EXT. CANE FIELD (SUNSET)
ANOTHER ANGLE - CLOSE SHOT

of a snake slithering along the ground. It stops, raises its head and strikes.

71. EXT. CANE FIELD (SUNSET)
CLOSE SHOT

of the rabbit, tumbling over, twitching.

72. EXT. CANE FIELD (SUNSET)
LONG SHOT

of the sky. A flock of birds wheel overhead. The sun is sinking below the horizon. Dusk is enveloping the earth.

**EXT. MAHUY SATH (DUSK)**

**MED. FULL SHOT**

of the dancers, taking in most of the ensemble. The dance has reached an orgiastic climax.

74. EXT. CANE FIELD (DUSK)
ANOTHER ANGLE - LONG SHOT

against the skyline. The enraptured men and women move swiftly and rhythmically silhouetted in the dying sun.

2/23/39.

19.

75. EXT. MARSHY WATER (DUSK)

MED. LONG SHOT

82.

(CONT'D.)

along the edge of the barren fields. Reid, Tim and
Uncle Caton are returning to the carriage on the road.
They walk in silence, too deeply affected by what they
have seen to say anything about it.

76. EXT. MARSHY WATER (DUSK)

CLOSE DOWN SHOT

at the ground. A snake lifts its head and then
glides to the edge of the pond.

77. EXT. MARSHY WATER (DUSK)

CLOSE SHOT

Horse - Horse Timothy......

on Reid and Tim. Tim has his hand clasped in his
father's as they walk.

84.

ANOTHER ANGLE - TWO SHOT - TIM AND CATON

78. EXT. MARSHY WATER (DUSK)

CLOSE DOWN SHOT

on Reid's legs. The snake is in the way. It lifts
its head, then strikes at Reid's leg.

SOUND

An exclamation of pain from Reid.

79. EXT. MARSHY WATER (DUSK)

MED. CLOSE SHOT

on Reid as he stops short, pulls back hastily with
his leg and in doing so stumbles and falls to the
ground.

CATON

Snake bite!

80. EXT. MARSHY WATER (DUSK)

CLOSE SHOT

on the snake as it glides swiftly into the water.

TIM'S VOICE

Dad!

81. EXT. MARSHY WATER (DUSK)

THREE SHOT

Tim is bending over Reid anxiously. Caton is
frantically tearing off a portion of his own shirt
to make a tornequet. Reid is writhing with pain.

TIM

(anxiously)

You'll be all right, won't
you, Dad?

82. EXT. MARSHY WATER (DUSK)

CLOSEUP OF REID'S FACE

The features begin to relax. His expression becomes
inert.

(CONT'D.)

20.

2/23/39.

82. (CONT'D.)

Dad!

TIM'S VOICE

83. EXT. MARSEY WATER (DUSK)
CLOSEUP OF TIM

His eyes widen, a growing fear in his expression
at what he sees. He utters a cry of anguish.
Tim screams.

CATON'S VOICE
(choked)
Marse - Marse Timothy......

84. EXT. MARSHY WATER (DUSK)
ANOTHER ANGLE - TWO SHOT - TIM AND CATON

as Tim continues to scream. Caton puts his arms
protectingly around the boy. HOLD BRIEFLY and

FADE OUT.

21.

2/24/39.

FADE IN:

85. INT. REID DINING ROOM (DAY)
CLOSE UP - SNUFF BOX IN DILL'S HANDS

With his right hand he taps the lid, raises it, takes a pinch. CAMERA PANS with hand as it rises, disclosing CLOSEUP of Dill.

SOUND

Dill sneezes.

THE CAMERA DRAWS AWAY and we see that Dill is at the head of a table, evidently fad ing a group of people. On the table before him are the sheafs of a legal document.

SOUND

Dill sneezes again.

86. INT. DINING ROOM (DAY)
INSERT OF PAPER ON FLOOR

The page is seen through the rungs of a chair lying on the floor. Outstanding to the eye are the im-
portant lines reading:

"Under no circumstances shall the Bayou Lovelle Plantation be broken up, nor shall the slaves be sold....."

SOUND

Dill still sneezing.

87. INT. DINING ROOM (DAY)
MED. SHOT - DILL

DILL

The CAMERA BEGINS TO DRAW BACK to a MED. FULL SHOT, revealing the long dining room table, around which are seated the city creditors of Reid's estate, some with their hats on the table, some smoking. It is a beautiful room with heavy sideboards, tapestries, chandeliers, silver, crystal, imported china, cut glass, mirrors, and behind the CAMERA, tall French windows opening onto a terrace. On the table are piles of silver and of jewelry. The eyes of the creditors are eager as Dill picks up the last page of the document and replaces his square glasses to read:

(CONT'D.)

2/24/39.

22.

87. (CONT'D.)

DILL
Now, that's the end of the will.
(reading)
"...signed and notarized before
me on the 10th day of December,
1846."

88. INT. DINING ROOM (DAY)
CLOSE SHOT - TIM

DILL'S VOICE
(o.s.)
John Timothy Reid, Junior.

89. INT. DINING ROOM (DAY)
MED. GROUP SHOT

Dill addresses the group, as his wan smile to Tim
Fades.

The creditors' faces light up with satisfaction.
Dill turns to the clerk seated at his side. Caton
enters and deposits a great pile of antique silver
trays on the table.

DILL
Ready, clerk?

CLERK

Yes, sir!

DILL
Item one, land holdings—
eleven hundred acres of cane....

23.

2/24/39.

90. INT. DINING ROOM (DAY)
MED. CLOSE SHOT

Tim, restless in the midst of the creditors all
facing toward Dill, turns as he hears light pebbles
on the window pane behind him. He sees Gumbo on the
terrace, but motions him to silence and turns back
to the table.

90-A. INT. DINING ROOM (DAY)
MED. SHOT - THROUGH FRENCH WINDOWS

Gumbo, determined to speak with Tim, reaches for
more pebbles and throws them at the window.

DILL'S VOICE
... bounded on the north by
Bayou Canique ... and on the
west by the Mississippi River ...

91. INT. DINING ROOM (DAY)
MED. CLOSE SHOT

Tim finally slips quietly out of his chair and tip-
toes through the French windows to the terrace.

DILL'S VOICE
... 200 acres of hardwood timber,
mahogany, magnolia and cottonwood --
total evaluation, nineteen thousand,
seven hundred and sixty-two dollars
and eighty-three cents ...

92. EXT. REID HOUSE (DAY)
MED. CLOSE SHOT

Gumbo is on the terrace as Tim enters to him from
room.

Massa Tim --

GUMBO

TIM

(cautioning him)

Sh-h ... I'm presidin' at a meetin'.

GUMBO

(awed)

Oh ...

Tim, catching his wretched expression, now asks:

TIM
What's the matter?

GUMBO
(tremulously)

I ... I heah say de slaves
gonna be sold.

(CONTD.)

24.

2/24/39.

92. (CONT'D.)

TIM
(incredulously)
Sold?

Tim's face expresses great concern. Without another
word he turns and starts inside.

93. INT. DINING ROOM (DAY)
MED. SHOT

Dill at head of table as Tim comes up and with ill-restrained excitement addresses Dill as the latter is intoning:

DILL
...We will proceed now to item
two -- livestock and --

TIM
Mr. Dill--

Dill turns to him, a bit annoyed at this obstreperous interruption. Tim continues irrepressibly.

DILL
(untechnically)
Now, don't trouble yourself about
these matters, Tim.

94. INT. DINING ROOM (DAY)
CLOSE SHOT ON DILL AND TIM

as Dill says in a tone of concession -

TIM
(relating the truth)
Then you ARE selling the others?

(CONT'D.)

25.

2/24/39.

94. (CONT'D.)

TIM

But I won't stand for it!

DILL

95. EXT. YARD BACK OF HOUSE (DAY)

MED. FULL SHOT

A large group of male and female slaves are assembled, meaning and wailing, being grouped by several white overseers. Their wailing increases as Dill and several dealers, approach and begin separating them -- the dealers, feeling their limbs appraisingly, etc.

DEALERS

(ad lib)

Get over there!

Come here!

Hey slaves, -- this way!

Etc.

SLAVES

(meaning ad lib)

Hab mercy! Do Jesus! expressions at the

slave dea-- Look down Lawd, look down!

Hear de prayer of a po' sinnin' slave!

96. EXT. YARD BACK OF HOUSE (DAY)

MED. CLOSE SHOT

of an aged preacher from the ranks of the slaves. He mounts the smokehouse steps close by and tries to calm them with a citation of Biblical lore.

96a. EXT. YARD BACK OF HOUSE (DAY)

CLOSEUP OF PREACHER

PREACHER

Brudders and Sisters, I know that

my Redeemer liveth -- and the' we

are scattered like chaff in the wind--

we gotta bound our souls together

till we walk de streets of glory--

on dat day.... as it PASSES on the first

The meaning of the slaves o.s. swell into a spiritual.

SOUND

Of slaves meaning and singing.

96b. EXT. YARD BACK OF HOUSE (DAY)

GROUP SHOT

SLAVES (singing)

No-bod-y knows de trouble I see, Lord,

No-bod-y knows de trouble I see;

No-bod-y knows like Jesus.

New Year's Day - (CONT'D.)

26.

2/24/39.

96b. (CONT'D.)

## SLAVES
(continue to sing)

Brothers, will you pray for me,
Brothers, will you pray for me,
Brothers, will you pray for me
An' help me to drive ole Sa-tan a-way.

No-bod-y knows de trouble I see, Lord,
No-bod-y knows de trouble I see,
No-bod-y knows de trouble I see, Lord,
No-bod-y knows like Je-sus.

97. EXT. YARD BACK OF HOUSE (DAY)
FULL SHOT

of slaves singing.

## SOUND

Slaves singing.

98. EXT. YARD BACK OF HOUSE (DAY)
CLOSE SHOT

at a rear window of the house. Tim, Caton, Janie and Gumbo look on with strained expressions at the slave dealers guarding the slaves, while a song comes over in musical lament.

## SOUND

Of slaves singing.

99. EXT. YARD BACK OF HOUSE (DAY)
MED. FULL SHOT

## SOUND

Of slaves singing.

### DISSOLVE TO:

100. EXT. ROAD (DAY)
MEDIUM SHOT

of Dill's two-seated carriage drawn by two horses coming down the road. As it PASSES CAMERA, we get a prominent shot of Dill and Tim in the first seat - Gumbo, Caton and Janie in the rear seat, holding big bundles. Tim turns around to look wistfully at the Reid house in the distance.

### DISSOLVE TO:

101. **INSERT**

A FULL SCREEN DRAWING to simulate a photographic reproduction of a bird's eye view of New Orleans. Superseded is the caption:

NEW ORLEANS
New Year's Day - 1847

### DISSOLVE TO:

28.

2/24/39.

104b. (CONT'D.)

As Bouton comes TOWARDS CAMERA, the kids crowd around him. He starts digging his hand into his pocket.

BOUTON
Now, don't crowd....

He brings out a handful of copper pennies and starts distributing them around, continuing as the CAMERA FOLLOWS.

BOUTON
Here you are -- brand new coppers with President Polk on 'em!

105. EXT. WHARP (DAY) - to Poppa Doudon's - ANOTHER ANGLE - MED. SHOT

BOUTON
Here's yours, Ethiopians! New pennies for the New Year!

The kids begin to scramble on the ground for the pennies. The CAMERA MOVES with Bouton as several tradesmen, each of various nationalities, among them even an Indian with grass baskets, carrying samples of their wares, press in around him.

TRADESMEN
(ad lib - in English, French, Creole)
Fine bed sheets - cheap!
Need any engine oil?
Aqui hay frutas!
Best brooms on the market!
Etc. Etc.

BOUTON (DAY)
(waving them aside)
See my assistant, folks.

TRADESMEN
Who?
Who is he?
Where?

BOUTON
The lady - Miss Claire.

VOICE (O.S.)
Jacques Bouton. Bonne année!

BOUTON
Cappy! You old sperm whale!

Cappy gives him a hug.

(CONT'D.)

2/27/39.

110. EXT. DILL'S HOME (NEAR CANAL STREET) (DAY)
MEDIUM SHOT

MARTIN DILL, LAWYER

Dill has inserted a key in the lock. He opens
the door and is followed in by Tim behind whom
follows Gumbo, Janie and Caton, carrying the
baggage.

111. INT. HALLWAY OF DILL'S HOME (DAY)
MEDIUM SHOT

It is dim an uninviting, exhaling a dank, musty
odor which is indicated by Janie who sniffs the
close air critically. Tim gapes around, his
expression eloquent of the contrast of this
place to the home he just left. Dill walking
on, stops in front of a door which he unlocks
with another key. He speaks curtly.

DILL
Caton, wait here.

They stop and lay the baggage on the floor.
Dill enters the door into a room which is his
office. Tim follows him. As they enter and
Dill closes the door behind him and Tim, CAMERA
HOLDS on Janie and FOLLOWS with her as she pro-
ceeds up the hall, apparently looking for some-
thing. Gumbo follows Janie.

112. INT. DILL'S OFFICE (DAY)
MED. FULL SHOT

There's an untidy hodgepodge of law books, desk
covered with papers, cardboard files, several
chairs, an old safe in the corner, etc. Tim
looks around gapingly at the dirt and confusion,
as Dill takes some documents out of his pocket
and kneels down at the corner safe to open
combination. Tim puts his hand down on a pile
of books, but lifts it quickly, his palm covered
with dust.

113. INT. DILL KITCHEN (DAY)
MEDIUM SHOT

SHOOTING through the door from the hallway.
Janie with unerring instinct has gravitated

(CONT.)

31.

2/27/39.

114. (CONT.) to what she was looking for -- the kitchen. It is in a sorry, dusty state. She and Gumbo are tentatively looking through bins and cupboards which prove to be mostly empty.

GUMBO

Sho' ain't nothin' to eat here.

JANE

Looks like they never is been.

### FADE OUT

115. FADE IN:

SOUND

Pulley-bell rings violently.

DILL

Caton! Front door!

GATON'S VOICE

(o.s. in hallway)

PAULINE'S VOICE

At work? Nonsense!

The door opens and Pauline dances into the room, dressed to kill. Caton's face, expresses disapproval, as he closes the door behind her. But Dill looks up pleased.

PAULINE

Martin!

DILL

Bless your heart!

PAULINE

Lovely! Everybody's out.

PAULINE

There!

33.

2/27/39.

117. (CONT.)

PAULINE

It's the first thing you ever gave me - when
I was just a baby!

DILL

That's not so long ago.

Dill accompanies her to the hall door, taking his purse from his pocket and producing a bill. Pauline raises her lips provocatively as she receives the money.

PAULINE

Is that all?

Dill kisses her, a long greedy but slightly absurd kiss. The bald spot on his head reflects the sun.

PAULINE

Such a long kiss, Martin!

DILL

So I'll know lilac from rose next time.

PAULINE

Lovely!

118. INT. DILL HALL (DAY)

MEDIUM SHOT

as Pauline emerges from the library. CAMERA
FOLLOWS her as she walks down hall in the direction
that will bring her past the living room.

119. INT. DILL LIVING ROOM (DAY)

MEDIUM SHOT

SHOOTING from hall, CAMERA PICKS UP Caton and
Janie, who are dusting and cleaning, conversing
as they work. CAMERA GOES IN ON THEM

JANIE

I can tell you just like I feels-
these ain't no quality folks. Looky here!

(Janie holds up gob of dust from a corner).

CATON

I ain't so worried about de dirt in
dis house as I is about de people!

120. INT. DILL HALL (DAY)

MEDIUM CLOSE SHOT

Pauline, hearing voices comes over from within
living room, stops and listens, keeping herself
unobserved behind the portieres in the doorway.

(CONT.)