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Paradise Enough
By An Undistinguished Failed Writer
Copyright 2009 Mary Alice Mark
All Rights Reserved
FADE IN
1 EXT SOUTH BEACH THE DANCE FROM THE WATER DAY 1
PEOPLE from INDEPENDENT LAYERS OF TIME move through, evidently unaware of, each other.
MANGROVES line the shore. Rag tag crews of black men are chopping down and taking out the huge old trees.
INDIGENOUS PEOPLE walk through the trees and crews, some carry dug outs, some carry ancient fishing gear or traps for shell fish, others shallow dive into the waves.
CREWS OF MEN IN GRAY WORK UNIFORMS build a wall that we already see completed. This crew also hauls in and plants the occasional coconut palm.
TOURISTS to the area, the most “modern” circa 1963. There is a certain formality about the style and the accoutrements of the men, women and children on vacation as they stroll the shore sometimes with PARASOLS in formal dress, picnic, play catch, or; play in the water.
LOCALS abound in the shockingly informal manner of men, women and children who presently inhabit this space. They SWIM, STROLL the shoreline, and PLAY CATCH and PICNIC on BLANKETS spread out on the sand.
THE LIFE GUARD stands between his STATION and the water.
A WALL about two-and-a-half feet high defines the end of the beach and the beginning of LUMMIS PARK.
COPPER-SURFER-TODDLER JESUS, a boy about 8, carries his surfboard over his shoulder as he toddles along the wall.
A VOLLEY BALL GAME is played near the wall. Players, in age spanning their 20s, include:
CHARLES a popular performer at THE CLUB, very tall and very large, quite pink, blue eyed and blonde, bright yellow jams with big red dots.
MAURICE, another large man, hair in a ponytail and dressed in khaki shorts and a sports shirt, open at the neck. 1
BRAT, dark hair, light complexion, plaid shorts, sports shirt, is a also a CLUB performer.
SOUND: “I Will Always Love You,” Dolly Parton, The Best Little Whore House in Texas. Just that line.
2 EXT LUMMIS PARK DANCE SEEN FROM THE WALL DAY 2
A WIDE SIDEWALK runs North and South along the park side of the wall.
Beyond LUMMIS PARK a sidewalk runs North-South along OCEAN DRIVE.
INDEPENDENT LAYERS OF ACTION continue to move through each other.
More COCONUT PALMS are being planted in this area than at the shore.
CELEBRITIES past and present stroll through out.
THE RABBI walks peacefully along the sidewalk. He wears a dark suit.
PICNIC TABLES are dotted throughout the park. Many PEOPLE sit in LAWN CHAIRS, reading The New York Times, The Miami Herald, or Yiddish, Polish and other Eastern European Newspapers and magazines. Card games are in progress. Throughout the park there seems to be a rule of all males or all females at the tables. Even the children play in gender groups. BOYS play tag or catch, GIRLS chat or play with dolls. (At this time Miami Beach had the second largest Jewish population in the world.) The males wear YARMULKES.
To our right, THE HASSIDIM, as defined by formality: WOMEN in LONG-SLEEVED BLOUSES, LONG, GATHERED SKIRTS and BABUSHKAS that speak of Eastern Europe, MEN and BOYS in DEEP BLACK SUITS, YOUNGEST BOYS WEAR SUITS WITH SHORT PANTS. The MALES wear YAMRULKES. There is a quiet introspection, people in this group do not notice or respond to others.
Center, THE ORTHODOXY, strictly dressed, circumspect, more responsive. The Orthodox respond, if somewhat stiffly to others. MALES wear YARMULKES.
To the left, and almost shamefully liberal, we find THE REFORMED community.
Women’s blouses have sleeves to the elbow, few use head coverings and many wear slacks or pedal pushers. The men wear suits, or more casual, jacketless combinations, though many wear YARMULKES. TOURISTS and LOCALS stop to chat and kibitz with the people playing and picnicking here.
FADE TO
3 INT FRAT HOUSE ARCHIVES DAY 3
A very modern library. Photos of past members adorn the walls. Shelves contain
books and scrapbooks. Tables and chairs are arranged comfortably throughout
the room.
JACKIE, tall, blonde, well-dressed, late teens, removes items from an old scrapbook.
FRANKIE is scanning items at a scanner set up on a table for that purpose.
JO is reviewing the results of the scanning.
ISME is arranging and labeling the final disks for storage.
JO
What’s this?
FRANKIE
Tennessee Williams. Everyone knows he was our original sponsor.
JACKIE
1959.
ISME
Everybody does know that. Who is she?
4 EXT LUMMIS PARK DANCE SEEN FROM THE WALL DAY 4
PEOPLES grouped as before.
MOISE early teens, wild brown hair, in sorts and unmatched halter, dances with ROSE, elegant, dark hair well coiffed, light complexion, stylish dress, and apparently in her twenties.
SIR, 30, slacks and dress shirt; and OUR BUDDY 24, short shorts, short sleeved, open blouse; walk along the sidewalk with MARLA, cotton slacks, ¾ sleeved blouse with a flower print; attending two toddlers, girls 4 and 6, in dresses walking along on the wall.
TOM, 50, medium height and weight, deeply tanned, dark hair eyes and suit; and
JIM, 50, who looks a lot looks a lot like TOM but lacks the tan, stroll through the park headed north, chatting with
JOE, 60, thin, graying, thinning lemon-blonde and, BRAT, a tall handsome man in his mid-twenties. JOE carries his jacket.
AL, wearing a long, bright flower printed skirt, a tee-shirt and hair curlers jogs south through the park.
ALICE, pastel petal pushers and a pale checkered blouse, trails along behind AL.
AL stops at a table to kibitz.
A small airplane over head pulls a sign, “Eat at Joe’s.”
5 EXT OCEAN DRIVE AND THE CLUB AS SEEN FROM LUMMIS PARK DAY 5
Dense traffic flows in vehicles of the early sixties along both lanes of OCEAN DRIVE.
PEOPLE who want to use the beach try to park along the LUMMIS PARK side, walking along the sidewalk in beach wear, carrying towels and coolers.
On THE CLUB side of OCEAN DRIVE there are more tourists, women in dresses, men in suits, shopping, perhaps looking for a place to lunch, or to return for dinner and entertainment, later.
CELEBRITIES past and present stroll along both sides of the palm tree lined street.
OFFICER CROWLEY, a tall, dark blond in a dark blue uniform strolls towards THE CLUB.
The south end of the brick building with its LARGE BAY WINDOW curves around at about sixth street onto OCEAN DRIVE. A sign on the window reads, “THE CLUB.”
ZEKE, 50, a black man in a very fancy uniform, administers to a customer at his SHOE SHINE STAND: THREE SEATS, THREE ASHTRAYS ON ELEGANT STANDS separated by THREE MAGAZINE RACKS of well worked and attended wood; just north of the window and south of the main entrance to THE CLUB.
SOUND: PEOPLE TALKING, LAUGHING, TRAFFIC, THE AIRPLANE, GULLS, THE BREEZE, THE SURF.
CUT TO
6 INT BLUE ROSE’S THEATRE BACK STAGE DAY 6
The stage is rather small and lays out into the audience area runway style.
MAUREEN turns to us, rolling her hips and gesturing for us to “come on.”
FADE TO
7 INT DAY MAURICE’S INNER SANCTUM DAY 7
MAUREEN and her audience are on a small screen set between two doors, she turns to face us from the screen.
To one side of screen there is a PEDESTAL supporting an old-fashioned, free-standing, claw-legged, BATH TUB. The bath tub, bright white, is surrounded by deep lavender and light pink TOWELS, BATH SALTS, exotic SOAPS, fashion MAGAZINES and BOOKS. A small RACK holds a variety of lavender, pink and white towels and DRESSING GOWNS. Near the towel rack a FLOOR LAMP stretches its arm above, then turns elegantly down to cast light onto the tub.
Across the inner sanctum from the bath tub another PEDESTAL supports a DAY BED. The bed is made up in deep lavender and light pinks. It is covered with PILLOWS of lace and satin, boxes of expensive CHOCOLATES and more MAGAZINES.
Above the bed a large HOOK holds a child’s floating BEACH TOY. The type that goes around the child’s waist. This one is brightly colored and has a horse’s head.
The SCREEN flickers, MAUREEN disappears to be replaced by images of Ocean Drive.
SOUND: A HORRIBLE GROAN.
MAURICE is seated at a lavender pink and white VANITY. MAURICE has his dark hair in a pony tail and wears a deep lavender dressing gown. He moans and groans while going through a huge collection of make up. The moans become more frequent and louder. The vanity continues the lavender, pink and white motif.
On SCREEN, MAUREEN walks into the outdoor scene and starts to grow.
MAURICE, still groaning, crosses towards the screen.
THE SCREEN dissolves into floor-to-ceiling, door-to-door book shelves as MAURICE approaches it.
MAURICE slides one the of the shelves aside to reveal bottles, storage bags, vials and other containers within. Finding nothing to please him, he slides the shelf back into place and goes back to the vanity.
THE SCREEN reappears, now with tourist style advertising, Miami Beach Tourism: streets lined with palm trees, large hotels, men in uniforms meet and greet guests.
MAURICE
No! No! They saw! He saw! I saw, you saw, he she or it saw-.
MAURICE reaches into a drawer of the vanity to find something beneath BOTTLES of NAIL POLISH, COTTON SWABS and various fashionable
PERFUMES and after much searching finds a GUN. Unfamiliar and uncomfortable with the gun, MAURICE moves to the center of the room then, points it at one and then another part of MAURICE, groaning and moaning as if to punctuate his thoughts.
MAURICE
–we saw, you saw-. They! Saw-!
MOISE
(VOS)
-It’s okay, mister. I’m not going to die-
SOUND: THE GUN GOES OFF.
MOISE peers out over the edge of the tub seemingly unfazed.
MOISE
-if that’s what you’re worried about.
MAURICE
Oh! Oh, my! You gave me quite a start!
MOISE
So, this is heaven!
MAURICE
Well, it is my inner sanctum. I am so glad you appreciate it-.
MAURICE flaps the gun around hoping it will disappear.
MOISE
You might as well put the gun down. You can’t kill yourself, you’re an angel.
MAURICE
Nobody’s ever called me that before. Hum, look, do you remember seeing me?
MOISE
I still am seeing you.
MAURICE
Yeah. Well, before.
MOISE
Before what?
MAURICE
Do you remember seeing me on stage?
MOISE
You were on stage?
MAURICE
You were on stage.
MOISE
Me!?
MAURICE
No. No! Don’t get up!
THE SCREEN FLICKERS then shows MAUREEN as seen by her audience. She is obviously coaxing someone on from back stage. MOISE enters wearing a sweet little white dress several sizes too big, white heels several sizes too big, and a blonde curly wig several sizes too big. MOISE stops upstage of MAUREEN and, evidently, starts to sing.
MAURICE
Such poise.
MOISE
I’m going to throw up.
MAURICE
Such grace.
MOISE
She doesn’t look that happy.
On THE SCREEN MAUREEN and MOISE start dancing. THE AUDIENCE is laughing and clapping.
MAURICE
Well, you completely upstaged her! What were you thinking about?
SOUND: AN OLD REEL-TO-REEL FILM BREAKS AND FLAPS.
THE SCREEN images flicker and seem to be fighting to stay on.
MOISE
Moving like Shirley Temple, singing like Alfalfa, and getting the fuck off that stage!
THE SCREEN now shows MOISE dancing in BOYS UNDERWEAR. MOISE climbs the ladder and pops off the stage through a seam in the back curtains.
THE AUDIENCE is clapping and laughing.
MAURICE
Watch your mouth.
FADE TO
8 EXT LUMMIS PARK THE DANCE DAY 8
MOISE walks through LUMMIS PARK towards Ocean Drive. MOISE is amazed that AL is speaking to her and as he speaks her amazements grows.
His speech becomes background music for THE DANCE.
AL and ALICE are walking towards her.
AL speaks as MOISE seems about to walk by.
AL
Hey! You!
MOISE
Me?
AL
Yeah! You! I have a bone to pick with you!
MOISE
What did I do?
AL
Nut’ in’. Yet. That’s why I wan’na talk to you.
What they’re doing isn’t right! Now I understand
what I do and that what I do isn’t everybody’s cup of tea in a glass. As they say.
I been dancing for way over fifty years. What can you say you done that long?
MOISE
Nothing.
FADE TO
9 INT BLUE ROSE’S THEATRE DAY 9
SPOTLIGHTS jump about trying to stay on MOISE darting, rhythmically, around on stage, throwing pieces of her costume to the audience until she’s left dancing in her, BOYS, UNDERWEAR.
CUT TO
10 INT THE CLUB THEATRE DAY 10
MAUREEN, MARLA, OUR BUDDY, BRAT, AL and UNCLE SIR are on stage in various costumes.
MAUREEN is outraged.
MAUREEN
It has been over a month and that little brat has still not signed a contract. Who has been working on her? And why haven’t you done your jobs?
CUT TO
11 EXT FRAT HOUSE NIGHT 11
Palms dot the well manicured back lawn of the FRAT HOUSE.
JAY, NICKIE, PHIL, DAVE, DAVID, ARTY and MARK stand in a line facing seven other FRAT BROTHERS. They are holding lit torches.
BRAT stands aside at attention. He holds a flugle horn awaiting a nod from
TOM standing at one end, between the lines of TORCH BEARERS, nods.
BRAT plays.
SOUND: flugle horn solo; “Polly Wally Doodle All the Day.”
MOISE, wrapped in a green lace curtain, walks between the lines of torch bearers towards TOM.
TOM
You kept me from making the biggest mistake of my life.
MOISE
Me?
CUT TO
12 EXT COLLINS and 11th St. Miami Beach DAY 12
TOM sits on bus bench he is very withdrawn.
MOISE paces.
A red traffic light hangs over an empty intersection.
MOISE
It just isn’t fair.
TOM
Haven’t you noticed? Life isn’t fair! Grow up. Sign the contract, and stop whining?
MOISE
I’m not ever going to sign that contract. And you’re the one getting creamed.
TOM
A delightful turn of phrase. . . . How so?
MOISE
Where I see so much beauty, you have only pain.
TOM
It isn’t all pain.
CUT TO
13 INT BLUE ROSE’S THEATRE DAY 13
MAUREEN is amused by MOISE.
JOE, ALICE, TOM, JIM and ROSE are laughing clapping and carrying on in the audience.
THE AUDIENCE is thrilled.
UNCLE SIR, on stage, plays the grand piano.
SOUND: MUSIC; piano “Good Ship Lollipop,” clapping, cat calls, wolf whistles.
MAURICE
(VOS)
And please explain, why the hurry? They loved you. You didn’t even show up out front to thank them.
MOISE
(VOS)
You have to thank people for loving you?
MAURICE
(VOS)
Oh, of course, honey, an audience is a very fickle kind of thing, No matter how unintentional, if they feel slighted, they stop coming. They stop filling those seats.
Everything I have I owe to them. I can’t thank them enough.
MOISE
(VOS)
You enjoy it.
CUT TO
14 EXT LUMMIS PARK THE DANCE DAY 14
AL, ALICE and MOISE among the groups of people.
AL
That’s right! Nut’ in’! I started dancing when I was sixteen years old! I had to lie about my age. But they weren’t as ticklish about them things in those days. I was good at it and I was fortunate. There ain’t a house between the Pocono’s and the Berkshires- -and on my map that includes the Catskills, though that ain’t necessarily how it looks on anybody else’s map- -I’m telling you there’s not a stage in any of those three states and you can include New Jersey! Not one house worthy of the name Burlesque where I haven’t danced!
ALICE
That’s right!
FADE TO
14 EXT DAY PATIO 14
A small dining area, two three tables, adjacent to an entrance to THE CLUB. A vined fence runs along the back portion. One side is defined by a multicolored,
hibiscus hedge which turns at the Ocean Drive sidewalk leading back towards The Club to end at a white picked fence. A trellis, covered with passion flowers and housing a gate, is centered in the picket fence. The picket fence continues to the outer wall of The Club.
SOUND: PIANO; “’Til There Was You.”
ROSE and MOISE dance.
TOM rushes in shaking his finger at MOISE. ROSE and MOISE laugh. TOM’S finger becomes a fist, ROSE reaches out, taking TOM by the fist and leading him towards The Club.
CUT TO
15 INT DAY MAURICE’S INNER SANCTUM DAY 15
MAURICE and MOISE are as they were.
ON THE SCREEN images from the stage continue.
MMAU
MAURICE
The stage? I love it. It’s my life. I am first, last and always a man of the theatre.
MOISE
That’s really beautiful.
MAURICE
Truth be known we waited around thinking you’d be out to ask for Brat’s job-.
MOISE
-Me!? What’s Brat’s job?
On THE SCREEN MAUREEN has given up on cajoling MOISE. She evidently starts a monologue. The audience loves her, laughing, clapping and calling to her. MOISE, still up on the ladder, pops her head through a seam in the curtain and speaks to the audience.
MAURICE studies THE SCREEN.
MAURICE
That’s Brat’s job.
MOISE
I’m not going to do that again! Oh! No! I remember. It’s very vague.
FADE TO
16 EXT LUMMIS PARK THE DANCE DAY 16
AL, ALICE and MOISE move rhythmically through the dance.
AL
I tell you I am fortunate! I am blessed! I am happy and I know it! One Thursday night over forty years ago I looked out across an audience- -at Sullivan’s, this was- -and I seen the most beautiful girl in the world!
She was there the next night. And the next! And then on Saturday she came to the matinee! By that time the other guys were teasing me. You know “There’s your girl, Al!” “She’s here to see you!” Oh yeah! Yeah! She was that pretty! They made that big a fuss! And me the shortest, ugliest guy in the bunch, when I have my own face on.
By Saturday night even I had figured out that the beautiful new Stage Door Johnny wanted to meet me. When I sauntered out of the dressing room, there she was. So, I says, “Wan’na you and me go someplace and have a bite?”
But my mind was already giving me an idea of how crazy it was! “What will her parents say?”
I didn’t have long to wait to find out. I didn’t even have a car to take her out. She says “That’s all right my parents do!”
They had a room, well a bungalow really, right there at Sullivan’s and we walked over to ask about
the car. I can tell you I was more than a little nervous along that walk.
It was already well after midnight when we got there. Her folks looked up. Her mother takes one look at me and smiles, “Honey, you did it!”
“Did what?” I asked.
Her dad says “You!” He smiles and hands over the car keys.
I don’t remember Alice, did you actually ask for them?
ALICE
Oh! Al!
FADE TO
17 EXT THE PATIO DAY 17
ROSE and MOISE sit at one of the round tables holding hands.
Three empty salad plates and three empty goblets are set on the table.
JOE enters carrying a serving tray.
JOE
You seem so happy.
ROSE
Yes.
JOE
This seems to call for a ritual.
MOISE
Yes.
JOE
(Noticing the three plates.)
I didn’t realize you wanted me to join you.
ROSE
Yes.
JOE
Ah, well. Then allow me to offer a few words to this occasion.
(Moving the wine and bread to the table.)
This seems a bit like the Christian ritual of communion.
MOISE
Yes.
JOE
I see. So. “A loaf of bread, a jug of wine and thou
beside me in the wilderness. And wilderness is paradise enough.”
JOE sits at the empty place setting, breaking the bread, etc.
ROSE moves her plate and goblet to the empty seat and shares MOISE’S.
JOE
Shall I pour, here?
MOISE
Yes.
JOE
I don’t think He’s coming.
ROSE
Yes.
JOE pours, then breaks the bread. They eat and sip the wine.
SOUND: SCRATCHING deeper than nails on a chalkboard.
COPPER-SURFER-TODDLER JESUS rests his surfboard on the picket fence and, smiling, takes the empty seat.
FADE TO
18 EXT LUMMIS PARK THE DANCE DAY 18
AL, ALICE and MOISE move within the dance.
AL
Oh! Al! Before that night was over I knew I was soon to be a married man!
What more can a man ask for! I have a family that loves me! And I have always been able to do what I love to do!
Up ‘til then I had been a vagabond. As a single man I could survive from job to job. Most of my money went for costumes and make up. I spent a small fortune on wigs. I took the subway. busses trains and truth be known, I even hitch hiked. Any-thing I had to do to get to where there was work.
But not as a man with a family. She arranged for me to have a job with her at the Lady’s Garment
Workers. And there I was for thirty years five days a week. Over time. Sure I worked over time sometimes sixty hours a week. I did it in those five days, sometimes going in at four in the morning!
Friday night, Saturday and Sunday were mine! Those three days I didn’t miss a show, and my wife came with me! How do you think that felt! The most beautiful girl in the world is mine! And she’s here with me!
ALICE
Oh Al!
CUT TO
19 INT BLUE ROSE’S THEATRE DAY 19
MAUREEN is receiving audience ovations.
THE AUDIENCE loves her.
SOUND: laughing, clapping whistles.
MOISE, still up on the ladder, pops her head through a seam in the curtain and speaks to the audience.
MAURICE
(VOS)
Now! There! Do you remember what you said?
MOISE
“If human rights aren’t for everyone, there are no human rights.”
CUT TO
20 INT DAY MAURICE’S INNER SANCTUM DAY 20
MAURICE rapidly approaches the bath tub.
MAURICE
Why would you say a thing like that in a comedy routine?
THE SCREEN goes from a sweep of the audience to blank, then dissolves into the bookcase.
MOISE
When would I have another chance to say it to that big a group of grown ups? That monologue was so hateful- -I couldn’t believe they were laughing.
MAURICE turns the chair at the vanity to face MOISE, then very royally, seats himself.
MAURICE
I understand what you’re saying. I don’t disagree. I don’t understand men well enough to know why,
but they eat that up. The more obnoxious and demanding, the more they like it. They sit out there laughing and clapping. They stay after the show for a couple of drinks. They come for dinner. They bring friends. They laugh and clap and money falls out of their pockets. They pay my bills. They pay the bills of all of the friends you’ve been coming around to visit for the last several weeks.
MOISE
You own The Club.
MAURICE
I have partners. . . . I’m not sure I’ve ever had a moment like that one the stage! They loved you! You could have done anything!
MOISE
Puking may have curtailed their bliss.
MAURICE
May have. Look, honey, we have to talk about this. Maureen thought we would have settled it by now. But, in view of more recent events, there are other things we need to settle first. Did you let the water down?
MOISE
Yes. It was getting cold.
MAURICE
Grab that lavender dressing gown and get it on. Can you get it?
MOISE pulls the lavender dressing gown into the tub.
MAURICE
There. Now, if you’re comfortable, you can sit in the tub. But, if you’d like you can get out and sit-
(MAURICE looks for a seat to suggest.)
–on the stairs. Can I go on while you get comfortable?
MOISE
I’d be most comfortable at home.
MAURICE
Well, now, that’s one of the things we have to discuss! I didn’t know there were special homes for wayward dwarves.
MOISE
They’re right across the street from the special homes for wayward giants!
MOISE sits on the edge of the bath pedestal, legs dangling.
MAURICE sits, decoratively, on the chair near the vanity.
MAURICE
Okay, all right. I resemble that retort. Still, you may as well know there has been more than a little speculation out front as to whether you’re a kid or an elf-, -No, that’s not what I mean . . . midget. Are you a midget?
MOISE
I’m a kid.
MAURICE
How old are you?
MOISE
One hundred six on my last birthday.
MAURICE
So, you are a midget.
MOISE
No. I’m a very old kid.
MAURICE
Not bad. Not bad. Are you ready? Can I go on? Good. . . . Where does one story end and another begin? . . . Or do they just overlap and continue?
THE SCREEN reappears with a flash of clouds then, goes blank.
MOISE curls comfortably and waits to hear the story.
MAURICE
Did you do that?
MOISE
What?
MAURICE
Let me start like this: in ancient times, well- -some ancient peoples believed that if you save another person’s life, that other person belongs to you forever-.
MOISE
(Sitting up.)
People can’t own people, isn’t that what human rights are about? I don’t want anything from you.
MAURICE
Aw, you’re just saying that because you looked out over the edge of my tub and saw me playing around with the gun. . . . Well, if that’s the way you want to be. Some ancient people might believe that you
had some kind of claim on me, too. . . . The sooner you start talking, the sooner we can come to some kind of an agreement. . . . Look, honey, I understand. You’re in over your head and you don’t know quite what to do. You’ve been where you have no right to be and you’ve seen what nobody else has seen!
MOISE
Me !? I have!?
THE SCREEN reappears with MAUREEN’S big, scary face changing emotions as it grows larger and larger. For a few moments we get a wet kiss. Then, MAUREEN fills the screen, she gives us a hip roll and a “come on” gesture.
MAURICE
“Me ! I have . . .!?” How can you sit there and look bewildered?
MOISE
What just happened?
MAURICE
Just tell me, how did you get into this room?
Pointing to where the screen was, MOISE heads for the stairs.
MOISE
What just happened!?
CHARLES enters through one of the doors near where the screen was. He wears
yellow jams with big red polka dots. CHARLES, very surprised to see MOISE, awaits an explanation.
MAURICE
You saw. . . . Okay. Look, I can explain. . . .
Ah. . . That’s my thought projector. I project my thoughts on it. It helps to see what I’m thinking. So . . ! Now, Nobody’s ever been in
this room, but me and-! You shrug!? You have the nerve to shrug!? Just exactly what are you on!?
MAURICE crosses the room to open the bookshelf.
MOISE
Excuse me?
MAURICE
See here! I have at least one sample of every drug known to man! And now, don’t you look at me that way! I have prescriptions. At least- . . . -twenty per cent of these are legal. And even the others don’t matter! I happen to be under doctor’s care! I am insane and I have a certificate to prove it!
MOISE
I didn’t know they gave out certificates in that!
MAURICE
Let me do the humor. . . . Now, tell me, how did you get into this room?
MOISE
I don’t know what to tell you, mister. I don’t know anything.
MAURICE
Humility is a virtue, stupidity is lethal. You are sitting in a locked room- -did you know this room is
locked? It’s also soundproof. You are talking to someone you don’t know, or am I wrong about that? Have we met?
MOISE
I don’t believe so. I’ve probably seen you on the beach. We haven’t been formally introduced.
MAURICE
You can call me Maurice. Nobody else does. When is the first time you remember seeing me?
MOISE
When I woke up and looked over the edge of the tub.
CHARLES
How can you sit there and calmly accept all of this? You’re locked in a sound-proof room, don’t you understand? We are complete strangers! I am close to seven feet tall! I weigh nearly three hundred pounds! I am a bright pink creature with big blue eyes! Do you know what my stage name is?
MOISE
No.
CHARLES
When you find out, please, do remember, the best name for a three-hundred pound, seven foot, bright-
pink performer with big, blue eyes was taken well before I took to the stage!
CHARLES charges around the room oinking, then suddenly quivers, wrapping his arms around himself as though in fear.
MOISE
Are you all right?
MAURICE
No! I am not all right! You are the scariest damn person I have ever met!
MOISE
Me? I’m scary? . . . Aw, I’m sorry. My memory’s always been like this. . . . I come unstuck in time.
MAURICE
Ah ha!
CUT TO
21 EXT LUMMIS PARK THE DANCE DAY 21
Al, ALICE and MOISE move rhythmically through the dance.
AL
Don’t you think anybody notices the things you do around here? You talk to the life guard, the kid who loses his ball, the Rabbi, the man who gets his wallet stolen, and the kid who stole the wallet. You talk to Zeke and the beat cop. Cass, Our Buddy and that Brit she married.
ALICE
Rose.
MOISE
She’s beautiful.
ALICE
She is.
AL
And yet you don’t see what you got. . . . Well, I’ll give you a hint. You got “miles and miles and miles of” it, kid.
ALICE
She’s confused.
AL
I’m helping her with that. . . . Look, all I’m trying to tell you is, “don’t let the bastards get you down!”
ALICE
Oh, Al.
AL
Oh, Al? Oh, yeah! It’s a quotation! You recognize that quotation? How far did you carry that screaming kid for that old Eastern European woman who won’t even look you in the eyes on a normal day while she sits here with her community?
MOISE
Not very far.
ALICE
Five blocks. I counted.
AL
That’s right. ‘ old woman couldn’t even walk.
CUT TO
22 EXT RESIDENTIAL SIDE STREET DAY 22
ALICE wears pastel petal pushers and a flowered top with three-quarter sleeves. She helps THE EASTERN EUROPEN WOMAN walk down an apartment-lined side street.
THE EASTERN EUROPEN WOMAN is struggling with an intense conflict. She has been taught all of her life that people like ALICE and MOISE are vile. Unable to help herself, she leans heavily on ALICE. She wears a flowing skirt with a dark print and a long sleeved very loose fitting blouse. She has a kerchief covering much of her hair. Her legs are swollen and wrapped in elastic sports bandages.
MOISE in some mismatched variation of checks and flowers carries THE HOWLING TODDLER, he wears a formal suit with shorts. He has side locks and wears a yarmulke. MOISE carries THE HOWLING TODDLER up the stairs to the foyer of one of the buildings and rings a bell.
ALICE
(VOS)
Oh, Al!
AL
(VOS)
See, she knows. About the rest of that stuff, kid you got a good head on your shoulders. When you want to you’ll figure it out. Oh! Oh, I see! That’s not what you’re talking about!
A YOUNGER WOMAN comes to the door takes HOWLING TODDLER from MOISE indicates that MOISE should wait and goes back inside.
ALICE is helping THE EASTERN EUROPEN WOMAN up the stairs.
On the landing THE EASTERN EUROPEN WOMAN frees herself from ALICE and struggles past MOISE to lean on the railing.
MOISE turns to head down the stairs to ALICE.
ALICE
You’re not going to wait?
THE EASTERN EUROPEN WOMAN makes a harking sound.
MOISE
Do you need help going in?
ALICE
There might be a tip.
MOISE
We’re supposed to help each other.
THE EASTERN EUROPEN WOMAN makes a harking sound. MOISE heads for the stairs. THE EASTERN EUROPEAN WOMAN takes MOISE by the arm, pulls her over and very determinedly plants a kiss on MOISE’S cheek.
CUT TO
23 EXT DAY THE DANCE 23
AL and ALICE as before, MOISE holds her cheek.
AL
Oh! She gave you a kiss!
MOISE
Don’t you know how hard that was for her? It’s gift!
AL
Come ‘ere to me!
MOISE
What?
ALICE
Oh, Al.
FADE TO
24 INT MAURICE’S INNER SANCTUM DAY 24
CHARLES studies himself in the mirror of the vanity. MAURICE and MOISE
are as before.
MOISE
Ah ha?
CHARLES
Ah ha.
MAURICE
That happens to people who use a lot of drugs.
MAURICE returns to the open bookcase.
MOISE
It also happens to people who have seen a lot of violence.
MAURICE
Just exactly what combination- -You’re a midget, how much violence would you know . . ?
CHARLES
Something like this has happened to you before.
Do you often “wake up” to find yourself in someone else’s bath?
MOISE
Nothing happens exactly the same way twice.
MAURICE
I see. All right then, can you tell me the first thing that happened?
MOISE
No.
MAURICE
How did it start?
MOISE
God created heaven and Earth?
MAURICE
Not that far back . . . Though that would explain, “So, this is heaven!” And, “You’re an angel!”
CHARLES
Don’t you know how hurtful this conversation is?
MAURICE
I do know! Exactly that. He already walks around telling people he’s a girl, if he won’t confront the truth now, she’ll end up like us-.
MOISE
-Part owner of a club-?
CHARLES
-All this talk about heaven and angels-. It’s hurtful to me.
MAURICE
Well-.
CHARLES
Though I am absolutely certain one of my many personalities is in fact the baby Jesus. He’s not ever going to come out and talk to me. I haven’t even been baptized.
MOISE
That’s easy.
MAURICE
You just want our guest to know you have more personalities that I have. I only have the two: her and me-.
CHARLES
You’re married.
MAURICE
To her, that is me-.
CHARLES
Marriage is one of the sacraments.
MOISE
Baptism is easier.
CHARLES
You gotta’ have a lot of credentials and nobody who has them is willing to baptize me.
MOISE
John the Baptist didn’t have a lot of credentials.
CHARLES
He was family.
MAURICE
I never heard that.
MOISE
Do you really want to be baptized?
CHARLES
Yes! What do I have do?
MOISE
Have faith.
CHARLES
Okay.
MOISE
Leap.
FADE TO
25 EXT THE OCEAN DAY 25
MOISE floats sitting in the water.
CHARLES rises from the deep sputtering.
MOISE
Do you accept Jesus Christ as your Lord and Savor?
CHARLES
I guess so.
CUT TO
26 INT MAURICE’S INNER SANCTUM DAY 26
MAURICE, CHARLES and MOISE in tableau, same positions as before the leap, except that CHARLES and MOISE are dripping wet.
MOISE
After all of that, you have the nerve to say, “I guess so?”
CHARLES
Not good enough.
MAURICE
Not good enough at all.
CHARLES
Can we try again.
MOISE
Do you really want to.
CHARLES
Yes.
CUT TO
27 EXT THE OCEAN DAY 27
MOISE floats sitting in the water. CHARLES rises from the deep.
MOISE
Do you accept Jesus Christ as your Lord and Savor?
CHARLES
Yes.
CUT TO
28 EXT SOUTH BEACH THE DANCE FROM THE WATER DAY 28
All individuals and groups are visible.
COPPER-SURFER-TODDLER JESUS, a boy about 8, carries his surfboard over his shoulder as he toddles along the wall.
MAURICE jogs towards COPPER-SURFER-TODDLER JESUS.
INDIVIDUALS and groups move towards COPPER-SURFER-TODDLER JESUS.
SOUND: Voices calling, “Emanuel” and “Jesus,” in many accents as more and more people follow COPPER-SURFER-TODDLER JESUS.
COPPER-SURFER-TODDLER JESUS hops off the wall and toddles toward the sand where he selects a place to rest his surfboard. He turns to look at the approaching crowd then, with hip rolls and “come on” gestures much like Maureen’s, he heads into the water.
FADE TO
29 EXT LUMMIS PARK DANCE SEEN FROM THE WALL DAY 29
All individuals and groups.
THE RABBI walks towards MOISE on the sidewalk. When they meet, MOISE nods.
RABBI
Your friend seems to think that young man is the Messiah.
MOISE
Yes.
CUT TO
30 EXT THE BEACH FROM THE SIDEWALK DAY 30
COPPER-SURFER-TODDLER JESUS uses his surf board as table in the water as he happily talks to the crowd of people gathered around him.
THE RABBI
(VOS)
I know the family. That young man is Jewish.
31 EXT LUMMIS PARK SEEN FROM THE WALL DAY 31
THE RABBI and MOISE as before.
MOISE
Isn’t He supposed to be?
THE RABBI LAUGHS.
CUT TO
32 INT MAURICE’S INNER SANCTUM DAY 32
CHARLES is seated at the vanity.
MOISE on the stairs to the tub.
MAURICE continues as though there had been no interruption.
MAURICE
Isn’t there something a little more recent? Uh huh. Well. When and why did you leave The Club.
MOISE
The club?
MAURICE
The building we’re in. . . . the stage? What were you doing on that stage in the first place?
MOISE
Oh! Brat wants to get out of his contract.
MAURICE
Brat’s contract is with me.
MOISE
Oh. Well. Hi, you!
MAURICE
We’ll get back to Brat and his problems, unless, of course you want to fulfill his contract for him-.
MOISE
-No, no, not at all!
MAURICE
For example, how did you get into my inner sanctum?
MOISE
I have no idea.
MAURICE
And that doesn’t seem to trouble you at all.
MOISE
I’m Fay.
CHARLES
Well now. That explains everything!
MAURICE
Why would you chose this point to offer an introduction? Oh, all right! If that’s what you want me to call you-.
MOISE
-Nobody else does! Look, mister, Fay isn’t my name-!
CHARLES
I see! Oh, silly us! A blade trying to break into show business via the burlesque stage-.
MOISE
-I beg your pardon!?
MAURICE
Why, that’s unusual enough to be a cliché!
MOISE
I told you, I don’t use drugs.
CHARLES
We all say that. It’s all right.
MAURICE
It’s all right.
CHARLES
There’s still much to be explained.
33 EXT FRAT HOUSE NIGHT 33
SOUND: Solo flugle horn; “Tennessee Waltz.”
BRAT is playing the flugle horn.
TOM and MOISE and the frat brothers dance.
FADE TO
34 INT MAURICE’S INNER SANCUM DAY 34
CHARLES practices twirling at the mirror.
MAURICE studies MOISE.
MOISE seems to return from wool gathering.
MOISE
I don’t want Brat’s job. Brat doesn’t want Brat’s job, either.
THE SCREEN reappears projecting clouds, close and from above.
MAURICE
Hay-!
THE SCREEN vanishes.
MAURICE
You can’t do that!
MOISE
Sorry.
MAURICE
You have to understand, its mine! I’ve worked all of my life for it! You can’t just cancel whatever
flight you were on, land in the bathtub and expect to take over!
On the other hand, we aren’t making very much progress talking to each other. Please, Fay, make yourself at- -well as comfortable as possible. I just want to ask a few questions.
Good, that’s good. Now, where did you go when you left the stage?
MOISE
I went to the beach.
On THE SCREEN MOISE runs through the dance across the sand to the water.
MAURICE
Why . . ? Well, no, lets not try that.
THE SCREEN goes blank, Then, projects MAURICE’ thoughts.
MAURICE
You pulled your face back through the curtain and found you were still on the utility ladder.
MOISE
It was dark. I could hardly see. It didn’t help at all that the hall was painted black. Why would anyone do that?
CHARLES
Haven’t you ever been in a theatre before!? That wasn’t a hallway. You were between the tormentor and the back of the stage. There’s a curtain next to the back-stage wall-.
MOISE
-Why?
CHARLES
So the audience doesn’t get bored and sit there counting the bricks! Why!? Why!?
You did, through your own valiant effort, negotiate the utility ladder, what then?
MOISE
I couldn’t find a restroom in the restaurant, so I found Brat’s dressing room and got changed. You know, there’s not a bathroom in there!?
MAURICE
Life is so unkind! Now, are you telling me, you exited the stage and strolled through the dining area of the theatre?
ON SCREEN, MOISE wanders between the service area and the table area of an upscale restaurant. She is wearing boys underwear.
MOISE
I guess so.
CUT TO
35 INT THE SERVICE AREA OF THE CLUB DAY 35
To our right, SWINGING DOORS to the kitchen. Directly ahead AN ARCH. To our left and arrangement of ROUND DINING TABLES occupied by CELEBRITIES and people dressed up as celebrities, these guests can be from any period of time. We keep MOVING.
MAURICE
(VOS)
That, my dear, is close to unforgivable, a mortal sin! Have you no regard for dramatic conventions!?
MOISE
(VOS)
My stomach was tossing worse than before, and by then I had to pee furiously-.
MAURICE
(VOS)
So you sailed passed seven Ann Southerns, six or seven Jayne Meadows, five or six Audrey Meadows, five Ralph Crandons, no fewer than four Cassius Clays, Thomas Lanier Williams, James A. Ryder, Frank Sinatra, Eva Gabor and- -I have never gotten an accurate count on Marilynns, Waynes, Flynns- -You didn’t notice any of that?
MOISE
(VOS)
I did notice Jacky Gleason.
MAURICE
(VOS)
I mentioned Ralph Crandon.-
MOISE
(VOS)
-I’m talking about Jacky Gleason, at a table by himself near the door. I waved to him on my way out.
MAURICE
(VOS)
Civil of you. There are four restrooms in the theatre, two in the lobby, and two more in the breakfast nook.
CUT TO
36 INT THE LOBBY AREA OF THE CLUB DAY 36
Posh, quite posh. Curving walls lead to doors, chairs here and there. CELERITIES and CELEBRITY look-a-likes stream towards us through all available doors. We keep moving. They seem to form lines leading everywhere.
SOUND: PEOPLE laughing, clapping and talking.
MOISE
(VOS)
I didn’t know about the others, but I tried both of the restrooms in the lobby-. There were millions of people lined up for both of them.
MAURICE
(VOS)
You had to puke, what the hell did you care who else was there?
MOISE
(VOS)
The people in them cared. I couldn’t believe the lines were that long. And the people were all decked out in furs and- -who were those people!?
MAURICE
(VOS)
This is a burlesque house honey! People often come in costumes. It’s the opposite of a “come as you are,” party. You come as who you want to be. Why didn’t you just say you had to use the toilet?
MOISE
(VOS)
Isn’t that why they were all lined up? I thought about trying to make an announcement, but I would have had to shout over all of their conversations, and I decided that my yelling, “clear the way I’m going to throw up,” would probably clear the place out in a way management would fail to appreciate.
CUT TO
37 EXT SOUTH BEACH FROM THE WALL DAY 37
The layers of action continue. MOISE rushes through to the water.
MAURICE
(VOS)
So, you decided to go over and give the tourists a thrill, and those who missed the actual event would have something lovely to walk through!
MOISE
(VOS)
Not at all. If I puked on the sand, someone would call an ambulance. I ran straight to the shoreline, dropped my shoes and took a shallow dive-
MAURICE
(VOS)
-Um um! Uh, no. First, we didn’t find any shoes with you, and second, everyone knows you can’t shallow dive there, the water’s not deep enough,
MOISE turns to look at us, then freezes to glare at us, then does the hip roll and starts waving us towards her.
MOISE
That’s why it’s called a shallow dive? Maybe I could show you how.
MOISE dives.
CUT TO
38 EXT MIAMI BEACH SEEN FROM THE SAND DAY 38
MOISE in flowered shorts and a clashing, plaid halter, floats with her hands under her head.
MAURICE suddenly breaks the surface coughing and sputtering.
MAURICE
What happened?
MOISE
Too steep an angle, perhaps-?
MAURICE
-How did we get here-?
MOISE
-Get out and try again-.
MAURICE
How did we get here!?
MOISE
The same way everyone else did! Now get out and try again!
MAURICE
You’re ordering me out of the ocean!?
SOUND: A WHIMSICAL MELODIC “POP,” A sequence of notes on a steel drum.
CUT TO
39 INT MAURICE’S INNER SANCTUM DAY 39
CHARLES is more flustered, but otherwise, is as before the swim.
MOISE, seated on the floor of the pedestal, continues as tough the interruption hadn’t happened, soaking wet.
MAURICE is soaking wet.
MAURICE
What just happened?
MOISE
I stayed under until I got away from people, did what I had to do, grabbed my shoes and headed to the fresh-water shower. Then I sat on the wall to dry off.
The first time I saw the beach I knew I had found heaven! The sun to toast me. The breeze to cool me! The bay, an arm of the ocean to rock me until I fall asleep! And people! People from everywhere! The dance!
THE THOUGHT PROJECTION SCREEN fills with people dressed in the many fashions of tourists from various parts of the world and the many fashions of people who have lived and worked on the island we now call Miami Beach.
CUT TO
40 EXT THE PARK SEEN FROM THE SAND DAY 40
ALL groups and individuals.
MAURICE
(VOS)
Don’t the people at the home worry about you?
CUT TO
41 INT MAURICE’ INNER SANCTUM DAY 41
THE THOUGHT SCREEN flickers. Then continues to display various images of OCEAN DRIVE, then CLOUDS, then THE PARK then MOISE dancing with ROSE near the entrance to THE PATIO. Then follows MOISE’S thoughts.
MOISE
I always get home before dark. I came across Fifth, headed for the bus stop. Once I passed that building on the corner-
MAURICE
-that would be the building we’re in-.
MOISE
-you know the one with the big picture window-.
CHARLES
-I see what you mean-.
MAURICE
-as well as I do my own home-.
CHARLES
-I see exactly what you mean.
CHARLES AND MARICE watch the screen.
MOISE
There was no traffic. Not even pedestrians. Not even when I turned on Collins. It was eerie. About half way passed that first building-.
MAURICE
-that would be this building. Part of this building, it’s all contiguous-.
MOISE
-Oh. I see. Well, about half way up, I still hadn’t seen a car, a bicycle, or a person on foot, but I felt like someone was watching me. I turned around to look behind me. A black man was walking towards me, from near the cross light.
MAURICE
That would be, Cass.
MOISE
He seemed miles away. It was eerie! As I turned back, I heard voices-! (Repeating, deadpan.) There’s one! Let’s teach him a lesson! We’ll show him how we treat his kind around here!
MAURICE
(A different voice for each line.)
There’s one! Let’s teach him a lesson! We’ll show him how we treat his kind around here!
I heard! “You’re nothing but a filthy faggot!”
MOISE rocks herself, speaking with MAURICE.
MOISE
“You’re nothing but a filthy faggot!”
CHARLES
I thought this room was soundproof!?
MAURICE
So did I! And is was, until I heard that. And has been ever since! Do you have any idea how much traffic goes by this place? Do you hear anything? And why would you answer that kind of a threat the way you did?
MOISE
Hmm? Three men came at me from nowhere-!
MAURICE
They must have been lingering in my vestibule, out there, by my trash bin. Do you remember anything else?
MOISE
They all had light hair, sandy-to-blonde. And one was wearing a green suit, nice, but an unusual color.
MAURICE
Oh!, honey! You’re being attacked by three men, and you critique the quaff and threads!? Did you happen to notice the manicure? Do you remember what you said?
MOISE
Hay!
CUT TO
42 EXT SKY DAY 42
Clouds.
MOISE
(VOS)
What kind of game are you playing? You know very well how I got in here!
MAURICE
(VOS)
Yes. I do. And I could just tell you, but I think it’s going to be better if you remember it yourself.
MOISE
(VOS)
Better?
MAURICE
(VOS)
More comfortable . . easier for you to live with.
MOISE
(VOS))
Oh, all right. The guy in the green suit seemed to be both the eldest and the leader. Oh shit!
43 INT MAURICE’S INNER SANCTUM DAY 43
MAURICE, CHARLES and MOISE as before.
MAURICE
What is it? I don’t know how to help! Look, whatever it is, it’s all right.
MAURICE goes to a section of wall near the vanity. A full length mirror is centered among various pin up photos, many autographed, and an amazing number of pin up calendars. Tassels hang from a hook centered above the mirror.
MAURICE
How embarrassing can it be?
CHARLES
You know what I do for a living.
MOISE
I do? Oh, yes, you own this place.
CHARLES
I own this place.
MAURICE
I have partners.
CHARLES
Why haven’t you signed a contract?
MAURICE
I’m getting to that. I’m talking about what I do.
CHARLES
What we do. These are the very best in my field.
MOISE
Those are pin ups!
MAURICE
That’s not all they are.
CUT TO
44 EXT THE DANCE LUMMIS PARK AS SEEN FROM THE CLUB DAY 44
AL lopes through. He wears a flowered skirt, sandals, a golf shirt and ear rings, no wig.
SOUND: “I Will Always Love You,” One line, Dolly Parton, Best Little Whorehouse in Texas.
MOISE
(VOS)
Oh! I know h-!? Him. He’s a him!
MAURICE
(VOS)
Um hmm. That’s Al. One of the best!
MOISE
(VOS)
He wanders around the beach about half in drag-.
MAURICE
(VOS)
He’s the only one who gets away with it!
MOISE
(VOS)
He snarls and snaps when he sees me coming-.
MAURICE
(VOS)
Well, you have something he no longer has, little one.
MOISE
(VOS)
What’s that?
CHARLES
(VOS)
Ask him.
MOISE
(VOS)
It would be interesting to talk to him.
MAURICE
(VOS)
He could give you a few pointers, but all of us aren’t like that.
CUT TO
45 INT MAURICE’S INNER SANCTUM DAY 45
CHARLES is spinning tassels from his nipples.
MOISE gawks.
MAURICE watches in admiration.
CHARLES
I can show you how this is done.
MOISE
I- -uh-.
CUT TO
46 INT AN OVER CROWDED CLASSROOM DAY 46
THE STUDENTS, 33 OF THEM, attend to a lecture about conjugation.
THE TEACHER is at the chalk board.
MOISE enters.
MAURICE
Sorry I’m late. I have no excuse, but, say! Look what I can do-!
MOISE moves into position to begin the tassel swing.
CHARLES
(VOS)
Come on, no need to be bashful.
CUT TO
47 INT MAURICE’S INNER SANCTUM DAY 47
MOISE
I’m not sure I-.
THE THOUGHT PROJECTOR displays clouds. A white object seems to be growing larger and moving away along a blue-grey cloud.
MAURICE
-It’s all right. I understand. It’s not everybody’s cup of tea. Or, maybe just another time. What is that?
MOISE
Clouds.
MAURICE
No, that!
MOISE
You called him, “Cass,” don’t you remember? He’s an angel!
MAURICE
What the hell is he dragging along behind him!?
MOISE
His wings!
MAURICE
Ha! Ha! Ha! Say, I helped him rescue you! That’s my bathtub you’re sitting in! How come I’m not walking on your cloud?
The image on THE THOUGHT PROJECTOR shifts, still moving closer to the cloud.
MOISE
You are! See! There!
MAURICE
A fleck of pink lost in an eternity of cloud.
The image on THE THOUGHT PROJECTOR shifts, the pink dot grows and it is approaching CASS. THE THOUGHT PROJECTION SCREEN is also growing.
CHARLES
What?
MAURICE
He has wings.
MOISE
Just be patient a minute! The man in the green suit and his friends . . .
MAURICE
Um hmm.
MOISE
Two grabbed my arms, I couldn’t tell who did what. Someone socked me in the solar plexus and I doubled over. They turned me around to face the building, as I struggled to breathe. I felt something slide over my head and put my hand by my neck to try to protect my throat-.
MAURICE
That may have saved your life.
MOISE
My head was moving toward the wall of the building, your friend Cass was yelling-!
MAURICE
I hardly know him well enough to call him a friend.
CUT TO
48 EXT CLOUDS DAY 48
CASS, full sized, faces the camera. Evidently he is waiting for something. He wears a dark, stylish suit and has his brilliant, blue-white wings, spread.
MAURICE walking toward CASS on the cloud.
MAURICE
(VOS)
He has wings.
MAURICE’ wings open, they are bright yellow.
MAURICE and CASS, bright wings open, stroll away across the cloud.
CUT TO
49 EXT THE CLUB SEEN FROM OCEAN DRIVE DAY 49
A TOURIST reads a newspaper as ZEKE polishes his shoes.
JIM, waiting his turn in the other chair, talks to ZEKE.
AL stops loping for a moment to talk to ZEKE and JIM.
MAURICE
(VOS)
What just happened?
MOISE
Nothing happened.
FADE TO
50 INT MAURICE’S INNER SANCTUM DAY 50
MAURICE is disgruntled, MOISE confused.
MAURICE
When you get bored or uncomfortable you just take off on some whimsical fantasy!
MOISE
Maybe.
THE THOUGHT PROJECTOR crackles, then sputters, then shows us the stage. Rehearsal lights are on. UNCLE SIR sits at the piano, occasionally touching the keys as he speaks with OUR BUDDY. BRAT walks in and joins the conversation.
MAURICE, intent on MOISE, doesn’t notice the images on THE THOUGHT PROJECTOR.
MAURICE
A green suit is unusual, but not enough for identification. Do you remember anything else?
MOISE
No.
MAURICE
Do you remember what you said?
MOISE
I didn’t think I said anything-.
CHARLES
-The last thing I would say to three male attackers-.
MOISE
-I was pretty sure my head was going to hit the side of the building. I couldn’t stop it. I put my hand beside my neck and leapt-.
MAURICE
To most of us who share your native tongue, a leap is a graceful motion, as in ballet: a motion up. When our head is pushed rapidly into the side of a building and our face hits the sidewalk, we call that a fall.
MOISE
I know what wall and sidewalk hitting feel like. I didn’t stick around for it.
MAURICE
(Noticing THE THOUGHT PROJECTOR.)
What’s that?
MOISE
You know them.
MAURICE
Of course I do. They work for me. What are they doing there?
MOISE
I don’t know. It hasn’t happened yet. Oh! I forgot to do it!
THE SCREEN flaps, then switches to ROSE and MOISE dancing on THE PATIO.
MAURICE
All right! All right! One thing at a time- . . ! Wait! You see things before they happen- . . ? –No! Not now! First, do you remember shouting, “I’m a girl! I’m a girl?” If so, in ten words or less, would you explain why you would mention that?
MOISE
That’s easy! I am a girl!
CHARLES
Oh, Honey! I understand, really I do, but if you can’t find a way to accept yourself, you’re going to have harder problems in the future.
MOISE
I am a girl.
MAURICE
(Compassionate.)
I know. I do know. Sometimes I want to be a woman so bad I could just-.
MOISE
-I’m sorry. All I have to do is wait.
MAURICE
Okay, so, you “leapt.”
MOISE
You know Kirk A-guard’s blind leap of faith.
CHARLES
Where is Kirk a guard?
MAURICE
Soren Kierkegaard, yes, religionist and philosopher, most commonly known for writing about the blind leap to faith-.
MOISE
-Of faith. You gotta have the faith to take the leap!
MAURICE
Look, when we found you- -when Cass found you- -I got there about twenty seconds after Cass- -he had taken the belt from around your neck. You had managed to get two fingers under it. You said you remembered putting your hand up. Then, you’re telling me you just- -left?
ON THE THOUGHT PROJECTOR, MAUREEN walks out onto the patio, mimes “my hero,” and walks off, leaving the screen blank.
MOISE
You’ve already seen that. And you have both leapt with me.
THE THOUGHT PROJECTOR CUTS TO MAURICE and CASS walking on the cloud. Suddenly they stop, turning to face each other.
MAURICE
This too. . . . Wait, what’s that?
MOISE
We might have to turn it up.
MAURICE, defiant, twists a knob of one of the drawers of the vanity, then glares at MOISE.
MAURICE
All right.
CUT TO
51 EXT CLOUD DAY 51
MAURICE and CASS face each other, wings, as before, spread.
CASS
I’m sorry, I never took the time to tell you how much I admire you for the number of things you do every day to make other people’s lives more comfortable.
MAURICE
Me!? I do that . . ? Oh, thank you. One does what one can. I have also neglected to tell you how much I admire the fact that you stand up for what you believe, no matter the price or who’s around to hear.
CASS offers MAURICE his right hand. As the men shake hands they begin to tap their wing tips. Then, they move into a hug.
CUT TO
52 MAURICE'S INNER SANCTUM DAY 52
MAURICE, CHARLES and MOISE watch the screen as, the scene on it fades.
MAURICE
It’s a nice thought, Honey, but people don’t say those things to each other-.
MOISE
-Why not-?
CHARLES
-It just isn’t done-.
MOISE
-Why not?
MAURICE
-I see your point. No need to push it. . . . So, how long does it usually take you to get into another person’s inner sanctum-?
THE THOUGHT PROJECTOR flickers into action in THE POKER ROOM a section off the dining area. Several ceiling fans churn above several round tables. MARLA sits at the table with TOM. AL who wears a bathrobe and a burnoose; MR. GREENSTREET a large, older man who looks somewhat like SIDNEY GREENSTREET is dressed as though to play BIG DADDY: MARLA smokes using a long cigarette holder, she flicks her ashes in an ashtray set between TOM and JOE. TOM has three packs of PALL MALL near him on the table. JOE smokes a cigar as does the SIDNEY GREENSTREET - BIG DADDY fellow. OUR BUDDY waits on the poker players, bring a pitcher and glasses, dumping ashtrays, waiting near the concierge’s station.
MAURICE
-Never mind, don’t answer that. You’ll be talking about Margaret Meade or the rings of a planet none of the rest of us has heard of- -just, how did you meet Uncle Sir, and why do you call him that?
CUT TO
53 EXT THE DANCE OCEAN DRIVE DAY 53
As seen from ZEKE’S SHOE SHINE STAND.
ZEKE shines a tourists shoes.
MOISE
(VOS)
They used to live down the street from us-.
UNCLE SIR walks out of the crowd nods to ZEKE and enters THE LOBBY of THE CLUB.
MAURICE
(VOS)
-They haven’t moved-.
CUT TO
54 INT MAURICE’ INNER SANCTUM DAY 54
On THE THOUGHT PROJECTON SCREEN UNCLE SIR on stage at THE CLUB practicing on the piano and conversing with OUR BUDDY.
MOISE
-No, we did. Move.
FADE TO
55 EXT THE DANCE OCEAN DRIVE as seen from LUMMIS PARK DAY 55
AL and ALICE talk to people seated at one of the picnic tables.
MOISE approaches.
AL lopes away, blending into THE DANCE.
.
BRAT, early twenties, handsome in very stylish suit and tie strolls purposely to MOISE. He stares shyly at THE SKIRT MAKER.
BRAT
They say you know everyone here. Please tell me, who is she?
MOISE
Come I’ll introduce you-.
BRAT and MOISE walk towards
THE SKIRT MAKER, a lean, copper woman with flowing auburn hair. She has an arm load of multicolored fabric and approaches people to show them her wares. The skirts are multi-colored shapes of fabric finished with no raw edges and sewn onto a band that wraps and laces around the waist.
PEOPLE gather around to see the skirts.
MOISE
(VOS)
She is beautiful, isn’t she? She’s from one of the smaller islands. Raised by her grandmother, one of the indigenous peoples.
She lives downtown. Alone. And works in an office during the week. She likes her job. Record keeping. After work she makes the skirts once popular in a no-longer-existing culture, according to the instructions of a woman long deceased.
On Saturdays she takes the bus here and sells them in honor and memory of both. She makes them by hand.
BRAT awkwardly approaches THE SKIRT MAKER. THE SHIRT MAKER smiles, shyly and ties a skirt on BRAT.
BRAT dances for her.
THE PEOPLE around them clap.
CUT TO
56 INT THE LOBBY of THE CLUB DAY 56
OUR BUDDY, UNCLE SIR and BRAT talking around the piano. MOISE enters from OCEAN DRIVE.
MAUREEN enters from her dressing room.
ALL freeze.
MAURICE
(VOS)
If I could break the code, I’m sure this would be a wealth of information.
MOISE
(VOS)
I’m really tired.
CHARLES
(VOS)
That I can understand.
SOUND: A sequence of notes on a steel drum.
CUT TO
57 EXT OPEN OCEAN DAY 57
MOISE, floating.
MAURICE
(VOS)
You can’t fall asleep floating in the ocean!
MOISE
Okay.
MOISE rolls onto her stomach and, resting her head on her hands, seems to be sleeping.
MAURICE swims into the scene. HE stops, treading water, to speak.
MAURICE
I can’t fall asleep floating in the ocean! And you can’t plop off across time and space every time a situation frightens or bores you! Or; even if you can, you can’t take me with you.
MOISE sits up, quite comfortably.
MOISE
Now you’re in my inner sanctum.
MAURICE starts to sink.
MAURICE
You can’t let me drown.
MOISE
Will you relax.
The beach horsy toy pops suddenly to the surface.
MAURICE, too very nonchalant, places it precisely in the water, then rests his head on it to float.
MOISE, head on arms, appears to be sleeping on her stomach.
MAURICE
So, Fey, you believe in God.
MOISE
If you say the word, “god,” people get all weird, either like you’re superstitious, or they are, or; they own the word and no one else is allowed to use it.
I believe in what might be called creation, all of this started somewhere, and it’s all one thing.
MAURICE
What’s all one thing.
MOISE
Everything.
MAURICE
Well, that’s simple enough.
MOISE
And, of course, it’s all living.
MAURICE
Of course.
MAURICE reaches over and pushes MOISE under the water.
CUT TO
58 EXT THE PARK SEEN FROM THE WALL DAY 58
People on the sand, people on the sidewalk beyond the wall. MOISE sits on the wall very contemplative. UNCLE SIR and OUR BUDDY, in beach wear, walk towards her on the sidewalk, stopping when they get to her.
OUR BUDDY
Honey, are you all right?
MOISE
Hum? Oh, yeah! I as just thinking.
UNCLE SIR
See, she was concentrating! I told you she was all right.
OUR BUDDY
Why do you always think you know? I’m a mother, I know something about kids!
CUT TO
59 EXT THE DANCE DAY 59
OUR BUDDY
Sometimes it isn’t good to think so much! What is there to think about the sand?
MOISE
It’s a lot like us.
OUR BUDDY
You mean because there’s so much of it?
MOISE
Well, there is that, but it takes each grain to make the beach. Where did it all come from? Did it all start out in the same place? How long did it take each piece to make the trip?
UNCLE SIR
“To see the world in a grain of sand . . .”
OUR BUDDY
I wish you wouldn’t encourage her!
UNCLE SIR
It’s a gift! Do you know who said that?
MOISE
No.
UNCLE SIR
A man named William Blake, you might enjoy his poetry. If you decide to read it, we can talk about it. Meanwhile, what else do you see in the sand?
FADE TO
60 EXT THE SHORE WATER PEOPLE DAY 60
MOISE
(VOS)
It’s a lot like us. Each piece grinding all of the other pieces, weather they mean to or not, some will be on top. Then, we were sand, and are becoming sand.
OUR BUDDY
(VOS)
I’m not becoming sand!
MOISE
(VOS)
Oh, but we all are, it’s just part of the trip ashes to ashes dust to dust.
UNCLE SIR
(VOS)
Sand is dust, becoming.
FADE TO
61 EXT OCEAN DRIVE THE DANCE 61
UNCLE SIR, OUR BUDDY and MOISE slowly blend into THE DANCE.
MOISE
(VOS)
Um hmm, when it gets ground down small enough, maybe a breeze will pick it up and it will be part of a cloud, or a rainbow. Then is it a piece of dust? A piece of sand? A piece of cloud or part of a rainbow?
OUR BUDDY
(VOS)
This is the kind of stuff you think about?
MOISE
(VOS)
Eventually it falls down again, maybe on the water, but, also eventually, after lots of trips around as, and becoming dust, it becomes small enough to be
absorbed by a plant. Then is it plant, or sand, or dust? In any case, the plant does whatever plants do, and the grain-of-sand as plant, may be plant, dust, plant, dust for ages. Still sooner or later, an animal eats the part of the plant that the grain of sand has become-.
UNCLE SIR
(VOS)
And eventually one of us eats the animal.
OUR BUDDY
(VOS)
They could just eat the plant.
UNCLE SIR
(VOS)
So are you going to be a philosopher?
MOISE
(VOS)
When?
SOUND: A sequence of notes on a steel drum.
FADE TO
62 EXT OPEN OCEAN DAY 62
MAURICE floats with his head in MOISE’S lap, his feet through the horsy toy. HE looks around waiting for the second sequence of notes on the steel drum.
MOISE clears her throat.
MAURICE
So, what if they just eat the plant?
SOUND: A sequence of notes on a steel drum.
MOISE laughs.
MAURICE pushes MOISE under the water.
CUT TO
63 EXT MANGROVE DAY 63
A vastness of trees and water. Suddenly a half dozen PEOPLE appear and one at a time shallow dive into the water.
MAURICE
(VOS)
What’s that?
MOISE
(VOS)
People.
MAURICE
(VOS)
Oh, yes! People! And-?
MOISE
(VOS)
Miami Beach, some time back.
FADE TO
64 EXT FRAT HOUSE NIGHT 64
BRAT stands at attention with his flugle horn. Beside the lines of FRAT BROTHERS.
TOM and MOISE stand together, they look happy.
TOM
I took a good look at myself through your loving eyes, and I am happy to say that I am now and always have been the man you saw in me. I will strive from this moment forward to be the man and the writer you see in me.
SOUND: flugle horn solo; “Tennessee Waltz.”
FADE TO
65 EXT OPEN OCEAN DAY 65
MOISE floats on her back, arms under her head. MAURICE dog paddles, watching the shore, very nonchalant.
MAURICE
You remember everything?
MOISE
Not exactly.
MAURICE
Interesting. Interesting indeed! But, I do have to be on stage at midnight, can you-?
MOISE
-Oh, all right.
CUT TO
66 EXT SHORE PLANTING A MASSIVE GROVE OF COCONUT TREES 66
MANY BLACK MEN removing cypress, etc. and doing the planting.
PEOPLES: tourists, indigenous people, celebrities, walk through the planting.
MAURICE
Say! This is right around the time The Club was built!
CUT TO
67 EXT OPEN OCEAN DAY 67
MOISE floats on her back, arms under her head. MAURICE dog paddles, watching the shore.
MAURICE
How do you do that?
MOISE
What?
CUT TO
68 EXT MIAMI BEACH SHORE SEEN FROM THE WATER DAY 68
All people.
MAURICE
(VOS)
This is what you see, when you seem to be sleeping out here?
MOISE
(VOS)
Um hmm, everyone who has ever been here, is still here-.
MAURICE
(VOS)
And others see it differently, because-?
MOISE
(VOS)
They aren’t me?
CHARLES
(VOS)
And the difference is?
MOISE
(VOS)
-time.
MOISE and CHARLES walk into the scene.
MOISE wears a flowered halter and clashing plaid shorts.
CHARLES wears his polka dot shorts, bright yellow boots and his hat pinned with mementoes and carries the horsy toy.
MOISE
It’s always now.
CHARLES
When else could it be?
MOISE
It’s all happening at the same time, now is always.
CHARLES
So, you think you know what’s going to happen next.
MOISE
Hmm-. No. Not next. To be unstuck in time would be to travel in all directions through it.
CHARLES
Time doesn’t just march on in one direction.
MOISE
No. Like any other vibration it moves in all direction away from it’s source.
CHARLES
Next you’ll tell me it hits something and bounces back-.
MOISE
-Right. Like an echo.
CHARLES
If you start making sense to me, I will change psychiatrists. Which reminds me, we were discussing your contract.
MOISE
I don’t have a contract.
CHARLES
It’s just a matter of time.
As CHARLES AND MOISE walk passed THE RABBI.
MOISE
Shalom.
THE RABBI
Shalom.
CHARLES
He spoke to you!
MOISE
I spoke to him.
CHARLES
You can’t go around talking to strangers.
MOISE
How are we supposed to make friends?
CHARLES
You have an answer for everything! And I, have a rehearsal.
MOISE
Enjoy!
MOISE walks away. Towards THE WALL. CHARLES watches her a moment, surprised. Then CHARLES walks into THE DANCE.
FADE TO
69 INT MICCOSUCCI RESTURANT DAY 69
MAUREEN, BRAT, UNCLE SIR, JIM and MOISE sit in a round booth.
FAY, blond, 30ish and beautiful, wearing a white waitress uniform approaches to take the order.
FAY
Hi! I’m, Fay.
MOISE
That’s funny, so am I!
MAUREEN
She thinks it’s some kind of religion.
FAY
She’s right. I’m Fay, and I’m Fay!
FADE TO
70 INT THE CLUB LOBBY DAY 70
JIM and JOE stand with two well-heeled tourists watching
OUR BUDDY help ZEKE bring the shoe shine stand into the lobby.
THE SHOE SHINE STAND is on castors, a deep wooden base.
JIM
Oh! Oh! There you go!
OUR BUDDY
Thanks for your help.
JIM
You could be like us, you know.
OUR BUDDY
Like you?
JIM
I was talking to him! Start a franchise!
OUR BUDDY shrugs and walks out.
ZEKE
Thank you, Sir.
JIM
I really mean it!
ZEKE
As do I, Sir. As do I!
JOE
We’ve told him that before.
TOURIST ONE
Everyone doesn’t have the entrepreneurial spirit.
ZEKE
You are right there, Sir! You are right!
ZEKE nods, turning to go.
JIM
Should you change your mind -?
ZEKE
- Sir, I will certainly let you know.
FADE TO
71 INT BLUE ROSE’S THEATRE DAY 71
MAUREEN, MARLA OUR BUDDY, BRAT, AL and UNCLE SIR are on stage.
MAUREEN is outraged.
The men wear suits. The women are in various costumes.
MAUREEN wears a business ensemble.
MAUREEN
It has been over a month and that little brat has still not signed a contract. Who has been working on her? And why haven’t you done your jobs?
Everyone on stage reacts in a mock fear that fails to disguise their fear.
MAUREEN
Who has spent the most time with him?
Everyone is afraid to answer. MAUREEN’S rage grows.
MAUREEN
Come on!! Come on!
OUR BUDDY
We’ve all spent time with her, but I’d have to say that the person who’s spent the most time was,
Maurice.
MAUREEN
Well! I will speak with MAURICE!
MAUREEN continues sarcastically.
MAUREEN
Uncle Sir, when you were neighbors did you happen to meet the parents? And why does he call you that? Why do you let him call you that?
UNCLE SIR
I remind her of her Grandfather.
MAUREEN
Why doesn’t he call you Grandpa?
OUR BUDDY
(Bored.)
You don’t understand, they’ve known each other in several past lives! They’ve experienced every possible human relationship.
MAUREEN reaches full tantrum.
SOUND: LOUD KNOCKING.
CUT TO
72 EXT FRAT HOUSE NIGHT 72
The FRAT BROTHERS form a half circle around TOM and MOISE.
TOM
There is nothing you can ask, that I would deny you! All of the goods I possess, or may eventually acquire, I willingly lay at your door. And I will always try to live up to the man you see in me.
MOISE
I don’t know what to say.
TOM
Are you happy?
MOISE
Yes. Are you happy?
SOUND: A loud knocking.
FADE TO
73 INT MAURICE’ INNER SANCTUM DAY 73
SOUND: A loud knocking.
CHARLES is still twirling in the mirror. MAURICE, surprised and bewildered, Goes to the door. MOISE sits near the bath tub as before.
MAURICE
No one knocks at this door! It’s only been opened once since I’ve been here-! And look what got in!
SOUND: A loud knocking.
MAURICE
All right! All right. I can do this. Just go over and-.
MAURICE opens the door.
CASS comes in, looking for MOISE. HE stops between MAURICE and the pedestal.
CASS
I brought the little one’s clothes. How are you?
MAURICE
Oh, well. Thank you.
CASS
And how are you? Oh. See here. A button fell off. We replaced it you know, all kinds of things happen at the gym. We’re pretty well prepared, but the new one doesn’t match-.
MOISE
- Thank you.
CASS
Glad to help and sorry for the need. The guys send regards and the Doc- -Say! There’s not a mark on you!
MOISE
I’m fine.
CASS
Well don’t get up and start moving around too soon.
MAURICE
Try to keep her still!
CASS
Kids are like that! I know mine are. That’s why they heal so fast. Are you sure you’re doing all right. It had to be quite a shock.
MAURICE
Oh yes!
CASS
Well if there’s anything you need or you want to see the Doc, call in over to the gym.
MAURICE
Thank you for your time and concern. Look at that! Just look at that! Not a mark on her. She thinks you’re an angel!
CASS
We recognize each other.
MAURICE
Oh.
CASS
Don’t you see yourself in that . . ? You know, I’m sorry, I never took the time to tell you how much I admire you for the number of things you do every day to make other people’s lives more comfortable.
CASS offers MAURICE his right hand.
MAURICE
Oh . . ! Thank you. One’s does what one can. . . . I have also neglected to tell you how much I admire the fact that you stand up for what you believe, no matter the price, or who’s around to hear you.
MAURICE takes CASS’ hand.
CASS pulls MAURICE into a hug.
MOISE waves her right fist in the air like a boxer just declared “champ.”
Suddenly the men are touching wing tips.
Beyond the men MOISE still waves her fist, her wings are mottled, multicolored.
CUT TO
74 EXT OCEAN DRIVE THE DANCE DAY 74
MAURICE and MOISE walk among the crowd.
MAURICE
We aren’t going to tell anybody that.
MOISE
We’re not going to tell anybody that you know I’m a girl.
MAURICE
Shhh!
MOISE
Why!?
MAURICE
Because you’re going to take Brat’s place in she show!
MOISE
Wait! Wait! You mean you want me to pretend to be a boy so I can go on stage and pretend to be a girl taking my clothes off!?
MAURICE
That’s it. Exactly!
MAURICE walks off.
MOISE seems lost in thought for a moment. SHE sees ZEKE.
ZEKE is readying THE SHOE SHINE STAND.
MOISE goes to help ZEKE.
ZEKE speaks as they move the stand.
ZEKE
It’s good to ask questions. It’s good to want to understand.
The difference is when your friends say they don’t
understand, they mean they don’t understand why I don’t
follow their suggestions.
When you say you don’t understand, you mean to keep
teasing at the question until you see an answer!
ZEKE outside again now, laughs, nods and walks away.
OUR BUDDY comes out of THE LOBBY.
OUR BUDDY
What’s hard to understand? He stays ‘til he makes his first hundred dollars. Bless him! He works hard. Says the first time he doesn’t make it, he won’t come back.
FADE TO
75 EXT MIAMI BEACH THE WATER SHORE LINE WATER, PEOPLES DAY 75
CHARLES and MOISE walking on the beach.
CHARLES
Some of the gang think maybe you don’t want to join us because you have a boy friend or something.
MOISE
Everyone has or “something.”
CHARLES
Thank you, Miss Einstein. Do you have a boyfriend?
MOISE
No.
CHARLES
I had a girlfriend once. Does that surprise you?
MOISE
No.
CHARLES
I wonder what it would take to actually surprise you? No answer. Well it wasn’t much of a question. Let me tell you about her. She was beautiful. We were about-. Well-. In eighth grade, I guess I was fourteen. We would walk together after school- -holding hands all the way to the corner deli. All the kids went there. I felt like part of the crowd for the very first time. And then, we went to the movies and once she came to see my parents at the theatre.
CUT TO
76 EXT BURLESQUE HOUSE BALTIMORE NIGHT 76
PERFORMERS who look amazingly like THE STAFF of THE CLUB cavort on stage.
An UNCLE SIR impersonator is at the piano.
CHARLES
(VOS)
Then, in the car you know after the movie or whatever, she started getting more and more amorous. I thought we were in love and it wouldn’t matter. Or maybe I thought it would be more shocking to her if she crammed her hand down my pants and made the discovery herself. I don’t know.
Anyway I told her one night. One Friday night when she was coming on like gangbusters.
Monday I got to school in time to be sent to the principal’s office. She had spent the weekend on the phone. So had her friends. And her parents and their friends. Popular opinion had it that I was a lesbian parading around in boy’s clothes to lead young women astray.
And there were my parents cross-dressing thespians held up as living generational proof.
I dropped out of school. Allowable with my thespian parents’ permission and started working with them on the stage. Sometime later, I went back and got my degree through adult education.
I’m not still mooning over her if that’s what your thinking. Imagine being mooned by something like that!
CHARLES turns to give us a hip roll.
FADE TO
77 EXT MIAMI BEACH THE WATER SHORE LINE WATER, PEOPLE DAY 77
MAURICE in full hip roll.
MOISE
Um-.
MAURICE
No boyfriend.
MOISE
No.
MAURICE
Why don’t you want to dance with us.
MOISE
The lights hurt my eyes. I can’t see! No! It would be easier if I couldn’t see at all, but the light keeps changing and everything seems to be moving in different directions. I kept trying to get out passed it-.
MAURICE
So! That’s why you kept moving closer to the audience-.
MOISE
Is that what I was doing? To me they were individual body parts capable of sound and motion-. Just when I could identify a human, everything would go blank again so I kept moving-.
MAURICE
They were trying to keep a spotlight on you.
MOISE
Oh. I’m sorry. I don’t understand why anyone would pay to watch anyone take their clothes off.
MAURICE
Ah! You don’t understand it! That’s because you’ve never seen Al on stage!
SOUND: NOTES ON A STEEL DRUM.
CUT TO
78 INT BLUE ROSE’S THEATRE DAY 78
MAURICE and MOISE in a packed house.
MAURICE
I’m getting pretty good at this! Look he’s about to start.
AL is still and silent stage center dressed as MARLENA DIETRICH. A post behind him is the only set piece. UNCLE SIR is at the piano on stage, left.
SOUND: PIANO INTRODUCTION; “LILY MARLENE.”
AL stays frozen after the intro then does “Lily Marlene” as the torch song of his youth.
THE AUDIENCE is intensely silent. AL bows nearly head to floor bereaved, abandoned.
SOUND: APPLAUSE.
When the room is nearly silent, BRAT enters the stage dressed in formal evening wear, he strolls casually by the piano.
AL stands, catching sight of BRAT.
BRAT almost off stage, stops to jingle change in his pocket.
SOUND: CHANGE JINGLING.
AL starts to sing, “Falling in Love Again.” This they do as comedy, BRAT remaining indifferent to AL’S various emotions of need, heat and greed. At the end both men are standing in gee strings.
THE AUDIENCE goes wild.
SOUND: APPLAUSE.
MANY BOWS.
AL, BRAT and UNCLE SIR bow together.
BRAT exits.
AL goes down the runway collecting bouquets from audience members.
THE AUDIENCE throws bouquets onto the stage.
UNCLE SIR goes around collecting the bouquets.
CUT TO
79 EXT THE DANCE LUMMIS PARK AND THE WALL 79
UNCLE SIR sits on the wall.
MOISE sits in the sand.
MOISE
. . . but I’m the wrong gender amn’t I? Oh! Geez! How can anyone be the wrong gender?
UNCLE SIR shakes his head. Very noncommittal.
UNCLE SIR
MAUREEN gives the orders. If you don’t join us you can’t spend time here.
OUR BUDDY
Oh come off it and get down here with the rest of us. You peel off at this beach! I bet you drop your clothes at the sight of a swimming pool: canal, rock pit, drainage ditch. You probably get naked when you see a mud puddle!
MOISE
Of course I do. There’s nothing wrong with the human body. There’s nothing wrong with being naked. Skinny dipping has nothing to do with who’s watching!
OUR BUDDY
What then?
MOISE
It’s being part of the water, you know the fish, the breeze-.
UNCLE SIR
“Communing with nature.”
OUR BUDDY
Oh yeah! Right! Maureen’s on the war path. See how long you stick by your little friend! I’m going shopping with Marla and the girls.
OUR BUDDY storms off into THE DANCE.
UNCLE SIR is very uncomfortable, he mutters after OUR BUDDY.
UNCLE SIR
Thanks a lot.
MOISE
She’ll be all right.
UNCLE SIR
I know. It’s just- -this is really awkward. She knows I want to ask you a favor. And it was awkward enough without that. Maureen is on the warpath. She wants your name on a contract. I can’t help you decide that. And I guess it’s only fair to tell you- -well I find your ideas interesting. You and William Blake see the world in a grain of sand-. -But I’m not sure I see what you see-.
MOISE
Okay. We don’t have to see the same thing. What’s the favor.
UNCLE SIR
Just like this. “Okay. What’s the favor?”
MOISE
We don’t have to agree.
UNCLE SIR
All right. Last Saturday was Brat’s twenty-first birthday.
MOISE
Oh! I’m sorry-!
UNCLE SIR
It’s all right. He knows you didn’t know. . . . Anyway his mother gave him a piece of paper. . . .
MOISE
. . . Wrapping paper? For a birthday present?
UNCLE SIR
No. Not wrapping paper. It is a very special piece of paper. Part of the will. No, actually it seems to be part of an addendum to the original will.
MOISE
The two little “i”s at the bottom of the page might tell us that another page is supposed to come ahead of it.
UNCLE SIR
How did you do that?
MOISE, surprised, stares at UNCLE SIR.
MOISE
What?
UNCLE SIR
He hasn’t been here to show it to you! How did you know about the two little “i” s?
MOISE returns to her study of space.
MOISE
Well they are partly obliterated by what might be a coffee stain.
UNCLE SIR
We spilled the coffee. Still, we need to now what’s on the other page.
MOISE
Where is it?
UNCLE SIR
Well that’s just it. Look, I need you to know that I am asking you this favor, and if it works out I will
just ask another favor. And even then, I’m not asking because I agree with the things you’ve said about knowing me in what I guess amounts to other lives as- -well, you’ve done a lot of things that can’t be explained-.
MOISE
Like?
UNCLE SIR
The card games.
FADE TO
80 INT THE POKER ROOM DAY 80
Several ceiling fans churn above several round tables.
MARLA sits at the table with:
TOM, in his dark-gray suit
AL in a bathrobe and a burnoose.
MR. GREENSTREET and
JOE in shirt sleeves and unremarkable slacks smoking a cigar.
OUR BUDDY waits on the poker players, bringing a pitcher and glasses, dumping ashtrays, then waiting near the concierge’s station. OUR BUDDY wears a shorts ensemble.
MOISE stares over TOM’S shoulder studying his hand and the cards on the table before moving on to AL.
SOUND: THE VOICES OF THE PLAYERS muffled as though under water.
The cards in AL’S hand seems to grow larger an larger then smaller and then again large. SUDDENLY they move downward, turning to face the table.
AL
Get the hell outta’ there will ya’?
OUR BUDDY
Come on, Al, she’s just a kid.
MARLA
Yeah come on, Al!
AL
I know she’s a kid, but somehow or other, I suspect they’re cheating.
MARLA
You always say that when you lose!
OUR BUDDY
And you always lose.
TOM
Having a kid in here makes me uncomfortable, also.
MR. GREENSTREEN
Ah! Come on over here, kid. Get a look at these!
SOUND: THE VOICES OF THE PLAYERS muffled as though under water.
The cards in MR. GREENSTREET’S hand seem to grow larger an larger, then smaller, and then again larger.
JOE
(VOS)
That’s great! One more to go! Come on! To your right a few steps and I’ve seen them all!
MARLA waves MOISE over.
MOISE peers at MARLA’S cards. The cards seem to grow.
JOE
(VOS)
Thank you! You’re not sure who this is, are you? Look around, be honest now. Which is the most handsome man at the table?
MOISE, pale and a little wobbly, glances around quickly around the table stopping at JOE.
JOE, smiling very kindly, waves to MOISE.
MARLA
I fold.
JOE
I see you . . . and raise.
AL
Raise! That’s crazy!
TOM
I call.
THE PLAYERS stare at the cards now face up on the table.
JOE whoops in victory.
OUR BUDDY comes to the table.
JOE
Thank you, gentlemen. . . ! And lady!
MARLA
Henry’s covering me. You can thank him.
AL storms across the room.
AL
You win again! What a surprise! Next
Saturday, that kid’s in here I’m not playin’.
OUR BUDDY
‘sa matter, honey. You seem a little pale.
MOISE
Everything just got warm.
MARLA
It’s the ceiling fans. They don’t do anything.
JOE
Don’t complain about the fans!
MR. GREENSTREET stands.
MR. GREENSTREET
Anybody care for a cocktail? I’m buying.
MR. GREENSTREET heads out to the bar.
TOM
I’ll accept your kind offer of hospitality. . . . I’m not sure about next week either. Not with a minor in here.
JOE
What make’s you think she’s a minor?
TOM
Have you seen identification?
OUR BUDDY
We haven’t seen yours either.
MOISE
I’m going over to the beach.
MARLA
I’m going to help clean up in here. Then, we’ll find Al and join you in the bar.
JOE
Just a minute if you don’t mind. I Want to see you in my office.
FADE TO
81 EXT THE DANCE LUMMIS PARK AND THE WALL 81
UNCLE SIR sits on the wall.
MOISE sits in the sand.
UNCLE SIR
How did you do that?
MOISE
That’s what he wanted to know.
UNCLE SIR
And?
MOISE
Why do you assume I did it? How did you find out anyway. Oh. That’s stupid. Our Buddy told you-.
UNCLE SIR
Joe told everybody. The other players wouldn’t stop complaining. They went to the bar with Al. He convinced them you and Joe cheated somehow.
MOISE
So he told?
UNCLE SIR
He didn’t think they would believe him.
MOISE
I see. . . . I need more information.
UNCLE SIR
Um. If this works out then I’ll have to ask you another favor.
MOISE
Okay. Who has page one.
UNCLE SIR stands.
UNCLE SIR
Maureen. . . . Look lets go get a hot dog or something, and I’ll explain.
MOISE follows UNCLE SIR across the sand.
MOISE
So, that’s why we go to lunch . . .
CUT TO
82 EXT FRAT HOUSE NIGHT 82
THE WEDDING PARTY is dancing.
BRAT plays the flugle horn
SOUND: Flugle horn solo; “Tennessee Waltz.”
THE WEDDING PARTY dances.
FADE TO
83 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 83
MOISE hops down the stairs followed by MAUREEN, then BRAT, UNCLE SIR and JIM.
MAUREEN
“Hi! I’m, Fay!” What, is she your uncle or something?
MOISE
Everybody is my uncle or something.
MAUREEN
Look, I don’t know what you think you’re doing, think you did, or are trying to accomplish. But I for one have had enough. Get your ass in the car, we’re headed back to the club. You’re going to be a good little girl, or boy, or whatever the hell you want to call yourself, and sign the damned contract!
FADE TO
84 EXT LUMMIS PARK THE DANCE DAY 84
AL, ALICE and MOISE walk with the PEOPLES.
AL
You might think something like that would change when the baby came, but- -Oh! Yes! We have a son.
ALICE
He’s full grown. He’s an accountant n New York.
AL
We didn’t always leave the house together. And they didn’t come to every show. But at some point during each engagement, I’d look out over the audience and there they would be. The most beautiful woman in the world and my son, in swaddling clothes!
ALICE
Oh! Al!
AL
She kept a sewing room in our apartment. Made a lot of her own clothes and nearly all of my costumes. For years. She even learned to make wigs and repair them. And apply make up. Mine. Not her own.
If my in laws ever had a disparaging word to say-
ALICE
-Oh Al! They loved you-.
FADE TO
85 EXT THE CLUB DAY 85
ROSE and MOISE dance to the sounds of SOUTH BEACH.
CUT TO
86 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 86
JIM, BRAT and UNCLE SIR stand behind MAUREEN very posed, as a tableau.
MAUREEN
I’m not sorry, Elizabeth, there is no Santa Claus! And as for you, Moise, there is no God, Irish, Celtic, Jewish, Fay or otherwise-. –Sooner or later you’re going to have to accept the fact that you’re a common-garden-variety faggot, just like the rest of us!
MOISE
I beg your pardon?
CUT TO
87 EXT EXT LUMMIS PARK THE DANCE DAY 87
AL, ALICE and MOISE walk with the PEOPLES.
AL
Oh, Al-! -I know. They do. I love them! And I was going to say if that loving couple ever said a disparaging word about me, I never heard it!
So see, I’m a man who knows exactly what he’s got. And I’m grateful. I have been able to do what I wanted the most in life.
And that’s just it. You have to want it from right
in here. And you have to have it right in here. I still want it and I still have it. For me it’s that rapport with the audience that starts the minute the house lights go down. Yes that’s it. Right in here!
When the time comes that I no longer have it-
(AL drags a finger across his throat.)
ALICE
Oh, Al!
FADE TO
88 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 88
BRAT, JIM and UNCLE sit in tableau as before. MAUREEN continues her performance.
MAUREEN
That’s right, we’re faggots! Queers! Queens! Odd fellows! Odd ducks. Poofs! Poof-fellows. Quare. Nancys. Marys. Fairies. Fags. Catamites. Pederasts. Fagalahs. Limp wrested, twisted sisters.
MOISE
You're not going to stand there calling yourself names and then blame me! If I don’t know who’s gay and who’s straight, it’s because I don’t care who’s gay and who’s strait.
And I am not going to work for you because you seem to think the things you say and do are funny, when they hurt people’s feeling and they’re just plain mean!
MAUREEN picks MOISE up and starts shaking her. MAUREEN’S face gets bigger and bigger.
FADE TO
89 EXT LUMMIS PARK THE DANCE DAY 89
AL, ALICE and MOISE walk with the PEOPLES.
AL
Oh, Al-! -She knows-. –We don’t want to think about that.
MOISE
I saw you dance. If I had what you have I wouldn’t want to do anything else either.
AL
So, you don’t think you have what I have.
ALICE
Oh, Al!
MOISE
No.
AL
I agree.
ALICE
Oh, Al!
AL
I saw you dance. And while over all it was not a bad performance, if this is what you wanted from deep in here-
AL taps MOISE in the center of her chest.
90 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 90
MAUREEN shakes MOISE, the others remain in tableau.
MAUREEN
Okay, little one, it is time to explain exactly what you’re up to. You see, in the real world, where the rest of us live, nobody does anything unless there’s something to gain. Yet, you’re standing there telling me that you don’t even want a contract!
Are you really under the impression that you did something to help your Uncle Sir and Brat?
How, by babbling some hocus pocus about pieces of paper? We could have done this more comfortable over cocktails without leaving the beach!
CUT TO
91 EXT ZEKE'S SHOE SHINE STAND DAY 91
ZEKE and MOISE sit in two of the chairs, very subdued. The DANCE goes on around them.
OUR BUDDY walks towards ZEKE from the DANCE.
OUR BUDDY
Still haven't got it?
ZEKE
No, Ma'am.
OUR BUDDY
You can't be serious- -about leaving?
ZEKE
I am serious.
OUR BUDDY
There's got to be something.
OUR BUDDY goes into THE LOBBY where now we see her, JIM, TOM, UNCLE SIR, JOE and MARLA; as well as ZEKE and MOISE sitting on the SHOE SHINE STAND.
ZEKE
I have been coming here six days a week for over forty years. First day I worked this corner, I was fourteen years old.
I decided on my way, that first time, traveling by buggy- -that's right, I had to find someone willing to hitch me a ride, and walk between rides. Not a all a bad way to travel. I got here, and I'm still here.
Those days a man paid for his shine with a one, two ones; or, a five. Now it's a five, a ten; or, a twenty. And I can count on one of each of those every hour I spend here.
ZEKE studies MOISE'S face as she adds this up to the amazing amount of money it is compared to worker's wages in the early sixties.
ZEKE
Um hmm. It's enough to be right comfortable. This other, well, it's my retirement plan.
MOISE
Six days a week, for over forty years-?
CUT TO
92 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 92
MAUREEN shakes MOISE, the others in tableau.
MAUREEN
Does anyone else understand what she’s up to?
Oh, no, don’t give me that, “love,” shit. The friends here who love you so much, all live closer to you than they do to the beach. Coming out here we
drove within a mile of where you live. Even then, no one bothered to suggest we pick you up.
What time did you go out to catch the bus this morning? To help people who didn’t need your help doing anything at all. And why would you bother?
MOISE
That’s obvious.
MAUREEN
Not to me, it isn’t. Any of you guys understand?
UNCLE SIR nods.
JIM
Yeah I get it.
MAUREEN
Brat?
BRAT
Yes.
MAUREEN renews her attack on MOISE.
MAUREEN
Well, then, you are going to explain it to me. I’m not going to be left out!
FADE TO
93 EXT THE CLUB DAY 93
ROSE and MOISE dance to the sounds of SOUTH BEACH.
FADE TO
94 EXT ZEKE'S SHOE SHINE STAND THROUGH THE DANCE DAY 94
SIDNEY GREENSTREET ala BIG DADDY is dressed all in white. HE seems to be retrieving something from his wallet as HE approaches ZEKE, finally handing ZEKE a bill.
SIDNEY GREENSTREET
BIG DADDY
It occurred to me that I had not displayed proper consideration of your time.
95 EXT DAY A ONE-Hundred Dollar BILL 95
ZEKE
Thank you, sir.
FADE TO
96 EXT DAY THE DANCE 96
MOISE
(VOS)
Six days a week, for over forty years-?
ZEKE
(VOS)
I don't have the entrepreneurial spirit!
(Laughs.)
OUR BUDDY
(VOS)
Does this mean he'll stay?
FADE TO
97 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 97
MAUREEN shakes MOISE. BRAT, JIM and UNCLE SIR stand in decorative tableau. MOISE flails, trying not to hurt MAUREEN, but finally grabs the wig, which slides to expose MAURICE.
MAUREEN
Explain it to me! Explain it to me!
FADE TO
97 EXT THE DANCE DAY 97
AL dances, circling MOISE and circled by ALICE.
AL
-they wouldn’t even have to offer you a contract.
I don’t know who’s doing the thinking or what they’re thinking about, but it isn’t you, kid.
And the idea or fact that you ain’t got what I got doesn’t mean you don’t have something.
MOISE
Me?
ALICE
Yes.
AL
It’s just a rare and beautiful as whatever it is I got.
MOISE
Me?
AL
Just come ‘ere. I’ll give you a gift! I’ve heard them t’ings you say about this place. And I agree. It’s paradise and someday, we’ll all be right here, naked as the day we were born and dancing in these streets, this street, with King David.
If it’s all the same to you I don’t want to step out into that traffic. And I don’t take my clothes off in public unless I get paid for it.
Still, if you will-.
AL bows to MOISE offering his hand. They dance as though in a large ball room, their music the SOUND: of traffic, waves, people, gulls and a very thrilled ALICE following and repeating
ALICE
Oh, Al!
FADE TO
98 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 98
MAUREEN shakes MOISE, the others in tableau.
MOISE
I love you.
MAUREEN drops MOISE.
MAUREEN
Why?
MOISE
Because, God does. There is a God, a creator, who made everything and loves all of us. And someday, some way, I am going to prove it!
MOISE runs off.
MAUREEN freezes, part of the tableau for a moment, then mimics MOISE.
MAUREEN
Ya ya ya ya! “I’m going to prove it!” I’m not going to follow her.
SOUND: A fast moving car, tires screeching, a thud, a car picking up speed. JIM runs toward the sound.
FADE TO
99 INT DAY FRAT HOUSE ARCHIVES 99
FRANKIE, JO, JACKIE and ISME working on archives.
FRANKIE
He wanted to be buried at sea.
JO
Why was such a simple request denied?
JACKIE
It must be illegal somewhere.
ISME
And she just disappeared.
JO
What could she do?
FRANKIE
What else could she do?
JACKIE
She thought he was acting.
JO
This was a theatre fraternity. Don’t you think he was acting?
ISME
She wasn’t.
FRANKIE
So?
FADE TO
100 EXT PARKING LOT MICCOSUCCI RESTAURANT DAY 100
MOISE is stretched out on the tarmac. UNCLE SIR kneels beside her, checking her pulse. BRAT comforts MAUREEN to one side. FAY holds a glass of water. A MAN FROM THE RESERVATION kneels to study the bruises on MOISE’S chest, then stands shaking his head, no.
MAN FROM THE RESERVATION
Pray. (He does.)
FAY
Honey, here’s your water. Do you remember me? I’m, Fay.
JIM
(Running in.)
Son of a - -god, doesn’t even have a license plate!
MOISE
So am I.
FAY
Thing is, honey, I’m afraid you really are.
JIM
We better call an ambulance.
MAN FROM THE RESERVATION
Pray.
UNCLE SIR
How long would it take an ambulance to get out here?
MAUREEN
I believe she wants to be in water.
FAY
Why didn’t you say so? I live just-
FADE TO
101 EXT NIGHT MU FRAT HOUSE 101
SOUND: flugle horn solo; “Tennessee Waltz.”
BRAT plays the flugle horn.
The FRAT BROTHERS, still dressed for the wedding, dance.
MOISE, still dressed in her curtain, dances in.
FADE TO
102 EXT NIGHT CALVARY CEMETERY and MAUSOLEUM 102
SOUND: flugle horn solo; “Tennessee Waltz.”
BRAT plays the flugle horn.
The FRAT BROTHERS and MOISE, still dressed for the wedding, dance.
Slowly, each of the INDIVIDUALS from THE CLUB and all of the groups from the beach FADE in and join the dance.
MOISE
Time is the greatest distance.
UNLE SIR
Is it time?
MAURICE
Time for Miss Understood to be acknowledged.
JOE
Mr. Understood.
MOISE
He stood when others were afraid.
ALICE
“Blow out your candles, Laura.”
ZEKE
One candle doesn’t define all hope.
ZEKE lights a candle from a source at the gravesite. OTHERS follow.
OUR BETTY
When some of us fear, others will stand.
MOISE
He stood.
CHARLES
Sexual honesty.
RABBI
Sexual responsibility.
ROSE
Sensualist.
TOM
We experience life with all of our senses, all of the time.
SOUND: MUSIC “The Single Pedal of a Rose.”
MARLA
”I’ve always relied on the kindness of strangers.”
JIM
I didn’t go to the moon-.
TOM
I went further than that.
MR. GREENSTREET
“Time is the greatest distance-."
TOM
Love transcends time and space, class and race and gender.
SOUND: Soft echo and response, “Miss Understood,” “Mr. Understood,” continues.” JO, FRANKIE, JACKIE and ISME dance into the scene.
ISME
-What did she do that was so important?
TOM
“She called me a child of God.”
OFFICER CROWLEY and THE LIFEGUARD lift TOM onto their shoulders, ALL gather around.
MOISE
His was not a gentle life. But “the elements” did “mix in him.” And nature herself has risen up to
say, ‘this was a man!’”
CHARLES
Nothing more?
MOISE
Nothing less.
Some with lit candles, ALL carrying TOM on their shoulders dance.
FADE TO
103 EXT DAY SOUTH BEACH THE DANCE FROM THE WATER DAY 103
The funeral cartage moves through all of the PEOPLES to the water.
SOUND: “Single Pedal of a ROSE” and the chants continue, softly.
FADE TO
104 INT BATHROOM FAY’S MOBILE HOME DAY 104
MAURICE uses the mirror of the medicine cabinet, first trying to clean the wig, then trying to salvage the make up. Finally going through the contents of the cabinet to consider things like suicide by Midol or safety razor.
MOISE rests in the bath, her face visible at one end of the tub. Suddenly her eyes flicker.
MOISE
Don’t worry, Mister, I’m not going to die-.
MAURICE drops a handful of medicine cabinet contents into the sink with a clatter.
MOISE
-if that’s what you’re worried about.
MAURICE turns to MOISE with conflicting emotions, hip rolling and a lot of MAUREEN.
MAURICE
We have to stop meeting like this.
MOISE
Okay.
MAURICE
Next time I get the bath.
MOISE
Okay.
MAURICE
When you knew the car was going to hit you, you leapt.
MOISE
Yes.
MAURICE
I’ll find you.
FADE TO
105 EXT OCEAN DRIVE THE DANCE DAY 105
ROSE and MOISE dance to the sounds of SOUTH BEACH.
FADE TO
106 EXT THE OPEN OCEAN DAY 106
A small dot becomes MOISE.
MAURICE surfaces.
MAURICE
‘ pissed?
MOISE drips a handful of water into MAURICE’ face.
MAURICE
Well, then. Where are we?
MAURICE slowly and deliberately dunks MOISE.
MOISE FLOATS TO THE TOP still serene.
MOISE
I have no idea.
MAURICE
Maybe we can walk back.
MOISE
To where?
DOZENS OF LIVING THINGS splash, moving along the surface of the water. When the splashes are close enough, WELL DRESSED PROFESSIONAL PEOPLE can be recognized. As the group comes more-or-less abreast, one of the swimmers pops her head out of the water.
SWIMMER
Good after noon!
MAURICE will not be daunted.
MAURICE
Hi, how are you.
MOISE waves as the swimmers continue off.
MAURICE
Who are they?
MOISE
College professors.
MAURICE
They must be your professors. I didn’t go to college.
MOISE
Why not?
UNCLE SIR walks across the water into the scene.
UNCLE SIR
Everybody was worried when you didn’t show up-.
MAURICE
-How come he can do that, and I can’t?
UNCLE SIR starts to sink.
UNCLE SIR
Thanks a lot.
UNCLE SIR resurfaces and heads back the way he came.
FADE TO
107 EXT DAY SOUTH BEACH THE DANCE FROM THE WATER DAY 107
People from INDEPENDENT LAYERS OF TIME move through, evidently unaware of, each other. ALL INDIVIDUALS and groups move rhythmically about their tasks. MAUREEN stands on the wall rolling her hips, smiling and gesturing for us to join in. Near MAUREEN COPPER-SURFER-TODDLER JESUS happily invites us with hip rolling come-on gestures much like MAUREEN’S. SOUND: “I Will Always Love You,” Dolly Parton, The Best Little Whore House in Texas. Just that line.
MOISE
(VOS)
Thank you.
FADE TO
THE END
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