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148 DOOR OF BOUTON'S CABIN. NARCISSUS comes to call BOUTON to calm the hungry crowd of actors.

149 INTERIOR OF CABIN. BOUTON AND TIM AWAKE, at knock.

150 NARCISSUS IN DOORWAY SAYS ACTORS ACT LIKE THEY ARE MAD.

151 BOUTON DRESSES SLEEPILY, tells TIM to come down to eat, and follows NARCISSUS out.

152 DINNING ROOM. BOUTON ENTERS and gives a spiel to the upset actors. Then very grandly he turns to the galley-window and tells NARCISSUS to give them two eggs a piece from now on---but, as he says it, he holds up secretly one finger to the COOK. TIM enters as the bedlam is still going on concerning complaints other than food, such as back wages, etc. There are threats to quit. As TIM comes in, the noise calms down. TIM says goodmorning. All are struck by his manliness. BOUTON introduces him as a singing marvel rivalling the angels and a new money-maker for the show.

153 TABLE AS BREAKFAST ENDS. CLAIRE AND BOUTON ARE TOGETHER. She discusses the business of the show with him, the money due on the band instruments, etc. BOUTON carelessly replies that they'll make more than enough to pay their bills in Cincinnati. Besides, they will introduce TIM to the public there. As to the question of what songs he will sing, CLAIRE shows him some STEPHEN FOSTER music. BOUTON says that music is not worth the money CLAIRE paid for it. It may be a short hit today, but won't live six months. One of the songs is SWANEE RIVER. NARCISSUS asks BOUTON what he will have for breakfast. BOUTON carelessly replies, "Bring me a mint julip." Against CLAIRE'S will, he begins to drink so early in the day.

23.

154 TIM LEANS ON THE RAIL OF THE MOVING BOAT HUMMING A LITTLE TUNE. GLORY says, "Where did you learn to sing like that, chile?" TIM replies that UNCLE CATON always sang, but now he has been sold away into the rice fields. Dissolve to

155 CHEAP SHOBBY PLANTATION where UNCLE CATON is a slave.
MASTER
~~AXEAXEAXX~~ shown yelling crudely for a drink, as he flops down on the veranda. CATON starts to serve the drink and drops the glass. MASTER says he is no good as a house servant, and since he seems to be worrying so much about his former LITTLE MASTER, he will put him out in the rice fields to work. Maybe there he'll work so hard he won't worry.

156 RICE FIELDS IN THE HOT SUN. Muddy water. OVERSEER with whip. CATON now is thinner and more bowed than before. He tells the other slaves about his former days and his good master and little son. OVERSEER arrives and threatens him with his whip.

157 PADDLE WHEEL OF SHOWBOAT MOVING SWIFTLY. BLASTS OF WHISTLE.

158 MONTAGE SHOTS OF PASSAGE OF SHOWBOAT UP THE RIVER. Swiftly, one after another. Towns of the Mississippi: Baton Rouge, Natchez, Vicksburgh, Memphis, etc. TIM at the wheel, BOUTON guiding him. Passing cotton fields, mansion houses, wharfs, other steamboats, swamps, slaves in fields, bloodhounds, levees, cabins, monn-lightx.

159 ON BOARD SHOWBOAT. Excitement as boat nears Cincinnati.

160 SIRLS SHOWN PREPARING WARDROBE. Talking excitedly.

161 TIM IN REHEARSAL UNDER BOUTON'S DIRECTION.

162 GALLEY where CLAIRE and GLORY are trying to scrape together a dinner menu, CLAIRE promising that in CINCINATTI

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163

/BARE STAGE.

there'll be plenty of food to cok, but today she'll
show GLORY how to make a bread pudding without eggs.

CLAIRE comes into theatre just as TIM finishes his
rehearsal with BOUTON. BOUTON says TIM is worth a
million dollars to him, that he'll pay him a good
salary. Or rather that he'll put it away for him.
A look of distress crosses CLAIRE'S face at this
well-meant but obvious falsehood. As TIM doubts if
people will really like to hear him sing in a show,
CLAIRE assures him that he will be all right. TIM
says he hopes sox, because he wants to buy/UNCLE
CATON from the rice swamps. BOUTON assures him that
they'll buy CATON back.

164 CINCINNATI. Walls and fences being plastered with posters announcing the coming of the Showboat and the Singing Boy Wonder, LITTLE TIM.

165 ARRIVAL IN CINCINNATI. WHarf. Band playing, whistles blowing, Negroes dancing, crowd looking. TIM giving orders along with mates as to docking of boat. TIM shown throwing out lines to wharf. Crowd cheers.

166 PARADE FROM SHOWBOAT THROUGH CINCINNATI STREETS. Entering

168 INTERIOR OF AN OFFICE NEAR THE DOCKS. At a tall desk a
hansome young bookkeeper sits, an open ledger on one
side, on the other blank music sheets where he is writing
a song-score. The young clerk's brief case bears the
name, STEPHEN FOSTER. In the distance he hears the
band. He stops work and goes to the window to look out
on the passing parade. He returns to his books, puts
down a few scattered figures in ledger from pile of
bills, runs hand through hair, then turns to his music
again. His brother, DUNNING, enters and catches him at
his music. The BROTHER says that even if he is working

25

for his borther, he ought to have more concern about his
job, and that he is employing a bookkeeper, not a song
writer. The music of the band is heard drifting back
on the wind. As the brother exits, STEPHEN works a
moment more on the figures, adding up a short column
wrong.

168
10
13

10 STEPHEN puts down quickly the sum of
45

169 AS THE BAND AGAIN DRAWS NEAR, STEPHEN quickly closes his books and, putting his music in the brief case, takes his hat and rushes into the street.

170 NIGHT ON THE WHARF. Crowds coming to Showboat. BOUTON outsides in all his glory announcing the wonders within.

171 AUDITORIUM OF SHOWBOAT. Large audience. Show in progress.

172 IN A BOX SITS STEPHEN FOSTER.

173 IN THE FRONT ROW sit a dozen little tough WHARF RATS.

174 ON THE STAGE, BOUTON introduces the debut of the Singing Boy Wonder, LITTLE TIM.

175 EXCITEMENT IN THE AUDIENCE. Hostility on faces of WHARF RATS.

176 KNEEZING AT THE FRONT ROW. TIM ENTERS STAGE AND SINGS. Loud rasberries from the front row.

177 IN MIDST OF SONG TIM IS INTERRUPTED BY THE TOUGH KIDS with remarks like, "Aw, you can't sing!......Bet you was the teacher's pet!.....Your face is too clean!"

178 TIM INTERRUPTS HIS SONG TO INVITE THE TOUGH KIDS OUTSIDE. Then he continues, to end triumphantly with a round of audience applauding madly. But TIM, with a gesture to the KIDS to come on, exits through the wings without returning to take a bow. He goes outside.

179 EMPTY STAGE. Audience applauding.

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

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

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

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

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184 DARK SECTION OF WHARF BEHIND THE COTTON BALES. TIM and GUMBO greet each other. TIM asks how he got there. GUMBO tells him that he stowed away, hiding in sugar kegs, etc., all the way from New Orleans, because he wanted to tell TIM how the old lawyer, BILL has threatened to put TIM into a reform school for bad boys if ever he catches up with him, and also that he, GUMBO, has been sold to another master, but that he ran away while the new master was taking him home. GUMBO notices that TIM KNEES DOWN ON HIS Knees has a black eye, and begs him to go get a poultice on it. TIM says they'll return to the boat and that he'll hide GUMBO in his cabin so TIM nobody will see him.

185 TIM AND GUMBO SNEAK BACK ON SHOWBOAT. TIM tells GUMBO that he does not want to lose him to another master as he has lost UNCLE CATON. TIM hides GUMBO in the cabin of NARCISSUS and GLORY, telling him he will be back later.

186 TIM IN CLAIRE'S DRESSING ROOM. Sees his black eye in mirror and scowls at himself. Puts ointment on it.

187 GLORY COMES INTO HER CABIN wiping her hands on her apron. She is tired, sighing from overwork. She mutters to herself that she sure will be glad to get to heaven where she can rest, because this world is nothing but worryation. GUMBO, beneath the bunk, also sighs, and answers her, "You sure is right!" GLORY, frightened, says, "Huh?" GUMBO replies, "This world ain't nothin' but worryation." GLORY jumps out of her skin. She screams aloud. She calls for NARCISSUS. Together they look under the bunk and find GUMBO.

228

188 AUDITORIUM OF SHOWBOAT. The final curtain of the show.
- Audience applauding and rising.

189 WHARF. DEAD END KIDS come stealthily back to dock, assuring each other that they will get TIM later. Meanwhile, they will fix those showboat people. They proceed to draw their knives and cut away the ropes that moor the boat to anchorage.

190 DELIGHTED AUDIENCE SHOWN EMERGING FROM BOAT. Just as the first persons reach the gangplank, with a mighty pop, the ropes give away and the boat is carried swiftly out into midstream and down the river.

191 ANGRY CROWD ON BOAT FLOATING OUT INTO THE RIVER. Hysterical women. Excited boathands. BOUTON rushes for the bridge. With one hand on the steering gear, he makes a grandiloquent speech to the crowd. "Folks, Bouton has the situation well in hand. Don't worry! Bouton will see you through. Every gentleman will preserve his honor and every lady her virtue!"

192 FLASH BACK TO NEW ORLEANS. HOUSE OF LAWYER DILL. HIS OFFICE.
JANIE pleads with DILL to help her find GUMBO and TIM.
Until she mentions TIM he treats her like dirt, but the thought occurs to him that perhaps GUMBO has followed TIM
If he can put his hand on one, he'll find the other. He decides to issue a handbill for a runaway master and a runaway slave, both under age.

193 FLASHBACK TO THE RICE FIELDS where UNCLE CATON is working, weak and weary, but confiding to another slave that all he hopes to live for is to see his former LITTLE MASTER again.

29.

afternoon

194 DARK AND EMPTY THEATRE OF SHOWBOAT. TIM, STEPHEN, AND CLAIRE at the piano as STEPHEN tries over his new song. He sings in a rich baritone voice. CLAIRE joins in. Then TIM, STEPHEN explains the background of the song, and this is seen as TIM sings:

Stevedor's working, <u>nummum nummum</u> drays, cranes worked by hand, river craft. Down the busy wharf comes a handsome young man with a portfolio under his arm. STEPHEN FOSTER. He boards the Showboat.

195 DECK OUTSIDE WINDOW OF CLAIRE'S CABIN. FOSTER pauses shyly there and glances in.

196 VIEW OF CLAIRE WITHIN working over the account books of the show.

197 STEPHEN COMES TO THE DOOR. He remarks that he did not know there were books to keep even on a Showboat. CLAIRE answers with a sigh that it is so. STEPHEN says that he has come to show her his new songs. He enters the cabin.

198 WITHIN THE CABIN CLAIRE AND STEPHEN look over his songs, new and old, as he hums portions of them to her. She sees CHRISTY'S name on some of them. STEPHEN explains that his family do not approve of his writing songs, and that Ethiopian songs based on slave tunes are not respectable in the best circles. CLAIRE replies that for that very reason they have never used any of his tunes, but that one she selects might suit TIM, and she suggests finding the boy and going into the At least, she thinks, the song might be good for a few weeks. theatre to try them over./ They gather up the music to leave. FOSTER'S eyes follow CLAIRE with a longing glance.

199 DARK AND EMPTY THEATRE OF SHOWBOAT. TIM, STEPHEN, AND CLAIRE at the piano as STEPHEN tries over his new song. He sings in a rich baritone voice. CLAIRE joins in. Then TIM. STEPHEN explains the background of the song, and this is seen as TIM sings:

200 MONTAGE SHOTS OF THE OLD SOUTH, with its slaves, cotton, and beautiful ladies.

201 AS THE SONG FINISHES TIM ASKS MAY HE RETURN TO HIS KITES. He leaves STEPHEN and CLAIRE alone together. CLAIRE sits at the piano and begins to learn the playing of the song while FOSTER bends over

30

her tenderly.

202 DOORWAY OF THEATRE. BOUTON arrives slightly tippy. He sees them together and comes swaggering down the aisle. CLAIRE tells him she has purchased one of FOSTER'S songs. BOUTON gives him Five Dollars for it, implying that that is probably too much, and saying that they can use a song or so of his on the boat perhaps, but they can't use him. FOSTER leaves gracefully saying goodbye to CLAIRE. Meanwhile the supper bell has rung.

203 HIGH LEVEE AND VIEW OF THE MIGHTY RIVER. TIM and GUMBO, hearing the supper bell, run toward the boat.

204 GALLEY where NARCISSUS is engaged in seeing how thin he can slice the bread, while GLORY puts water in the soup.

205 MESS HALL. BOUTON enters in bad mood. CLAIRE following him anxiously to begin to take charge of things, as hungry actors are snatching the thin slices of bread from plates as they are put down and stuffing whole slice into their mouths.

201a GAMBLING HOUSEM where BOUTON is drinking and gambling. Movement and color of sports and river-boat people. BOUTON loses.

201b IN THE DARKENED THEATRE, entranced by their own music, STEPHEN and CLAIRE linger in the dusk. Suddenly STEPHEN begins to tell ELAIRE a story of an imaginary romance which CLAIRE sees is meant to be about themselves. STEPHEN autographs a copy of his song to her. It is all he can to keep from kissing her.

206 BRIGHT MORNING ON LEVEE OUTSIDE THE MEMM WHarf SECTION. TIM and GUMBO are playing with the DEAD ENDERS, and GUMBO is bragging about how he was about to be sold in New Orleans, but he ran away. TIM tries in vain to detract his attention and change the subject, but GUMBO tell him all, and about how proud he is now to be travelling with Mars TIM who is an actor.

207 AMONG THE KIDS SITS A DARK YOUNGSTER who says, aw, his whole fami were actors and that his name is John Wilkes Booth. As TIV

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GUMBO run off up the levee flying 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.

208 DECK OF SHOWBOAT. GLORY PEELING POTATOES. NARCISSUS alseep in in the sun, sno/ring 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 the white folks quarrel just they would only buy some- thing good to eat once before they leave Cincinnati.

209 OTHER END OF DECK. CLAIRE pacing the deck, lonely. Suddenly in desperation she goes into her cabin.

210 CLAIRE'S CABIN. She powders her face, seizes her hat, and quickly and decisively goes ashore. We have the feeling she is going to leave Bouton.

211 MWHHHHH GANGPLANK. CLAIRE going ahore with parasol.

212 STREET NEAR DOCK OUTSIDE OFFICE OF IRWIN & FOSTER. CLAIRE passes slowly, looks up at his window, doesn't see him.

213 CLAIRE WINDOW SHOPS. Views of quaint styles of times in windows. But she slowly returns passing STEPHEN'S office. The glint of the peak of her umbrella reflects the sun.

214 STEPHEN'S OFFICE. FOSTER is seated at his books, alternating between figures and music, humming a new tune he is trying to work out, possibly OLD KENTUCKY HOME. As he gets the melody he wants, he puts it down quickly, glancing around to see if his brother is coming. The glint of CLAIRE'S parasol on the ceiling attracts his eye. He looks up, then down into the street. He sees CLAIRE. He rushes down.

215 IN THE STREET, STEPHEN GREETS CLAIRE. She says she must talk to someone about her troubles. He invites her for a ride into the country.

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216 STEPHEN AND CLAIRE TAKEN A HORSE-CARRIAGE with an OLD DRIVER.

217 COUNTRY ROAD IN THE AFTERNOON SUN. As they drive along, CLAIRE tells STEPHEN of her loneliness, of life on the vast river, of the bad shows, the careless drinking man she has loved, but no longer thinks she cares for, of her wish to marry and adopt LITTLE TIM. STEPHEN sympathizes with her. They stop the carriage.

218 MEADOW OF SPRING FLOWERS. They wander across the meadow, hand in hand.

219 THE WOODS. They go into the woods where the violets and the moss and purple shadows are. STEPHEN puts his arms about her. She weeps.

220 THE ROAD. The OLD COACHMAN looks at his large loud-ticking watch on a great brass chain. It is getting late. He nods drowsily.

221 A SWARM OF BEES IN THE NEARBY CLOVER RISE AND CIRCLE AROUND THE HORSE.

222 A BEE STINGS THE HORSE ON THE EAR.

223 THE HORSE SUDDENLY BOLTS, throwing the old COACHMAN to the ground, and running madly away down the road with the carriage. The COACHMAN stumbles after the runaway horse in an ineffectual pursuit.

33.

232 EVENING. AUDIENCE GATHERING ABOARD SHOWBOAT.

233 BACKSTAGE. Bustle and anxiety. Neither BOUTON nor CLAIRE are present. GLORY lighting the candles in the footlights. NARCISSUS slowly getting in everyone's way. GUMBO up in the flies letting down the wrong <u>man</u> backdrop. Someone sends NARCISSUS for BOUTON at the gambling house. NARCISSUS delays, but finally gets off. Everyone wonders where is CLAIRE?

234 ACTORS TAKE THEIR PLACES. Music of orchestra in pit. The show is about to begin. All are very nervous. GLORY is working the sound effects.

235 FIRST SCENE OF SHOW, VERY ROUGH. BOUTON arrives just in time to catch a missed cue and walk onto the stage and save the situation.

236 BOUTON BACKSTAGE VERY ANGRY that CLAIRE is not there. He flies into a rage as the next act proceeds.

237 BOUTON ANNOUNCING SUBSTITUTION FOR LEADING LADY in next act to follow. Very UGLY GIRL is taking CLAIRE'S place.

238 ASM. SCENE PROGRESSES and BOUTON fumes and paces up and down in the wings.

239 GLORY ON DECK WATCHES WHARF. She sees a carriage drive up under the gas light and CLAIRE dismounts aided by FOSTER. CLAIRE, leaving FOSTER, runs through the moonlight to the boat.

240 BOUTON MEETS CLAIRE and a terrific quarrel develops.

241 CLAIRE'S DRESSING ROOM. BOUTON quarrels, CLAIRE cries, as she puts on her make-up and rushes into her costume. The orchestra strikes up the music of a French comic opera. (Le Brun's ROSSIGNOL perhaps.)

242 THE WINGS. BOUTON follows CLAIRE almost onto the stage, still quarrelling, CLAIRE still crying. But the moment she walks on the stage, she smiles.

34.

243 FULL STAGE. CLAIRE frisking around in a mmmmm French comic opera.

244 AUDIENCE. MONTAGE of faces. MAN cracking nuts. MOTHER trying to sush crying baby. One of DEAD END KIDS chewing tobacco and spitting.

245 CLAIRE LEAVES STAGE SMILING AND GAY IN CHARACTER. Great applause.

246 IN WINGS CLAIRE IMMEDIATELY BURSTS INTO TEARS AGAIN as BOUTON starts upbraiding her. TIM looks on sadly.

247 COMMEDIANS BOUNCE ONTO STAGE IN SKIT ENTITLED "HUSBANDS ARE ALWAYS IN THE WRONG EVEN WHEN THEY'RE IN THE RIGHT." Laughter and applause of audience.

248 TIM ENTERS FOR HIS BIG SONG. (Theme Song Of Picture by Clarence Muse and Langston Hughes which we have ready for clearance.) It is a song of life on the river, the levee, the showboat, the plantations that float by as in a dream, the gamblers, the romance, and the whole panorama of the Mississipp.

249 ON DECK PEEPING THROUGH THE WINDOWS as TIM sings, the Negro WHARFHANDS and their WOMEN crowd, getting their glimmer of the show.

250 CROWDED AUDITORIUM. NEGROES in the windows. As TIM repeats the chorus, all the NEGRO voices join in making a glorious ending to the number.

251 GRAND FINALE OF THE SHOWBOAT PROGRAM. Applause. Rising audience. CLAIRE and TIM at center of stage.

252 STEPHEN FOSTER gazing entranced at the stage, being joustled in the rising audience as the curtain goes up and down. FOSTER gazes at CLAIRE'S face.

253 CLOSE UP OF THE LOVELY FACE OF CLAIRE AS THE CURTAIN FALLS.

MEDLEY beginning with STEPHEN FOSTER'S "Open Thy Lattice, Love," with CLAIRE as the SWEETHEART, going into THE PLANTATION JIG arranged by FOSTER.

251a OUTSIDE ON DECK THE NEGROES DANCE HILARIOUSLY.

251b FINALE CLOSES with "There's A Good Time A-Comin'" by FOSTER, to wild applause. Rising audience. CLAIRE and TIM at center of stage.

35.

254 CLAIRE ALONE IN HER CABIN AFTER THE SHOW. On her dressing table, the autographed manuscript of FOST R'S song, beside it BOUTON'S picture. CLAIRE'S TEARS FALL ON THE MANUSCRIPT causing the ink to run.

256 BUT SUDDENLY CLAIRE PUTS THE MANUSCRIPT INTO THE DRAWER and picks up BOUTON'S picture, We know here that whatever BOUTON does, CLAIRE loves him.

257 FLASHBACK TO DILL'S HOUSE IN NEW ORLEANS. DILL tells PAULINE officials of the law that all the sheriffs in the country are on the lookout for TIM and GUMBO, as well as professional kidnappers who trap slaves. PAULINE expresses the hope that TIM will soon be found so that more money will be available for her uses as Opera. the season is approaching, and she wishes a string of pearls, or a rope of California gold.

258 SUNDAY IN CINCINNATI. CHURCH BELLS RINGING. Quiet streets. Folks in their Sunday clothes going to church.

259 GLORY SEEN DRESSING GUMBO to accompany TIM to church. TIM, now dressed well, gives GUMBO a cast off coat of his to wear. GUMBO is now "dressed up" for the first time.

260 STREET AS TIM AND GUMBO WALK SEDATELY ALONG. They are about to pass a

270 DELAPIDATED NEGRO CHURCH but the singing within causes them to stop and listen. They are fascinated by the singing. With a motion of their heads they indicate they are going in.

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

272 GANGPLANK OF SHOWBOAT. THE SHERIFF OF CINCINNATI, accompanied by YOUNG BOOTH and others of the DEAD END KIDS gazes up at the boat. The SHERIFF enters alone. KIDS remain behind.

273 SHERIFF WALKS ALL OVER THE QUIET BOAT. Comes upon GLORY slicing apples back aft.

36.

274 SHERIFF ASKS IF THERE IS A LITTLE SLAVE BOY ABOARD accompanied by his so-called LITTLE MASTER. GLORY replies that there is but that his MASTER has taken him to church. SHERIFF leaves.

275 FACE OF GLORY AFTER SHERIFF HAS GONE when she suddenly realizes she might have given something away.

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

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

277 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.

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

279 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.

280 SHERIFF ALONE APPROCHES CATHOLIC CHURCH. DEAD END KIDS have gotten tired and gone to play.

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

282 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.

283 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 meaning and shouting. The church is rocking with emotion. TIM and GUMBO

37

rock along with the others. Suddenly the SHERIFF spies them. In great agitation he gets out his papers calling for their arrest.

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

285 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 Pharaoh. TIM'S face and GUMBO'S are filled with emotion. - MUMMELY THE MUMMIES

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

287 CONGREGATION THROWN INTO TURMOIL. The SHERIFF announces that he has found a runaway slave and them runaway master, and that the SLAVE goes back to slavery and the MASTER to his proper guardians.

288 A VERY OLD NEGRO WOMAN BEGINS TO HUM "Go Down, Moses."

289 THE SHERIFF BEGS THEIR PARDON FOR INTERRUPTING THE SERVICES. He takes the two BOYS and leaves.

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

291 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 BESIDES he has not paid his show tax. the facts from the police. A BOUTON IS LED AWAY before CLAIRE'S helpless eyes, and held as a material minn minn minn witness.

292 INTERIOR OF THE 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 on

38

floor. Cock roaches. General filth. Outside the sun is
setting, casting long shadows of bars over everything.

293 GUMBO FRIGHTENED IN A CELL ALONE.

294 BOUTON ANGRY IN A CELL ALONE.

295 TIM SAD IN A CELL ALONE.

296 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.

297 TIM'S JAIL CELL. In the glow of the setting sun, TIM stand 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.

298 MONTAGE, AS TIM SINGS, OF VARIOUS ROGUES AND VAGABONDS in jail,
and their faces as the song effects them, some crying, some
he rtbreakingly sad, some grim.

299 AGAINST THE BACKGROUND OF THE MUSIC---SHERIFF'S OFFICE. SHERIFF
is writing a letter.

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

301 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.

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302 NEWSPAPER HEADLINES OF LONDON 1850 announcing the minimum arrest of BOUTON as material witness in fugitive slave and kidnapping trial.

303 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.

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

305 NEWSPAPER HEADLINE: BOUTON MIM SECURES INJUNCTION TO PREVENT RETURN OF LITTLE TIM, SHOWBOAT'S SINGING MARVEL, TO NEW ORLEANS.

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

307 YARD OF THE COURTHOUSE. People entering for the trial, townsfolks in common clothes, show folks dressed in their flashy best--- even NARCISSUS and GLORY. DEAD END KIDS seen in crowd. And STEPHEN FOSTER.

308 SPRINGFIELD, ILLINOIS NEWSPAPER with headlines about the trial.

309 HARRISMAN MONUMENT 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:

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

311 DILL WITH PAULINE ON HIS ARM ENTERING THE COURTHOUSE.

312 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.

["40", "313 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. points to his lawyer.", "313a DILL gives <u>mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

41

look like the sort of men who would throw money away foolishly.

322 FLASH OF PAULINE gazing intently at the proceedings. BOUTON studies her face, remarking to CLAIRE that he has met her somewhere.

323 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?

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

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

326 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 showboat, that he follow the matter through in New Orleans.

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

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

329 DISSOLVE ON THE FACE OF LINCOLN. AND CLAIRE AT TABLE IN HOTEL CLUBROOM.

330 BOUTON/HUMMAMBAR Music. Guests of hotel, including PAULINE. FOSTER hovering over piano-player and looking at CLAIRE.

331 DILL IN HOTEL ROOM still pouring over his papers.

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

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

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

335 FOSTER SEES CLAIRE SITTING ALONE. He approaches her.

336 FOSTER SPEAKS TO CLAIRE but she is so angry and upset that she snubs

42.

him completely and gives him such short answers that he backs
away in amazement and leaves the place. UNCLE CATON SEES.

337 DINNING ROOM HALF EMPTY. BOUTON STILLM TALKING WITH LILIANE PAULINE. And learned why UNCLE CATON was sold. He has pumped her, on DILL. /BOUTON sees CLAIRE.

insert

338 CLAIRE TUMES AT HER TABLE ALONE.

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

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

341 BOUTON, FISHING ON AFTERDECK OF SHOWBOAT, see boat sail with TIM and PAULINE aboard.

342 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 saioing down the river to New Orleans right away.

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

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

345 SHOWBOAT IN MID-STREAM AS IT SAILS.

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

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

43.

gouty pain.

348 CEREMONIOUS DISMISSAL of the guests mMm 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.

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

349 SHOWBOAT. BOUTON SENDS NARCISSUS ONMM A MULE TO FIND UNCLE CATON and get him to town at once.

350 NARCISSUS ON COUNTRY ROAD ON MULE.

351 AT DUSK NARCISSUS ARRIVES ON RICE PLANTATION AND FINDS CATON. mMm 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.

351a

352 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.

353 NORTH STAR BRIGHT IN THE NIGHT SKY.

354 UNCLE 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 him travel on to the aid of TIM.

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

355 NARCISSUS AND CATON ARRIVE AT SHOWBOAT JUST AS DAWN IS BREAKING. BOUTON receives them with a shout of delight.

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

357. 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 great importance hidden up to now. mMmm

44.

358 THE REUNION OF TIM AND UNCLE CATON. Touching 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.

359 BOUTON PRESENTS HIS ARGUMENT AGAINST DILL. DILL is proven to be a villian of the lowest form. <u>THE OLD JUDGE</u> gives an order in Creole. In a moment the POLICE arrive. DILL is taken into custody.

360 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.

361 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 show boat as

362 THE CARRIAGE DRIVES ALONE THE RIVER and BOUTON'S MISSISSIPPI SHOW BOATS rounds the bend to come to anchor on the banks of TIM'S own plantation and all the actors come trouping down.

UNCLE CATON'S as they sing

363 CLOSE UP OF TIM'S FACE/making the song of the river. MUSICAL

364 TIM'S HAPPY FACE ALONE SINGING.

END.

NOTES FOR A SOLUTION

For
Way Down South

Without introducing any more characters of major im-
portance to the plot, a solution WILL be reached as follows:

TIM'S mother has left to him by will the controlling
interest in, with the accumulated income from a large New
Orleans shipping corporation owning warehouses, docks, and
to be TIM'S at the age of twenty-one.
steamboats, /DILL possesses this knowledge, but does not reveal
it to TIM or to the audience. After TIM runs away, in a scene
with DILL, JANIE tells him she remembers the mother once saying
that TIM would always be well provided for no matter what happen
to the plantation. DILL threatens to sell JANIE for knowing too
much.

In a flashback to UNCLE CATON in the rice fields, we hear
him hoping to live to see his little MASTER again to tell him
something he has forgotten to tell him before.

DILL, believing that GUMBO has run away to follow TIM, and
knowing it is easier to trace a run-away slave than a lost whi
child, puts the law (as well ask professional slave kidnapper:
on GUMBO. DILL appears before a colorful old judge whose go-
causes him to receive petitioners in his beautiful garden-ho
raher thanxx in his legal-chambers.
DILL pleads that bec
of debts REID owed, nothing is left of the plantation incom
he wishes to be allowed to touch the boy, TIM'S, inheritan
his mother, and to that end must have TIM back to establis
guardianship over him and this use his income. JUDGE l.
up Code Napoleon. Advises DILL to trace the slave, since al
world will help pursue a runaway slave on principal, and thus h

SOLUTION-2

will find TIM. Old judge who speaks three languages asks if
TIM is English, French, or Creole.

DILL prepares handbill for LOST MASTER AND RUNAWAY SLAVE:
JOHN TIMOTHY REID, JR. AND GUMBO DILL, <u>OLD JUDGE</u> indicating that
the slave belonged to the DILL household. GUMBO later in trial
denies <u>the DILL relationship</u>, saying his name is GUMBO of
the REID plantation.

When SHERIFF of Cincinnati notifies DILL of the finding of
the runaways, DILL hurries to CINCINNATI. There at the trial
of BOUTON, <u>OLD DILL</u> is recognized by BOUTON as having been an
accomplice to a crime in which BOUTON was an accidental witness
in his early showboat days in BATON ROUGE. BOUTON <u>remembers</u>
and exposes DILL for the villain that he is, having gotten his
start on illegal money, and having now given perjured testimony
in the courtroom, and a false name. DILL is taken into custody
by the SHERIFF of CINCINNATI.

At the trial it is also disclosed that BOUTON leases his
showboat from the Renault Estate. Elsie Renault was TIM'S
mother. The Showboat on which TIM has been travelling is
really his own boat. So TIM cannot be said to have run away,
since he has been on his own property all the time, nor can
GUMBO be said to be an escape slave, because he has been with
his little master TIM.

The court secures the learned old judge of New Orleans to
take over TIM'S affairs. It is discovered that DILL has hidden
many assets which were returned to TIM'S estate. The old
plantation is restored, with the slaves, and JANIE, GUMBO, and
UNCLE CATON back. BOUTON is allowed to retain the Showboat, TIM
promising to come and sing thereon again, once he has gone to
school and gotten his education. TIM Grand reunion on the
and CLAIRE
BAYOU LOVELLE PLANTATION before BOUTON/returns to Showboat.

SOLUTION-3

DILL'S villainy is proven beyond doubt by a mysterious
witness whom BOUTONX sends for by NARCISSUS when he comes to
the jail to bring his breakfast the last day of the trial.
The witness lives in the country and NARCISSUS travells there
by mule-back. He arrives in the late afternoon just as the
trial is about to close and the states attorney is summing up
a dark case against BOUTON much to DILL'S delight. At that
point, in walks a woman all veiled in black, she is the widow
DILL ten y ars before helped to defraud her. When the WIDOW
sees DILL'S face she swoons. Upon being revived, she discloses
him for the villain that he is, and backs up BOUTON'S remem-
brances of Baton Rouge. The last we see of DILL (whose real
name is CONWAY) is that he is behind bars, as BOUTON, TIM, and
GUMBO are freed to return to the South.

WAY DOWN SOUTH
*
DIALOGUE & MUSIC

Scene

1 MUSICAL MEDLEY OF SONGS OF OLD SOUTH (through 14)

2 AGAINST THE MUSIC, grunts of field workers, swish of cane knives, splash of feet in the rice paddies, noise of wagon wheels, wind through the peacan trees growing into a babble of voices at mmm

3 THE VEGETABLE SHED WHERE WORKERS ARE SAYING:
"Boy, them's de biggest potatoes I ever seed!"
"Man, we got gobs of watermelons."
"I never carried so many gombers in all ma life."
OVERSEER: "Mighty fine crop! Biggest we had in years." Laughter of NEGROES.

4 SNATCHES OF SONG: Cotton Needs Ginnin' So Bad. Noise of ginning, mules, and wagons.

5 CLANG OF HAMMERS ON FORGES. Champing of horses.

6 LOWING OF CATTLE. Sounds of wind birds.

7 PICKANNINIES: Haw! Gee! Get along thar! GOBBLE OF TURKEYS.

8 OVERSEER: That makes hundred eleven hogs!

SLAVE: They's a gang more of 'em comin', boss!

SOUND OF KNIFE BEING SHARPENED. GRUNTS OF HOGS.

SLAVE WOMAN: We gets the feet and the heads.

9 SLAVE: (Grunting under load) Feet and heads!

ANOTHER SLAVE: Sho' re good!

10 SLAVE BOY: Man, I sho' like chitterlings.

11 SOUNDS OF CANE GRINDING AND FEET OF OXEN

12 SAME.

13 HISS OF STEAM AND BUBBLING OF SYRUP.

DIALOGUE & MUSIC--2

14 HUMMING OF SLAVES as they cut the cane. Sound of
cane knives. As the drums arrive, in a whisper:

SLAVE: Don't let nobody see that!

ANOTHER SLAVE: No! Don't let de overseer see it, neither.

MUSICAL ACCOMPANIMENT THAT BEGIN WITH CREDIT TITLES ENDS
HERE IN THE HUMMING OF THE SLAVES.

15 CHAMPING OF HORSES. Battle of harness.

16 SAME.

17 SAME.

18 DILL: (As CATON hands him his hat) But, Timothy, your
books show that your slaves are costing more than
Fifty Dollars a year, per head, just to feed them.
You'll never make a profit on this plantation till
you cut that slave upkeep down to at least Fifteen
Dollars a head.

REID: Martin, you're still a lawyer, even if you have
lived in New Orleans ten years. As long as I've
got a plantation, my slaves'll always have plenty
of victuals. Healthy slaves are a big asset.

DILL: Well, Timothy, I've warned you. Your assets are
are in the red. Capet is liable to foreclose on you
at any time.

REID: I'm a man of my word, Martin. If I say I'm going
to pay Capet, I'll pay him---and you know it. Look
at my crops! The largest in years.

DILL: So?....But they're all pledged.
(Dismissing him)

REID: /Well, when you're out this way again, Martin, we'll
talk about it. My son and I are going down to see
the last stalk of cane cut.

DILL: Very well, TIMOTHY. Then I'll say, good-evening.

REID: Good-evening, Martin. (Pointing to a pumpkin on

DIALOGUE & MUSIC---3

the steps) Don't forget this pumpkin! Be kind
enough to give this little present to M'sieu Capet
with the compliments of Bayou Lovelle Plantation.

DILL: WITMXXIXKXXIX (With a start) Oh, yes! With pleasure.

CUT

19

CAPET: (In carriage) Well, did you get a payment?

DILL: No.

CAPET: What?
(CATON arrives with the pumpkin)

DILL: But he sent you this compliment. (THE PUMPKIN)
(Carriage starts off with a jerk as CATON covers his mouth to laugh.)

CUT

CUT

19a

DILL: (As carriage rolls along) Say, M'sieu Capet,
I have an idea.

CAPET: It's time you've had something. You Yankees
such as supposed to be/shrewd financiers!

DILL: I've always taken good care of your business,
have I not, sir? Always secured your collections?
But it takes a great deal of patience to handle a
a man like my old friend, Reid.

CAPT: Patience is one thing, collecting another. His
notes are overdue! And long overdue!

DILL: You're right. But what would you take for those
notes of Reid's---for cash?

CAPET: Why?

DILL: Perhaps I have a client who'll make a cash deal.

CAPET: You must realize that I'm tired of riding down
here just to inspect the beauties of Bayou Lovelle

2/2/39

"WAY DOWN SOUTH"

By
Clarence Muse & Langston Hughes

(Scene Breakdown)

Scene:

1. CREDIT TITLES reach the screen superimposed against a pattern of cotton bales opening white in the sun, one after another, accompanied by a musical medley of songs of the Old South.

2. LONG SWEEPING SHOTS bringing to the screen the vastness of the BAYOU LOVELLE PLANTATION - vast stretch of cane fields with the slaves at work cutting cane - cotton fields with wagons hauling away the white cotton - the marshy rice fields - a grove of pecan trees, their branches undulating in the wind narrowing down to specific shots of -

3. VEGETABLE SHED, piled high with sweep potatoes, melons, pumpkins, peanuts. SLAVE WOMEN are putting the sweet potatoes into bags, as wagons arrive loaded with more produce.

4. COTTON GIN working full blast with WHITE OVERSEER in charge. BLACK MEN putting the cotton into bales, singing as they work. Noises of gin, mules and men.

5. SMITHY. Clang of hammers and glow of forges. Sparks flying as slave BLACKSMITHS repair the various tools of the plantation, shoe the horses and mules, etc.

6. SWEEP OF CATTLE IN FIELDS. Wild geese and pheasants.

7. PICKANINIES DRIVING CALVES INTO A PEN. Fleeing turkeys and chicks.

8. LARGE FAT HOGS PURING OUT OF PIG-STY. White overseer shown checking them off. Negro slave seen sharpening knife for slaughter.

2.

9. SMOKEHOUSE EXTERIOR. Slaves carrying fresh hams and whole carcasses of sheep into the smokehouse.

10. INTERIOR SMOKEHOUSE. Through the smoke, great hulks of meat seen hanging. Large iron pots filled with earth-covered smouldering wood, belching smoke. Slaves entering with huge chunks of meat on their shoulders.

11. SUGAR MILL. Slaves feeding raw cane into the sugar mill. Oxen trudging round and round the grinder in the mud. Sounds of their feet, the grinder, the cries of the slaves.

12. STREAM OF LIQUID JUICE pouring from the sugar grinder into copper kettles.

13. BOILING SYRUP in molasses pans. A Slave skimming the syrup into a container to be saved to ferment for holiday drinking.

14. CANE FIELD AGAIN. Black cane cutters singing at their work. Magnificent women, strong men. The last stalks are about to fall. Cane piled in field. Ox carts arriving and loading cane. In some of the carts are tall voodoo drums quickly smuggled out of sight by the slaves. The annual cane field festival dance is about to begin, preceeding the New Year's jubilation, and the workers are joyous and alive with expectation, their enormous cane knives flashing in the sun.

15-B. CARRIAGE BEHIND A ROW OF LILAC BUSHES. Small NEBRO BOY holding the carriage horses. In the carriage sits M. DUVAL, a Creole money lender, small, wizened, avaricious, with waxed moustache. The money lender is peering from the carriage seat through the lilac bushes at -

3.

16. THE BIG HOUSE, a beautiful pillared mansion of Old Louisiana, suggestive of gentle gaiety and gracious living.

17. FACE OF THE MONEY LENDER, evil and jealous, as he peers.

18. BIG HOUSE MOVING INTO THE VERANDA where the master, JOHN TIMOTHY REID, sits talking to his friend and lawyer, PAUL CAPET, who has already risen to go. An old negro servant, UNCLE CATON, removes the tiny coffee cups and liquer glasses from a small table, hovering always in the background as the white men talk. Crops are good, but the plantation goes deeper and deeper into debt, and all income is already pledged to meet the demands of M. Duval. But Reid is not worried. He is young and carefree. He rises to dismiss the Lawyer as it is time to be getting off to the cane field dance of the cane cutters. Uncle Caton picks up a huge pumpkin, a gift of the master's, and follows Capet across the lawn to the carriage.

19. CARRIAGE OF THE MONEY LENDER. Capet arrives with the pumpkin. Duval is angry that he brings no money, only a pumpkin. The money lender takes the reins and they drive off.

20. VERANDA OF THE BIG HOUSE AGAIN. Uncle Caton is worried and suspicious of the lawyer, but the young master assures him that Capet is his friend, and that all will be well. If need be, his brother-in-law in Kentucky will help him. But Uncle Caton shakes his head. Reid tells him to get their carriage ready for a drive to the cane fields.

4.

21-C. OUTSIDE OF STABLES. Heads of expensive horses seen over stable gates. Beside a fence post a little negro boy, GUMBO, stands quivering and shaking, a large apple on his head. His little master, TIM, is about to shoot the apple off his head, a la William Tell, but Gumbo is afraid. Finally to demonstrate, Tim places the apple on the fence post which is just the height of Gumbo's head. Tim fires. He misses the apple, but hits the post just below, exactly where Gumbo's head would have been. Gumbo's eyes bulge. Tim assures him he'll do better next time, now that he has had some practice, so he again places the apple on Gumbo's head, moving him beside one of the barn gates where the row of horses look out.

22. TIM sighting through his gun, about to fire.

23. GUMBO trembling more violently than ever.

24. SUDDEN disappointment on Tim's face.

25. BARN GATE. A horse is snatching the apple of Gumbo's head and is eating it.

26. KITCHEN DOORWAY. JANIE, the cook and Gumbo's mother, stands there with an egg-beater in her hand. She comes out to call Master Tim to come get ready to accompany his father to the cane field festival. As for Gumbo, he is to remain to help her peel potatoes for supper. Gumbo says he wants to go to the cane field, too.

27. TIM, happy - GUMBO, sad - approach the house.

28. MASTER REID'S CARRIAGE going down the road beneath the magnolias and live-oak trees hung with hanging moss. It is a fine shining carriage whose spokes flash in the sun. There are beautiful white horses expensively harnessed. Uncle Caton is driving. As the carriage passes through the cotton fields where slaves are gleaning the fields for left-over bits of cottong, the master tells his son, Tim, how much his mother used to enjoy the autumn, the coming of the holidays, and

5.

the salves' festival in the cane fields as the
cutting is done. He explains how such dances are
as old as history, coming down from the Greeks and
the Romans, and how in Louisiana the negroes have
always loved to sing and dance, Uncle Caton, he says,
taught him all the old negro songs when he was a boy.
Tim says he knows a lot of them, too. Together, the
father and son sing an old slave song. At one point
in the song, Uncle Caton turns around from his seat
on the driver's box, and gently corrects them. Then
all three sing together. As they cease, a distant
drumming is heard.

29. A SLAVE IN THE CANE FIELD secretly testing a voodoo drum.

30. CARRIAGE again. Sounds of drums mingle with the beat of the horses' hoofs. Master tells Tim that singing and dancing keep people happy, and that life was made for happiness.

30-A. EDGE OF THE CANE FIELD. The carriage arrives. The Slaves greet their young master and his son with joy. But the overseer comes forward and tells Reid that some of the slaves have smuggled into the field the forbidden voodoo drums. The master smiles and says, "Let them have them." Besides, he enjoys hearing them played himself. The slaves smile and cry aloud with joy.

31. CANE FIELD - RITUAL OF CUTTING OF LAST STALK OF CANE.
A tall, magnificent black slave women leads a band of
women in the cutting of the final section of the cane
field. Swiftly they move down the rows. The stalks
fall before them. As the tall woman lifts her cane
knife, and, with three swift movements, cuts the final
stalk of cane, a great cry goes up from all the slaves
in the field, and the DANCE BEGINS.

6.

32. CANE FESTIVAL DANCE. Hundreds of slaves, all dancing at once. Wild song - voodoo drums.

33. FLASH OF DRUMMERS at work on the drums.

34. REID, TIM, and a few white overseers, with Uncle Caton, look on. Uncle Caton sways to the music.

35. THE DANCE CONTINUES, the song and the drums grow wilder

36. and wilder, the dancers more and more intense. As the drums throb, the rabbits run into their holes, the alligators slide down their muddy banks into the water of the bayous, the birds wheel and cry above the dancers' heads. The sun begins to sink. The dance becomes an orgy at its climax, the tall women and strong men moving swiftly and rythmically in the sunset.

37. A MARSEY PATH ALONG THE EDGE OF THE BARREN CANE FIELD. The master, Uncle Caton and Tim are returning to the carriage.

38. A WATER MOCCASIN lifts its copper-colored head and glides to the edge of the path.

39. THE YOUNG MASTER walks with Tim by the hand. Caton is behind. Suddenly a stricken look crosses his face. He stops, falls, and we see

40. THE COPPER-HEAD gliding swiftly away into the water beside the path.

41. TIM bending over his father as he writhes in pain. Uncle Caton frantically tearing off a portion of his own shirt to tighten a torniquet about the wound. Suddenly, Tim utters a cry.

42. CALM FACE OF THE YOUNG MASTER, quiet now. He is dead.

43. DUSKY ROAD WHERE THE CARRIAGE MOVES SILENTLY. Tim is on the driver's seat in the arms of Uncle Caton as they return to the Big House alone. The old negro comforts the child as the tears roll down his face.

7.

44-D. MASTER'S DEN AND OFFICE. A large he-man's room with perhaps hunting trophies and mounted fish on the walls. Shelves of books and papers. At one end of the room is a desk, and beside it an open safe, account books and legal papers. Packages and bundles of letters and papers piled on the floor. An air of confusion about the room. In the midst of the papers stand Little Tim and old Uncle Caton. They are preparing things for the coming of the Executor, the father's lawyer and friend, Mr. Capet. But Uncle Caton cannot read, and Tim can barely spell out the longer words.

45. TIM sits down at a table and Uncle Caton gravely hands him papers from the shelves of the safe. Tim attempts to read the mortgage papers. The doorbell rings.

46. FRONT HALL OF BIG HOUSE. Janie answers the door and admits several CREDITORS, inviting them into the dining room.

47. THROUGH DOOR SEVERAL CARRIAGES SEEN, and other carriages approaching.

48. MASTER'S DEN AGAIN. From the safe Uncle Caton takes a package of old letters tied in faded blue ribbon. The Little Master draws one of them out. It is a love letter from his mother to his father. Loudly the doorbell rings again.

49. JANIE HURRYING, muttering through the hallway to answer the door.

DIALOGUE - MASTER'S DEN

Scene 44-D

In the midst of confusion,
Tim stands with a document
in his hands, trying to read
it.

UNCLE CATON

Can you make out what it is,
Marse Tim?

TIM

I'm trying to, Uncle Caton.
It says here, "Three thousand
acres of land --
(spelling out a word)
m-o-r-t-g-a-g-e-d" -- what does
that mean, Uncle Caton.

UNCLE CATON

Spell it again, Marse Tim.

TIM

M-o-r-t-g-a-g-e-d.

UNCLE CATON

'Tain't hog....and 'tain't cotton.
I don't know. I spects you better
ask Mr. Lawyer Capet when he comes.

TIM

I'll ask him, Uncle Caton.

UNCLE CATON

And plenty more too somebody
ought to ask him. I don't like
ramsacking all through Marster's
things like this.

(He picks up a package of letters)
Here, Marse Tim, these don't look
like money-papers to me.

Tim reads, haltingly, the
back of the letter.

TIM

....."I don't understand love, but
when you are near me, it seems that
all the earth becomes a place of
joy and music. I love you, Tim,
more than anything in the whole
world.....Elsie." That's my
mother.

(as he looks at her picture)
I wish I could remember her.

The doorbell rings.

CUT

2/4/39

"WAY DOWN SOUTH"

By

## SCENE:

1. CREDIT TITLES reach the screen superimposed against a pattern of cotton bolls opening white in the sun, one after another, accompanied by a musical medley of songs of the Old South.

2. LONG SWEEPING SHOTS bringing to the screen the vastness of the BAYOU LOVELLE PLANTATION -- vast stretch of cane fields with the slaves at work cutting cane -- cotton fields with wagons hauling away the white cotton -- the marshy rice fields -- a grove of pecan trees, their branches undulating in the wind, narrowing down to specific shots of:

3. VEGETABLE SHED, piled high with sweet potatoes, melons, pumpkins, peanuts. SLAVE WOMEN are putting the sweet potatoes into bags, as wagons arrive loaded with more produce.

5. SMITHY. Clang of hammers and glow of forges. Sparks flying as SLAVE BLACKSMITHS repair the various tools of the plantation, shoe the horses and mules, etc.

6. SWEEP OF CATTLE IN FIELDS. Wild geese and pheasants. Proceeding on New Year's Jubilation, and the westerns are Jayou and alive with expectation.

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7. PICKAWINNIES DRIVING CALVES INTO A PEN. Fleeing theirси, some are knives flashing in the sun. turkeys and chicks.

3. LARGE FAT HOGS POURING OUT OF PIG-STY. White Overseer shown checking them off. Negro slave seen sharpening knife for slaughter.

9. SMOKEHOUSE EXTERIOR. Slaves carrying fresh hams and whole carcasses of sheep into smokehouse.

14. CANE FIELD AGAIN. Black cane-cutters singing at their work. Magnificent women, strong men. The last stalks are about to fall. Cane piled in field. Ox carts arriving and loading cane. In some of the carts are tall voodoo drums quickly smuggled out of sight by the slaves. The annual cane field festival dance is about to begin, preceding the New Year's jubilation, and the workers are joyous and alive with expectation,

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14. (contd.)

15. CARRIAGE BEHIND A ROW OF LILAC BUSHES. SMALL NEGRO BOY holding the carriage horses. In the carriage sits M. CAPET, a Creole money lender, small, wizened, avaricious, with waxed moustache. The Money Lender is peering from the carriage seat through the lilac bushes at:

16. THE BIG HOUSE, a beautiful pillared mansion of old Louisiana, suggestive of gentle quiety and gracious living.

18. BIG HOUSE -- MOVING INTO THE VERANDA where the Master, JOHN TIMOTHY REID, sits talking with his friend and lawyer, MARTIN DILL, who has already risen to go. An old Negro servant, UNCLE CATON, removes the tiny coffee cups and liquer glasses from a small table, hovering always in the background as the white men talk. Crops are good, but the plantation goes deeper and deeper into debt, and all income is already pledged to meet the demands of M. CAPET. But Reid is not worried. He is young and carefree. He rises to dismiss the Lawyer as it is time to be getting off to the cane field dance of the cane-cutters. Uncle Caton picks up a huge pumpkin, a gift of the Master's, and follows Dill across the lawn to the carriage.

18-A. UNCLE CATON FOLLOWS DILL, across the lawn to the carriage.

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19. CARRIAGE OF THE MONEY LENDER. Dill arrives with the pumpkin. Capet is angry that he brings no money, only a pumpkin. The Money Lender takes the reins and they drive off.

19-A. CARRIAGE ON COUNTRY ROAD. Expositional scene between Dill and Capet, to establish their motives and relations.

20. VERANDA OF BIG HOUSE. Uncle Caton is worried and suspicious of the Lawyer, but the young master assures him that Dill is his friend, and that all will be well. But Uncle Caton shakes his head. Reid tells him to get their carriage ready for a drive to the cane-fields.

21. OUTSIDE OF STABLES. Heads of expensive horses seen over stable gates. Beside a fence post a little Negro boy, GUMBO, stands quivering and shaking, a large apple on his head. His little master, TIM, is about to shoot the apple off his head, a la William Tell, but Gumbo is afraid. Finally to demonstrate, Tim places the apple on the fence post which is just the height of Gumbo's head. Tim fires. He misses the apple, but hits the post just below, exactly where Gumbo's head would have been. Gumbo's eyes bulge. Tim assures him he'll do better next time, now that he has had some practice, so he again places the apple on Gumbo's head, moving him beside one of the barn gates where the row of horses look out.

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2/4/39.

24. TIM'S FACE, registering sudden disappointment.

25. BARN GATE. A horse is snatching the apple off Gumbo's head and is eating it.

26. KITCHEN DOORWAY. JANIE, the cook and Gumbo's mother, stands there with an egg-beater in her hand. She comes out to call Master Tim to come get ready to and dancing keep people happy, and that life was accompany his father to the cane field festival.

As for Gumbo, he is to remain to help her peel potatoes for supper. Gumbo says he wants to go to the cane field, *tchick* too. Master and his son with joy.

27. TIM, happy; Gumbo, *mzit* sad; approach the house.

As the carriage passes through the cotton fields where slaves are gleaning the fields for left-over of women in the cutting of the final station of the bits of cotton, the Master tells his son, Tim, how one field is swiftly they cut the road. The much his mother used to enjoy the autumn, the stalks fall before them. As the tell woman lights coming of the holidays, the slaves' festival in the her cane knife, and, with some sixth-day activities, cuts cane fields as the cutting is done. He explains the final stalk of cane, a great dry seed up from how such dances are as old as history, coming down all the slaves in the field, and the dance among the Greeks and the Romans, and how in Louisiana the Negroes have always loved to sing and dance.

Uncle Caton, he says, taught him all the old Negro songs when he was a boy. Tim says he knows a lot of them, too. Together, the father and son sing an old slave song. At one point in the song, Uncle Caton turns around from his seat on the driver's box, and gently corrects them. Then all three sing

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28. (contd.) together. As they cease, a distant drumming is heard.

29. A SLAVE IN THE CANE FIELD, secretly testing a voodoo drum. She goes into the water of the bayou.

30-A. EDGE OF CANE FIELD. The carriage arrives. The Slaves greet their young master and his son with joy.

30-B. THE DRUMS throb and the chant continues. The sun begins to shine. But the Overseer comes forward and tells Reid that some of the slaves have smuggled into the field the forbidden voodoo drums. The Master smiles and says, "Let them have them." Besides, he enjoys hearing them played himself. The Slaves smile and cry aloud with joy.

31. CANE FIELD -- RITUAL OF CUTTING OF LAST STALK OF CANE. A TALL, MAGNIFICENT BLACK SLAVE WOMAN leads a band of women in the cutting of the final section of the cane field. Swiftly they move down the rows. The stalks fall before them. As the tall woman lifts her cane knife, and, with three swift movements, cuts the final stalk of cane, a great cry goes up from all the slaves in the field, and the DANCE BEGINS.

31-B. A WARMED MCCARNEY lifts his copper-colored head and waves to the edge of the field. Healks fall before them. As the tall woman lifts her cane knife, and, with three swift movements, cuts the final stalk of cane, a great cry goes up from all the slaves in the field, and the DANCE BEGINS.

32. CANE FESTIVAL DANCE. Hundreds of slaves, all dancing at once. Wild song -- voodoo drums.

34. REID, TIM, and a few WHITE OVERSEERS, with UNCLE CATON, look on. Uncle Caton sways to the music.

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35. THE DANCE CONTINUES. The Dancers grow more and more intense, the song and the drums wilder and wilder.

36. AS THE DRUMS THROB, the ALLIGATORS slide down their muddy banks into the water of the bayous.

37. THE RABBITS run into their holes.

38. A COPPERHEAD SNAKE WITH DARTING TONGUE CHARMS A RABBIT. Suddenly the snake strikes. The rabbit tumbles and falls twitching in death.

39. BIRDS WHEEL AND CRY ABOVE THE DANCERS' HEADS AS THE DRUMS throb and the chant continues. The sun begins to sink.

39-A. THE DANCE BECOMES AN ORGY AT ITS CLIMAX, the tall women and strong men moving swiftly and rhythmically in the sunset.

39-B. A MARSHY PATH ALONG THE EDGE OF THE BARREN CANE FIELD. The Master, Uncle Caton and Tim are returning to the carriage.

39-C. A WATER MOCCASIN lifts its copper-colored head and glides to the edge of the path.

39-D. THE YOUNG MASTER WALKS WITH TIM by the hand. CATON is behind.

39-E. THE LEGS OF THE MAN AND THE WRIGGLING EARTH-COLORED SNAKE. Suddenly the snake lifts its head and strikes.

39-F. REID STOPS SHORT as a stricken look crosses his face. He falls, and we see:

40. THE SNAKE gliding swiftly away into the water beside the path.

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41. TIM bending over his father as he writhes in pain.
Uncle Caton frantically tearing off a portion of
his own shirt to tighten a torniquet about the
wound. Suddenly Tim utters a cry.

43. DUSKY ROAD WHERE THE CARRIAGE MOVES SILENTLY. Tim
is on the driver's seat in the arms of Uncle Caton
as they return to the Big House alone. The old
Negro comforts the child as the tears roll down
his face.

44. MASTER'S DEN AND OFFICE. A large he-man's room with
perhaps hunting trophies and mounted fish on the
walls. Shelves of books and papers. At one end of
the room is a desk, and beside it an open safe,
account books and legal papers. Packages and
bundles of letters and papers piled on the floor.
An air of confusion about the room. In the midst
of the papers stand little Tim and old Uncle Caton.
They are preparing things for the coming of the
Executor, the father's lawyer and friend, Mr. Dill.
But Uncle Caton cannot read, and Tim can barely
spell out the longer words.

45. Tim sits down at a table and Uncle Caton gravely
hands him papers from the shelves of the safe. Tim
attempts to read the mortgage papers. The doorbell
rings.

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2/4/39.

47. THROUGH DOOR SEVERAL CARRIAGES SEEN, and other carriages arriving.

48. MASTER'S DEN again. From the safe Uncle Gatton takes a package of old letters tied in faded blue ribbon. The little master draws one of them out. It is a love letter from his mother to his father. Loudly the doorbell rings again.

49. JANIE HURRYING, muttering, through the hallway to answer the door.

50. THROUGH DOORWAY, CITY FOLKS AND THEIR COACHMEN SHOWN ARRIVING.

51. OUTSIDE IN CARRIAGE YARD. PLANTATION SLAVES curiously gathering around to inspect the fine uniforms and shiny boots of the CITY SLAVES, the snappily attired DRIVERS and FOOTMEN of the CREDITORS. The City Slaves are snooty to the Country Negroes who silently touch the hems of their garments. They say nothing to each other.

51-A. ELEGANT DINING ROOM OF BIG HOUSE. Tall French mirrors, chandeliers, silver, crystal, imported china. French windows opening on a terrace. Long walls, high ceilings, and a grand fire in the center. On this table are piled the papers, heirlooms, jewels, and accounts of the deceased Master. With a happy gleam of greed in their eyes, the CITY FOLK now gather around for the feast of the LAWYERS and CREDITORS. As they enter the room, with delicate gestures some of them inspect the silverware, or the china, looking at imported trade marks, and remarking upon its value.

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51-A. (cont'd.)

Lawyer Dill enters followed by little Tim and Uncle Caton bearing more papers. Dill unshers Tim to the head of the table and seats him in the Master's tall chair. Dill stands beside him and announces to the assembled "guests" that he is the executor of the estate, and, according to the will, Tim's legal guardian, and that his policy will be to liquidate immediately and pay all debts as soon as possible, so they will now proceed to an evaluation and accounting of assets. And since he has urgent business in New Orleans, he trusts that with their cooperation all will be cleared up within a few days. A CLERK stands by to list the assets.

They all now fall to with relish, diving into the papers, and handing documents to the Lawyer for his evaluation, some reading, some making notes, some examining jewelry.

51-B. THROUGH THE FRENCH WINDOWS GUMBO LOOKS ON ANXIOUSLY. YARD OF THE BIG HOUSE. SLAVES enthuasized in groups. Finally he gets Tim's attention and beckons to him meaning DILL and SLAVE DEALERS approach, and so to come out. Tim goes to the open window. He asks Tim what is the matter. Tim tells Gumbo that Dill has said all will be well, and that everybody is going to New Orleans to live. There life will be grand. But Gumbo says the slaves are saying they want to be free, and so the slaves into a boat of bales of slave lore, and the slaves into a are all to be sold tomorrow. This worries Tim.

52. TIM ASKS DILL ABOUT THE SLAVES. Dill waves him aside, saying all will be well in due time, not to trouble about it, that he'll keep the servants.

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53. ONE OF THE MEN PICKS UP THE PACKAGE OF LOVE LETTERS. Saying that they appear of no value, he hands them to Dill who looks at them remarking, "Only love letters", and tosses them into the waste basket.

54. GLEARED TABLE. MEN IN GROUPS TALKING. UNEXPERTED UNGLE CATON AND TIM standing together. "It looks like we ain't got nothin' left a-tall. Nothin' a-tall." Tim says, "But we sure had a lot of company." As they speak, the moan of a slave song comes to their ears. The Men begin to leave the room.

55. FIELDS WHERE SLAVES ARE WORKING. Ordered to report to the Big House.

56. SLAVE QUARTERS. WOMEN and CHILDREN ordered to report to the Big House.

57. DROVES OF SLAVES SWEEPING UP FROM THE FIELDS, terror in their eyes.

58. YARD OF THE BIG HOUSE. SLAVES gathered in groups, moaning. DILL and SLAVE DEALERS approach, and go among the Negroes, separating them into groups. The moaning wail increasing, like a wind of fear. From their ranks an OLD PREACHER in field garb mounts the smoke-house steps and calms them with a few words of Bible lore, and the moan bursts into a spiritual. The scene DISSOLVES INTO:

59. MONTAGE OF SWIFT MOVEMENT LEADING TO DESOLATION. Cart-loads of produce going down the roads. Groups of slaves in chains being driven away. Silver being packed. All this DISSOLVES INTO:

12.

REVISED - 2/8/39.

60. DILL'S TWO-SEATED CARRIAGE containing Tim, Uncle Gaton, Gumbo and Janie, going down the road to New Orleans, the Big House disappearing in the distance.

61. PANORAMA OF NEW ORLEANS as seen in bird's eye view from a rise outside the city. Superimposed letters appear:

"NEW ORLEANS"
DISSOLVING TO:

"NEW YEAR'S 1847"

62. STREETS CROWDED WITH HOLIDAY PLEASURE SEEKERS. Gay music. Noises. Cries of street vendors. Masked dancers.

63. BALCONIES where lovely girls fan languidly, looking at the sights.

64. DOCKS WHERE COTTON BALES ARE PILED MARKED "NEW ORLEANS". Black WHarf-hands.

65. BOUTON'S MISSISSIPPI SHOWBOAT PULLING INTO DOCK, a gaily painted side-wheeler. Band playing. WHARF-HANDS cut the pigeon wing. Cries of joy. WHITES cheer.

65-A. KIDS SHOWN RUNNING TOWARD THE DOCKS. Blowing of whistles.

66. GANGPLANK OF BOUTON'S MISSISSIPPI SHOWBOAT. The owner, BOUTON, comes ashore. Tall, handsome, florid showman, grandiloquent and likeable, he immediately begins distributing pennies to the kids, even tossing a handful of coins to the

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68. STREET ON THE EDGE OF TOWN. CARRIAGE OF LAWYER
DILL shown passing a quiet old New Orleans cemetery
with the tombs built high above the damp earth,
surmounted by crosses. Tim and Gumbo are all eyes.
But the scene is sad in contrast to the griety of
the showboat. Dill's face grim.

69. COMBINATION OFFICE AND HOUSE NEAR CANAL STREET
bearing sign: "Martin Dill - Lawyer." A bleak
and shabby contrast with the gentle beauty of
Tim's plantation home. Dill, Tim and others dis-
mount. Slaves take charge of the baggage. Horses
are tied to hitching post. Dill takes out enormous
keys.

70. DIM HALLWAY OF HOUSE. Evidences of miserly living.
Tim asks Dill if no one lives with him. Dill says
he lives alone. Tim asks if he has no slaves.
Dill says he sometimes buys and sells them, but
doesn't care to own them.

71. JANIE PEEPS AND PEERS THROUGH THE HOUSE, followed
by Gumbo. They are seeking the kitchen. CAMERA
TRUCKS with them.

72. JANIE FINDS THE KITCHEN in a sorry state, dusty and
bachelor-like. Gumbo says, "There ain't nothin' to
eat here." Janie says it looks like there never
has been. She starts cleaning up kitchen.

73. DILL SEATED AT HIS DESK. He busies himself with
papers and accounts. Tim fidgets on a bench nearby.

74. DELETED.

75. TIM drops a heavy law book to the floor.

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76. DILL CALLS UNCLE CATON TO ESCORT LITTLE MASTER TIM TO HIS ROOM upstairs in the rear. Tim asks about supper. Dill says, "Supper? Oh, yes. See that Jane prepares some supper." Caton and Tim leave the room. Dill turns his attention back to his papers and accounts.

77. DELETED.

78. SEVERAL DAYS LATER. IN LIGHT, DILL SITS AT HIS DESK with a great ledger before him, figuring, figuring. Caton comes to tell him that dinner is served.

79. CATON AT DOOR OF TIM'S ROOM. Tim says he's coming to dinner. Starts out. Caton says gently, "Mars Tim, your hair ain't combed." Tim returns to slick down his hair.

80. DINING ROOM. Dill and Tim at dinner in bleak room at candle-lighted table. Caton serving. Dill tells Tim how profligate his father has been and that sale of father's effects has not brought in desired amount of money.

81. JANIE AND GUMBO IN KITCHEN dishing up food. Uncle Caton enters. Begins to tell them an amusing tale. The Negroes laugh loudly.

82. DINING TABLE. Dill remarks, "Slaves are rather noisy creatures, aren't they?" Tim says he likes to hear them laugh. Dill says there'll be one less tomorrow. He intends to sell Uncle Caton. Tim can no longer eat. He protests.

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REVISED - 2/8/39.

83. KITCHEN. Janie and Gumbo laughing loudly at Caton's antics. Suddenly they hear the Lawyer's voice very loudly.

84. DINING TABLE. Dill tells Tim, "I'm going to sell Uncle Caton tomorrow!"

85. KITCHEN. Consternation on faces of Caton, Janie and Gumbo. Caton drops a dish. Janie stiffens. She glances apprehensively at Gumbo, puts one arm protectingly about him.

86. UNCLE CATON SERVES THE MEAT AT TABLE. There are tears in Tim's eyes. The Lawyer is silent. No one says a word.

87. BEDROOM. NIGHT. Uncle Caton lays out Tim's night-clothes and smoothes back the bedcovers. They are together for the last time. Tim is downcast, but Uncle Caton is trying to make things more cheerful for him. He tells the child a Br'er Rabbit story, and together they sing a gay tune of the Old South. Tim falls asleep. The song slows down. The old man nods in his chair, also. Suddenly, he awakes with a start, looks gently at his little master as he sleeps, and tiptoes out of the room.

88. WINDING SIDE STREETS OF NEW ORLEANS. TOWN CRIER going through the streets with a bell calling out, "Slave sale! Slave sale! Two o'clock today! Slave sale!"

89. SLAVE MARKET. The auction block. CROWD. SLAVES huddled in groups. DEALERS. AUCTIONEER.

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REVISED -2/8/39.

90. IN THE CROWD, THE LAWYER, MARTIN DILL, AND TIM.
Also a YOUTH resembling the young Lincoln, tall,
with a serious face.

90-A. THE SALE. Various lots of ordinary field hands
are sold. Brisk bidding.

90-B. COMICAL YOUNG SLAVE PUT ON BLOCK. As Auctioneer
proclaims his virtues, the slave, shaking his
head, denies them all. The slave says, no, he
is not strong, he is weak. That he sure don't
like work. He is lazy. Has got bad feet. Runs
away every chance he gets. Finally, "I ain't
no good, Mars, I got distemper."

90-C. IRATE DEALER DRIVES THE SLAVE-ACTOR BACK INTO
SLAVE PEN. Nobody will buy him. Slave sneezes
and sneezes. CROWD laughs, as people scatter
to keep from catching distemper.

90-D. UNCLE CATON IS BROUGHT TO THE SLAVE BLOCK.

90-E. THE AUCTIONEER WAXES BLOQUENT on the virtues of
Uncle Caton, both as a faithful servant and an
excellent buy. The bidding is lively.

90-F. CRUEL-LOOKING MAN BIDDING FOR CATON.

90-G. CATON IS SOLD AWAY TO AN EVIL MASTER from the
rice fields of the delta lowlands.

91. TIM IN TEARS as Uncle Caton's hands are chained.

92. FACE OF THE TALL YOUNG STRANGER DISTRESSED.

93. CATON LED AWAY as Tim promises to buy him back
some day, real soon.

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98. IN THE STREET TIM AND GUMBO BREAK AND RUN.

105. TIM DECIDES TO FOLLOW THE SHOWBOAT ON FOOT UP

99. MAIN STREETS OF NEW ORLEANS. The two boys wander carelessly about buying sweetmeats, inquiring where the levee is. A FAT NEGRESS sells them pralines, and points the way toward the docks.

106. COUNTRY ROAD. TIM WALKS BRISKLY ALONG A DUSTY

100. THEY PASS AN IRON FOUNDRY and see the SLAVES making the beautiful iron grills of the period.

101. GREAT COMMOTION ON THE WHarf. CROWDS MILL ABOUT. FLOCK OF GOOSE, AND A FIERCE OLD GANDER ATTACKS NUMEROUS POLICE OFFICERS are there. The showboat him, ripping his behind. Tim frightens his away. is being driven from the dock as a public nuisance, as TIM and GUMBO arrive.

107. FRIEND SHOW ARRIVING

102. with hand full of bills which he leans Bouton to CLAIRE, LOVELY LEADING LADY OF THE SHOWBOAT, IS pay his taxes and fine.

103. ON DECK pleading with the officers to be allowed to find BOUTON and delay the sailing. OFFICERS say the boat has played there a week and hasn't yet paid the city tax. Claire says she herself will pay the tax from the night's performance. But the Officer replies that they have Bouton arrested and will make him work it out in prison.

109. COUNTRY ROAD AGAIN. TIM IS HUNTING, he shows a

102-A. CLAIRE YELLS TO CROWD that they'll play in the next town.

103. BEFORE TIM'S DISAPPOINTED EYES THE SHOWBOAT SAILS. Gumbo also looks distressed.

103-A. A BYSTANDER TELLS THEM the next town is eight miles up the river.

104. PAPA DONDON'S TAVERN. BOUTON IS IN THE TOILS OF THE LAW. As he is taken off to jail, he leaves word to send his FAT FRIEND to the prison to his aid, bringing the money to pay his fine and the tax.

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105. TIM DECIDES TO FOLLOW THE SHOWBOAT ON FOOT UP THE RIVER. Gumbo is afraid to go because of Janie and the Lawyer, Dill. Tim starts out alone. Gumbo watches him out of sight.

106. COUNTRY ROAD. TIM WALKS BRISKLY ALONG a dusty highway that winds sometimes beside the river, sometimes through the woods. He passes a persimmon tree and knocks some down. He passes a flock of geese, and a fierce old gander attacks him, nipping his behind. Tim frightens him away.

107. POLICE COURT. BOUTON'S FAT FRIEND SHOWN ARRIVING with hand full of bills which he loans Bouton to pay his taxes and fine.

108. LEAVING THE POLICE COURT, ON STEPS, Bouton requests the loan of just enough more to hire a horse to overtake his showboat. Friend digs down into his jeans for the money, bringing up a handful of coins, faithfully.

109. COUNTRY ROAD again. TIM IS HUNGRY. He throws a stick into a chestnut tree and brings down a branch of chestnuts, burrs and all, and begins to eat them. The sun goes down. TRUCKING SHOT of Tim: continuing down the road in the dusk. Glow worms appear. The night noises of the countryside begin. Frogs creak, katydids sing, a meadow lark calls. Tim imitates the frogs, then the meadow lark. But the frogs drown out the meadow lark. Tim begins to sing an old Negro folk song, a comical song about the wedding of the bullfrog:

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115. GREAT EXCITEMENT IN DILL'S HOUSE. TIM IS NOT TO BE FOUND. Janie, Gumbo, looking innocent, and Dill running around in circles.

116. JANIE LOOKING UNDER BED IN BEDROOM.

117. GUMBO LOOKING IN FLOUR BARREL.

118. PAN OF MEAT BURNING IN EMPTY KITCHEN.

119. DILL LOOKS THROUGH STABLES -- but no Tim.

120. IN THE KITCHEN DILL FACES THE TEARFUL JANIE AND THE SILENT GUMBO. Dill accuses Janie of neglecting her duty of looking after Tim. Then he turns on Gumbo who plays dumb and knows nothing, finally pretending to have lock-jaw so he cannot talk. Dill says he is going to sell Gumbo, and that he will get the police after Tim.

121. DILL LEAVING HOUSE IN DARK, hurriedly, to notify police of lost boy.

122. BOUTON AND TIM RIDING INTO A LIGHTED RIVER TOWN. Bouton stops at a saloon, dismounts, leaving Tim outside to hold his horse.

123. BOUTIN IN SALOON BUYING A DRINK WITH TIM'S QUARTER.

124. SHOWBOAT AT ANCHOR BESIDE THE LEVEE. Crowds gathering. The band playing.

125. STREET OUTSIDE SALOON. Tim waiting impatiently, holding the horse, as he hears the music playing at the foot of the street where he sees the lighted showboat.

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126. MESS HALL OF SHOWBOAT. The last of the actors are finishing supper, served by a tall skinny Negro woman, GLORY. CLAIRE, the beautiful, cheery, and very competent leading lady, has taken charge of things in Bouton's absence. She hurries the actors up as it is soon time for the show to begin. Some of the actors, eating hoggishly, resent her. Even if she is the leading lady, they say she is not the boss. The BASS TUBA PLAYER from the band enters for his supper. Glory says there ain't no more, that they just barely eked out things as it was. (Brown Betty.)

127. GALLEY WHERE NARGISSUS, THE NEGRO COOK (and Glory's husband), shows the TUBA PLAYER the empty pans through the serving window. Claire says she will find him something, however. She goes into galley to see what there is. But all food bins are empty. Gesture of despair.

128. TICKET BOOTH OF SHOWBOAT. Audience gathering. Band playing outside. TUBA PLAYER angrily rejoins band, playing very loudly and out of tune.

129. STREET. Tim still holding the horse, very restless now. Finally Bouton emerges. They ride on to the river side.

130. ENTRANCE OF SHOWBOAT. Bouton takes Tim in, saying he has already paid.

131. DRESSING ROOM. Bouton introduces Tim to Claire as a new partner in the show business, and a former plantation master and slave owner now slightly down on his luck. Claire asks if he has had anything to eat. He hasn't, so she takes charge of him.

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132. DINING HALL. THE NEGRO COUPLE SERVE TIM a scanty dinner, but in full courses (they think he is a gentleman) as the sounds of the show go on upstairs. Tim wants to bolt his food, but he tries to be polite as the service is too ceremonious. Finally Tim finishes and rushes upstairs.

133. BACKSTAGE ON SHOWBOAT. Quick Flashes of various parts of the show, recitations, musical numbers, etc., as Tim watches shyly from the wings, being shoved and bumped about. Bouton sees him and takes him outside to see the finale.

134. AUDITORIUM AT REAR. Bouton holds Tim so he can see over the heads of the crowd.

135. FINALE ON STAGE. Full cast line-up singing and dancing as curtain falls to great applause.

136. OFFICE. COUNTING OF MONEY AFTER SHOW. Bouton and Claire, with Tim. Claire suggests locking all the money up, but Bouton says it will be safe in his pockets. He invites Claire to accompany him ashore as soon as he puts Tim to bed. (Bouton wants to change money into twenty-dollar gold pieces.)

137. BOUTON'S CABIN ON THE BRIDGE. BOUTON LEAVES TIM ALONE as the boy gets into one of his white shirts for a nightgown.

138. STREET END BESIDE THE RIVER. Show folks shown heading for tavern. Claire asks Bouton to be careful with his money as food and finances are short. Bouton waves her protests aside.

25.

2/8/39.

139. THE LEVEE. NEGROES SHOWN LOUNGING AND LOVING THERE IN THE MOONLIGHT. They are just finishing singing a tune as the scene begins. The night and the stars are so pretty that one of them says the angels must beaux peeping down, right out of heaven. The Negroes begin to sing, LAWD, SEND

ONE ANGEL DOWN:

If-a you can't come,
If-a you can't come,
If-a you can't come, Lawd,
Send-a one angel down.
Send him in de midnight,
Send him in de mornin',
Send him in a hurry, Lawd,
If-a you can't come.

140. BOUTON'S CABIN. TIM, in Bouton's shirt, looks out of the high cabin window as the Negroes sing. He remembers Uncle Caton used to sing that song. In his high clear voice, Tim joins in.

141. LEVEE. THE STARTLED NEGROES CEASE THEIR SONG. Fearfully, they begin to draw away. They think Tim's voice is an angel right out of the sky. But finally someone spies Tim up there in the moonlight in the window of the cabin. They smile, delighted with the little singer. Then, joyfully, in a great burst of song, the Negroes' voices join Tim's, and the air is filled with music.

142. BOUTON AND CLAIRE RETURN TO THE SHOWBOAT. They are struck by the singing of the Negroes and Tim's voice floating high above them all.

143. THE SHOWBOAT, THE NEGROES, THE LEVEE, AND TIM -- DISSOLVE INTO:

26.

2/3/39.

144. SUNRISE ON THE MISSISSIPPI. The old showboat is going full steam up the stream, its paddle wheel chugging, its stack belching smoke.

145. ABOARD THE SHOWBOAT. Early morning activities. NARCISSUS scrubbing decks.

146. IN THE GALLEY, Glory prepares breakfast.

147. ACTORS TUMBLING INTO DINING SALOON TO EAT in kimonas and half-attire. They begin to kick at the men's breakfast, since there was a full house the night before. Claire tries to quiet them, but they demand Bouton.

148. DOOR OF BOUTON'S CABIN. Narcissus comes to call Bouton to calm the hungry crowd of actors.

149. INTERIOR OF CABIN. Bouton and Tim awake, at knock.

150. NARCISSUS IN DOORWAY says actors act like they're mad.

151. BOUTON DRESSES SLEEPILY, tells Tim to come down to eat, and follows Narcissus out.

152. DINING ROOM. BOUTON ENTERS and gives a spiel to the upset actors. Then very grandly he turns to the galley window and tells Narcissus to give them two eggs a piece from now on -- but, as he says it, he holds up secretly one finger to the cook. Tim enters as the bedlam is still going on concerning complaints other than food, such as back wages, etc. There are threats to quit. As Tim comes in, the noise calms down. Tim says good morning. All are struck by his manliness. Bouton introduces him as a singing marvel rivaling the angels and a new money-maker for the show.

23.

2/8/39.

157. PADDLE WHEEL OF SHOWBOAT MOVING SWIFTLY. BLASTS
with posters announcing the coming of the showboat
OF WHISTLE.

158. MONTAGE SHOTS OF PASSAGE OF SHOWBOAT UP THE RIVER.
ARRIVAL IN CINCINNATI. SHARP. Band playing, whistles
Swiftly, one after another, towns of the Mississippi:
Baton Rouge, Natchez, Vicksburgh, Memphis, etc.

steamboats, swamps, slaves in the fields, bloodhounds,
levees, cabins, moonlight.

159. ON BOARD SHOWBOAT. Excitement as boat nears
Cincinnati.

160. GIRLS SHOWN PREPARING WARDROBE. Talking excitedly.

161. TIM IN REHEARSAL UNDER BOUTON'S DIRECTION.

162. GALLEY where Claire and Glory are trying to scrape
together a dinner menu, Claire promising that in
Cincinnati there'll be plenty of food to cook, but
today she'll show Glory how to make a bread
pudding without eggs.

163. BARE STAGE. Claire comes into the theatre just as Tim
finishes his rehearsal with Bouton. Bouton says
Tim is worth a million dollars to him, that he'll
pay him a good salary. Or rather that he'll put
it away for him. A look of distress crosses
Claire's face at this well-meant but obvious
falsehood. As Tim doubts if people will really like
to hear him sing in a show, Claire assures him that
he will be all right. Tim says he hopes so, because
he wants to buy back Uncle Caton from the rice swamps.
Bouton assures him that they'll but Caton back.

29.

2/8/39.

164. CINCINNATI. Walls and fences are being plastered with posters announcing the coming of the showboat and the Singing Boy Wonder, LITTLE TIM.

165. ARRIVAL IN CINCINNATI. WHarf. Band playing, whistles blowing, Negroes dancing, crowd looking. Tim giving orders along with mates as to docking of boat. Tim shown throwing out lines to wharf. Crowd cheers.

166. PARADE FROM SHOWBOAT THROUGH CINCINNATI STREETS.

166-A. CUT UP TO WINDOWS. "IRVIN & FOSTER - COMMISSION MERCHANTS".

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

30.

2/11/2/8/39.

168. INSERT: OF FIGURES IN LEDGER:

10

15

10

STEPHEN puts down quickly the sum: 43

169. AS THE BAND AGAIN DRAWS NEAR, Stephen quickly closes his books and, putting his music in the brief case, takes his hat and rushes into the street.

170. NIGHT ON THE WHARF. Crowds coming to showboat. Bouton outside in all his glory announcing the wonders within.

171. AUDITORIUM OF SHOWBOAT. Large audience. Show in progress.

172. IN A BOX SITS STEPHEN FOSTER.

173. IN THE FRONT ROW sit a dozen little tough WHARF RATS.

174. ON THE STAGE, BOUTON INTRODUCES the debut of the Singing Boy Wonder, LITTLE TIM.

175. EXCITEMENT IN THE AUDIENCE. Hostility on faces of WHARF RATS.

176. TIM ENTERS STAGE AND SINGS. Loud raspberries from the front row.

177. IN MIDST OF SONG TIM IS INTERRUPTED BY THE TOUGH KIDS with remarks like, "Aw, you can't sing! ... Bet you was the teacher's pet! ... Your face is too clean!"

178. TIM INTERRUPTS HIS SONG TO INVITE THE TOUGH KIDS OUTSIDE. Then he continues, to end triumphantly with the audience applauding madly. But Tim, with a gesture to the kids to come on, exits through the wings when other and bigger kids cut in with unfavourable remarks, tripping him, etc., five against one.

179. EMPTY STAGE. Audience applauding.

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

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

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

183. WHARF. TIM FACES THE TOUGH KIDS. Silence. One of the kids asks Tim what he is going to do. Tim does not answer. One of the kids walks provocatively by Tim who does not move. Then the same kid puts a chip on his own shoulder and bumps into Tim purposely, thus knocking the chip off himself. Traditional signal for a fight. The kid whirls around intending to come back with his fist in Tim's face, but Tim catches him with a xxxxx haymaker instead. Kid falls. Then the fight starts. Kid rises and the battle is on. Tim is winning, when other and bigger kids cut in with unfair tactics, tripping Tim, etc. Five against one. Tim never stops battling. Biggest kid hits Tim a terrific blow. Another kid kicks him as he is down. As Tim rises, streaking down the gangplank and into the fray comes GUMBO. Behind Gumbo come the actors

2/11/39.

183. (Contd.) INTO HER GABIN wiping her hands on her
with spears, and half the crew of the showboat.
The tough kids flee, thinking the actors are after
them. Tim and Gumbo also flee in opposite direction.

184. DARK SECTION OF WHARF BEHIND THE COTTON BALES.
Tim and Gumbo greet each other. Tim asks how he
got there. Gumbo tells him that he stowed away,
hiding in sugar kegs, etc., all the way from New
Orleans, because he wanted to tell Tim how the
says, "Huh?" Gumbo replies, "This world ain't
old lawyer, Dill, has threatened to put Tim into
nothin' but 'corruption.'" Glory jumps out of her
a reform school for bad boys if ever he catches
up with him, and also that he, Gumbo, has been sold
to another master, but that he ran away while the
new master was taking him home.

(Gumbo tells a very exaggerated story, and although
there is some basis of fact in what he says, he
WHY? WAD KIDS some stealthily back to dock,
makes things seem a great deal worse than they
assuring each other that they will get him later.
actually are.)
Gumbo notices that Tim has a black eye, and begs
him to go get a poultice for it. Tim says they'll
the rope that mired the boat in water.
return to the boat and that he'll hide Gumbo in
his cabin so nobody will see him.

185. TIM AND GUMBO SNEAK BACK ON SHOWBOAT. Tim tells
Gumbo that he does not want to lose him to another
master as he has lost Uncle Caton. Tim hides Gumbo
in the cabin of Narcissus and Glory, telling him
he will be back later.

186. TIM IN CLAIRE'S DRESSING ROOM. He sees his black eye
in the mirror and scowls at himself. Puts ointment
on his eye.

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2/11/39.

187. GLORY COMES INTO HER CABIN wiping 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,
because this world is nothing but "worryation".
(Mr. Muse to supply lyrics for Mr. Simmons to
incorporate in script.)

Gumbo, beneath the bunk, also sighs, and answers
her, "You sure is right!" Glory, frightened,
says, "Huh?" Gumbo replies, "This world ain't
nothin' but worryation." Glory jumps out of her
skin. She screams aloud. She calls for Narcissus.
Together they look under the bunk and find Gumbo.

188. AUDITORIUM OF SHOWBOAT. The final curtain of the show. Audience applauding and rising.

189. WHARF. DEAD END KIDS come stealthily back to dock, assuring each other that they will get Tim later. Meanwhile, they will fix those showboat people. They proceed to draw their knives and cut away the ropes that moor the boat to anchorage.

190. DELIGHTED AUDIENCE SHOWN EMERGING FROM AUDITORIUM. Just as the first persons reach the gangplank, with a mighty pop the ropes give away and the boat is carried swiftly out into midstream and down the river.

191. ANGRY CROWD ON BOAT FLOATING OUT INTO THE RIVER. Hysterical women. Excited boathands.

34.

2/11/39.

191. (CONT'D.)

Bouton rushes for the bridge. With one hand on the steering gear, he makes a grandiloquent speech to the crowd. "Folks, Bouton has the situation well in hand! Don't worry! Bouton will see you through! Every gentleman will preserve his honor and every lady her virtue!"

192. FLASH BACK TO NEW ORLEANS. HOUSE OF LAWYER DILL.

HIS OFFICE. Janie pleads with Dill, in the presence of Pauline, to help her find Gumbo and Tim. Until she mentions Tim he treats her like dirt, but the thought occurs to him that perhaps Gumbo has followed Tim. If he can put his hand on one, he'll find the other. He threatens dire consequences to whoever aided Gumbo to get away. He decides to issue a handbill for a runaway master and a runaway slave, both under age.

193. THE RICE FIELDS where Uncle Caton is working.

He is looking at one of the handbills in the hands of a MAN who is questioning him in an effort to get some clue which may enable him to trade the boys and thereby secure the reward offered for their apprehension. Uncle Caton's replies to the Man's questions disclose something of Caton's own present circumstances.

35.

2/14/39.

194. AFTERNOON ON CINCINNATI DOCKS where Showboat is anchored. Black STEVEDORES working, drays, cranes worked by hand, river craft. The DEAD END KIDS gathering after school.

195. GANGPLANK. BOUTON EMERGING FROM BOAT with a stack of handbills which he gives to the DEAD END KIDS to distribute in return for passes to the show.

196. IN THE CROWD ON THE DOCK BOUTON, headed for the Gambling House, passes STEPHEN FOSTER headed for the showboat. They do not see each other, but the audience notes the contrast between the big bluster-ing river-man and the young poetic-looking handsome STEPHEN FOSTER, who carries a portfolio of music under his arm.

197. DECK OUTSIDE WINDOW OF CLAIRE'S GABIN. FOSTER pauses shyly there and glances in.

198. VIEW OF CLAIRE WITHIN working over the account books of the show.

199. STEPHEN COMES TO THE DOOR. He remarks that he did not know there were books to be kept even on a Show-boat. CLAIRE answers with a sigh that it is so. STEPHEN says that he has come to show her his new songs. He enters the cabin.

200. WITHIN THE GABIN CLAIRE AND STEPHEN look over his songs, new and old, as he hums portions of them to her. She sees CHRISTY's name on some of them. STEPHEN explains that his family do not approve of his writing songs, and that Ethiopian songs based on slave tunes are not respectable in the best circles. CLAIRE re-plies that for that very reason they have never used any of his tunes, but that one she selects might suit

36.

2/14/39.

200. (CONT.)

TIM, and she suggests finding the boy and going into the theatre to try them over. At least, she thinks, the song might be good for a few weeks.

They gather up the music to leave. FOSTER'S eyes implying that he is probably too much, and saying follow CLAIRE with a longing glance.

201. DARK AND EMPTY THEATRE OF SHOWBOAT.

202. MONTAGE SHOTS OF THE OLD SOUTH, with its slaves, cotton, and beautiful ladies.

203. AS THE SONG FINISHES TIM ASKS MAY HE RETURN TO HIS KITES. He leaves STEPHEN and CLAIRE alone together. CLAIRE sits at the piano and begins to learn the playing of the song while FOSTER bends over her tenderly.

204. GAMBLING HOUSE where BOUTON is drinking and gambling. Movement and color of sports and river-boat people. BOUTON loses all his money.

205. IN THE DARKENED THEATRE, entranced by their own music, STEPHEN AND CLAIRE linger in the dusk. Suddenly STEPHEN begins to tell CLAIRE a story of an imaginary romance which CLAIRE sees is meant to be about themselves. STEPHEN autographs a copy of his song to her. It is all he can do to keep from kissing her.

37.

2/14/39.

206. DOORWAY OF THEATRE. BOUTON arrives slightly tipsy. He sees them together and come swaggering down the aisle. CLAIRE tells him she has purchased one of FOSTER'S songs. BOUTON gives him Five Dollars for it, implying that that is probably too much, and saying that they can use a song or so of his on the boat. perhaps, but they can't use him. FOSTER leaves gracefully saying goodbye to CLAIRE. Meanwhile the supper bell has rung.

207. HIGH LEVEE AND VIEW OF THE MIGHTY RIVER. TIM and GUMBO, hearing the supper bell, run toward the boat.

208. GALLEY where NARCISSUS is engaged in seeing how thin he can slice the bread, while GLORY puts water in the soup.

209. DECK OUTSIDE MESS HALL. CLAIRE ASKS BOUTON if he isn't coming in to supper. BOUTON, surly, says he doesn't want any supper. He is still angry about FOSTER.

210. MESS HALL where CLAIRE briskly takes charge of the confusion. The hungry actors are snatching slices of bread from the plate even before GLORY sets it on the table, and stuffing the entire thin slices into their mouths.

211. THE SUN SETTING BEHIND THE KENTUCKY SKYLINE. BOUTIN in silhouette against the sun, a fishing pole in his hand, lonely and solitary on the after deck of the boat.

212. BOUTON FEELS A TUG AT HIS LINE. He looks down.

36.

2/14/39.

2/14/39.

213. FLOATING BY THE RIVER AND TANGLED UP IN HIS LINE are a flat mass of handbills from the Showboat. BOUTON realizes the DEAD END KIDS have thrown all the bills he gave them to distribute into the Mississippi.

214. BRIGHT MORNING ON LEVEE OUTSIDE THE WHARF SECTION. TIM and GUMBO are playing with the DEAD ENDERS, and GUMBO is bragging about how he was about to be sold in New Orleans, but he ran away. TIM tries in vain to detract his attention and change the subject, but GUMBO tells all, and about how proud he is now to be travelling with Mars TIM who is an actor.

215. AMONG THE KIDS SITS A DARK YOUNGSTER who says, aw, his whole family were actors and that his name is John Wilkes Booth. As TIM and GUMBO run off up the levee flying 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.

216. DECK OF SHOWBOAT. GLORY PEELING POTATOES. NARCISSUS asleep in the sun, 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 the white folks quarrel if they would only buy something good to eat just once before they leave Cincinnati.

217. OTHER END OF DECK. CLAIRE pacing the deck, lonely. Suddenly in desperation she goes into her cabin.

218. CLAIRE'S CABIN. She powders her face, seizes her hat, and quickly and decisively goes ashore. We have the feeling she is going to leave BOUTON.

39.

2/14/39.

2/14/39.

219. GANGPLANK. CLAIRE going ashore with parasol.

220. STREET NEAR DOCK OUTSIDE OFFICE OF IRWIN & FOSTER.

227. CLAIRE passes slowly, looks up at his window, doesn't see him.

221. CLAIRE WINDOW SHOPS. Views of quaint styles of times in windows. But she slowly returns passing STEPHEN'S office. The glint of the peak of her umbrella reflects the sun.

222. STEPHEN'S OFFICE. FOSTER is seated at his books, alternating between figures and music, humming a new tune he is trying to work out, possibly OLD KENTUCKY HOME. As he gets the melody he wants, he puts it down quickly, glancing around to see if his brother is coming. The glint of CLAIRE'S parasol on the ceiling attracts his eye. He looks up, then down into the street. He sees CLAIRE. He rushes down.

223. IN THE STREET, STEPHEN GREETS CLAIRE.

235. BACKSTAGE. Battle and anxiety. No other character nor CLAIRE are present. Glory lighting the stage. A serious, slow, getting in the footlights. Serious, slowly getting out. Country.

224. STEPHEN AND CLAIRE TAKE A HORSE-GARRIAGE with an OLD DRIVER.

225. COUNTRY ROAD IN THE AFTERNOON SUN. As they drive along, CLAIRE tells STEPHEN of her loneliness, of life on the vast river, of the bad shows, the care-less drinking man she has loved but no longer thinks she cares for, of her wish to marry and adopt LITTLE TIM. STEPHEN sympathizes with her. They stop the carriage.

40.

2/14/39.

2/14/39.

<table>
  <tbody>
    <tr>
      <td>226.</td>
      <td>MEADOW OF SPRING FLOWERS. They wander across the meadow, hand in hand.</td>
    </tr>
    <tr>
      <td>227.</td>
      <td>THE WOODS. They go into the woods where the violets and the moss and purple shadows are. Stephen puts his arms about Claire. She weeps.</td>
    </tr>
    <tr>
      <td>228.</td>
      <td>THE ROAD. The Old Coachman looks at his large loud-ticking watch on a great brass chain. It is getting late. He nods drowsily.</td>
    </tr>
    <tr>
      <td>229.</td>
      <td>A SWARM OF BEES IN THE NEARBY CLOVER rise and circle around the horse.</td>
    </tr>
    <tr>
      <td>230.</td>
      <td>A BEE STINGS THE HORSE ON THE EAR.</td>
    </tr>
    <tr>
      <td>231.</td>
      <td>THE HORSE SUDDENLY BOLTS, throwing the Old Coachman aided by Foster. Claire, leaving Foster, runs to the ground, and running madly down the road with the carriage. The Coachman stumbles after the runaway horse in ineffectual pursuit.</td>
    </tr>
    <tr>
      <td>232.</td>
      <td>EVENING. AUDIENCE GATHERING ABOARD SHOWBOAT.</td>
    </tr>
    <tr>
      <td>233.</td>
      <td>BACKSTAGE. Bustle and anxiety. Neither Bouton nor her costume. The orchestra strikes on the mainCLAIRE are present. Glory lighting the candles of a French scale opera. (Le Brus's ROSSINI, perhaps.) in the footlights. Narcissus slowly getting in everyone's way. Gumbo up in the flies letting down the wrong backdrop. Someone sends Narcissus for Bouton at the gambling house. Narcissus delays, but finally gets off. Everyone wonders where is Claire?</td>
    </tr>
    <tr>
      <td>234.</td>
      <td>ACTORS TAKE THEIR PLACES. Music of orchestra inpit. The show is about to begin. All are very nervous. Glory is working the sound effects.</td>
    </tr>
  </tbody>
</table>

41.

2/14/39.

235. FIRST SCENE OF SHOW. VERY ROUGH. Bouton arrives just in time to catch a missed cue and walk onto the stage and save the situation.

236. BOUTON BACKSTAGE VERY ANGRY that Claire is not there. He flies into a rage as the next act proceeds.

237. BOUTON ANNOUNCING SUBSTITUTION FOR LEADING LADY in next act to follow. Very UGLY GIRL is taking Claire's place.

238. AS SCENE PROGRESSES, Bouton fumes and paces up and down in the wings.

239. GLORY ON DECK WATCHES WHARF. She sees a carriage drive up under the gas light and Claire dismounts aided by Foster. Claire, leaving Foster, runs through the moonlight to the boat.

240. BOUTON MEETS CLAIRE and a terrific quarrel develops.

241. CLAIRE'S DRESSING ROOM. Bouton quarrels, Claire cries, as she puts on her make-up and rushes into her costume. The orchestra strikes up the music of a French comic opera. (Le Bru's ROSSIGNOL, perhaps.)

242. THE WINGS. BOUTON FOLLOWS CLAIRE almost onto the stage, still quarreling. Claire is still crying. But the moment she walks on the stage, she smiles.

243. FULL STAGE. Claire frisking around in a French comic opera.

244. AUDIENCE. MONTAGE OF FACES. Man cracking nuts. Mother trying to hush crying baby. One of Dead End Kids chewing tobacco and spitting.

245. CLAIRE LEAVES STAGE SMILING AND GAY IN CHARACTER. Great applause.

43.

2/14/39.

252. STEPHEN FOSTER gazing entranced at the stage, being jostled in the rising audience as the curtain goes up and down. Foster gazes at Claire's face.

251. DILAPIDATED NEGRO CHURCH, but the singing within

253. CLOSE-UP OF THE LOVELY FACE OF CLAIRE, as the curtain falls.

254. CLAIRE ALONE IN HER CABIN AFTER THE SHOW.

252. On her dressing table, the autographed manuscript of Foster's song, beside it Bouton's picture.

255. CLAIRE'S TEARS FALL ON THE MANUSCRIPT, causing the ink to run.

256. BUT SUDDENLY CLAIRE PUTS THE MANUSCRIPT INTO THE DRAWER and picks up Bouton's picture. We know here

254. that whatever Bouton does, Claire loves him.

257. FLASH-BACK TO DILL'S HOUSE IN NEW ORLEANS.

258. Dill tells Pauline that all the officials of the law in the country are on the lookout for Tim and Gumbo, as well as professional kidnappers who trap slaves.

Pauline expresses the hope that Tim will soon be found so that more money will be available for her
FACE OF GLORY AFTER SHERIFF HAS GONE when she suddenly uses, as the opera season is approaching and she
wishes a string of pearls, or a rope of California gold.

257. SUNDAY IN CINCINNATI. CHURCH BELLS RINGING.

259. GLORY SEEN DRESSING GUMBO to accompany Tim to church.

258. Tim, how dressed well, gives Gumbo a cast-off coat of his to wear. Gumbo is now "dressed up" for the first time.

44.

2/14/39.

260. STREET AS TIM AND GUMBO WALK SEDATELY ALONG.
They are about to pass a --

261. DILAPIDATED NEGRO CHURCH, but the singing within
causes them to stop and listen. They are xx
fascinated by the singing. With an uncontrolled
gesture they move unceremoniously into the church.

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

263. GANGPLANK OF SHOWBOAT. The Sheriff of Cincinnati,
accompanied by Young Booth and others of the Dead
End Kids, gazes up at the boat. The Sheriff enters
alone. Kids remain behind.

264. SHERIFF WALKS ALL OVER THE QUIET BOAT. He comes
upon Glory slicing apples back aft.

265. SHERIFF ASKS IF THERE IS A LITTLE SLAVE BOY ABOARD
accompanied by his so-called Little Master. Glory
replies that there is but that his Master has taken
him to Church. Sheriff leaves.

266. FACE OF GLORY AFTER SHERIFF HAS GONE when she suddenly
realizes she might have given something away.

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.

45.

2/14/39.

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. SHERIFF, ALONE, APPROACHES CATHOLIC CHURCH.
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-A. 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 for 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.

46.

2/14/39.

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. FILTH. Outside the sun is setting, casting long shadows of bars over everything. AISLE OF CHURCH. Riot 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.

278. tim sad in a cell alone.

277. SUDDENLY THE SHERIFF WALKS UP THE AISLE and lays hands on Tim and Gumbo.

278. CONGREGATION THROWN INTO TURMOIL. The Sheriff in the footlights, tears in her eyes. Stephen Foster announces that he has found a runaway slave and the slave in. He has heard of her trouble and offers to runaway master, and that the slave goes back to her, saying he knows that she loves Bouton; slavery and the master to his proper guardian.

279. A VERY OLD NEGRO WOMAN BEGINS TO HUM: "Go Down Moses".
lawyer for her tomorrow.
280. THE SHERIFF BEGS THEIR PARDON for interrupting 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 terrific volume: GO DOWN, MOSES, WAY DOWN IN EGYPT LAND, AS WE SING ALL THE LONELINESS OF OUR LIVES, 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.
283. MONTAGE, as TIM SINGS, OF VARIOUS EVENTS. The Sheriff and Police Chief say they will take IN JAIL, and their faces are serious. Bouton and lock him up for having hidden the facts some crying, some heart-breaking stuff. some police serum. 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.

47.

2/14/39.

283. INTERIOR OF JAIL. White and Negro bull-pens shown filled with EVIL CHARACTERS of the town. MONTAGE of separate cells with terrible people behind bars. Rats darting about on floor. Cockroaches. 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 footlights, tears in her eyes. Stephen Foster comes in. 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 borne out in the song.

289. MONTAGE, as TIM SINGS, OF VARIOUS ROGUES AND VAGABONDS IN JAIL, and their faces as the song affects them, some crying, some heart-breakingly sad, some grim.

290. LETTER FLOWING FROM SHERIFF'S PEN advising Dill that the boys are being held subject to his orders.
(This scene to INTERCUT the song.)

48.

2/14/39.

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 witness 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 INJUNCTION TO PREVENT RETURN OF LITTLE TIM, SHOWBOAT'S SINGING MARVEL, TO NEW ORLEANS.

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

297. YARD OF THE COURTHOUSE. People entering for the trial, townsfolk in common clothes, showfolk dressed in their flashy best -- even Narcissus and Glory. Dead End Kids seen in crowd. And Stephen Foster.

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

49.

2/14/39.

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 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 established 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'S 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.

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2/14/39.

307. AUDIENCE LAUGHS AT GUMBO, but in the crowd we see the solemn face of LINCOLN as an observer, that 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. 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 puts his hand on the head of Young Booth.

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

312. LINCOLN COMES BACK WITH A MASTERFUL DEFENSE OF BOUTON, TIM and Gumbo, refuting the Judge's contention that the 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 private 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.

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2/14/39.

313. FLASH OF PAULINE GAZING INTENTLY AT THE PROCEEDINGS.
Bouton studies her face, remarking to Claire that
he has met her somewhere. and looking at Claire.

314. LINCOLN BRINGS OUT THAT THE OWNER OF THE ESCAPED SLAVE IS NONE OTHER THAN LITTLE TIM HIMSELF.

323. How then can he be accused of aiding a slave to
BOUTON ARES SOME OLD FRIENDS AT BAR, and issues
escape if the slave is his own property? Could it
be that Mr. Dill has some other reason for

324. 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 HAD RUN AWAY BEFORE THE PAPERS COULD 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 showboat, that he follow the matter through in New Orleans.

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

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

320. ON THE FACE OF LINCOLN, DISSOLVE:

52.

2/14/39.

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 new arrangements.

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

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

324. BOUTON AT BAR rolling dice with his friends. He to New Orleans. Claire is indignant and derailed. 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 jealousy 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 TALKING WITH PAULINE. He learns why Uncle Caton was sold. He has pumped her on Dill. Bouton sees Claire.

329. CLAIRE FUMES AT HER TABLE ALONE.

330. BOUTON, SAYING HE WILL SEE PAULINE IN NEW ORLEANS, rings bell. orders Wire and servant to see Dill to GOES BACK TO CLAIRE. She is furious. He kids her. the door, all the while suffering with pain and keeping the slaves running.

331. DILL, PAULINE, TIM and GUMBO shown leaving for New BOUTON AT DILL'S HOME. He learns from Pauline what is going on. From Dill he learns where Uncle Caton is.

332. BOUTON, FISHING ON AFTER-DECK OF SHOWBOAT, sees boat sail with Tim and Pauline aboard.

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2/14/39.

333. BOUTON PULLS A BIG FISH FROM THE WATER, AS NARCISSUS STANDS THERE with a worm in his hand as bait. Bouton says he won't need the next worm, as they'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 for life. Judge postpones his hearing 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.

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2/14/39.

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

342. NARCISSUS ON COUNTRY ROAD ON MULE.

343. DUSK. NARCISSUS ARRIVES AT RICE PLANTATION AND
FINDS UNCLE 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 post-
poned 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 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 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 the Judge.

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2/14/39.

350. MORNING. AT THE HOME OF THE OLD JUDGE. Dill is faced by Bouton with his inderiminating 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. Touching 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 proved to be a villain of the lowest form. Caton discloses that Dill has killed a former mistress of his once on a visit to the plantation.

352-A. SCENE IS SHOWN IN FLASH: Dill drunk, knocking woman down against a rock. Caton's master has allowed this to remain undisclosed, thinking it an accident.

352-B. 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.

352-C. PAULINE IS ARRESTED AS AN ACCESSORY to Dill's swindling schemes.

353. BAYOU LOVELLE PLANTATION. A carriage containing Tim, Bouton and Claire, with Uncle Caton driving and Gumbo beside him, rolls over the roads 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.

56.

2/14/39.

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. BOUTON'S MISSISSIPPI SHOWBOAT rounds the bend to come to anchor on the banks of Tim's own plantation, and all the actors come trooping down.

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

357. TIM'S HAPPY FACE ALONE SINGING.

-- THE END --

196. IN THE CROWD ON THE DOCK BOUTON, headed for the Gambling House, passes STEPHEN FOSTER headed for the Showboat. They do not see each other, but the audience notes the contrast between the big blustering river-man and the young poetic-looking handsome STEPHEN FOSTER, who carries a portfolio of music under his arm.

197. DECK OUTSIDE WINDOW OF CLAIRE'S CABIN. FOSTER pauses shyly there and glances in.

199. STEPHEN COMES TO THE DOOR. He remarks that he did not know there were books to keep even on a Showboat. CLAIRE answers with a sigh that it is so. STEPHEN says that he has come to show her his new songs. He enters the cabin.

200. WITHIN THE CABIN CLAIRE AND STEPHEN look over his songs, new and old, as he hums portions of them to her. She sees CHRISTY'S name on some of them. STEPHEN explains that his family do not approve of his writing songs, and that Ethiopian songs based on slave tunes are not respectable in the best circles. CLAIRE replies that for that very reason they have never used any of his tunes, but that one she selects might suit TIM, and she suggests finding the boy and going into the theatre to try them over. At least, she thinks, the song might be good for a few weeks. They gather up the music to leave. FOSTER'S eyes follow CLAIRE with a longing glance.

201. DARK AND EMPTY THEATRE OF SHOWBOAT. TIM, STEPHEN, AND CLAIRE at the piano as STEPHEN tries over his new song. He sings in a rich baritone voice. CLAIRE joins in. Then TIM, STEPHEN explains the background of the song, and this is seen as TIM sings:

205. IN THE DARKENED THEATRE, entranced by their own music, STEPHEN and CLAIRE linger in the dusk. Suddenly STEPHEN begins to tell CLAIRE a story of an imaginary romance which CLAIRE sees is meant to be about themselves. STEPHEN autographs a copy of his song to her. It is all he can do to keep from kissing her.

206. DOORWAY OF THEATRE. BOUTON arrives slightly tipsy. He sees them together and comes swaggering down the aisle. CLAIRE tells him she has purchased one of FOSTER'S songs. BOUTON gives him Five Dollars for it, implying that that is probably too much, and saying that they can use a song or so of his on the boat perhaps, but they can't use him. FOSTER leaves gracefully saying goodbye to CLAIRE. Meanwhile the supper bell has rung.

208. (cont.)

GLORY puts water in the soup.

211. THE SUN SETTING BEHIND THE KENTUCKY SKYLINE. BOUTON in sillouette against the sun, a fishing pole in his hand, lonely and solitary on the after deck of the boat.

213. FLOATING BY THE RIVER AND TANGLED UP IN HIS LINE are a flat mass of handbills from the showboat. BOUTON realizes the DEAD END KIDS have thrown all the bills he gave them to distribute into the Mississippi.

214. (cont.)

215. AMONG THE KIDS SITS A DARK YOUNGSTER who says, aw, his whole family were actors and that his name is John Wilkes Booth. AS TIM and GUMBO run off up the levee flying 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.

216. DECK OF SHOWBOAT. GLORY PEELING POTATOES. NARCISSUS asleep in the sun, 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 the white folks quarrel just they would only buy something good to eat once before they leave Cincinnati.

218. CLAIRE'S CABIN. She powders her face, seizes her hat, and quickly and desistively goes ashore. We have the feeling she is going to leave Bouton.

220. STREET NEAR DOCK OUTSIDE OFFICE OF
IRWIN & FOSTER. CLAIRE passes slowly,
looks up at his window, doesn't see him.

222. STEPHEN'S OFFICE. FOSTER is seated at
his books, alternating between figures
and music, humming a new tune he is try-
ing to work out, possibly OLD KENTUCKY
HOME. As he gets the melody he wants,
he puts it down quickly, glancing around
to see if his brother is comint. The
glint of CLAIRE'S parasol on the ceiling
attracts his eye. He looks up, then down
into the street. He sees CLAIRE. He
rushes down.

223. IN THE STREET, STEPHEN GREETS CLAIRE.
She says she must talk to someone about
her troubles. He invites her for a ride
into the country.

224. STEPHEN AND CLAIRE TAKE A HORSE-CARRIAGE
with an OLD DRIVER.

225. COUNTRY ROAD IN THE AFTERNOON SUN. AS
they drive along, CLAIRE tells STEPHEN of

225. (cont.)

her loneliness, of life on the vast river,
of the bad shows, the careless drinking
man she has loved but no longer thinks
she cares for, of her wish to marry and
adopt LITTLE TIM. STEPHEN sympathizes
with her. They stop the carriage.

226. MEADOW OF SPRING FLOWERS. They wander
across the meadow, hand in hand.

227. THE WOODS. They go into the woods where
but finally get off. Everyone wonders
the violets and the moss and purple
shadows are. STEPHEN puts his arms about
her. She weeps.

228. THE ROAD. The OLD COACHMAN looks at his
large loud-ticking watch on a great brass
chain. It is getting late. He nods
drowsily.

229. A SWARM OF BEES IN THE NEARBY CLOVER RISE
AND CIRCLE AROUND THE HORSE.

230. A BEE STINGS THE HORSE ON THE EAR.

231. THE HORSE SUDDENLY BOLTS, throwing the
old COACHMAN to the ground, and running
madly away down the road with the carriage.
The COACHMAN stumbles after the runaway
horse in ineffectual pursuit.

232. EVENING. AUDIENCE GATHERING ABOARD SHOWBOAT.

233. BACKSTAGE. Bustle and anxiety. Neither BOUTON nor CLAIRE are present.

GLORY lighting the candles in the footlights. NARCISSUS slowly getting in everyone's way. GUMBO up in the flies letting down the strong backdrop.

234. ACTORS TAKE THEIR PLACES. Music of orchestra in pit. The show is about to begin. All are very nervous. GLORY is working the sound effects.

235. FIRST SCENE OF SHOW, VERY ROUGH. BOUTON arrives just in time to catch a missed cue and walk onto the stage and save the situation.

236. BOUTON BACKSTAGE VERY ANGRY that CLAIRE is not there. He flies into a rage as the next act proceeds.

238. AS SCENE PROGRESSES and BOUTON fumes and paces up and down in the wings.

239. GLORY ON DECK WATCHES WHarf. She sees a

239. (cont.)

241. CLAIRE'S DRESSING ROOM. BOUTON quarrels, CLAIRE cries, as she puts on her make-up and rushes into her costume. The orchestra strikes up the music of a French comic opera. (Le Bru's ROSSIGNOL perhaps.)

242. THE WINGS. BOUTON follows CLAIRE almost onto the stage, still quarrelling, CLAIRE still crying. But the moment she walks on the stage, she smiles.

243. FULL STAGE. CLAIRE frisking around in a French comic opera.

244. AUDIENCE. MONTAGE of faces. MAN cracking nuts. MOTHER trying to sush crying baby. One of DEAD END KIDS chewing tobacco and spitting.

246. IN WINGS CLAIRE IMMEDIATELY BURSTS INTO TEARS AGAIN as BOUTON starts upbraiding her. TIM looks on sadly---

247. COMMEDians BOUNCE ONTO STAGE IN SKIT

247. (cont.)

ENTITLED: "HUSBANDS ARE ALWAYS IN
THE WRONG EVEN WHEN THEY'RE IN THE RIGHT."
Laughter and applause of audience.

248. TIM ENTERS FOR HIS BIG SONG. (Theme Song Of Picture by Clarence Muse and Langston Hughes, which we have ready for clearance.) It is a song of life on the river, the levee, the showboat, the plantations that float by as in a dream, the gamblers, the romance, and the whole panarama of the Mississippi.

249. ON DECK PEEPING THROUGH THE WINDOWS
as TIM sings, the Negro WHARF-HANDS
and their WOMEN crowd, getting their
glimpse of the show.

250. CROWDED AUDITORIUM. NEGROES in the
windows. AS TIM repeats the chorus,
all the NEGRO voices join in making
a glorious ending to the number.

251. GRAND FINALE OF THE SHOWBOAT PROGRAM.
MEDLEY beginning with STEPHEN FOSTER'S
"Open Thy Lattice, Love," with CLAIRE
as the SWEETHEART, going into THE
PLANTATION JIG arranged by FOSTER.

251a. OUTSIDE ON DECK THE NEGROES DANCE
HILARIOUSLY.

251b. FINALE CLOSES with "There's A Good Time
A-Comin'" by FOSTER, to wild applause.
Rising audience. CLAIRE and TIM at center
of stage.

252. STEPHEN FOSTER gazing entranced at the stage, being joustled in the rising audience as the curtain goes up and down. FOSTER gazes at CLAIRE'S face.

253. CLOSE UP OF THE LOVELY FACE OF CLAIRE AS THE CURTAIN FALLS.

254. CLAIRE ALONE IN HER CABIN AFTER THE SHOW. On her dressing table, the autographed manuscript of FOSTER'S song, beside it BOUTON'S picture.

255. CLAIRE'S TEARS FALL ON THE MANUSCRIPT causing the ink to run.

256. BUT SUDDENLY CLAIRE PUTS THE MANUSCRIPT INTO THE DRAWER and picks up BOUTON'S picture. We know here that whatever BOUTON does, CLAIRE loves him.

257. FLASHBACK TO DILL'S HOUSE IN NEW ORLEANS. DILL tells PAULINE that all the officials of the law in the country are on the lookout for TIM and GUMBO, as well as professional kidnappers who trap slaves. PAULINE expresses the hope that TIM will soon be found so that more money will be available for her uses as the Opera season is approaching, and she wishes a string of pearls, or a rope of California gold.

258. SUNDAY IN CINCINNATI. CHURCH BELLS RINGING. Quiet streets. Folks in their Sunday clothes going to church.

259. GLORY SEEN DRESSING GUMBO to accompany TIM to church. TIM, now dressed well, gives GUMBO a cast off coat of his to wear. GUMBO is now "dressed up" for the first time.

261. DILAPIDATED NEGRO CHURCH but the singing within causes them to stop and listen. They are fascinated by the singing. With an uncontrolled gesture they move unceremoniously into the church.

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

263. GANGPLANK OF SHOWBOAT. THE SHERIFF OF CINCINNATI, accompanied by YOUNG BOOTH and others of the DEAD END KIDS gazes up at the boat. The SHERIFF enters alone. KIDS remain behind.

264. SHERIFF WALKS ALL OVER THE QUIET BOAT. Comes upon GLORY slicing apples back aft.

265. SHERIFF ASKS IF THERE IS A LITTLE SLAVE BOY ABOARD accompanied by his so-called LITTLE MASTER. GLORY replies that there is but that his MASTER has taken him to church. SHERIFF leaves.

34.

2/27/39.

120. (CONT.)

JANIE
These people ain't got no business
wid no servants.

CATON
They sure ain't got no business
raisin' Massa Tim.

JANIE
Truth! An' de righteous truth! What
I can't figger out is, what is dat man
doin' wid Massa Tim's money?

121. INT. DILL LIVING ROOM (DAY)
MEDIUM CLOSE SHOT

as Janie comes up to Caton and they speak softly.

CATON
I don't know, but I recollets
more'n once hearin' Mars Timothy say
that no matter what happens to de
plantation, if he pass away, he
fixed it so Tim never want for nothin'.

Janie drops her brush and dust pan in astonishment.

CATION
Some kind o' stocks! And 'twarn't
live stock!

JANIE
Huh?

CATON
'Twere steamboats.

JANIE
I ain't never seen no steamboats!

CATON
White folks got a lot of things Rid
away you ain't never seen.

Caton speaks with an air of finality, dismissing the conversation.

122. INT. DILL HALL (DAY)
CLOSE SHOT - PAULINE

listening raptly.

JANIE'S VOICE
I reckon you right!

There's a silence and the swish of brooms as though the
servants have finished talking. Pauline leaves and starts
towards library. HOLD on her briefly.

CUT TO:

123. INT. DILL LIBRARY (DAY)
MEDIUM SHOT

as the door opens and Pauline stands in the door way.

PAULINE
Martin....

(CONT.)

2/27/39.

126. (CONT.) As Dill starts back with Brown toward the house, he looks off narrowly at the boys, and snaps at them:

DILL
You boys, keep quiet and behave yourselves!

127. EXT. GROUNDS OF DILL HOME (DAY)
CLOSE SHOT - TIM AND GUMBO

who snaps his eyes at Dill. They sit in the same position on the stone bench, sunk in a slough of despondency. Not a word escapes them. Slowly each turns his head to glance at the other, looking mutely into each other's eyes, probably thinking the same thoughts -- what a hell of a life this is. They turn their heads slowly away again.

DISSOLVE TO:

128. INT. DILL LIBRARY (DAY)
MEDIUM CLOSE SHOT - DILL AND BROWN SEATED

Brown is a bald-headed, elderly type business man, who is taking snuff as Dill speaks to him.

DILL
You're right! But I have always felt that you were unhappy with your interest in the Gulf Coast Shipping Company Mr. Brown.

BROWN
Well, yes and no, sir!

DILL
You have four hundred shares out of the thousand shares in the Company --

BROWN
But, by whistle! I don't control the business.

DILL
Would you sell?

129. INT. DILL LIBRARY (DAY)
CLOSE SHOT - BROWN

as he pauses in the act of taking snuff, and looks up sharply over his spectacles at Dill. Then says, rather evenly:

BROWN
At market price plus ten per cent.

130. INT. DILL LIBRARY (DAY)
TWO SHOT - DILL AND BROWN

DILL
I'll go five per cent.

Brown hesitates slightly, then sticks his hand out to bind the bargain.

(CONT.)

2/27/39.

39.

138.
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.

139.
EXT. STREET (DUSK)
--- Dill and Tim

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

140.
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 period, ambling
along lackadaisically, and chanting:

141.
CHIMNEY SWEEP
I know why yo' chimney won't draw,
Stove won't bake
And you can't make no cakes.
And I know why yo' chimney won't draw.

142.
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!

143.
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!

(CONT.)

40.

2/27/39.

143. (CONT.)

TIM
(getting it)

Oh... you're looking for work?

CHIMNEY SWEEP

(grinning)

Yo' chimney need sweepin'? I'll take
yo' order. Fix him up next week some-
time, I's tired today!

144. EXT. OUTSIDE FENCE (DAY)

CLOSE UP CHIMNEY SWEEP

as he stifles a huge yawn, then goes on:

CHIMNEY SWEEP

Stay up late last night, watchin'
showboat.

145. EXT. OTHER SIDE OF FENCE (DAY)

CLOSE UP TIM

through the bars of the fence. He registers immediate
great interest.

TIM

Showboat?

CHIMNEY SWEEP'S VOICE

Uh-uh-- play actin' an' singin'.

146. EXT. DILL GROUNDS (DAY)

THREE SHOT - TIM, GUMBO AND CHIMNEY SWEEP

GUMBO

(tremendously interested)

Where dis heah showboat is?

CHIMNEY SWEEP

Canal Street on de river.

(indicates off)

He now makes a comic salute to them.

CHIMNEY SWEEP

Good day, genemens!

He starts away, singing out from her force of habit;

CHIMNEY SWEEP

147. EXT. DILL GROUNDS (DAY)

watching the Chimney Sweep depart off scene. Then Tim
turns to Gumbo. They both stare at each other, thinking
the same thought - their mouths literally watering at
the prospect of seeing the showboat.

GUMBO

Mars Tim, what do you say?

TIM

Huh?

GUMBO

Yo' got yo' week's spending money.

Tim motions to follow him, and the two kids steal out of
the yard.

41.

2/27/39.

148. 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.

DISOLVE TO:

149. 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 mę, --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.

150. 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 carafes. Long bar. Mirrors, alcoves, large door 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 viai, 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 BANS 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.)

42.

2/27/39.

150. (CONT.)
BOUTON
An army man that ain't got enough money
to own a decent coat, pantaloons, or vest.
Besides, I don't like his policy about
slave states.
right away.

BYSTANDERS
(with a Taylor button on)
By grabs, that's more'n I can take.
Zack Taylor is a good whig and furthe rmore
he's a Southern gentleman.
and tell

151. TWO SHOT
BOUTON
You or anybody else that votes for him
is a syncophant!

Sympath...

BYSTANDER
He starts... Synco -- what?

152. MED. SHOT:
Bystander grabs Bouton's vest front. Bouton calmly puts
his glass down and hits him one.

153. MED. SHOT
Pauline rises in exstasy at the prospect of reviewing a
fight. Crowd urges them on.

154. FULL SHOT
Rough and tumble fight all over the place.

155. Duel going on in courtyard to which no one pays any
attention.

Don't care what you say, lady.

156. Just in front of Pauline, Bouton is winning.

PAULINE
Lambast him, you good-looking show-
boat man! Hit him, you lovely brute!

157. The cops rush in. As cop reaches for Bouton, he steps
back and accidently knocks Pauline's table over. Very
grandly, Bouton bows.

BOUTON
I beg your pardon, madame!

PAULINE
I'm sorry you haven't time for a drink.

COP
EXTRA DAY! (jerk ing Bouton out)
I'll time you, sir!

DISSOLVE TO:

158. INT. JAIL CORRIDOR (DAY)
MED. CLOSE SHOT - BOUTON

inside a cell. Outside the cell is Cappy,
Cappy the cat. The cat starts to run
into the river. Claire, at the ready,
head at the turn of events, but she only
bats to the crowd.

CHAIRMAN

(CONT.)

CHAIRMAN
Take we'll play tonight again,
at Valley Landing, just four miles
up the river.

47.

2/28/39.

171. (CONT.)
TIM and BOUTON
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.

172. 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.

173.
BOUTON.
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.

BOUTON enters the tavern.

173. 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.

174.
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.

BOUTON
Change for a quarter please, and
take one whiskey out.

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

175.
EXT. STREET (NIGHT)
MED. CLOSE - TIM
holding horse, impatient now. Street empty and dark.
TIM restless and tired.

DISOLVE TO:

176.
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.

(CONT.)

48.

2/28/39.

176. (CONT.)

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

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

face against a window pane looking at the show.

TIM
Play-acting and singing!

178. 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:

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

CLAIRE, seated at table, is counting apile 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
most successful people, at times --
Mr. Timothy Reid.

(CONT.)

50.

2/28/39.

181. (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 your 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.

BOUTON

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 CLAIRE'S face
expresses hopelessness.

BOUTON

Come, Tim, to the captain's cabin.

182. INT. BOUTON'S CABIN (NIGHT)

MED. SHOT -- TIM AND BOUTON

BOUTON hands TIM one of his enormous white 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:

183. INT. WHARF AND LEVEE (NIGHT)

MED. SHOT - NEGROES

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

GIRL

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

BOY

Lawd! Send one angel down.

51.

2/28/39.

184. SKY SHOT (NIGHT)

As Negroes sing. Song coming over:

NEGROES' VOICES

If you can't come, If you can't come,
If you can't come, Lawd, Send one
angel down.

185. EXT. WHARF (NIGHT)

MED. FULL SHOT - NEGROES

continuing song.

NEGROES

(singing)

Send him in the midnight,
Send him in the morning,
Send him in a hurry, Lawd,
If you can't come.

186. INT. BOUTON'S CABIN (NIGHT)

MEDIUM SHOT

Tim, dressed in Bouton's white shirt, looks out
of the high cabin window as the Negroes sing.
In his high clear voice Tim joins in.

187. EXT. WHARF (NIGHT)

MED. SHOT

SOUND

(Of Tim singing)

If-a you can't come,
If-a you can't come,
If-a you can't come Lawd,
Send-a one angel down
Send him on a rainbow,
Send him in a glory
Send him in a hurry, Lawd
If-a you can't come.

The startled Negroes cease their song. Fearfully
they begin to draw away. They think Tim's voice
is an angel out of the sky. Suddenly one of
them indicates, up there in the window of the
cabin.

188. EXT. CABIN WINDOW (NIGHT)

CLOSE SHOT - TIM

in his nightshirt, as he continues to sing.

189. EXT. WHARF (NIGHT)

MED. FULL SHOT

of both the Negroes and Tim. They smile now, de-
lighted with the little singer. Then joyfully, in
a great burst of song, the Negroes' voices join
Tim's and the air is filled with music.

TIM AND NEGROES

(Singing)

4. 3.

15. **CLOSER SHOT**
on grinder.

**DISSOLVE TO:**

14. **CLOSE SHOT - SPOUT OF GRINDER**
A stream of liquid juice pours into a copper kettle. Sounds, as above, come over.

**DISSOLVE TO:**

15. **MED. CLOSE SHOT**
of syrup boiling in huge copper kettle. We hear the hiss of steam and bubbling of syrup.

16. **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:**

17. **EXT. CANE FIELD (DAY)**
**MED. LONG SHOT**

of an area of the cane field still to be cut. 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.

18. **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, strepping, their skins glowing in the sun like oiled bronze. There is a sense of urgency in their actions as they slush 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.

19. **MED. SHOT - ANOTHER ANGLE**

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.

Got 'em?

FIRST SLAVE (eagerly)

(CONT'D.)

4.

19. (CONT'D.)

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
hands.

SECOND SLAVE

Careful!

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

WIPE TO:

20. 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:

21. 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 are on the table.

22. EXT. ROAD NEAR BIG HOUSE (DAY)

CLOSEUP - PAULINE suppressed

With a gesture of 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.

24.

Revised - 2/25/39.

105. (CONT'D.)

PREACHER (continued)
are scattered like chaff in the wind --
we gotta bound our souls together
till we walk de streets of glory --
on dat day....

The meaning of the slaves o.s. swell into a
spiritual.

### SOUND
Of slaves meaning and singing o.s.

106. 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 de trouble I see, Lord,
No-bod-y knows like Jesus.

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.

107. FULL SHOT
of slaves singing.

### SOUND
Slaves singing.

108. 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. MED. FULL SHOT
of slaves. HOLD until their song is completed.

### SOUND
Of slaves singing.

DISSOLVE TO:

110. 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 -

(CONT'D.)

Revised - 2/25/39.

26.

### FADE IN:

111. OLD PRINT OF NEW ORLEANS
over which is superimposed:

The two boys are seen on a tree and start running over to the fence. CAMERA PANSING WITH THEM.

### DISSOLVE THRU TO:

112. EXT. DILL HOUSE (DAY)
FULL SHOT

END. CLOSE - SIDS ANGLED - PANSING IN ALL THREE

They come up to the fence and stare at the newcomer with deep curiosity.

It is a one or two story house, typical of New Orleans and of that period with French grill-work, etc.

### LAP DISSOLVE TO:

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

On the back porch of the house can be seen Uncle Caton seated on a low stool, polishing shoes. There are about fifteen pairs of lady's shoes and two or three pairs of men's shoes on the porch beside him. Sitting alongside Caton, cleaning vegetables, is Janie. There are two or three trees in the yard, one of them a fruit tree in the branches of which sit Tim and Gumbo.

114. CLOSE SHOT - TIM AND GUMBO IN TREE

Gumbo is stuffing his mouth full of apricots, while Tim takes the pits of the fruit and flips them, boy fashion. HOLD on this until we hear a voice come over scene.

### VOICE

Tim says no. He starts to chant.

Romany, Romanay, Romaney, lady!

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

### CHIMNEY SWEEP

And you can't make no cake.

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

### CHIMNEY SWEEP

29.

105. (CONT'D.) Revised - 2/25/39.

124. EXT. WHARF (DAY) MEDIUM SHOT

CAMERA SHOOTS to the gangplank mmxxix just as 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.

125. CLOSEUP OF BOUTON

BOUTON Greetings to the city of charm and gorgeous, careless beauties!

126. MEDIUM SHOT

as Tim and Gumbo join a group of kids who start toward Bouton with excited exclamations:

KIDS

(ad lib)

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

107. As Bouton comes TOARDS 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. ANOTHER ANGLE - MED. 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 their wares, press in around him.

(CONT'D.)

30.

105. (CONT'D.)

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
(waving them aside)

See my assistant, folks.

TRADESMEN

Who?

Who is he?

Where?

106. EXT. DECK OF SHOWBOAT (DAY)

CLOSEUP OF CLAIRE

a charming picture - looking off down the wharf.

107. EXT. WHARF (DAY)

MEDIUM SHOT

as Bouton pushes his way past the tradesmen. He
stops as he hears a robbing voice in greeting o.s.

VOICE

(o.s.)

Jacques Bouton! Bonne année!

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

BOUTON

Cappy! You old sperm 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:

(CONT'D.)

Revised - 2/25/39.

32.

109. ANOTHER ANGLE

as Bouton and Cappy enter cafe. As he passes the girls on his way to the bar, he smiles at them. Pauline definitely flirts with him. Now a bit proud of his conquest, he stops, gallantly tips his hat, and addresses Pauline.

BOUTON
(to Pauline)
Permit me, Madame, but your
beauty shames the morning sun.

PAULINE
(pleased)
You make pretty speeches.

BOUTON
Only when richly deserved.

He bows again, then turns and goes toward bar to
join Cappy.

CUT TO:

110. EXT. DECK OF SHOWBOAT (DAY)
THREE SHOT - ROCHESTER - TIM AND GUMBO
NARCISSUS
NARCISSUS

Rochester (lazy-bones character) is extolling
the virtues of the Showboat. It's almost a monologue
which represents this man's dream of what he hoped
it would be like on the Showboat instead of what it
actually is. He goes on to tell of the good food
they get, the marvelous wages they make, no work, etc.
etc. He becomes so impressed with his own words
that he carried away and paints a veritable paradise,
ending with a big laugh. The boys went to see the
show.

CUT TO:

111. INT. POPA DONDON'S CAFE (DAY)

In this scene we have a political arguement in which
Bouton takes part. The police enter. Bouton is
arrested. He says he is the owner of the Showboat,
whereupon the arresting officers say they'll see
about that, too. Bouton is dragged off to jail.

112. ON BOARD SHOWBOAT (DAY)

Claire learns that license has been canceled.
Announcement that boat is being moved up river
8 miles where show will be given that night.
Disappointment of Tim and Gumbo, who can't see the
show.

113. INT. DILL'S HOUSE
MED.CLOSE- DILL AND PAULINE

They are in the midst of an argument.

(CONT'D.)

1.

3/9/39.

"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 a 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:

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

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:

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:

### 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 with cane moving off. Rasp of knives, grunts of workers, creaking of wagon wheels.

#### SOUND

**Negroes singing.**

**1ST SLAVE**
We'll cut that last stalk of cane
'fore sundown.

**2ND SLAVE**
'Fore sundown nothin'; Jump back,
bully, and cut de stalks down now!

**1ST SLAVE**
'Tain't long now 'fore we'll be dancin'
on dis cane ground.

**2ND SLAVE**
Sugar cane, come on down!... Huh!

**3rd SLAVE**
'Fore that sun goes down!... Huh!

**SOUND**
Song swells in volume.

### DISSOLVE TO:

4.

3/10/39.

7. (CONTINUED)

ANOTHER SLAVE
(smacking his lips)
Yeah, boy! De feet an' de heads!

As slave sharpens his knife, Overseer walks up.

OVERSEER
You ain't killed but three hundred
hogs today and now you're wasting
time.

SLAVE
What's de matter, Mr. Cass, ain't I
killin' fast enough?

OVERSEER
None o' your sass, William! You been
handled with such a loose rein that
you ain't gonna be no good till I
get right close with you.

SLAVE
(stopping with his knife gleaming)
You ain't gonna whip me.

OVERSEER
Put that knife down.

DISSOLVE TO:

8. 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... with song of BLACKSMITHS, as the
master, TIMOTHY REID passes by.

SLAVES
Hy, Mars Timothy! Good evenin'.

CAMERA TRUCKS with Reid, who greets slaves in friendly
fashion, until he gets to:

DISSOLVE TO:

9. 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 hoo fs clumping ground, grinding noise of mill and
mirthful cries of slaves are heard.

10. CLOSER SHOT

on grinder.

DISSOLVE TO:

11. CLOSE SHOT - SPOUT OF GRINDER

(CONTINUED)

5.

3/10/39.

11. (CONTINUED)

DISSOLVE TO:

12. MED. CLOSE SHOT:

13. 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.

REID

Is it fitted to sweeten a mint-julep?

SLAVE

Now, Mars Timothy, you know I ain't
never had no mint-julip, but it's
powerful rich on my pallet.

REID

(as he tastes)

Now, if I had a small sprig of mint,
and one tumbler of unimpeachable licker...

Reid and Slave both laugh.

REID

We turn out the best raw cane sugar
in Louisiana, don't we, Gabe?

SLAVE

US turns out de best o' everything on
dis plantation, Mars Reid.

Overseer walks into scene with big Slave-butcher
walking before him.

OVERSEER

Beg pardon, Mr. Reid, for interrupting
your walk, but I got to intrude on you,
sir, to tell you that I caught this slave
a-loafin' down at the hog killing.

REID

What?

OVERSEER

And tain't but one way to correct him,
and that 's a floggin'.

REID

Loafin', heh? How many hogs did you
kill this morning?

LUKE

I just kilt three hundred head this
morning and stopped to sharpen my knife.

REID

You're still the fastest butcher in this

(CONTINUED)

7.

3/10/39.

16. MED. SHOT - ANOTHER ANGLE

FIRST SLAVE

(eagerly)

Got 'em?

DRIVER

(warningly)

Shut yo' big mouth!

FIRST SLAVE

Voodoo drums!

SECOND SLAVE

Careful!

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

WIPE TO:

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

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

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, white-haired, benevolent-visaged Negro family
servant, who pours black coffee for them from a silver
urn. Liquor, cigars are on the table.

8.

3/10/39.

19. EXT. ROAD NEAR BIG HOUSE (DAY)
CLOSE-UP - 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.

20. 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, absorbed in
some papers on the table before him. 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 Southerner, easy-going and smiling.
Dill is a suave lawyer type with the incisiveness of a
Northerner.

DILL

You've got to figure! You've got
tokeep better books, Timothy.
You must cut down on your overhead.

REID

I get sick and tired of so many
figures! It appears to me a
calculating man like you is likely
to end up by being the richest man
in the cemetery.

(Caton pours drink)

Uncle Caton, my good friend Mr. Dill
is scolding me again for my ex-
travagance.

CATION

Mr. Dill, the Reid family has always
had plenty everything, suh.

DILL

Timothy, you've taken in Seventeen
Thousand Dollars, and you owe Forty
Thousand or more.

REID

Martin, for generations nobody's
pressed a Reid for a settlement.
When I give a man my word, he knows
I will pay -- eventually! And I
declare, if I thought --

(long pause - business)

DILL

Aw, now -- I'll take out my fees for
the past year. Then you'll still have
enough to pay on the ---

REID

You remember those horses I shod
you?

DILL

Timothy, you haven't bought--?

(CONTINUED)

9.

3/10/39.

20. (CONTINUED)

REID

Just twelve, Martin. You should
see them. One with a little filly.
(As Dill rises to go)

DILL

Would it be presumptious, as your
lawyer and friend, to say that I
wouldn't let old bills go too long.

REID

(also rising with a twinkle
in his eye and his tongue
in his cheek)

Would it be presumptious for me to
present you with a present - Martin?

DILL

Not at all!

Reid beckons to Caton who reaches for something on
the steps.

REID

For your holiday pies. Bayou
Lovelle's largest pumpkin.

DISSOLVE TO:

21. EXT. ROAD NEAR BIG HOUSE (DAY)

MED. CLOSE SHOT

of Pauline waiting impatiently in the carriage as
Dill enters to her, followed by Caton with the pumpkin.
Pauline is furious and taps her foot angrily.

DILL

I'm sorry, Pauline.

There's no answer, not even a glance from Pauline.
Dill gets into carriage beside her. Caton deposits
the pumpkin in the carriage. Pauline's eyes go to
the pumpkin.

22. C. U. OF PUMPKIN

at the feet of Pauline.

23. MED. CLOSE SHOT

on Dill and Pauline in carriage. Dill turns to Pauline.

He readjusts the robe about her, picks up the reins
and clucks to the horses. The carriage starts out
of scene, as Caton smiles wryly.

DILL

It took longer than I expected,
my dear.

DISSOLVE TO:

10.

24. EXT. ROAD (DAY)
MED. CLOSE SHOT (PROCESS)

Dill and Pauline in carriage. In the b.g. we see
slaves working on the plantation. Over scene is heard:

SOUND
Horses' hoofs clopping along
on the road.

DILL
You're cross with me. After
all, it's business.

PAULINE
I trust by business, you mean
you've collected some money ---

DILL
Well, er-er, no, no cash--
just a pumpkin.

PAULINE
(furiously upbraiding
Dill as he drives)
Can I use a pumpkin to pay my dress-
maker? Can I use a pumpkin for the
opera? Will a pumpkin buy me a rope
of California gold? Will a pumpkin
pay a dinner at Papa Doudon's ---
(weeping)
The only place where I'm really
wanted -- not like your fine friend,
Reid's.

DILL
But, darling, I can't change traditions.

PAULINE
Traditions? Traditions? Bah! A
pumpkin!

She kicks the pumpkin furiously out of the carriage.

DISOLVE TO:

25. EXT. ROAD (DAY)
CLOSE SHOT

on pumpkin as it lands in road and the carriage drives
on.

DISSOLVE TO:

26. EXT. VERANDA REID MANSION (DAY)
MED. CLOSE SHOT

Reid is smoking as Uncle Caton, shaking his head, clears
off the table.

REID
You know, Uncle Caton, sometimes I
like to just sit and talk with you,
you old scoundrel! You've been with
the Reid family a mighty long time.

(CONTINUED)

13.

3/10/39.

31. MEDIUM FULL SHOT

as Tim turns and starts to pace off ten feet from
where Gumbo is standing with the apple on his head.

TIM
And then William Tell paced
off ten steps.
(he turns and starts to
pace off ten steps)
One - two - three - four -
five - six - seven - eight -
nine - ten.
(he turns and faces Gumbo)
And he raised his trusty rifle -
(he takes aim)

GUMBO
(apprehensively)
How'd dat Mr. Tell know he
gonna hit de apple?

TIM
A William Tell never misses!

GUMBO
The book tell dat, but how
you gonna be sure?
(he's shaking so that
the apple falls off
his head)

Tim lowers his rifle and approaches Gumbo.

32. MEDIUM CLOSE SHOT

as Tim comes in to Gumbo.

TIM
Here I'll show you.

He picks up the apple and puts it on fence post which
is same height as Gumbo, then turns and starts pacing
off ten steps.

33. MED. FULL SHOT

as Tim takes his position, raises rifle and fires
at apple on fence post.

34. 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.

35. FLASH CLOSEUP OF GUMBO

his eyes bulging in reaction.

36. MED. CLOSE SHOT

at fence post as two boys stand looking at untouched
apple.

(CONTINUED)

14.

3/10/39.

36. (CONTINUED)

TIM
I guess I didn't aim high
enough.

GUMBO
I don't think I like this game.

Tim takes apple off fence post, puts it on Gumbo's
head again, turns and starts to pace off ten steps.
Gumbo gulps hard and his limbs shake again as he
await's his fate.

37. CLOSE SHOT ON TIM

as he reaches a spot about ten paces away. He turns
and faces Gumbo, then takes aim, his eyes glued to
the sight intently. Suddenly, he starts, his eyes
widen as he sees:

38. MEDIUM SHOT

taking in stall and Gumbo. Gumbo is trembling. A
horse puts its head out of the stall door and is
in the act of taking the apple from Gumbo's head.

TIM'S VOICE
(O.S.)
Hey!

39. CLOSE SHOT ON GUMBO

As he realizes what's happened, his eyes roll up
and he sighs with relief.

40. MEDIUM SHOT

as Tim, disgusted, starts toward Gumbo.

CATON'S VOICE
(O.S.)
Marse Timothy! The carriage
is ready and your father is
waiting.

The two boys turn eagerly.

41. MEDIUM FULL SHOT

Jane and Uncle Caton in b.g. Two boys in f.g.

UNCLE CATON
Marse Timothy, it's time to
see de cane cut.

Tim starts to run off in direction of where carriage
is. Gumbo starts to follow him, but Janie stops him.

JANIE
Gumbo! Gumbo, come here!

(CONTINUED)

15.

3/10/39.

41. (CONTINUED)

CATION

Your mammy says dere's a
heap o' taters to peel for
supper.

Gumbo is disappointed. This announcement arrests Tim's movement. He is disappointed, too, that Gumbo isn't going. Caton moves on out of scene in direction of carriage, while Janie goes off toward rear of house.

42. TWO SHOT - TIM AND GUMBO

Gumbo is looking miserable. Suddenly Tim gets an idea, winks at Gumbo, gesturing for him to go around the other way. Gumbo's face brightens as he catches onto the idea.

DISSOLVE TO:

43. EXT. ROAD (DAY)

LONG SHOT

Old Caton is driving a carriage drawn by a handsome
pair of thoroughbred grays. Reid, Sr. and Tim Reid,
Jr., are seated talking in commedly fashion. The
carriage passes beneath the spreading branches of
magnolias and live oak trees drenched with hanging
moss. As the carriage PASSES CAMERA, we see Gumbo
is nipping a ride on the back springs of the carriage.

44. CLOSE SHOT OF OWL IN TREE

SOUND

Owl hooting.

45. MED. CLOSE SHOT - CARRIAGE

crossing the wooden bridge, of a bayou. Over scene
comes the "hoot" of the owl. The horses rear. Uncle
Caton firmly reins them in, quiets them, then drives
out of shot.

46. MEDIUM SHOT (PROCESS)

showing Reid, Tim and Caton's back as he drives.
Reid slaps Caton on the shoulder approvingly for the
way he checked the horses.

REID

Good work, Caton! What happens to
these horses when they cross this
bayou?

CATION

Ain't you heard dat owl hoot, Mars
Timothy?

REID

Owl hoot? Nonsense!

Reid turns to speak to Tim.

(CONTINUED)

16.

3/10/39.

46. (CONTINUED)

REID
You know, son, 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 tight and subdued
them. She brought them back to
the Big House meek as lambs. A
great horse-woman, your mother!

TIM
My mother was beautiful, wasn't
she, Dad?

REID
Like a magnolia in the moonlight.

SOUND
The hoot of an owl again.

Caton looks back apprehensively over his shoulder and
starts to sing.

CATON
(singing)
I can fill ma basket if I choose --
Den I's gwine home!

Tim nudges his father with amusement.

REID
Why are you singing, Caton?

CATON
To drown out dat ole hoot owl,
Mars Timothy.

REID
(joyously)
Then let's really drown it out!

47. CLOSEUP OF REID

taking a line in turn.

REID
(singing)
Somebody's gwine to give me
Christmas shoes --
Den I's gwine home!

48. CLOSEUP OF TIM

TIM
(singing)

(CONTINUED)

17.

3/10/39.

48. (CONTINUED)

TIM

(singing)

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--

Den I's gwine home!

49. MED. 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

(singing)

You kin do jes' what-a you please,

It'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.

50. 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 (singing)

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)

Whoa, Satan!

Caton sits petrified without turning his head an
inch.

51. MEDIUM SHOT - REID AND TIM IN CARRIAGE
as they rise and look over the back of the carriage.

52. MEDIUM SHOT - ANOTHER ANGLE
as Reid and Tim discover Gumbo riding behind on the
rear springs covered with dust. Gumbo grins up at
Tim, who smiles back at him.

REID

Nobody but that little devil
of a Gumbo!

18.

3/10/39.

53. CLOSE SHOT OF CATON
on driver's seat.

CATON
(disgusted)
Shaw!

He clucks to the horses and they drive on as Tim
picks up the song.

54. TWO SHOT - REID AND TIM IN CARRIAGE (PROCESS)
singing.

TIM
I's gwine catch him less he flies --

REID AND TIM
Den I's gwine home!

TIM
Den talk about dem dumplin' pies!

55. MEDIUM SHOT ON CARRIAGE (PROCESS)

driving along against a background of country, trees,
etc., showing the swaying back of Caton on the driver's
seat, the swaying heads of Tim and Reid, and on the
springs in a swirl of dust, the singing face of Gumbo.
On the last note of the song, rhythmic drum beats are heard
nearby over the clump of the horses' hoofs.

SOUND
Singing and drum-beats.

56. EXT. CANE FIELD (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.

57. 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.

58. EXT. ROAD (DAY)
THREE SHOT - REID TIM AND CATON IN CARRIAGE (PROCESS)
Reid puts his hand on his boy's head.

TIM
You always like the cane festivals,
don't you, father?

(CONTINUED)

19.

3/10/39.

58. (CONTINUED)

REID

Wouldn't think of missing one!

TIM

Me, neither.

(then to Caton on box)

Uncle Caton, did you know
dancing in the harvest field
is as old as the earth?

GATON

Dat so?

TIM

(turning to his father)

Sure, that's right, isn't it,
father?

REID

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 blessings of the earth,
I reckon.

SOUND

of drum-beats from o.s.

59. EXT. CANE FIELD (DAY)

CLOSE DOLLYING SHOT

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

60. CLOSE SHOT OF TALL WOMAN

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

61. 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.

62. MED. 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.

63. MEDIUM SHOT

featuring the tall woman against the background of the
slaves, all charged with expectation -- all ready to
explore into motion when the final stroke severs the
stalk. First, a significant pause, now she wields the

(CONTINUED)

20.

3/10/39.

63. (CONTINUED)

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.

64. FULL SHOT (SUNSET)

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

SOUND
Of drums and cries of slaves.

65. FLASH GROUP SHOT

of the drummers beating the primitive instruments.

SOUND
Of beating drums.

66. FULL SHOT

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

67. MEDIUM CLOSE SHOT

of a view of the dancers.

68. GROUND SHOT

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

69. MED. CLOSE SHOT

of the amazonian woman gyrating with abandon.

70. 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.

SOUND
Of drums and singing.

71. FULL SHOT

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

72. 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.

SOUND
Of drums and slaves.

73. CLOSE SHOT

of dancers, their expressions intensified.

21.

3/10/39.

74. MED. CLOSE SHOT - POOL

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.

75. 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.

76. ANOTHER ANGLE - CLOSE SHOT

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

77. CLOSE SHOT

of the rabbit, tumbling over, twitching.

78. LONG SHOT

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

79. MED. FULL SHOT (DUSK)

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

80. ANOTHER ANGLE - LONG SHOT

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

81. EXT. MARSHY WATER (DUSK)
MED. LONG SHOT

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.

82. CLOSE DOWN SHOT

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

83. CLOSE SHOT

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

22.

3/10/39.

84. 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.

85. 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!

86. CLOSE SHOT

on the snake as it glides swiftly into the water.

TIM'S VOICE

Dad!

87. THREE SHOT

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

TIM

(anxiously)

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

88. CLOSEUP OF REID'S FACE

The features begin to relax. His expression
becomes inert.

TIM'S VOICE

(o.s.)

Dad!

89. 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...

90. 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:

26.

3/13/39.

94. EXT. PLANTATION PATH (DAY)
PAN SHOT

on Gumbo riding a young jackass bereback going
along the road past the vegetable shed.

95. MEDIUM SHOT

Gumbo riding, using a little twig for a whip.

96. CLOSE SHOT

of mule's feet hitting the ground.

SOUND
(GUMBO YELLING - MULE'S HOOVES)

GUMBO
New Marse gonna sell all de slaves --
New Marse gonna sell all de slaves --

97. EXT. VEGETABLE SHED (DAY)
FULL SHOT

Many women and children working packing vegetables,
carts loading boxes of vegetables, coming and
going, a happy working crowd sitting a little work
tune, and in a great hurry (a fast tune).

In rides Gumbo, through the crowd, frightening the
children.

WOMEN
(yelling)
Look out fool, you'll run over
them children!

Git off dat mule, you empty-headed
devil!

Gumbo makes a sweeping wide curve to the shed where
all the women gather to upbraid him.

GUMBO
I just come to tell yo', they
gonna sell all de slaves.

A couple of the women let out blood-curdling screams.
Others cry and moan. They have crowded around Gumbo
so close he can't get out.

GUMBO
Let me git out of here! I got to
tell ebry-body!
(to mule)
Git up, Revelation!

He rides out of scene.

DISSOLVE TO:

29.

3/13/39.

100. (CONTD.)

UNCLE CATON

(under veil)

Drive them horses wid a loose rein.
Don't hold 'em too tight, Mers Tim.

TIM

(in a whisper)

Shut up! I told you not to talk.
You're deaf and dumb, do you hear?

UNCLE CATON

Yes, suh! I hear.

They drive off into the night.

FADE OUT.

tak. FADE IN:

101. OLD PRINT OF NEW ORLEANS, over which is superimposed
the title:

NEW ORLEANS - NEW YEAR'S DAY - 1846

DISSOLVE TO:

102. EXT. NEW ORLEANS STREET (DAWN)

MED. SHOT (PROCESS)

Tim and Uncle Caton in carriage passing through
quiet street at dawn. Slaves opening shutters,
shaking out rugs, etc. Tim reins in the carriage
at a horse trough before a beautiful mansion.

103. EXT. NEW ORLEANS STREET (DAWN)

MED. SHOT

Tim and Uncle Caton in carriage. Tim gets down to
water the horses. In the distance is heard the
cry of a chimney sweep.

CHIMNEY SWEEP'S VOICE

The Chimney Sweep comes into scene.

CHIMNEY SWEEP

(to Uncle Caton)

Good mornin', m'am! Romanay!

TIM

(before Uncle Caton
can answer)

What's that Romanay you're selling.

CHIMNEY SWEEP

(a huge grin spreads over
his face)

Stranger yo' all is? I'se just a
chimney sweep. Creole folks say
Romansy.

(CONTD.)

35.

3/13/39.

112. MRS. SHOT - PAULINE'S TABLE

with the young man and the officer. Pauline and
the officer are applauding, but the young man
looks bored.

PAULINE
That's the kind of singing I like.

OFFICER
Delightful, Pauline!

YOUNG MAN
I think it's vulgar trash. Coarse
provincialism.

OFFICER
(rising)
I demand that you beg this lady's
pardon!

YOUNG MAN
I see no reason for an apology.

OFFICER
I'll protect this lady with my honor.

The officer strikes the young man full in the face
with his glove. Their hands spring to their swords.
A duel is on. Dishes crash to the floor. Pauline
rises delighted at the excitement she's created.

113. MRS. SHOT - BOUTON'S TABLE

As guests spring up to view the duel. Claire wrings
her hands. Tim mounts a chair. Bouton starts forward.

BOUTON
Gentlemen! Gentlemen! Take that
dueling to the courtyard!

Two men grab Bouton.

MEN
Let them fight!
What's New Year's without a duel?

CAMERA PANS OVER to Pauline and the men with flashing
swords. Pauline urges them on.

PAULINE
Get him! Get him, you good-looking
sea-dog, you! Pin him to the wall,
lovely!

CAMERA FOLLOWS the duel all over the dining room as
women scream, tables are overturned, and startled
slaves look on. The duelists pass before Tim whose
eyes dance as he looks on.

(CONT'D.)

38.

3/16/39.

120. (CONT'D.)

**DILL**

I'm going to town directly and
make a report to the authorities.
The idea of that slave driving
that boy, Tim, away with the best
pair of coach-horses on the plant-
tation!

**SOUND**

MURMUR OF VOICES FROM THE FIELD IS BELOW.

Quickly Cass snatches up the field glasses and puts them to his eyes.

121. EXT. PLANTATION (DAY)
PANORAMA THROUGH GLASSES

showing great movement and agitation among the slaves
as they rush toward the cotton gin.

**GASS (o.s.)**

Burn me! There's trouble! They
done stopped work.

122. INT. CUPOLA BIG HOUSE (DAY)
MED. SHOT -- GASS AND DILL

as Cass drops the glasses and rushes out. Dill puts
them quickly to his eyes and leans straining over the
balustrade.

**SOUND**

EVER INCREASING OMINOUS MURMUR OF
SLAVES.

123. EXT. COTTON GIN (DAY)
FULL SHOT - SLAVES AND LUKE

the big butcher-slave who towers above the rest.
There is great babble and confusion as crowds of
slaves gather.

**SLAVES**

I ain't gonna work no more! I ain't
got enough to eat.

**OLD MAN**

Mr. Cass drive a man too hard. My
back won't hold up.

**WOMAN**

(weeping)

Can't even have a cup o' milk for
my babies! Nothin'.

**MAN**

Done put us out of our cabin and
made a storehouse out of it.

(CONT'D.)

45.

3/16/39.

129. INT. BAR PAMA DONDON'S (DAY)
MED. SHOT -> BOUTON AND DILL

With glasses before them as Dill talks.

DILL

A deliberate runaway! Took the
best carriage, the best horses,
and a valuable slave, and dis-
appeared the night before last.

BOUTON

A boy, you say?

DILL

About fourteen, black hair.

Bouton's face registers realization that possibly
it is Tim.

BOUTON

Excuse me just a moment.

Bouton exits from the scene leaving Dill at the bar.

130. INT. TIM'S SUITE (DAY)

MED. SHOT -> EMPTY ROOM

showing the door.

SOUND

KNOCK ON DOOR. THEN ANOTHER, LOUDER.

Bouton opens the door and walks in. Registers aston-
ishment as he sees that the room is empty.

DISSOLVE TO.

131. EXT. STREET AT EDGE OF TOWN (DAY)

TRUCKING SHOT -> TIM AND CATON

who hurries undignificantly along, stumbling in his
voluminous skirts, blinded by his veil, bewildered,
out of breath as he tries to follow Tim.

GATON

Are you sho' it was Mr. Dill you saw?

TIM

Of course, I'm sure! Come on!

GATON

Come on where, Mars Tim?

TIM

Come on! Come on!

He strides sturdily ahead as Caton follows. Passersby
turn to look curiously at the odd pair, thinking possibly
it is an old grandmother pursuing a runaway child. The
shadows in street lengthen.

DISSOLVE TO.

44.

3/16/39.

132. INT. PRINTER'S SHOP (DAY)
MED. SHOT → PRINTER AND DILL

who has taken out a wallet and is paying for a stack
of handbills piled on the counter before him.

### PRINTER

You notice, Mr. Dill, I put
runaway slave in big bold type.
Also that young boy who sings.

### DILL

Now all I need is somebody that'll
put 'em out right, and get the
whole parish looking for 'em.
It'll be easy to run 'em down.
Let's see...

He picks up one of the handbills.

133. INSERT OF HANDBILL

Text describes Tim and Gaton and offers reward for
information or their return to Martin Dill at Bayou
Lovelle Plantation.

### DISSOLVE TO.

134. EXT. NEW ORLEANS SQUARE (DAY)
FULL SHOT → PASSERSBY AND LOUNGERS

with a fountain in center and houses of the French quarter
about the Square. Old Creole men smoking, Mammies passing
with their white charges rolling hoops, etc... market
women with their baskets, stolid Indians selling beaded
work and feather-tipped arrows, sailors, nuns, gentlemen
with capes, etc. Voice of TOWN GRIER is heard before he
enters scene. He enters, distributing handbills, as he
rings his bell.

### TOWN GRIER

Run away slave! Run away master!
Master little white boy! Old run
away slave! Runaway! Runaway!

### DISSOLVE TO.

135. EXT. SUBURBAN ROAD (DUSK)
TRUCKING SHOT → TIM AND GATON

Kicking up the dust as they hurry down the street in the
sunset.

### DISSOLVE TO.

136. INT. DINING ROOM AT INN (NIGHT)
FULL SHOT → DILL AND PAULINE

at a table in the now restored dining room with somewhat
different appearance. They are at supper. At the cash
desk Claire sits keeping her eye on the expensive cheeses,
pastries, and appetizers on the buffet nearby as the
waiters serve the guests. Bouton strolls into the seem
and leans on the desk near Claire as CAMERA PANS OVER TO
MEDIUM SHOT of Dill and Pauline as they eat.

(CONT'D.)

46.

5/16/39.

128. INT. DINING ROOM (NIGHT)

RED. SHOT → DILL AND PAULINE

finishing their meal and enjoying coffee.

DILL
I'm sure we'll have them by
tomorrow. I've got word the
bloodhounds'll be out tonight.

PAULINE
Good! (calling)
Waiter!

WAITER
(entering)
Yes, Mr.'s!

PAULINE
Champagne!

DISSOLVE TO.

129. EXT. COUNTRY ROAD (NIGHT)

TRUCKING SHOT → TIM AND CATON

as they trudge wearily along the road. They come to
a crossroad, where Tim hesitates. Caton stands
worried, his disguise practically torn off, his veil
lost, his hat awry.

CATON
Mars Tim, does you know where
you're at?

TIM
Yes! We're going that way.

Tim chooses the road to the left. He whistles to keep
his courage up. The stars shine brightly, the glow
worms twinkle, the frogs croak.

CATON
But where we goin', Mars Tim?

TIM
I'm going somewhere where you
can be free.

CATON
Folks always told me to follow de
North star.

They walk in silence. Frogs croak very loudly. Caton
begins to sing.

CATON
De froggie went a-cotin'. He did ride!
Umm-hum! Umm-hum!
Sword and pistol by his side!
Umm-hum! Umm-hum!

Tim takes up the song, singing a verse alone.

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

(CONT'D).

50.

5/16/39.

147. EXT. ABANDONED SUGAR MILL (DAWN)

MED. SHOT → GUMBO

cautiously approaching sugar mill, sneaking through the
trees, carrying a bowl of food. There are no signs of
life. Gumbo enters the mill.

148. INT. SUGAR MILL (DAWN)

FULL SHOT → GUMBO

searching for Caten, looking under and into apparatus
of mill. Tragi-comic search. He calls softly at first,
then louder and louder.

GUMBO

Uncle Caten! Uncle Caten!

Where is you? ... Uncle Caten!

Uncle Caten!

SOUND

FOOTSTEPS AND CRACKLING BRUSH (S.S.)

Gumbo stops suddenly as he hears a cracking of underbrush
outside. He looks toward the sound. Mr. Cass, the
overseer, walks into the scene. CAMERA picks up first
feet of overseer, then his whole body, as Gumbo rises.
Gumbo drops his bowl of food. Cass carries a shotgun.

OVERSEER

So you're the one's been helpin'
a runaway slave!

DISSOLVE TO.

149. EXT. PAPA DONDON'S INN (DAY)

FULL SHOT

Tim gallops up to the entrance, leaps off his horse,
and ties the sweating animal to an antique hitching
post. Tim rushes into the Inn.

150. INT. INN (DAY)

MED. SHOT → CLAIRE

busy at the cash desk near a delicious assortment of
rolls and breakfast cakes laid out on the serving table.
She looks up surprised as Tim enters.

CLAIRE

Tim! Where on earth have you
been all night?

TIM

Something awfully important came
up, Miss Claire. I had to leave
before I had a chance to say
anything to anybody.

CLAIRE

(half smiling)

But your old "sunt" — where is
she?

(CONT'D.)

51.

3/16/39.

150. (CONT'D.)

TIM

Can I talk to Mr. Bouton right away?
It's important.

CLAIRE

But he's still asleep. Can't I
help you?

TIM

Miss Claire, please, I must see Mr.
Bouton.

Claire beckons to a slave.

CLAIRE

Jasper! Take this gentleman to
Mr. Bouton's room.

Jasper registers apprehension as he goes off with Tim
behind him.

151. INT. BOUTON'S BED ROOM (DAY)
MED. SHOT - BOUTON

in bed, a little tray of black coffee beside him.
Bouton is still dozing.

SOUND

KNOCK ON DOOR. REPEATED.

Bouton turns over drowsily and frowns.

BOUTON

Get away from that door! Who is
it? What do you want? Don't
you know I was up half the night?

JASPER'S VOICE

It's an important gentleman, suh.

BOUTON

I'll see him tonight; Go on!

TIM'S VOICE

It's me, Mr. Bouton!

BOUTON

Oh! Is that you, Tim? Come on
in here, you little rascal!

The door opens and Tim enters, followed by Jasper who
grins. Jasper collects the coffee things. Tim approaches
the bed as Bouton sits up.

BOUTON

(laughing)

Where's your aunt this morning?

Tim and Jasper both laugh.

(CONT'D.)

53.

3/16/39.

152. (CONT'D.)

MILLIGENT

I can't tell much about slaves
after dark.

PAULINE

Oh, I'll be so lonesome without you,
Martin.

DILL

Wait a minute, honey. I forgot.
I bought you these books to keep
you company.

Dill takes from the carriage a set of books, and hands them to Pauline.

PAULINE

Oh, thank you, Martin. I've got
a poor relation who'll just love
the se.

DISSOLVE TO.

153. INT. BOUTON'S BEDROOM (DAY)

MED. SHOT → TIM AND BOUTON

who is now up and fully dressed, except for his coat
which he is pulling on as Tim holds it for him.

BOUTON

Son, you can't do a thing about
it legally till you're twenty-one
years old → But Dill's certainly
not the person to take care of
your affairs that long.

TIM

But my father trusted him.

BOUTON

He's not the first man ever betrayed
a trust. Let's get out of here and
see what can happen.

DISSOLVE TO.

154. INT. LOUNGE OF INN (DAY)

FULL SHOT

Pauline sits rapidly turning over the pages of her books.
She turns invitingly to a staid old lady sitting knitting
nearby.

PAULINE

Not a picture in them!

She throws the books aside, bored, and looks about.
Across the room, down a balustraded pair of steps, Tim
and Bouton enter. Claire is receiving payment of a bill
from a distinguished looking old Southern gentleman.

(CONT'D.)

3/16/39.

57.

157. (CONT'D.)

Slave lifts up his wounded foot in terror. At end of
line already inspected, a very skinny slave boy complains.

PUNY SLAVE
'Imagine that old trader sayin'
I wasn't worth but $500 -- and
I always been a $700 man.

DISSOLVE TO.

158. EXT. COUNTRY ROAD (DAY)
PROCESS SHOT -> BOUTON, TIM, JASPER

in Tim's carriage, driving toward Bayou Lovelle, passing
the abandoned sugar mill. Tim is asleep in the carriage
as Bouton smokes and Jasper drives.

BOUTON
You think we're somewhere near
Bayou Lovelle?

JASPER
We'll be there by sundown.

As they drive on down the road into the sunset:

DISSOLVE TO.

159. EXT. PLANTATION QUARTERS (SUNSET)
FULL SHOT -- SLAVES

shown leaving their cabin, Janie and Cambo followed by
Uncle Caton limping along. On all faces an air of
dejection and sadness. CAMERA MOVES IN ON CROWD
going in same direction.

SLAVES
'Fore sunset tomorrow, God knows
where we'll be!

Mars Reid wouldn't sell us away
like this.

Might never see my sister no more,
never!

This our last night together, we
all, on dis place!

I been on here all my life, now they
gonna sell me!

JANIE
This world ain't nothin' but de
devil's play-yard!

CATON
Why did de Lawd spare me to see these
troublin' times?

(CONT'D.)

58.

3/16/89.

159. (CONT'D.)

JANIE
Gumbo, honey, if Mars Reid had
only lived till you growed up
to be a man! I hopes de same
master buys us both.

GUMBO
If he don't, I ain't goin'.

JANIE
Rush, son! Rush!

SCUND
IN DISTANCE SLAVES HUMMING A
SPIRITUAL.

DISSOLVE TO.

160. INT. STORE HOUSE (NIGHT)
FULL SHOT - SLAVES (SHOOT SCENE WITH GRANES)

gathered together for the last time to sing and
pray in the store house where the cotton bales have
been. They sit on few remaining bales and boxes,
some on the floor. A few oil flares give light.
It is a scene of great sorrow and religious devotion
gradually mounting to a climax of rhythmic power and
song. Small part of Congregation has assembled and
are singing.

SLAVES
(singing)
Been a-listenin' all de night long,
Been a-listenin' all de day,
Been a -listenin' all de night long
Foryto hear some sinner pray.

A young slave speaks from an improvised pulpit, as
CAMERA PANS IN on him.

YOUNG SLAVE
O, de foxes, dey hab holes in de groun',
An' de birds hab nests in de air,
An' ever'thing has a hidin' place,
But us pe' sinners ain't got nowhere.

He leads the congregation in a song.

SLAVES
Now ain't dem hard trials,
Great tribulations?
Ain't dem hard trials?
I's bound to leave dis land.

CAMERA PULLS BACK taking in crowds of Slaves pouring
into the room. Two women speak in the crowd together.

WOMEN
Folks, you may go dis a-way!
Folks, you may go dat a-way!
You may run from floor to door---
But if you ain't got de good Lawd in yo' soul,
Why, de debbil's gwine to git you sho!

(CONT'D.)

61.

3/16/39.

161. (CONT'D.)

The song rises to a great and glorious chorus as the
refrain is repeated jubilantly. Tim comes forward and
greets Uncle Caton joyously, but registers worry at
seeing the chains on his arms. Tim turns to the crowd
and speaks.

TIM

My slaves and my friends, you all
know my father, Timothy Reid, has
gone to heaven.

WOMAN

Yes, yes! You know that good man
has gone to heaven!

SLAVES

Yes, indeedy! Gone to glory!
Amen!

TIM

But I know his spirit is with us now.
And I have found a good friend who
has come from New Orleans to help me
out of this trouble.

SLAVES

Hallelujah! Thank God! Bless his name!

TIM

The Reid family! down through the
generations, has never sold a slave.
I can't and I won't break this tradition.

SLAVES

Help him, Jesus! Carry him on, spirit!
Amen!

TIM

Pray for me while I go to the Big House
and fight with all my might to save
you-all, Be calm, and wait till I come
back and give you the word.

As Tim makes his way to the door through the happy crowd,
the Slaves cry aloud.

SLAVES

God bless you! Praise Jesus! We
knowed you'd come. Yes, suh! We
knowed you'd be here, Mars Tim.

Gumbo leaps up on a cotton bale and shouts for joy.

GUMBO

Go on, Mars Tim! A Reid never misses!

The butcher rises and begins a lively shout tune.

(CONT'D.)

67.

3/20/39.

176. FULL SHOT

Gumbo placing pole to window. He accidentally breaks the window, but finally gets the pole placed.

TIM'S VOICE
(from inside house)
Come get me out of here!

GUMBO
I'm soarin', Mars Tim!

As he starts climbing, the pole revolves. Gumbo slips. Comedy climb. Dog barks furiously below.

SOUND
(DOG BANKING)

Gumbo looks back from his precarious perch at the dog.

GUMBO
Shut up, Colonel! Hush yo' mouth!
KICKIN' LEMME hear what Mars Tim say!

177. INT. BED ROOM (DAY)

FULL SHOT

Gumbo is crawling through the broken window into an empty room. He hears Tim calling from the closet, kicking the door.

GUMBO
What's de matter, Mars Tim? Is de door locked.

As he tries the closet door.

TIM'S VOICE
Get something and pry open this door, Gumbo!

Gumbo makes a comic search of the room trying to find something to pry open the door.

GUMBO
I don't see any crowbar nowhere, Mars Tim.

TIM'S VOICE
Get an iron curtain rod off the window. Get something sharp!

Gumbo goes to window and jerks down lace curtains, rod and all, getting himself all tangled up in the curtains. He takes the rod and prys the door open.

SOUND
(DOG BANKING BELOW. SPLINTERING WOOD OF DOOR. GUMBO PUFFING AS HE WORKS)

71.

3/20/39.

186. (CONT'D.)

Pauline is having her morning chocolate and cream cheese with lost-bread at a table near Claire.

PAULINE

Chocolate, please, Jasper. Some cream cheese, and an order of lost-bread.

JASPER

Yes, ma'am! Oui, oui, m'selle, tout de suite!

PAULINE

(addressing Claire)

How is the Madam at Papa Dondon's this morning?

CLAIRE

(coldly polite)

I'm very well, thank you.

PAULINE

Is that charming husband of yours still in bed?

CLAIRE

He's at Bayou Lovelle on business.

Pauline's face expresses great interest, sudden concern, remembering their talk of yesterday.

PAULINE

What? What business has he --?

I -- or -- or --

CLAIRE

I think you're going a little bit too far, Pauline. Jacques Bouton is my husband. And I don't feel I need explain to you his business at Bayou Lovelle.

PAULINE

I'm sure I know Jacques is your husband -- but is he interested in the runaway slave business now?

Claire rises angrily and approaches Pauline's table.

CLAIRE

You have your gall! To accuse my husband of dealing in runaway slaves!

Jasper enters with the breakfast tray.

CLAIRE

Besides, I don't like your undue familiarity with him, anyway.

As Jasper approaches the table with the tray,

JASPER

De lost-bread is piping hot, Miss Pauline.

Claire motions him away with the tray.

(CONT'D.)

74.

3/20/39.

DISSOLVE TO:

189. EXT. PLANTATION SUGAR MILL (DAY)
FULL SHOT

The slaves are linked together for their trip to the
slave block in New Orleans. Cass and the Traders,
half-drunk, are there, some already on horseback,
others mounting. CAMERA PANS along the line and
stops on Janie and Caton bound wrist to wrist.
Janie is crying.

JANIE
We won't be sold to do some marster
now! I wonder where my boy's done
gone? Gumbo! Gumbo!

GATON
No use cryin', Janie. Yet I can't
understan' why Mars Tim didn't
come back.
on

The traders ask their horses begin the drive.

TRADERS
Now! Get goin'! Step lively!

The long line of slaves begins to move. Low means
rise, whips crack, the horses trot forward.

SOUND
(WHIPS. HORSES' HOOVES. MOANS)

DISSOLVE TO:

190. EXT. COUNTRY ROAD (DAY)
FULL SHOT - TWO CARRIAGES (PROCESS)

Folling poste haste through the mud toward Bayou
Lovelle. Tim, Bouton and Judge Ravenal with his
foot propped up are in the first carriage. Gumbo
is with the Driver on the box. In the second
carriage are two clerks with a pile of law books,
records and papers. On the driver's box is a
slave with hot water bottles, medicines, etc.
CAMERA PANS DOWN to the horses' feet splashing in
the mud and the wheels whirling rapidly.

DISSOLVE TO:

191. EXT. COUNTRY ROAD (DAY)
FULL SHOT - CARRIAGES

moving rapidly. Suddenly the faces of the old Judge,
Tim, Bouton and Gumbo register great interest in
something they see on the road ahead of them. Tim
points in anguish.

TIM
There go my slaves!

The old Judge gives an order in Creole and the
coachman reins in the horses, just as they come face
to face with Cass and the slave caravan.

(CONT'D.)

3/20/39.

78.

198. (CONT'D.)

JUDGES

Oh ...
(to Pauline)
Madame, I regret to announce that
Mr. Dill is not receiving today.

PAULINE

How long will you be busy, Mr. Dill?

DILL

The rest of this year at least.

An Officer draws back his coat, displaying his badge.

PAULINE

(on verge of swooning)
Oh! I'm getting weak!

JUDGE

Napoleon! The smelling salts!

PAULINE

No! No! A drink!

Bouton and Tim exchange glances and smile.

JUDGE

Sorry, Madame, all we have here
is quinine and rum.

PAULINE

I'll take that.

Slave reaches for the bottle on Napoleon's tray, as the officers go off with Dill. Pauline drinks, then swoons dramatically, with affected grave.

199. EXT. PLANTATION YARD (DAY)

FULL SHOT - GUMBO

running like mad carrying the news.

GUMBO

We ain't gonna be sold! Ain't gonna be
sold! Ain't gonna be sold! Ain't gonna
be sold!

DISSOLVE TO:

200. EXT. PLANTATION (DAY)

FULL SHOT - BARBECUE PIT

down by the Mississippi beneath the hanging moss. The
big butcher, Luke, presides over the smoking barbecue
pit where great sides of meat are being roasted. Janie
is slicing steaming pork at a table, as Coton serves
the guests. The old Judge is there, his medicine
pushed aside. Napoleon has a great slice of water-
melon in his hands, eating voraciously. Tim leads
the guests in a joyous song (that has been written by
Clarence Muse and Langston Hughes), a song catching
the whole happy spirit of the mellow and joyous
Southland. Bouton and Claire, reunited, are a happy
part of the festivity, their faces glowing with love.
As Tim leads the song:

FADE OUT.

THE END

As is Scene 85, and GUMBO.
AS camera draws back we see Caton, Tim, Janie, GUMBO--

Tim is sitting at Table near Dill who has a great deal of
papers. Uncle Caton, Janie and are standing. All are quiet
quite worried. He continues to sneeze.

Scene 86 is out, replace with following.

INT. DINING ROOM (DAY)

MED. SHOT--INCLUDING ALL THREE.

TIM

(laughing)

- Are you catching cold, Mr. Dill?

Dill

Haven't got time to catch cold, with all these bills to pay. I tell you Tim, there is no way to keep these slaves, I'm certain that most of them will have to be sold.

Timxx (Biz)

On hearing this GUMBO slips out of scene, no one paying any attention, but you can see by his face he is alarmed, he exits.

TIM.

You can't sell the slaves Mr. Dill--there must be
some other way--my Dad--has never sold any of his
slaves--

DILL.

I'll check up the crops and cotton--see what Mahogany is around that can be turned into cash, and maybe I can get enough cash so we can go to New Orleans to live-- It is impossible for me to stay here, anyway...

UNCLE CATON.

Mister Dill, about your father, excuse me for saying it--But I got to stay with Mars Tim till he is a man.

Tim.

Yes, sir, Uncle Caton is the only father I have now.
(looking toward Janie) And Janie is--

Dill.

You'll learn to get along with out them--

(3)

'In a sing song rythymn of a soft hoarse voice)

New Marster, gonna sell all de slaves New master gonna sell all
de slaves---(keeps repeating)

SLAVES.

xxx

I. Ol' Lawd, what will I do.

2. Boy, stop yo' lying.

3. I knowed some thin was goin' to happen.

4. Where did yo' heard dat.

5. Jedgement day den come, Lawd!

6. What is a Po' slave to do?

(Trucks begin to slow up, loud blue-like moans are heard, things come to almost a stand still, Big slave that had the knife-argume argument enters scene as GUMBO speaks.)

GUMBO.

Just heard de new marster, from New orleans say--he gwine
sell ebry-body-me and all.
(Exits hurriedly)

BIG BUTCHER.

What you all whimpering bout, can't be no worse where we goin' die
den here wid MR. Cass---he sho den sunk low and mean.

Slave.

Stop dat big talk--you uppity fool--!

All slaves

Yes, shut yo' mouth and git on back to de HOG KILLIN, where yo' be-
long.

(Enter Mr. Cass who looks the situation over that has become as
still as death--Big Butcher lookin' straight at him)

Mr. Cass.

What do you mean by stoppin that cotton from rollin'--gabbing wit
XXXXXXXXXXXXXXXXXXXXXXXXXX

with these slaves when I'M tryin' to make time.

Big Butcher.

'Twarn't me stoppin' dem--suh

Mr. Cass.

Yo' ain't got Mars Reid now to protect you, before many moons I'M
goin' to WHIP YOU LIMBER. Get on back to the smoke house. (HE IS
goes) Start rollin'--

Slaves.

YES suh, Mr. Cass--yes, suh (WITH TEAR FILLED VOICES)

DI SOLVE TO

 scene 132.

TIM'S BEDROOM (NIGHT)

4b

INT. TIM'S BED ROOM (NIGHT)

MED. SHOTIER---CATON

laying out TIM'S night clothes on the bed. Thump of feet and
the dragging around of boxes and trunks is heard overhead. CATON
looks up. Footsteps heard running down steps.

### SOUND

Overhead noises and footsteps on stairs.

TIM enters, his arms full of ancient women's clothing, frills and
laces. CATON registers amazement.

### CATON

What you doing bringing all them women's clothes
down from de attic, Mars Tim?

### TIM

Oh, nothing!

(ANGRILY)

You shouldn't have said so much to Mr. Dill!

["(5)", "CATON.", "I'se sorry Mars.TIM--ifxXXkxwewxxwhatXXkxwewxxIxxwouldn'tXdoexx\nitxforxxx", "TIM.", "HE makes me mad--(starts to throw things all over the place and\nas he is about to throw a heavy brass box mff from the little\ndesk table he stops and looks into it. Picks up some gold coins\nruns them thru his fingers,thought-fully", "SPANISH GOLD COINS---My dad,---", "CATON---", "Put them coins down and get ready fo bed,MARS TIM--don't yo x_x_x_x_x_x_x_x_x_x_x_x_x_x_x

99 EXT. STABLES (NIGHT)

MED. SHOT---TIM HINDGATON

just finishing harnessing a pair of horses to a carriage.
TIM then beckons for someone to come out of the ba rn.
What appears to be an old woman with a veil over her face
emerges, and gets into the carriage. TIM mounts the
carriage seat and takes the reins.

CATON
Drive them horses wid a loose rein!
Don't hold 'em too tight, Mars Tim.

TIM (In a whisper)
Shut up! I told you not to talk.
You're deaf and dumb, do you hear!

CATON
Yes, suh! I hear.

DISSOLVE TO:

100. EXT. NEW ORLEANS STREET (DAWN) (PROGESS)
MED. SHOT---TIM & CATON

in carriage passing through quiet street at dawn. Slaves
opening shutters, shaking out rugs, etc. TIM reins in the
carriage at a horse trough before a beautiful mansion.

101. EXT. STREET (DAWN)
MED. SHOT---TIM & CATON

in carriage. TIM gets down to water the horses. In the distance
we hear the cry of a chimney-sweep.

HUMM

CHIMNEY SWEEP (o.s.m chanting)
Romanay! Romanay! Romanay! Lady!

A BLACK CHIMNEY SWEEP of the period ambles into the s cene
lackadaisically chanting.

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.

He wears an old top hat and carries a bundle of sacks, ropes
and brushes over his shoulder as he stops and looks at the
"woman" in the carriage.

CHIMNEY SWEEP
Romanay, Romanay, Romanay, lady!
(TO CATON)
Good mornin', m'am! Romanay!

TIM cuts in before CATON can answer.

TIM
What's that Romanay you're selling?

A huge grin spreads over the CHIMNEY SWEEPS face.

CHIMNEY SWEEP
Guess yo' is a Stranger here. It's
just a chimney sweep. That's what
Romanay, means.

TIM
Oh! You're looking for work?

7.

CHIMNEY SWEEP
(Grinning)

I could do it for you
next week sometime, huh.

WILL YOU MARRY ME? I WILL MARRY YOU

TIM

CHIMNEY SWEEP

Tired? No, I am.

CHIMNEY SWEEP

I washed dishes down to Papa Dondon's for all night.

TIM

Papa Dondon's? What's that?

CHIMNEY SWEEP

It's a inn---and people comin' in xand
out all day. Some sleep there, some eat
there, and some just drinks there. Last night....
old

TIM for me and my aunt.

I'm looking for a place to sleep.../

CHIMNEY SWEEP

I'll take you-all right down there, suh!

TIM

As the CHIMNEY SWEEP climbs to the driver's seat.

TIM

How much you gonna charge me to take me down there?

CHIMNEY SWEEP

Oh, just a couple o' pickayunes!

DISSOLVE TO:

102 INT. GROUND FLOOR INN (DAY)
MED. SHOT---TIM and BOUTON

conversing together, seated in a corner of the Inn.

BOUTON

Noblemen, Papa Dondon's---

Just as soon as I saw that Spanish gold you have,
I knew you must belong to one of the oldest families in Louisiana. I'd be glad to change it
up into any amount you wish at anytime, that you and
your old aunt might spend a happy holiday
here under my roof, the most famous inn in New Orleans
dating back to the days of the dons, the gallants,
and the pirates, when men wore whiskers and---

CLAIRE BOUTON walks into scene. BOUTON and TIM rise.

BOUTON

Madame Bouton, my wife---the most charming woman in
Louisiana---allow me to introduce you to a young
plantation master and slave owner,
John Timothy Reid, Junior, who's with his old aunt---
upstairs in her suite---to share the holiday spirit
with us. Unfortunately, the kind old lady is deaf,
as well as dumb. I don't quite know what we will
do to entertain her.

TIM (cutting him off)

Don't worry about him my auntie, Mr. Bouton. She's
always very happy when she's left alone and quiet.

CLAIRE

Then you must be very lonesome, alone. Won't you have
dinner with us tonight at our table?

9.

105 INT. DINNING ROOM (NIGHT)
FULL SHOT---GUESTS

seen making merry at the tables. SLAVE SERVANTS coming down-stairs into scene. CAMERA PULLS IN TO BOUTON'S table, where opera singer is just finishing a song in French, lingering on the high note.

SOUND
Applause for the singer.

BOUTON rises applauding and continues to act as Master of Ceremonies.

106 INT. DINNING ROOM (NIGHT)
MED. SHOT---AS CAMERA PANS OVER PAUSING ON

PAULINE'S table where she is seated with a gay party of ship officers and their ladies. SOUND of applause comes over, as PAULINE turns up her nose in disdain.

PAULINE
Atrocious! Cold as ice! That's no way to sing

YOUNG MAN
I think she was marvelous.

OFFICER
The lady said she didn't like it, sir.

The two men glare at one another.

107 INT. DINNING ROOM (NIGHT)
MED. SHOT---BOUTON'S TABLE

as the applause dies down, BOUTON speaks, as servants appear bearing enormous blazing plum-puddings.

BOUTON
Ladies and gentlemen, a lull in the entertainment while we enjoy one of the most important features of the New Year's festivities---the serving of Papa Dondon's famous old plum pudding, made from a recipe handed down in the archives of this kitchen from generation to generation, from chef to chef, all for the delectation of your estimable palets.

We see the chef lighting one of the pudding as music plays and guests cran their necks to see.

CUT TB:

108 INT. TIM'S SUITE (NIGHT)
MED SHOT---CATON

eating with his veil lifted and one white glove off. SERVANTS are heard at the door. CATON jerks down his veil, tries to put on glove.

SERVANT (o.s.)
I hope de old lady don't eat all this pudding.

2nd SERVANT
Why? What you gonna do?

SERVANT
I'm gwine grab de leavin's.

2nd SERVANT
BETTER stop exposing yourself to good food. You'll have de cholera.

10.

SERVANT
Mercy! Her hands ain't mates!

108 CONT.

DOOR OPENS and servants enter bearing a plum pudding which they place ceremoniously before CATON. ONE strikes a match and lights the pudding which blazes up almost catching CATON'S veil. As he throws up his hands, the SLAVES notice that one hand is black, the other white. They look at each other in terror and amazement, and exit backing out as if they are leaving a haunted house.

109 CUT TO:

109 INT. DINNING ROOM (NIGHT)
MED. SHOT---BOUTON'S TABLE

SOUND
Applause.
who is being introduced, rising embarrassed.
with TIM, the young man who is being introduced to the BOUTON
rises and addresses the public.

BOUTON
I haven't consulted with my young friend here, so
I don't know exactly what he can do to contribute
to the entertainment, but perhaps he might sing us
a little song, heh, friend?

TIM
I-I-I don't know any city songs, but if it's all
right, I can sing you a plantation tune. I never
sang for so many people before.

BOUTON
That's great. What tune you know?

TIM
Jump Jim Crow.

The orchestra hits up the tune and TIM begins to sing.

TIM
(INsert SONG PAGE 176)
BEFORE THE SHOW

The whole crowd join in on each refrain as TIM sings.

110 CUT TO:

110 INT. DINNING ROOM (NIGHT)
MED? SHOT---PAULINE'S TABLE

with the YOUNG YOUNG MAN and the OFFICER. PAULINE and the
OFFICER are applauding, but the YOUNG MAN looks bored.

SOUND
Applause.

YOUNG MAN
I think it's vulgar trash. Course provincialism.

OFFICER (Rising)
I demand that you beg this lady's pardon.

YOUNG MAN
I see no reason for an appology.

The OFFICER strikes the YOUNG MAN full in the face with his glove.
Their hands spring to their swords. A duel is on. Dishes crash
to the floor. PAULINE rises delighted at the excitement she's
created.

11.

111 INT. DINNING ROOM (NIGHT)
MED. SHOT---BOUTON'S TABLE

as guests spring up to view the duel. CLAIRE wrings her
hands. TIM mounts a chair. BOUTON starts forward.

BOUTON
Gentlemen! Gentlemen!
Take that dueling to the courtyard.

Two men grab BOUTON.

MEN
Let them fight! What's New Years
without a duel?

CAMERA PANS OVER TO PAULINE AND THE MEN with flashing swords.
PAULINE eggs them on.

PAULINE
Get him! Get him, you good-
looking sea-dog, you! Pin him
to the wall, lovely!

CAMERA follows the duel all over the dinning room as women
scream, tables are overturned, and startled SLAVES look on.
The duelists pass before TIM who eyes dance as he looks on.

TIM
Go to it! Fall on him!
Sic him and stick him!

DISSOLVE TO:

112 INT. INN (DAY)
FULL SHOT---TIM, BOUTON, PAULINE

who is examining silks in the hands of a trader as TIM and
BOUTON talk in another corner of the room.

BOUTON
Did you sleep well last night, young fellow?

TIM
Never better, sir. I like it here.

BOUTON
Stay as long as you like, sir. I'll show
you New Orleans in all its luscious beauty,
my lad.....

CAMARA PULLS IN ON PAULINE who speaks to the trader.

PAULINE
Just off the boat from France, you say? Hum!
Well, you might let me have it just a bit cheaper.
It's only satin. Not silk. However, I'll take
it. Send the bill to Martin Dill of Bayou Lovelle
Plantation.

TIM looks startled. He huuomamkm interrupts BOUTON.

TIM
Mr. Bouton, who is that woman, Mrs. Dill?

BOUTON
No, er-er---just one of his clients.

DISSOLVE TO:

121. FADE IN:

INT. DILL'S LIBRARY (DAY)
MEDIUM SHOT

Dill is seated at a (Louis XVI. Desk and trimmings)
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.

BILL

Caton! Front door!

Dill slams office door and returns to his work.

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 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 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 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!

(CONT.)

3

(CONT'

18.

118

BAYOU LOVELLE PLANTATION (DAY)

BAYOU LOVELLE PLANTATION
DAY

INT. CUPOLA OF BIG HOUSE---DILL AND CASS

CASS
ME are standing there on top of the Big House
overlooking the entire plantation. DILL has
a pair of field glasses in his hand, watching
the slaves at work. Cupola is dusty and out of
use.

DILL

Mr. Cass, I've got to have immediate te
cash, and the quickest way I know is
to get these products to the market.

CASS

Crop and cotton'll be shipped by Saturday,
if I have to blacksnake every hide down
there.

DILL raises his fieldglasses to his eyes a nd
views the plantation.

DILL

That drove of slaves ought to fetch a good
price on the New Orleans market.

CUT TO:

114 V EXT. BAYOU LOVELLE PLANTATION (DAY)

PANORAMA SHOT THROUGH DILL'S GLASSES

showing SLAVES at work in the fields, the cotton gin by
the river, the ox-carts moving on the roads, slave women
with heavy loads on their backs, feverish movement.

CASS (o.s)

Yes, sir! I got 'em broke in now.
Traders'll strain to buy 'em. When're
selling, Mr. Dill.

DILL (o.s.)

Monday morning. And you'll get your bonus.

115 INT. CUPOLA (DAY)

MED. SHOT---DILL AND CASS

as DILL puts his gla sses down.

DILL lay hands on

And if I get to know how much that Catony by then,
he'll be the first one on the block.

CASS

Before I get a chance to give him a decent
dressing?

DILL going to town

I'm going to town
to city directly and
make a report to the authorities. I have
to tell them that boy is a slave and must
be a coachman. The idea of that slave driving that
boy, Tim, away with the best pair of coach-horses on the plantation! I have to tell him that
Tim

SOUND

Murmur of voices from the fields below.

Quickly the OVERSEER snatches up the field glasses and
puts them to his eyes.

CUT TO:

18

116 EXT? BLANTATION (DAY)
PANORAMA THROUGH GLASSES

CASS (o.s)
Burn me! There's trouble! They done stopped work.

117 INT. CUPOLO (DAY)
MED SHOT---CASS AND DILL

as the OVERSEER drops the glasses and quickly rushes out.
DILL puts them quickly to his eyes and leans straining
over the balustrade.

SOUND
Ever increasing ominous murmur of slaves.

118 EXT. COTTON GIN (DAY)
FULL SHOT---SLEEVES AND LUKE

the big butcher-slave who towers above the rest. There is
grea t babble and confusion as crowds of slaves gather.

VOICES
I ain't gonna work no more! I ain't got 'nough to eat.

WOMAN (Weeping)
Can't even ha ve a cup o' milk for my babies! Nothin'

MAN
Done put us out of our cabin and made a store house
out of it.

WOMAN
Lawd, what you gonna do for us poor weak sinner.

A

MAN
If they gonna sell me, I hope they sell me, and my
wife, and my chillun, to de same master, good or bad.

WOMAN slave-driver
I hearrd tell de worst mamá in Louisiana gonna buy
us.

GUMBO is seen grasping his GUMBO mother's skirts, as CAMERA moves
in on him, as GUMBO dismounts from jackass. He sobs.
Mars. GUMBO.

I can't find him! I can't find Mars Tim! And they
gonna sell me! They gonna sell my mama! Mama! Mama!
What I gonna do? What we gonna do?

wildly anyhing sobbing

GUMBO starts/through the crowd strying/as though his heart would
break. Suddenly the big BUTCHER goes down he sees the big BUTCHER
and falls down before him. The BUTCHER goes berserk. He moves
through the crowd like a whirlwind of terror and mounts the plat-
form of the cotton gin.

BUTCHER
I can't stand it! I can't stand it! I been killing
hogs! I been killin' beefs! MAMA! MAMA! MAMA!
Killin'! Killin'! Killin'!....I can't stand it
no longer! M

The BUTCHER starts wildly through the crowd. The SLAVES grab
him. He struggles and struggles to get away, crazy with an-
guish. His fellow SLAVES gmm hold him and drag him toward the
smoke house, where they thrust him and lock him up.

15

119 CONT.

BOUTON

BOUTON

Jasper, get yourself some help and straighten
up this room like Miss Claire wants it.

JASPER

Yes, sir, cause look like ole Satan done had
his foot in this room.

BOUTON exits as we

DISSOLVE TO:

118
EXT. STREET OUTSIDE PAPA DONDON'S (DAY)
MED. SHOT---DILL'S CARRIAGE

a closed cab with square window in the door, from which
DILL'S head protrudes, as he talks with BOUTON.

BOUTON

What elegant style! An opera ca riage at high
noon!

DILL

I'll tell you why later! Have you seen Pauline?

BOUTON

Pauline? No, I haven't, Mr. Dill! Not for a
day or two. Perhaps she's......

CUT TO:

ppg

119
EXT. BALCONY OF INN (DAY)
MED. SHOT UP FROM STREET --- TIM

emerging from shuttered doorway where UNCLE CATON sits
back out of view of passerby.

SOUND

DILL'S voice indistinctly mingled with the street
noises below.

TIM

Gee! Uncle Caton, the streets just full of people!
Can you see from where you are?

CATON

I can see all right, Mars Tim, but I best better keep
out o' de light.

TIM

Aw, nobody knows us here.

Suddenly stopping and ba cking quickly away from the rail
as he recognizes DILL's in carriage below.

ppg

CUT TO:

120
EXT. STREET (DAY)
MED. SHOT---DILL'S CARRIAGE BOUTON AND DILL

whose head protrudes from window of carriage.

DILL

She'll probably be around after awhile,
so just tell her I'll meet her here for
supper. I've got business to
attend to now.

124 CON'T

skirts, blinded by his veil, bewildered, out of breath as
he tries to follow TIM.

CATON
Are you sho it was Mr. Dill you saw?

TIM
Of course, I'm sure! Come on?

CATON
Come on where, Mars Tim?

TIM
Come on! Come on!

He strides sturdily ahead as CATON follows. Passersby turn
to look curiously at the odd pair, thinking possibly it is
an old grandmother pursuing a runaway child. The shadows in
street lengthen.

DISSOLVE TO:

125 INT. PRINTER'S SHOP (DAY)
MED. SHOT---PRINTER AND DILL

PRINTER
You notice, Mr. Dill, I put "RUNAWAY" in big bold type. Also that young boy who sings.

DILL
Now all I need is somebody that'll put 'em out right, and get the whole parish looking for 'em. It'll be easy to run 'em down. Let's see.....

CUT TO:

126 INSERT OF HANDBILL

Text describes TIM and CATON and offer reward for information
or their return to MARTIN DILL at Bayou Lovelle Plantation.

CUT TO:

127 EXT. NEW ORLEANS SQUARE (DAY)
FULL SHOT --- PASSERBY AND LOUNGERS

with a fountain in center and houses of the French Quarter
about the Square. Old Creole men smoking, Mammies passing
with their white charges rolling hoops, etc., market women
with their baskets, stolid Indians selling beaded work, and a
feather-tipped arrow, sailor, muns, gentlemen with capes,
etc. VOICE OF TOWN CRIER is heard before he enters scene.
He enters, distributing handbills, as he rings his bell.

TOWN CRIER
Run away slave! Run away master! Master little white boy! Old run away slave! Runaway! Runaway!

CUT TO:

["90", "done", "131 CONT", "Hit it so hard, he made it roar.\nUmm-hum! Umm-hum!", "She opened the door and let him in.\nUmm-hum! Umm-hum!", "CATION", "She said you so late it is a sin!\nUmm-hum! Umm-hum!", "Very gaily they both break into the final verse.", "BOTH", "Little piece of corn bread layin' on de shelf!\nUmm-hum! Umm-hum!", "Little piece of corn bread layin' on de shelf!", "CATION", "(Speaking)", "I sho wish I had it now! Umm-hum! Umm-hum!", "BOTH", "Little piece o' corn bread layin' on de shelf.", "If you want any more song, you got to sing it yourself!\nUmm-hum! Umm-hum!", "DISSOLVE TO:", "132 EXT. ABANDONED SUGAR MILL NEAR ROAD (NIGHT)\nMed. SHOT-----TIM AND CATON", "who stop. CATON'S disguise is now entirely gone. He is bent and\nworn.", "CATION\nLowery's\nMars Tim, mmmm yonder is old Colonel/Phillips broke\ndown sugar mill, mmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

24.

134
EXT. UMBRE SLAVE CABIN (NIGHT)
MED. SHOT#---TIM

tiptoes up to the open flap of the cabin window and peeps in.

SOUND
Snoring of JANIE within.

TIM taps on the wonden flap. Then calls softly.

TIM
Gumbo!.........Gumbo!

GUMBO
Huh?.....Who dat?

TIM
It's me!......Tim. Wake up!

135

CUT TO:

135
INT. SLAVE CABIN (NIGHT)
MED. SHOT---JANIE AND GUMBO

who sits up suddenly on his pallet on the floor, while JANIE
turns over and resumes her snoring. TIM'S face in window.

GUMBO
Marb Tim!

He runs quickly to the window in his underwear of floor-sacking and grass for TIM.

GUMBO
Does you know they gonna sell me?

TIM
Shss! Be quiet! Don't wake anybody up.

GUMBO clambers out of the window.

136

CUT TO:

136
EXT. CABIN (NIGHT)
MED SHOT---TIM AND GUMBO

talking together. GUMBO is glad to see him and excited.

GUMBO
New marster gonna sell mall de slaves on
Monday. Gonna sell my mama away from me.

TIM
So that's why Mr. Dill was in New Orleans!

GUMBO
Gone since mornin'---and Mr. Cass done been
workin' everybody to death.

TIM
He can't sell my Father's Slaves---I've got to
find a way to stop him---Listen,Gumbo---You know
where that old sugar mill is on Colonel Lowery's
Place--

GUMBO
Ye, Mars Tim, I use to play Mulberry Bush dere--

TIM.

26

141 CONT.

CLAIRE

TIM

Something awfully important came up, Miss Claire.
I had to leave madam before I had a chance to
say anything to anybody.

CLAIRE (Half smiling)

But your old "aunt"?—Where is she?

TIM

Can I talk to Mr. Bouton right away. It's
important.

CLAIRE

TIM

CLAIRE beckons to a slave.

CLAIRE

JASPER registers apprehension as he goes off with TIM behind him.

CUT TO:

142 INT. BOUTON'S BED ROOM-(DAY)

MED SHOT---BOUTON

in bed, a little tray of black coffee beside him. BOUTON is
still dozing.

SOUND

Knock on door. Repeated.

BOUTON tunns over drowsily and frowns.

BOUTON

JASPER (o.s.)

It's an important gentleman, sub.

BOUTON

I'll see him tonight! Go on!

TIM (o.s)

It's me, Mr. Bouton!

BOUTON

Oh! X Is that you, Tim? Come on in here,
you little rascal!

TIM

The door opens and TIM enters, followed by JASPER who grins.
JASPER collects the coffee things. TIM apporches the bed as
BOUTON sits up.

BOUTON (Laughing)

TIM and JASPER both laugh.

29.

146 CONT

## PAULINE

### BOUTON

Goodmorning, M'mazelle Pauline!

### PAULINE

Well, goodmorning, Jacques Bouton! You look so lovely and fresh! Just getting up at noon?

### BOUTON

Had I gotten up earlier I might have miss you. Pauline, you're as fragrant as wild rose.

### PAULINE

What do you mean---wild rose?

CAMERA PANS OVER and picks up CLAIRE and TIM who sways now almost groggy with sleep. The old GENTLEMAN has received all his change and is leaving. JASPER helps him out with his bags. CLAIRE speeds the parting guest, as he tips his hat to her at the door.

### CLAIRE

Thank you very much, Mr. Bontemps! When in New Orleans again, don't forget Papa Dondon's.

As she turns her eyes light on TIM.

### CLAIRE

Why, Tim, you look as if you hadn't had a wink of sleep last night.

### TIM

No'm.

### CLAIRE

You haven't had your breakfast, either?

Across the room PAULINE laughs gaily.

### SOUND

Pauline's coquettish laughter.

CLAIRE looks at the couple, BOUTON very close to PAULINE.

### CLAIRE

You'll fall asleep on your feet if my husband keeps you waiting much longer. (CALLS) Jacques, I'm giving this young man his breakfast. Would you mind also stepping into the dining room a moment?

### BOUTON

Just a minimum minute, darling.

CLAIRE exits puzzled and angry, with TIM behind her.

147 INT. LOUNGE (DAY)

CLOSE--TWO--PAULINE AND BOUTON

who converse together.

### BOUTON

I just wonder what keeps you interested in an dull old fellow like Dill.

### PAULINE

I rather lean towards men of affairs. You know this new deal of his---that estate and all--- will make him one of the biggest stockholders in the Gulf Coast Steamboat Company in a few days.

30.

147 CONT

BOUTON
Oh, yes!

PAULINE
Then we'll probably take a trip to Cuba.

BOUTON
And that son of Reid's?

PAULINE
Ma rtin'll put him in a boarding school,---
providing he finds the little brat and gets
the guardianship legalized.

BOUTON
Funny how a kid like that could just disappear!

JASPER returns from the street and passes through the lounge.

BOUTON
Jasper, I want you to drive me someplace this
morning.

JASPER
Yes, suh, Mabs Jacques.

BOUTON rises and kisses PAULINE'S hand.

BOUTON
Until later, little willIAM---domestic rose.

PAULINE
You know, Mr. Inn Keeper, I could go for you!

DISSOLVE TO:

148 EXT. BAYOU LOVELLE PLANTATION (DAY)

FULL SHOT---OUTSIDE SLAVE QUARTERS

, including GUMBO, and JANIE, and CATON,
showing the slaves/lined up for inspection by the SLAVE
TRADER who walks down the line accompanied by DILL and
CASS. DILL is taking notes of their evaluations, as
they approach CATON.

DEVILISH

TRADER you/thinking runaway!'
Open your mouth there, BOY Open your mouth!
CATON'S

He inspects their teeth. Then looks another up and
down, noting a wound on his foot.

TRADER
Let me see that sore foot!

SLAVE LIFTS up his wounded foot in terror. At end of line
already inspected, a very skinny slave boy complains.

PUNY SLAVE
'Magnanimous that old trader sayin' I wasn't worth but
$300---and I always been a good $700 man.' my magnanimous

DISSOLVE TO:

149 EXT. COUNTRY ROAD (DAY)

PROCESS SHOT---BOUTON, TIM, JASPER

in TIM'S carriage driving toward Bayou Lovelle, passing the
abandoned sugar mill. TIM is asleep in the carriage as BOUTON
smokes and JASPER drives.

31

149 CONT

BOUTON

JASPER

We'll be there by sundown.

SOUND

Horse& hooves

as they drive on down the road into the sunset.

150 EXT. PLANTATION QUARTERS (SUNSET)

FULL SHOT --- SLAVES

shown leaving the& cabins, JANIE and GUMBO, followed by UNCLE CATON limping along. On all faces an air of dejection and sadness. CAMERA MOVES IN ON CROWD going in same direction.

VOICES

JANIE
Dis world ain't nothin' but de devil's play-yard!

JANIE
Gumbo, honey, if Ma rs Reid had only lived t&ll you growed up to be a man! I hopes de same master buys us both.

JANIE
Hush, son! Hush!

SOUND
In distance slaves humming a spiritual.

Hush, son! Hush!

DISSOLVE TO:

151 INT. CLEARED STORE HOUSE (NIGHT)

FULL SHOT --- SLAVES

gathered together for the last time to sing and pray in the store house where the cotton bales have been. They sit on few remaining bales and boxes, some on the floor. A few oil flares give light. It is a scene of great sorrow and religious devotion gradually mounting to a climax of rthymic power and song. A young slave is leading the song, a tune in common metre.

27.

161 EXT. SKY AT SUNRISE
ATMOSPHERIC SHOT

MANNERS, BEGGING, MARRYING, MARRYING, MARRYING, MARRYING

162 EXT. SKY AT SUNRISE
ATMOSPHERIC SHOT

as dawn comes to Louisiana and Bayou Lovelle. The sky
lighting with the sunrise, colorful clouds, shadows
dissappearing, the coming of a beautiful day---for so
much sorrow.

162 EXT. PLANTATION GROUNDS (SUNRISE)
TRUCKING SHOT---DILL AND CASS

walking toward the slave quarters, note books, etc. in hand.
DILL'S face is swollen.

CASS

How's your jaw this mornin', Mr. Dill?

DILL

Nothing but a scratch! Can't let it
worry, we 've got all these slaves to
parcel off by noon.

CASS

You gonna let me drive 'em down to
New Orleans?

DILL

You can help the traders. But get 'em
out of here by noon.

DISSOLVE TO:

I feel mo' like doin' de
pigeon-wing! (CUTS COUPLE
OF STEPS) Ain't you heard
I ain't gonna be sold?

163 EXT. CHICKEN YARD (MOON SUNRISE)
FULL SHOT---GUMBO

makin' mornin' in the morning

from a gourd.

feeding the chickens, throwing corn. Several hundred varri-colored chickens, also ducks and turkeys. GUMBO talks to the chickens as he feed them. A big-spurred rooster hops at GUMBO with his蛋beak set.

GUMBO ain't got time for
Get away, Moon-Eye! I mornin' mornin'/no fightin'
this mornin'. Here, Steve! Here, Mary! Louise!
Here, Esau! (CLUCKING TO THE CHICKENS) GUMBO'S
Skt-skt-skt-skt-skt! (DANCES AS HE THROWS CORN)

GUMBO looks across to the corner of the yard and sees a
poor old droopy chicken standing hungry. While the others
eat, he goes to feed DUNLAP.

dances over

GUMBO

Spruce up dis mornin', Dunlap! Don't you know
Mars Tim done come back? Here's a little bit mo'
corn for you.

The fighting chicken, MOON-EYE, sneaks up on GUMBO and spurs
him squarely in the behind. GUMBO squawks loudly.

GUMBO

Yaw-ooo! Yaw-ooo! Yaw-ooo!

DISSOLVE TO:

28

164 EXT. SUGAR MILL (DAY)
FULL SHOT---CASS AND SLAVES--DILL

sugar
sitting on the cane-kettle with his account book. CASS
排序 out the SLAVES, in groups.
Children crying.

GASS
Fields hands, here! Get over there! Ox-
drivers, yonder behind the mill!

SOUND
Children wailing and crying.

CASS
Stop them brats from bawling! (POINTING)
Female slaves, here!

DISSOLVE TO:

165 EXT. BIG HOUSE (DAY)

MED. SHOT --- GUMBO

and a lop-eared hound dog are at the back door. GUMBO is
trying the door, shaking it, and knocking.

GUMBO
All de door's locked up, Colonel! Wonder where
Mars Tim is? XXXXXXXXXXXX

GUMBO and the dog start around the house looking up at the
windows. CAMERA FOLLOWS GUMBO. Suddenly the dog stops at
a window and starts barking. GUMBO cannot reach the window,
which is closed. He looks about for something to climb on.

166 EXT. BACKYARD (DAY)

MED. SHOT---GUMBO

and the dog beneath a clothes line. He takes a tall
clothes pole (young tree trunk) and hurries away
with it.

SOUND
Dog barking loudly.

TIM'S VOICE
I'M COMING IN HERE! COME, GET ME OUT OF

Come, get me out of
GUMBO here!
I'm comin', Mars Tim.

167 EXT. BIG HOUSE (DAY)

FULL SHOT---GUMBO

and dog placing pole to window. He accidently breaks the
window, but finally gets the pole places. As he starts
climbing, the pole revolves, GUMBO slips. Comedy climb.
Dog barks furiously below.

SOUND
Dog barking!

GUMBO looks back from his precarious perch at the dog.

GUMBO
Shut up, Colonel! Hush yo' mouth!
Lemmehear what Mars Tim say!

DISSOLVE TO:

168 INT. BED ROOM (DAY)

FULL SHOT---GUMBO

crawling through the broken window into an empty room.
He hears TIM calling from the closet, kicking the
door.

29

168 CONT.

GUMBO
What's de matter, Mars Tim? Is de door locked?

As he tries the closet door..

TIM pry open
Get something and <del>comman</del>/this door, Gumbo!

GUMBO makes a comic search of the room trying to find something
to pry open the door.

GUMBO no where,
I don't see nary crow-bar <del>mamamam</del> Mars Tim.

TIM
Mm! Get an iron curtain rod<del> off</del> the window.
Get something sharp!

GUMBO goes to window and jerks down lace-curtains, rod, and
all, getting himself all tangled up in the curtains. He takes
the rod and prys the door open.

SOUND
Barking of dog below. Splintering wood
of door. GUMBO puffing as he works.

169 INT. CLOSET (DAY)
MED. SHOT --- TIM

half hidden in a dusky closet among a lot of old clothes
hanging there. TIM is di recting <del>GUMBO</del> how to open the door.

TIM
Pull a little <del>hander</del>; Pull with all your might!

170 INT. BED ROOM (DAY)
MED SHOT---TIM AND GUMBO

as door opens and TIM comes out. GUMBO stands pa nting.

TIM
Have you seen anything of Mr. Bouton around here?

GUMBO
How you get locked up in there, Mars Tim?

TIM
I say, have you seen Mr. Bouton?

GUMBO
Mr. Bouton? Who he? Dat de man what locked
you up?

TIM
No, Dill locked me up! Come on.

TIM picks up the curtain rod and starts out the door, fol-
lowed by GUMBO.

DISSOLVE TO:

30

171 INT. HALL OF HOUSE (DAY)
TRUCKING SHOT---FOLLOWING TIM AND GUMBO

through the house as TIM searches for BOUTON. Background
music with tempo in mood of scene.

BOUTON

172 INT. LIVING ROOM (DAY)
TRUCKING SHOT---TIM AND GUMBO

in big dusty drawing room with half drawn curtains. TIM
looks ab ut, GUMBO stands dazed.

SOUND
Dog barking outside.

TIM
Gumbo, let Colonel in.

GUMBO exits into MMMGUMBOOM hallway.

173 INT. ENTRANCE HALL (DAY)
MED. SHOT---GUMBO

opening door. COLONEL dashes in and rushes straight past
TIM who enters scene from Living Room door. The dog
runs down the hall.

174 INT. HALLWAY AND CELLAR STEPS (DAY)
TRUCKING SHOT---GUMBO AND TIM

who rapidly follow COLONEL down the dark cellar steps where
they come to a huuunnnnbarred door. As the dog leaps and
barks, TIM pulls back the bolts and he and GUMBO enter. GUMBO'S
eyes gleam in the dark.

175 INT. WINE CELLAR (DAY)
MED SHOT---BOUTON

bound hand and foot lying on the floor under the wine casks.
A cask of fine old Spanish sherry just over his head. COLONEL
runs to BOUTON and begins to bark.

BOUTON
Not satisfied tying me up like a slave, are you?
So you sic your dogs on me, heh, Dill?

TIM
Mr. Bouton!

BOUTON
Tim, I'm sorry you have the pleasure of finding me
in such a distasteful position---but I assure you it
was entirely unavoidable.

The two BOYS begin to untie BOUTON.

TIM
Gee, I'm glad I found you. Did Dill put you down here?

BOUTON
It must have been that distinguished gentleman by the
name of CASS.

Mr. Cass GUMBO
That XXX/is low and mean! He she did write his name on
your head.

BOUTON
Yes, I should have a little antiseptic of some kind.

BOUTON sits up, draws a mug of wine, drinks all but a drop

["31", "175 CONT.", "which he rubs on his palm, smells.", "BOUTON", "Ah! Excellent!", "He applies the wine to mmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

32

SOUND
Mousquitoes humming.

176 CON'T.

2nd TRADER

If you ask me, I think they'll bring twice
the money you-all mention..

He spits a stream of tobacco juice. A trader brushes his
hand across his face, shooing mousquitoes.

DILL

That's encouraging to me! We'll partake of
a few goblets of rare old sherry on that---
before you start my slaves to town.

A mousquito suddenly stings the 2nd TRADER on the neck. He
slaps his hand to the bite, and cusses.

2nd TRADER

By cuss these gallinippers!

DESSOLVE TO:

177 INT. DINNING ROOM AT INN (DAY)

FULL SHOT---CLAIRE AND PAULINE

and waiters serving light breakfast. CLAIRE is presiding
over the cash desk, marvelous assortment of rolls, mousse
Louisiana coffee cakes, jams, jellies, and preserves on
buffet nearby. PAULINE is having her morning chocolate and
cream cheese with mousse at a table near CLAIRE.

lost-bread

PAULINE

Chocolate, please, Jasper. Some cream cheese---
and an order of lost-bread.

JASPER

m'selle, tout mme de suite!
Yes, m'am! Mlle mme mme Oui, Oui, monsieur!

PAULINE

(Addressing CLAIRE)

CLAIRE'S reply is coldly polite.

CLAIRE

I'm very well, madam, thank you.

PAULINE

CLAIRE

He's at Bayou Lovelle on business!

PAULINE'S face expresses great interest. Sudden concern, remembering their talk of yesterday.

PAULINE

What? What business has he---? I-er-er---

CLAIRE

I think you're going a little bit too far, Pauline.
Jacques Bouton is my husband. And I don't feel that
I need to explain to you his business at Bayou Lovelle.

PAULINE

I'm sure I know Jacques is your husband, but is he
running away with my business? I want to know why
interested in the runaway slave business now?

traffic

33

177 CONT

CLAIRE rises angrily and approaches PAULINE'S table.

CLAIRE

JASPER enters with the breakfast tray.

Besides,

CLAIRE

/I don't like your undue familiarity with him, anyway.

AS JASPER enters with the tray, approaches the table with the tray.

JASPER

CLAIRE motions him away from the tray.

This

CLAIRE

MM/lady has changed her mind, Jasper! Take that tray
back to the kitchen.

PAULINE rises mad as a MME/LADY tiger cat, As JASPER hesitates.
CLAIRE gives him one look that sends him scurrying out.

PAULINE

MM/MME/LADY/Madam, Mlle. Pauline, Mlle. Mme./Madam, Mlle. Pauline,

PAULINE

I'll go to Bayou Lovelle and see that Martin Dill
never spends another penny here.

her Creole eyes flashing and her back bristling. She seizes
her fan and her gaudy parasol.

Mlle. Pauline, Mlle. LOVELLE/Madam, Mlle. PAULINE/Mlle. Mlle. Pauline,

flounces out as CLAIRE dominates the scene. Suddenly she

MME/LADY/Madam, Mlle. PAULINE'S place

bunches the silver together and picks it up. She

turns to the startled JASPER.

CLAIRE

Clea n this table, Jasper!

DISSOLVE TO:

178 EXT. ENTRANCE TO JUDGE'S ESTATE (DAY)

179 FULL SHOT---DRAWING IN ON BOUTON, TIM, AND GUMBO

blowing through the mud, entering the beautiful mansion-yard
leading to a house set among palms, magnolias, and flame-trees.
As Bouton opens a great iron gate, enormous dogs run at them,
leaping and barking. On the heels of the dogs come two or
three Creole slaves who do not speak a word of English.

SOUND

Barking dogs. Jabber of Creole.

BOUTON

I want to see my friend, Judge Ravenal.

The SLAVES answer him in a jabber of Creole.

SLAVES

Pas a la maison! On ne peut pas entrer! Non!

TIM

Creole slaves, heh, Bouton?

BOUTON

They say he's not here, but I know better than that.

34

178 CONT'.

BOUTON answers the SLAVES in a rattle of Creole. The dogs bark, the slaves jabber, Gumbo looks wild-eyed. Finally the gates open, and they enter.

### SOUND
Creole jabber. Barking dogs.

As the gates open, GUMBO cries aloud in relief.

### GUMBO
Whee-ee-ee-e!

### DESCRIBE TO:

179 INT. JUDGE'S ROOM (DAY)
MED SHOT---TIM, BOUTON, AND JUDGE RAVENAL

with

who greets BOUTON effusively from his chair where he is sitting/ his gouty foot propped up before him, a side table at his elbow louded down with medicines, plus a decanter of whiskey and a bowl of mint. It is an elegant room with rich hangings, massive furniture, and an enormous oil painting of Nappleon behind him on the wall. Several Creole slaves attend the old Judge's every whim, some fanning him, another lighting insense to keep the mousquitoes away, another bringing an extra cushion for his foot. CAMERA picks up TIM and BOUTON as they cross the room.

### BOUTON
Judge!

### JUDGE
Jacques Bouton! What brings you to this parish? (Grunting) Sit down./ Pepe, une chaise pour mousieur. (TO SERVANTS)

Two more SLAVES come running with a big chair.

### BOUTON
Judge Ravenal, meet Master Timothy Reid.

### JUDGE
What? Not Timothy Reid's son of Bayou Lovelle. Why you're quite a man now. (TO SERVANTS) Encore une chaise! Vite! Vite!

Other SERVANTS come running with a smaller chair for TIM. They put it too near his gouty foot, and TIM moves in even closer. The old JUDGE shoos him away apprehensively.

### JUDGE
Uh-uh-uh-uh! Don't that chair too close. I can't have nothing within breathing distance of that foot. Ah, this gout, Bouton---

JUDGE rea ches on his table and rings a bell loudly. Still other servants enter, including an enormous MAMMY.

A light
JUDGE, Glory!

I/repast for these gentlemen! Just a little of your oyster loaf, a few shrimps, I reckon, a bit of mulatto rice, some gumbo filet, some tart brandied peaches, a slice or so of souse meat... Mammy, a couple of pans o' cat-eyed bisquits...

35

DISSOLVE TO:

180 EXT. PLANTATION NEW ORLEANS SUGAR MILL (DAY)
FULL SHOT---SLAVES (half-drunk,

linked together for their trip to the slave block in New
Orleans. CASS and the TRADERS, are there, mm some already on
horse-back, others mounting. CAMERA PANS along the line and
stops on JANIE and CATON bound wrist to wrist. JANIE is crying.

JANIE MIM
We won't be sold to de same marster now! I
wonder where my boy's done gone?

CATON
No use cryin', Janie! Yet I can't understan'
why Mars Tim don't come back.

The TRADERS and their horses began the drive.

TRADER
We headin' South! Start walkin' makin' there!
2nd TRADER
Now! Get going! Step lively!

The long line of SLAVES begins to move. Low moans rise,
whips crack, the horses m trot forward.

SOUND
Whips. Horses' hooves. Moans.

DISSOLVE TO:

181 EXT. COUNTRY ROAD (DAY)
FULL SHOT (PROCESS) TWO CARRIAGES

rolling post haste through the mud toward Bayou Lovelle.
TIM, BOUTON, and JUDGE RAVENAL with his foot propped up,
in the first carriage. GUMBO with the DRIVER on the box.
In second carriage, two clerks with a pile of law books,
records, and papers. On the DRIVER'S box a SLAVE with
hot water bottles, medicins, etc. The CAMERA CUTS DOWN
to the horses' feet splashing in the mud and the wheels
whirling rapidly.

DISSOLVE TO:

182 EXT. COUNTRY ROAD (DAY) (PROCESS)
FULL SHOT---CARRIAGES

moving rapidly. Suddenly the faces of the old JUDGE, TIM,
BOUTON, and GUMBO register great interest in something they
see on the road ahead of them. TIM pointsx in anguish.

TIM
There go my slaves!

The OLD JUDGE gives an order in Creole and the COACHMAN reins
in the horses, just as they come face to face with CASS and
the SLAVE caravan.

182

THE CON'T.

36

JUDGE

Sorry to delay you gentlemen, but there's a
a question as to the legality of what's go-
ing on here.

CASS

Mr. Dill's orders *mmm* is to drive 'em to the
block.

The OLD JUDGE lifts his cane furiously.

JUDGE

You turn these chattels around *mmm* before I take
my cane and chop you on the head till you can't walk.

In his excitement the JUDGE puts his gouty foot down as the
cane goes up, and he yells aloud in pain.

JUDGE

Ow-000-00-0!

The carriage whirls along past the line of frightened slave
faces.

DISSOLVE TO:

183

"WAY DOWN SOUTH"

1.

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 DARE YOU SOUTHWARD in tempo. Cotton bale tumbling forward, obliterates last card, and discloses:

BAYOU LOVELLE

JOHN TIMOTHY REID

DISSOLVES TO:

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.

NEGROES SINGING.

1st SLAVE

We'll cut that last stalk o' cane 'fore
sundown.

2nd SLAVE

'Fore sundown nothin! Jump back,
bully, and cut de stalks down now!

1st SLAVE

2nd SLAVE

Sugar cane, come on down! ..... Huh!

3rd SLAVE

'Fore that sun goes down! ..... Huh!

SOUND

Song swells in volume

3.

5. (CONT.)

OVERSEER

I'm tolerable well satisfied. But
I get a little mifted now and then.
So much dancing and singing! What I
like is work!

(Overseer walks out)

DISSOLVE TO:

6. CUT TO:

EXT. CATTLE PEN (DAY)

MEDIUM SHOT

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

1st. KID

Shoo! Shoo, there! Shoo!

2nd KID

(as old cow wanders off road)

Shoo, there, Mag! We got to git on down
by de sugar mill.

1st KID

Yeah, cause all de old folks goin' <u>HOME</u>
to de cane cuttin'.

3rd KID

And we can have de bestest ole time
lappin' up de drippings.....

2nd KID

De drippin's o' de first cook-off.

1st KID

(drawing his finger across his mouth)

1st KID

Sho is sweet!

(as cow licks her lips)

You ain't gonna' get none! Get in there, Mag!

DISSOLVE TO:

7. 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 pig's feet. One remarks jovially:

SLAVE WOMAN

We gits de feet an' heads!

ANOTHER SLAVE

(smacking his lips)

(CONT.)

6.

13. (CONT.)

**REID**

parish, Luke. Go on back down
to your work and kill fifty more
before the cane dance....Mr. Cass,
all my slaves are respectful, honest,
and they work hard for me---and
I've never found a need for a whip.
I have no intention of starting now.

**OVERSEER**

That's just why they don't respect me.
Why don't you make him the overseer,
give him the honor, and save my wages?

**REID**

It's not a matter of honor, Mr. Cass,
nor a matter of wages. It's a matter
of humanity.

**OVERSEER**

If you work 'em, you might as well whip
'em.

**CATON**

(voice on sound track)

Mars Timothy! Mars Timothy!

(ENTER UNCLE CATON)

Mr. Dill from New Orleans done come.
He's waitin' for you on de porch,
and I done made him comfortable.

**REID**

Mr. Cass, suppose you come on up to the
Big House tonight, and we'll sit around
the fireplace and swap ideas.

AS REID EXITS,--

**DISSOLVE TO:**

14. EXT. CANE FIELD (DAY)

MED. LONG SHOT

of an area of the cane field still to be cut. 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 snouts are heard.

15. 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.

7.

16. MED. SHOT - ANOTHER ANGLE

FIRST SLAVE
(eagerly)

Got 'em?

DRIVER
(warningly)

Shut yo' big mouth!

FIRST SLAVE

Voodoo drums!

SECOND SLAVE

Careful!

WIPE TO:

In a carriage on the road sit 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:

(NOTE: See Page 225 in Saxon's "Old Louisiana" (Sketch of house.)

9.

20. (CONT.)

REID

(As Dill rises to go)

DILL

REID

(Also rising with a twinkle
(in his eye and his tongue
(in his cheek)

Would it be presumptious for me to present you with a present to Martin?

DILL

Not at all!

(REID BECKONS TO CATON WHO REACHES FOR SOMETHING ON THE STEPS)

REID

For your holiday pies, Bayou
Lovelle's largest pumpkin.

DISSOLVE TO:

MED. CLOSE SHOT

DILL

I'm sorry, Pauline.

22. C.U. OF PUMPKIN

at the feet of Pauline.

23. MED. CLOSE SHOT

DILL

11.

26. (CONT.)

REID

CATON

You better take another cup of
coffee there, Mars Timothy.

REID

Mr. Dill is absolutely right, Caton,
I been spending too much.

CATON

I even much been worryin' myself.
Hit makes me think about de bank
panic of 1887. Dem was terrible
times in Louisiany.

(Reid PICKS UP HIS PAPERS TO ENTER HOUSE)

27. INSERT OF STEAMBOAT STOCK

28.

REID

Uncle Caton, when Little Tim's mother
died, she left in my care this block
of stock in the Gulf Coast Steamboat
Company. Of course, a piece of paper
like this wouldn't mean anything to you--
but that's little TIM'S protection
throughout life, so that none of my
slaves will ever be sold, and the plan-
tation will go on and on down through
the generations.

CATON

Sho, it looks like de Nelly Bly.

REID

Don't you ever mention this to Tim,
Caton. This is my surprise for his
twenty-first birthday.

CATON

Dat's what I knows..Dat's why I don't
like de way Mr. Dill say you better pay
yo' old debts.

REID

Well, he's tryin' to be correct and
dignified as befits a lawyer.

CATON

Oh, I see! De cat's mighty dignified
till de dog comes by.

(THEY BOTH LAUGH ALOUD)

REID

Get the carriage, Caton, and find Tim.
We'll go see the last stalk of cane cut.

CATON

Yes, suh, Mars Timothy.

He starts off with a tray of empty glasses, and REID enters
the house.

53. MEDIUM SHOT—(PROCESS)

showing Reid, Tim, and Caton's back as he drives.
Reid slaps Caton on the shoulder approvingly for
the way he checked the horses.

REID

CATON

REID

Owl hoot? Nonsense!

Reid turns to speak to Tim.

REID

TIM

She did?

REID

They kicked the dash board into a million
pieces, but your mother kept the reins tight
and subdued them. She brought them back to
the Big House meek as lambs. A great horse-
woman, your mother!

TIM

My mother was beautiful, wasn't she, dad?

REID

SOUND

The hoot of an owl again.

Caton looks back apprehensively over his shoulder and
starts to sing:

CATON (Singing)

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

Tim mudges his father with amusement.

REID

Why are you singing, Caton?

CATON

REID

(Joyously)

3.

92. (CONT.)

GUMBO

New Master, gonna sell all de slaves!

New Master gonna sell all de slaves---

SLAVES

1-- O' Lawd, what will I do.

2-- Boy stop yo' lyin'.

3-- I knowed somethin' was goin' to happen.

4-- Where did you heard dat?

5-- Jedgement day done come, Lawd!

6-- What is a Po' slave to do?

Trucks begin to slow up, loud blue-like moans are heard, things come almost to a stand still, Big slave, LUKE, that had the knife argument, enters scene as GUMBO speaks.

GUMBO

Just heard de new marster from New Orleans say--he gwine sell ebry-body, me and all. (Exits hurriedly)

BIG BUTCHER

What you'all whimpering 'bout, can't be no worse where we goin' den here wid Mr. Cass--he sho' done sunk low and mean.

SLAVE

Stop dat big talk--you uppity fool!

ALL SLAVES

Yes, shut yo' mouth and git on back to de HOG KILLIN', where yo' belong.

(Enter Mr. Cass who looks
(the situation over that has
(become as still as death--Big
(Butcher looking straight at him)

MR. CASS

What do you mean stoppin' that cotton
from rollin'--gabbing with these slaves
when I'm tryin' to make time.

BIG BUTCHER

'Twarn't me stoppin' dem--suh.

MR. CASS

Yo' ain't got Mars Reid now to protect
you. Before many moons I'm goin' to
WHIP YOU LIMBER. Get on back to the
smoke house. (He goes) Start rollin'--

SLAVES

Yes, suh, Mr. Cass--yes, suh.

With tear filled voices, they start back to work.

4.

CUT TO:

93. EXT. PLANTATION PATH (MONTAGE) (DAY)

GUMBO RIDING A YOUNG JACK-ASS bareback going along the road pass the VEGETABLE SHED.

94. EXTERIOR ROAD (DAY)

MEDIUM SHOT

GUMBO RIDING USING A LITTLE TWIG FOR WHIP--

95. EXTERIOR ROAD (DAY)

CUT TO MULES FEET HITTING GROUND

SOUND

GUMBO YELLING -- MULE'S HOOVES.

GUMBO

New Marsa gonna sell all de slaves--

96. EXTERIOR VEGETABLE SHED--

Many women and children working packing vegetables, carts loading boxes of vegetables, coming and going, a happy working crowd singing a little work tune, and in a great hurry (a fast tune.)

IN RIDES GUMBO -- through the crowd frightening the children, women - yelling.

WOMEN

1. -- Look out, fool, you'll run over them children.

2.-- Git off dat mule, you empty-headed devil.

GUMBO

As he makes a sweeping wide curve to the shed where all the women gather to upbraid him.

Couple of the women let out a blood curdling scream, others cry and moan.

GUMBO

They have crowded around him so close he can't get out.

Let me git out of here! I got to tell evrybody---GIT UP, REVELATION. (rides out of scene)

5.

DISSOLVE TO:

97. INT. TIM'S BED ROOM (NIGHT)
MED. SHOT ---CATON

SOUND

CATON

TIM

Oh, nothing!

(angrily)

CATON

I'm sorry Mars Tim.

TIM

HE makes me mad -- (starts to throw
(things all over
(the place and as
(he is about to throw
( a heavy brass box
(from the little desk
(table he stops and
(looks into it.
(Picks up some gold coins
/runs them thru his
(fingers, thoughtfully.)

SPANISH GOLD COINS --- My dad,---

CAYON

Put them coins down and get ready fo'
bed, MARS TIM -- don' yo' re-lize this is
my last night wid yo---

TIM

(IN TEMPER)

DON'T TALK ABOUT IT ---

(as he begins to take off his
clothes, carefully placing the
box on a chair near the bed.)

CATON

I said put dat box back whar it was--
(As he attempts to take it, TIM
(rebels.)

Very well, Mars Tim, very well--

TIM

(he is now in bed, refusing to
(put on his pajamas)

I'm goin' to sleep in my underwear and
please don't say no more about it.

102. (CONT.)

9.

BOUTON (cont.)
we will do to entertain her.

TIM
(cutting him off)
Don't worry about my auntie, Mr. Bouton.
She's always very happy when she's left
alone and quiet.

CLAIRE
Then you must be very lonesome by
yourself. Won't you have dinner with
us tonight at our table?

TIM hesitates.

BOUTON
It would be quite an honor to have
you, my dear sir. Madame Dubigny of
the Opera Francaise, and Captain Cobet
of the Packet-Boat Pompadou Marie out
of Marseille, and possibly the Mayor
of New Orleans, will be with us. A
distinguish crowd--------

TIM'S eyes get big as moon.

DISSOLVE TO:

103. INT. DINING ROOM (NIGHT)
FULL SHOT --- TABLE FULL OF GUESTS

presided over by BOUTON and CLAIRE with TIM at
BOUTON'S side. Colorful company, including ship's
officers, opera stars in knee breeches with gold
snuff boxes, soldiere, travellers, monks, nuns.
Dinner music as the elaborate feast is served.
Much silver, cut glass, rare foods, roast
partridges with feathered tails, etc. Wine.
SLAVES serving the table.

SOUND
Babble of voices, laughter,
tinkle of glasses and silver.

104. INT. TIM'S SUITE UPSTAIRS (NIGHT)
MED. SHOT -- CATON

is sitting in a satin covered chair, looking very
worried.

SOUND
There is a knock at the door

CATON quickly puts on his hat and his veil. Two
SLAVE SERVANTS in livery enter with silver trays
and steaming tureens. The SERVANTS eye the old
"woman" with suspicion and fear as they place the
food on a small table for her.

SERVANT
De young Mister downstairs didn't
tell us which parts o' de turkey you
likes best, de white meat or de black
meat.

2nd SERVANT
She can't hear a totally thing.

11.

107. (CONT.)

BOUTON (cont.)
of Papa Dondon's famous old plum
pudding, made from a recipe handed
down in the archives of this kitchen
from generation to generation, from
chef to chef, all for the delectation
of your estimable pallets.

We see the chef lighting one of the puddings as music plays and guests cringe at their necks to see.

CUT TO:

108. INT. TIM'S SUITE (NIGHT)

MED. SHOT -- CATON

SERVANT (o.s.)

2nd SERVANT

Why? What you gonna do?

SERVANT

I'm gwine grab de leavin's.

2nd SERVANT

Better stop exposing yourself to good
food. You'll have de cholera.

sulphur

SERVANT

Mercy! Her hands ain't mates!

CUT TO:

109. INT. DINING ROOM (NIGHT)

MED. SHOT -- BOUTON'S TABLE

SOUND

Applause.

with TIM who is being introduced, rising em-
barrassed. BOUTON rises -- addresses the public.

BOUTON

I haven't consulted with my young
friend here, so I don't know exactly
what he can do to contribute to the
entertainment, but perhaps he might
sing us a little song, eh, friend?

TIM

I-I-I don't know any city songs, but if—

(CONT.)

13.

110. (CONT.)

OFFICER
(rising)

I demand that you beg this lady's
pardon.

YOUNG MAN

OFFICER

The OFFICER strikes the YOUNG MAN full in the
face with his glove. Their hands spring to their
swords. A duel is on. Dishes crash to the
floor. PAULINE rises delighted at the excite-
ment she's created.

111.

INT. DINING ROOM (NIGHT)

MED. SHOT --BOUTON'S TABLE

BOUTON

Gentlemen! Gentlemen!

Two men grab BOUTON.

MEN

PAULINE

CAMERA follows the duel all over the dining
room as women scream, tables are overturned,
and startled SLAVES look on. The duelists
pass before TIM who eyes dance as he looks on.

TIM

Go to it! Fall on him!

Sic him and stick him!

DISSOLVE TO:

112.

INT. INN (DAY)

FULL SHOT --TIM, BOUTON, PAULINE

BOUTON

TIM

(CONT.)

1.

MARCH 14, 1939

113. BAYOU LOVELLE PLANTATION (DAY)
INT. CUPOLA OF BIG HOUSE
MED. SHOT -- DILL AND CASS

DILL

Mr. Cass, I've got to have immediate
cash, and the quickest way I know
is to get these products to the
market.

CASS

DILL raises his field glasses to his eyes and
views the plantation.

DILL

CUT TO:

114. EXT. PLANTATION (DAY)
PANORAMA SHOT THROUGH DILL'S GLASSES

CASS (o.s.)

Yes, sir! I got 'em broke in now.
Traders'll strain to buy 'em.
When're selling, Mr. Dill?

DILL (o.s.)

115. INT. CUPOLA (DAY)
MED. SHOT -- DILL AND CASS

as DILL puts his glasses down.

DILL

And if I lay hands on Caton by
then, He'll be the first one on
the block.

CASS

Beofre I get a chance to give
him a decent dressing?

(CONT.)

2.

115. (CONT.)

DILL

I'm going to town directly and
make a report to the authorities.
The idea of that slave driving
that boy, Tim, away with the best
pair of coach-horses on the plan-
tation!

SOUND

quickly the OVERSEER snatches up the field glasses
and puts them to his eyes.

CUT TO:

116. EXT. PLANTATION (DAY)
PANORAMA THROUGH GLASSES

CASS (o.s.)
Burn me! There's trouble! They
done stopped work.

117. INT. CUPOLA (DAY)
MED. SHOT #3 - CASS AND DILL

as the OVERSEER drops the glasses and (CONT.)
rushes out. DILL puts them quickly to his
eyes and leans straining over the balustrade.

118. EXT. COTTON GIN (DAY)
FULL SHOT --- SLAVES AND LUKE

VOICES

WOMAN
(weeping)

MAN

(CONT.)

3.

118. (CONT.)

WOMAN

MAN

WOMAN

I heard tell de worst slave-driver
in Louisiana gonna buy us.

AS CAMERA moves in on him, GUMBO dismounts
from jackass, and is seen grasping his mother's
skirts. He sobs.

GUMBO

I can't find Mars. I can't find
Mars Tim! -- And they gonna sell
me! They gonna sell my mama!
Mama! Mama! Mama! What I gonna
do? What we gonna do?

GUMBO starts wildly through the crowd sobbing
as though his heart would break. Suddenly he
sees the big BUTCHER and falls down before him.
The BUTCHER goes berserk. He moves through
the crowd like a whirlwind of terror and
mounts the platform of the cotton gin.

BUTCHER

I can't stand it! I can't stand
it! I been killing hogs! I been
killin' beefs! Killin'! Killin'!
Killin'! ....I can't stand it no
longer!

The BUTCHER starts wildly through the crowd.
The SLAVES grab him. He struggles and struggles
to get away, crazy with anguish. His fellow
SLAVES hold him and drag him toward the smoke
house, where they thrust him and lock him up.

VOICES

Don't let him get loose!

Catch him! Hold him!

Oh! Have mercy! Have mercy!

Hold him! Hold him! Hold him!

No tellin' what he'll do!

There are great shouts and confusion in the
crowd, and terror and anger and fear, as the
crazed BUTCHER is locked up, and his voice
smothered inside as the scene dissolves.

BUTCHER

INSERT---3b

118b EXT. COURTYA RD OF INN (DAY)
FULL SHOT---TIM AND BOUTON

pitching horseshoes together in friendly fashion. BOUTON
makes a ringer. CAMERA pulls in on them, as they examine
the shoe over the stake.

TIM
Aw, you always pitch a ringer!

BOUTON
Not all the time!

TIM
But you beat me fix? didn't you?

BOUTON
Listen, if you curve your shoe over like
that, and throw your shoe that way, you'll
be pitching ringers like me.

COOK sticks her head out of window and calls.

COOK
Massa Bouton, Miss Claire wants you in de
dinning room.

SOUND
TIM'S horseshoe strike the stake.

DISSOLVE TO:

119

7.

124. (CONT.) BOUTON opens the door and walks in. Registers astonishment as he sees that the room is empty.

DISSOLVE TO:

125. EXT. STREET AT EDGE OF TOWN (DAY)
MED. SHOT --- TRUCKING --- TIM AND CATON

who hurries undignifiedly along, stumbling in
his voluminous skirts, blinded by his veil,
bewildered, out of breath as he tries to
follow TIM.

CATON
Are you sho' It was Mr. Dill you saw?

TIM
Of course, I'm sure! Come on!

TIM
Come on! Come on!

He strides sturdily ahead as CATON follows.
Passersby turn to look curiously at the odd
pair, thinking possibly it is an old grand-
mother pursuing a runaway child. The
shadows in street lengthen.

DISSOLVE TO:

126. INT. PRINTER'S SHOP (DAY)
MED. SHOT -- PRINTER AND DILL

PRINTER
You notice, Mr. Dill, I put
"RUNAWAY SLAVE" in big bold type.
Also that young boy who sings.

CUT TO:

127. INSERT OF HANDBILL