Masters Thesis
For my culminating project at Alaska Pacific University for my Masters of Arts in Theatre, I put all my theatrical experiences together. I wrote a full length play for high school performers, directed a production of the script, and made a documentary film about the project.
The performance was very successful. Actors and audiences alike enjoyed the production and the film was well received by my degree committee. One committee member even went so far as to say I should use the package of the materials and film as a unit in how to instruct teachers to direct performances and use theatrical skills in the classroom.
The script was based on a combination of Cyrano De Bergerac and the real life events in the life of New York mobster, Frankie Gallucio. It included a significant amount of jazz influence as well.
The piece was performed again recently in a more avant garde style. The audience was brought up onto stage which had been transformed into a speak easy. The entire performance was done amongst the members of the audience. This was a truly great experience for everyone.
I include here only the script. The film cannot be uploaded using the techniques available. If you would like to see the complete work, please do not hesitate to ask.
David Block
Mood Indigo
The concept:
The play takes place during the late 20’s, 1928 to be exact. Jazz music is at its height, the Harlem renaissance is in full bloom and prohibition has fueled the gangland crimes of Al Capone, Frankie Yale and others. In this adaptation of Cyrano de Bergerac, we see the 16th century love story translated to 20th century America.
The Characters Original Cast
Frankie “The Galluch” Galluccio Justin Strom
Cristiano Liam Devlin
Angelo Yale Sam Gottstein
Regiano Victoria Owens
Nick Santelli Erica Mitchell
Joe Caprese Tim Treuer
Roxane Lydian Blossom
Tony Alex Richert
Goon #1 Anthea Carns
Goon #2 Ernie Piper
Tommy Braidon James Murphy
Bellerose Erin Bentley
Jodelet Erin Britton
Cuigy Ellie Millen
Vita Jodie Banks
Uptown Business Man #1 Shea Winterberger
Uptown Business Man #2 Mandi Carlson
Mario James Murphy
Holly Cherise Victoria Owens
White Hand #1 Tim Treuer
White Hand #2 Christina Ashby
Maitre’d Jodie Banks
Drunk Dandy Christina Ashby
Wild Bill Lovett’s boys Ensemble
A Note on Mood:
Music is key to this show. In the original production, period Jazz music was played between all the scene changes and was used to set the scene of the Cotton Club at the top of the show. Holly Cherise sings a torch song at the top of the show as well. Any torch song will do here, particularly something from Billy Holiday.
The intent is to mimic film noir on stage. Stark shadows and lighting in deep blues or sepias should work well. Drifting smoke can be used effectively in several scenes, especially the Cotton Club and the Harvard Inn.
The original set was a simple set of stacked platforms painted with art deco style designs. Stage blocks were used for all other pieces of furniture.
Scene 1: The Cotton Club
Characters in the club move about in various groups giving the impression of a busy upscale club. Music plays softly in the background. In the original production, the audience began to file into the theatre space while this activity was taking place, as if they were entering the club themselves. They were seated by waiters and a Maitre’D instead of ushers. Characters asked members of the audience to dance, and milled about with the audience to draw the crowd into the show. When the house is sufficiently full…
(TONY and CRISTIANO are discovered at lights up)
BELLEROSE:
Ladies and Gentlemen, the Cotton Club is proud to present Miss Holly Cherise!
(Holly enters and is hit by a spotlight. She sings a slow torch song. The audience applauds at the end and Holly exits.)
UPTOWN1 (conducting business partner):
Let’s sit here.
UPTOWN2 :
What is the show tonight?
UPTOWN1:
Everything. Music. Acting. The works.
UPTOWN2:
Vaudeville? Isn’t that a little passé?
THE UPTOWN1:
Vaudeville?! HAH! This is the latest thing!
You’ll see some fine stuff tonight! The Cats Meow!
(Enter CUIGY then REGIANO and NICK.)
CUIGY (laughing): Tony!
TONY (aside to CRISTIANO):
May I introduce you?
(CRISTIANO nods in assent):
Cristiano… Mr. Cuigy.
(They shake hands.)
CRISTIANO :
Nice to meet you!. . .
FIRST GOON (to second):
Who’s the new guy? He doesn’t look like he’s from around here.
TONY (to Cuigy):
Cristiano just came in from Chicago.
CRISTIANO:
Yeah. I’ve only been in New York for about two weeks.
CUIGY (to CRISTIANO, looking around the club, which is filling fast):
Its getting crowded
FIRST GOON:
All the beautiful people!
TONY (drawing CRISTIANO aside):
Pal, I said I would help you out, but I don’t see her. Maybe next time.
CRISTIANO (persuasively):
No, no! She’ll be here. I know she will. You have to stay and tell me who she is.
(Music begins to play.)
CRISTIANO:
She’s just being fashionably late. I have no way with words, you have to help me. Her table is there. She always comes to the club.
TONY (making as if to go):
I gotta go.
CRISTIANO (detaining him):
Please, stay.
TONY:
I can’t. Oh… ok. But only for a moment.
ALL (from all the audience, at the entrance of a plump little man):
Ah! REGIANO!
TONY (to CRISTIANO):
It’s Regiano. He owns a restaurant.
REGIANO:
Have you seen Frankie?
TONY (introducing him to CRISTIANO):
Regiano loves actors, musicians and poets. He’s insufferable. They take advantage of him. Every one of them owes him money. Actually, he’s a pretty good writer himself.
REGIANO (overcome):
You flatter me! But tell me. Have you seen Frankie? It’s odd he’s not here.
TONY:
Why so?
REGIANO:
Braidon plays!
TONY:
Yeah? So what? Why should Frankie care?
REGIANO:
WHAT? You don’t know? He hates Tommy Braidon and has kicked him off the stage for a month!
TONY :
So?
REGIANO:
Braidon still goes on!
REGIANO:
Oh! oh! This I have to see.
FIRST GOON:
Who is this Frankie?
CUIGY:
A made man. Don’t mess with him.
He’s Angelo Yale’s man, but his friend there can tell you more.
(He calls to Nick):
NICK!
(NICK comes towards them):
You looking for Frankie?
NICK:
Yeah. I’m worried.
CUIGY:
They say he’s strange.
NICK (tenderly):
Strange? He is unique.
REGIANO:
A Poet!
CUIGY:
A Soldier!
TONY:
A Musician!
NICK:
Dangerous!
TONY:
He has class.
REGIANO:
He’s impossible to describe. Smart, classy and nobody is better with blade or gun. And proud! But boys… one thing he does have is… a nose. When you see him for the first time, you’ll swear it’s a fake he can remove. But it isn’t. He always keeps it on.
NICK:
He keeps it on–and anyone who mentions it, he cuts in two!
REGIANO (proudly):
Frankie Galluccio is like the Grim Reaper. Whenever he’s around, death is sure to follow. Where do you think Capone got those scars eh? The Galluch gave them to him when Alfonse was just 18 up at The Harvard Inn. Just for being rude to a dame.
FIRST GOON (shrugging his shoulders):
He won’t come!
REGIANO:
I say he will! and I bet a free drink on it.
THE GOON (laughing):
Good!
(Murmurs of admiration in hall. Roxane has just appeared and goes to a table. She sits with her maid and chaperone, Vita.)
SECOND GOON:
Well Boys. What do you think of that?
FIRST GOON:
She’s a peach!
SECOND GOON:
True, but she’s also an ice queen. The man who gets near her runs the risk of frostbite!
CRISTIANO (raising his head, sees Roxane, and catches TONY by the arm):
Its her!
TONY:
That one?
CRISTIANO:
SHhh! Yes. Who is she?
TONY :
That’s Roxane Gabrioli. Pally, you sure set your sights high!
CRISTIANO:
Great! Why do you say that?
TONY:
There’s a line of men waiting for her. Angelo Yale being one of them. Oh yeah, plus she’s in Frankie’s family, a third cousin or something.
(A man in a tuxedo enters the room.)
CRISTIANO (starting):
Who’s that?
TONY (who is becoming tipsy, winking at him):
That, pally, is Frankie Yale. He would marry Roxane himself if he wasn’t already married. So instead he’s trying to set her up with Angelo, his little brother. She wants none of it. Angelo is a pig. But Don Yale has connections, pull. He could make a lot of trouble for her. In fact, if it wasn’t for a song I wrote telling the whole world about it, she might have trouble still. Yale hates me for it though but he puts up with me because he thinks I’m funny. Listen… you wanna hear it? The last line is the best.
(He gets up staggering, and raises his glass, ready to sing.)
CRISTIANO:
No. Good-night.
TONY:
What!? The show is just starting. Where you gonna go?
CRISTIANO:
To have words with Angelo Yale!
TONY:
You outta your mind? He’ll kill you.
(showing him Roxane by a look):
Stay where you are–she is looking at you.
CRISTIANO:
Yeah?
TONY:
Besides. It’s me who has to go. I’m off to find a gin joint I can be welcome at.
(He goes out, reeling.)
NICK (who has been all round the club, coming back to Regiano reassured):
No sign of Frankie.
REGIANO (incredulously):
All the same. . .
NICK:
Maybe he doesn’t know?
(CRISTIANO calls over a waiter.)
WAITER
Yes sir? What can I do for you? Cigar?
CRISTIANO
None of that. I have a note I want you to bring to Mr. Yale.
(The Waiter is visibly scared.)
WAITER
Sir? I think I can do you a better favor. I’ve overheard tonight a terrible thing.
CRISTIANO
Yeah? Well? Out with it!
WAITER
You are friends with Mr. Tony. I saw you two speaking. Wild Bill Lovett wants him dead, on account of a song he wrote. He’s got guys all over town after him.
CRISTIANO
Lovett? Don’t mess with me. I ain’t in the mood. Lovett’s boys haven’t messed with us since Capone got rid of Lonergan. Those Micks haven’t got it anymore.
WAITER
I’m serious mister. At least 50 guys. Maybe a 100.
CRISTIANO
I gotta warn him.
WAITER
You’ll find him wherever there’s gin. Leave messages around town at the speakeasies. He’ll get ‘em.
(Waiter departs)
CRISTIANO
Roxane…. Another day. I gotta go find Tony.
NICK (in a low voice to Regiano):
Braidon eh?
REGIANO (also in a low voice):
Yeah.
NICK:
I don’t see Frankie anywhere.
REGIANO:
I guess I lose the bet.
NICK:
Its better this way anyway!
(The Crowd is racous… suddenly… it gets very quiet. Music swells and the lights dim. Jodelet comes on stage.)
JODELET
Ladies and gentlemen, Tommy Braidon and his Band of Renown.
BRAIDON
This is a little number I wrote –
A VOICE (from somewhere in the club. In the original production, Frankie was preseated in the house):
Braidon!!! Didn’t I kick you off the stage for a month?
(General confusion.)
DIFFERENT VOICES:
Hey?–What?–What is’t?. . .
CUIGY:
Its Galluccio!
NICK (terrified):
Frankie!
THE VOICE:
Get off the stage Tommy!
ALL THE AUDIENCE (indignantly):
Oh!
BRAIDON:
But. . .
DIFFERENT VOICES (from the pit and the boxes):
C’mon! Enough!–Play on, BRAIDON—don’t be afraid!
FRANKIE
Your next note will be your last Tommy Braidon.
BRAIDON (to the GOONes):
Help!
A GOON (carelessly):
Go on! Go on!
FRANKIE:
Fatso. Lay a hand on me and I send your head home to your wife.
THE GOON:
C’mon Frankie. Don’t be like that.
FRANKIE
Me?! Its Braidon who mocks this whole evening. Get him off the stage and the evening can commence. Or do I have to make my point another way? (he pulls a knife)
(the crowd forms a circle around him)
Come on! Who will be first? You? How about you? You know me boys. A man of my word. I promise to make the slices smooth enough that your family will still recognize you in the casket. Raise your hand whoever wishes to be first. What? Nobody? Not even one? Then get that musical butcher off the stage!
BRAIDON (Looking for help from anyone): But Frankie… Mr. Galluccio…
FRANKIE (leaves his chair, and settles himself in the middle of the circle
which has formed):
I will clap my hands three times. On the third clap, you will become a magician Tommy Braidon, and disappear!
FRANKIE (clapping his hands):
One!
BRAIDON:
I. . .
A VOICE (in the boxes):
Stay!
BRAIDON:
I think. . .Gentlemen,. . .
FRANKIE:
Two!
BRAIDON:
I think its best that. . .
FRANKIE:
Three!
(BRAIDON runs offstage. Tempest of laughs, whistling cries,
etc.)
THE WHOLE HOUSE:
Coward. . .come back!
FRANKIE (delighted, sits back in his chair, arms crossed):
Not if he values his life! Piker!
A UPTOWN1:
Emcee! Emcee!
(Bellerose comes forward and bows.)
GOON 1:
Ah! here’s Bellerose!
BELLEROSE (elegantly):
Ladies and Gentlemen . .
GOON 2:
No! no! Jodelet!
JODELET:
Mr. Briadon has… umm… was called away…
THE HOUSE:
Coward! Piker!
A YOUNG MAN (to FRANKIE):
C’mon Mr. Galluccio. Why the wet blanket routine?
FRANKIE (graciously, still seated):
Two reasons. First, he sings like an old crow. The words should fly from his mouth and drift down, dig? This isn’t a joint for any dog tunes. And the second… well.. that’s personal. Capice?
YOUNG MAN
Capice. Still we need a little music Mr. Galluccio.
FRANKIE
Not from that square.
THE WOMEN
(various cries.. “Aw Applesauce!” “C’mon Galuch” etc.)
FRANKIE (turning his chair toward the boxes gallantly):
Ladies fair, with grace and poise
I spare you from Braidon’s noise
But a torch, sweet and blues, low down
Let’s ankle dolls, and hit the town!
(The women respond variously)
BELLEROSE:
Cut the hooey Frankie! These cats paid good to get their kicks! What about the voot?
FRANKIE (turning his chair toward the stage):
Bellerose you make the first smart comment all night. I’m no mickey mouse critic. Here! (he throws up a wad of cash)
THE HOUSE (dazzled):
Ah! Oh!
JODELET :
Hot Socks! You can throw Braidon off every night if you’re gonna do this!
BELLEROSE:
Alright folks! That’s it for the evening.
(The crowd begins to shuffle away into the night)
A DRUNK DANDY
You Sir, are a menace!
FRANKIE
Excuse me?
DANDY
A menace I say. My wife and I came here tonight to have an evening, and you’ve ruined it. Don’t think I don’t know how you two bit hoods operate!
FRANKIE
Scram fella. (He turns to leave, but the Dandy puts his hand on Frankie’s shoulder and pulls him around. Frankie turns slowly. The crowd quiets and notices the exchange.)
DANDY
Listen Old Boy, I’ll not take your insolence. I’ll take this to the police. I never forget a face.
FRANKIE
My face? You looking at my face? What about it particularly interests you, Bub? (the crowd realizes where this is going) Something on my face catch your eye?
DANDY (Suddenly realizing he may have made a mistake): No, Uh… nothing in particular, its just that…
FRANKIE
Is it my nose? You were noticing my nose perhaps?
DANDY
Well no. I mean …
FRANKIE
Natch. That had to be it. What about it “interests” you, huh? The size of it maybe?
DANDY
No. I never…
FRANKIE
Maybe it has a wart on it eh? Or a bug maybe?
DANDY
No..
FRANKIE
Well what was it then?
DANDY
I didn’t really even notice it.
FRANKIE
Not so good! Not so good buddy boy. You can’t look at it at all. Why? Because its so hideous?
DANDY
What? NO! I … Someone help me!
FRANKIE (Grabs him by the scruff and pants and throws him out):
It’s huge! Enormous! But know this, it’s a proud nose, a prodigious nose and hung on one with a brave and courteous soul! So courteous in fact, that I will personally show you the door. So generous, in fact, that anyone who takes offense at my nose, I shall do even more than toss him to the curb. Anyone else? Nobody? (he turns to leave)
(A White Hander stands up. The crowd hushes.)
WHITEHAND
You Dago windbag. You don’t ruffle me.
FRANKIE
No?
WHITEHAND
No.
FRANKIE
Don’t lets get haincty chum. Why don’t you just hit the road?
WHITEHAND
Why don’t I just hit you? Bignose. (there is an audible gasp.)
FRANKIE
That’s the best you can do? Bignose? My nose is big?
WHITEHAND
As a house! HAH! (He struts for the audience.)
FRANKIE
Oh… my little Irish halfwit. There are a hundred things you could have said that would have been better. Just by changing your tone.
NICK
I don’t think he believes you old man!
FRANKIE
You don’t believe me eh?
THE AUDIENCE
Show him Frankie. Teach him a lesson. Idiot!
(The Whitehand is beginning to think he’s bit off more than he can chew. But he is fully committed.)
FRANKIE
Well then, let’s start with …
Friendly: ‘When you drink, doesn’t your nose get stuck in the glass? Perhaps you should drink from a bowl.
Geographic: Is it a rock? A mountain? No! It’s a Peninsula!
Curious: Can you pack your luggage in it?
Gracious: You must really love birds to provide them such a roomy perch.
Seasonal: It must be nice to smell the spring flowers…. From all the way in December.
Emphatic: Stand back! He’s got a cold and its about to BLOW!
Pedantic: Is it a man? Or a talking penguin?
Rustic: Is that thang a nose? Billymae, git up here, we gots ourselves a prize rutabaga!
Motherly: It’s not polite to point.
You might have come up with something clever like that, you might have, but you’re a brainless Mick. Besides I never would have let you say one of them before I would have taught you a lesson.
WHITEHAND
Idiot! Piker!
FRANKIE (taking off his hat, and bowing as if the Irish gangster had introduced himself):
OH! And I am Frankie Galluccio. At your service.
(Laughter.)
WHITEHAND
Enough talk!
(Frankie shrugs and pulls his knife. The whitehander does too. They begin to fight.)
FRANKIE
Sorry Mick, but this just isn’t enough to keep me interested. I have to liven up the pace a bit. If you don’t mind, I’ll make up a little poem as we dance.
Hear the music. Feel its beat
Your heart leaps in your chest as we dance
Locked in an embrace of violence.
And all around the eyes are watching
Trying to catch us in a little mistake
Or see a bit of sweat trickle down and betray our fear
Until a third dancer enters the scene
And taps you on the shoulder, cutting in,
Holding you in his embrace, dancing you to Out There
With my outstretched, final… Touch.
(On “touch,” the Whitehand is killed. A woman screams. For a moment there is silence and then we hear a siren in the distance. Frankie calmly puts away his knife and the crowd bursts into action. Nick comes to Frankie’s side. Roxane is leaving, but stops long enough to hold Frankie’s hand.)
ROXANE
Frankie! I need to see you. Meet me at Regiano’s tomorrow. Tomorrow at 7:00.
(She drifts away with the crowd. Frankie sits on the floor.)
NICK
C’mon Frankie. We gotta scram.
FRANKIE
Did you hear?
NICK
Hear?! OF course I heard. I heard the whole thing! What have you got against Braidon anyway?
FRANKIE
Braidon? He’s a hack. Regiano’s a better actor than Braidon. Besides, he was giving Roxane the eye.
NICK
Roxane? (it dawns on him) You and Roxane?
FRANKIE
Yes.
NICK
So why don’t you tell her?
FRANKIE
Me? I’m a freak. A hideous freak. How could she ever feel the same for me? She’s … ethereal. (beat) and I’m a two bit hood.
NICK
But she said she wants to see you.
FRANKIE
Yes! And so I live in hope! She noticed me tonight! And that, my friend, makes me want to explode!
(Tony sneaks out from a hiding place)
FRANKIE
Tony! Where you goin’?
TONY
Dunno Frankie. Evening Nick. Don’t got nowhere to go. Lovett’s boys are all over the streets and they’re after me on account of a song I wrote about Lovett.
FRANKIE (Laughs!)
I know it! And a good song too! Lets go boys! Tonight I will be your bodyguard Tony. Tonight I can take the whole bunch of them!
(Sirens begin to sound again. They exit. )
Scene 2: Regiano’s Restaurant
Regiano’s Restaurant. Small tables are scattered about. Workers meander about setting up the dining room for the day’s business. Regiano is seated at a table writing in a journal. The workers love Regiano, but think of his writing as schmaltz at best.
(Regiano is writing, with an inspired air, at a small table, and counting on his fingers.)
REGIANO
Spring’s soft air blows through the land
Wing-ed birds strike up the band
And flowers blooming on the sill
Scent each room and cure each ill.
That’s 2. But “land” and “band?” I know I can do better. Mario, come here.
MARIO
Yes boss?
REGIANO
What do you think of this? Is land to strong sounding with band? Should I try for two syllables? What do you think?
MARIO
I dunno boss. Alls I know about poems is they is supposed to rhyme. Yours rhymes, so I guess it’s pretty good.
(FRANKIE enters hurriedly. He has a cut on his hand wrapped in a bandage.)
FRANKIE
Regiano! Lock the doors!
REGIANO
What? What is it?
FRANKIE
C’mon! Git rid of these guys.
REGIANO (Waving his men to the back of the place.) Go on!
FRANKIE
They’re coming! You’re too slow, you pack of saps!
REGIANO
Move Move! Faster you idiots! They’re coming! (To Frankie) Who’s coming? Wild Bill’s boys? Hehe. You gave them a beating last night I hear!
FRANKIE
Roxane and her maid, old man. Where can I speak with them quietly?
(Regiano indicates an area of the restaurant. Frankie goes to wait there. He paces back and forth.)
FRANKIE
She comes to speak to me. Why? It could only be one thing. You old fool! It could be anything. You are in a poet’s fantasy now! How will the suave Francis Galluccio fix this? (He continues pacing) Rhatz! I can’t do this. I can’t face her. Not with this… palooka face. A letter. That’s the ticket. A love letter, swank and elegant. (He sits at a table and begins to write.)
(A bunch of poets, musicians, Bellerose and Jodelet enter the restaurant. They greet Regiano.)
MARIO (entering, to REGIANO):
Here they come, your rummy splifficated friends from the theatre here to beat their gums and eat your food.
REGIANO
What’s eating you Mario? These cats are the real McCoy.
(Mario leaves in a huff)
REGIANO
My friends! My friends!
JODELET
Ah! Regiano. You are a prince among restauranteurs!
HOLLY & BELLEROSE
Oh yes. A prince. Wonderful!
REGIANO
Sit my old friends and I’ll give you a little something. (He motions to Mario who begins to bring out food. The musicians eat it with gusto)
REGIANO:
While you eat. Listen to this poem I wrote. Its not very much –
THE MUSICIANS
Nonsense! Yes! We love your poems Regiano. So insightful!
REGIANO
It is a recipe set to rhyme. Tell me how you like it?
How almond tartlets are made.
Beat your eggs up, light and quick;
Froth them thick;
Mingle with them while you beat
Juice of lemon, essence fine;
Then combine on low heat
The milk of almonds, fresh and sweet.
Circle with a custard paste
The slim waist
Of your tartlet-molds; the top
With a skillful finger print,
Nick and dint,
Round their edge, then, drop by drop,
In its little dainty bed
Your cream shed:
In the oven place each mold:
Reappearing, softly browned,
The renowned
Almond tartlets you behold!
THE MUSICIANS (They applaud)
Aha! Brilliant! So much depth. Hughs never wrote as well!
REGIANO
Oh its not as good as that?
HOLLY
Even better Regiano. The Cat’s Pajamas!
FRANKIE (Enters and makes motion to Regiano)
Hst! Hst! They come!
REGIANO
My friends. I have Cannoli in the back. A sample perhaps?
MUSICIANS
A sample?! AH-HA! Of course. How could we pass it by?
(The Exit leaving Frankie alone on stage)
(Roxane enters with Vita. Frankie, nervous, hides the letter in his jacket.)
FRANKIE
I will listen to what she has to say. If there is any chance for me, I will give her the letter. Welcome cousin. Please let me speak to your maid for a moment? (He hustles Vita towards the kitchen.) Regiano has something for you. Cannoli! Yes lovely and sweet. I think you should have… several. Until you are full. I will call you. (He pushes her off stage. He returns to Roxane.) I am so glad you asked to see me. Tell me, how may I help?
ROXANE
I have something to confess. But before I do, we must be reacquainted. Its been so long since those days when we used to play in the yard behind Aunt Sophia’s house. Do you remember?
FRANKIE
You used to spend summers there some years.
ROXANE
I was so foolish then.
FRANKIE
You had freckles from the sun
ROXANE
Oh? In my summer dresses… was I pretty?
FRANKIE
You weren’t awful to look at.
ROXANE
And the tree! Do you remember? You used to climb it and would hurt yourself. And I would pretend to be your mother. I would hold your hand and (She takes his wounded hand) Oh Frankie! What happened?
FRANKIE
Its nothing. Nothing. (He draws it back)
ROXANE
It is not. Give it to me. (She uses a handkerchief to clean the wound.) You got this fighting. You men and your battles. May I live to see the day when no longer fight. I hope you won at least.
FRANKIE
I always win cousin. But lets not talk about this. You had something to tell me?
ROXANE
Yes. I’m ready to say it now. Frankie, I’m in love.
FRANKIE
In love?
ROXANE
He has no idea. He’s the bees knees Frankie. He has loved me for some time, I think, but is too timid to say anything.
FRANKIE
Ah?
ROXANE
He is in the Black Hands. He is proud and strong. Courageous. Handsome.
FRANKIE
Handsome!?
ROXANE
What is it Frankie?
FRANKIE
Nothing… I just thought… Its just my hand. I should get it looked at.
ROXANE
Yes. You should. But before you go. Please listen. I need a favor. Will you look after him? Keep him out of trouble?
FRANKIE
Who is it?
ROXANE
Cristiano
FRANKIE
He’s not a Black Hand!
ROXANE
He sees Joe Caprese today with instructions from Chicago. Or so I’ve heard.
FRANKIE
Oh Cousin.. this is so quick. I ….
VITA
I’ve eaten all the Canoli Mr. Frankie!
FRANKIE
Then eat the Ravioli too! (He shoves her back to the kitchen)
ROXANE
We’ve stayed too long Frankie. Tell me you’ll keep him out of trouble. Tell me you’ll look after him.
FRANKIE (Reluctantly)
I will. I swear it.
ROXANE
I love you Frankie. (Blows him a kiss) You’re a doll. (She exits with Vita.) Tell him to write me.
FRANKIE (After she leaves. Draws forth the letter)
And I love you…
(Frankie stands alone.)
Scene 3: The Harvard Inn
This speakeasy is not nearly as nice as The Cotton Club. It’s Frankie Yale’s club and doubles as a hideout for members of the Black Hand.
(A bunch of the boys are hanging out within the club, including Joe and Cristiano. One of them looks out a window.)
GANGSTER 1
He’s coming. There he is. He’s coming.
(The group assembles. Frankie walks in)
GANGSTER 2 (To Cristiano)
Hey! New meat. One thing you gotta know. When it comes to Frankie, ain’t nobody ever beat him. So you’d be wise to watch your mouth.
GANGSTER 3
Yeah. So don’t never mention his… or you’ll be looking at a one way trip to the cemetery. Know what I mean?
CRISTIANO
I got it. (He turns to Joe) Hey Boss. Is there anyone in this town we Black Hands should worry about?
JOE
Us?! Are you kidding? We own the place. You just remember you’re a Black Hand. You show everybody y’ain’t afraid of nothing. Tough see?
CRISTIANO
Tough. I dig.
GROUP
Hey! Frankie! Attaboy Frankie! Good job old man! You got it Boy!
JOE
Frankie! Good job. But you gotta leave some for us next time. Them Mick’s is running scared all over town. And all because we got us a one man army name of Frankie Galluccio!
GANGSTER 2
Tell us what happened man!
FRANKIE
No. Later.
GANGSTER 3
C’mon Frankie. We been cooped up in here all day.
(They notice his hand)
GANGSTER 2
Jeepers Creepers! You ok Frankie?
FRANKIE!
Ok? Everything’s Jake. I just had a big night is all. But ok. I’ll tell you. (The gang settles in to listen.) But in my own poetical style.
Poor little Tony, in dutch with the Micks
For insulting Wild Bill with one of his tricks
So off I went, my courage no pose
And there was a Mick right in front of my –
CRISTIANO
Nose!
(There is a gasp.)
FRANKIE
Nose?! Who is this punk?
JOE
Cristiano from Chicago. He just joined up with us today. New guy Frankie.
FRANKIE
Cristiano? Cristiano. Yes…um.. very good. Where was I … oh yes.
Right in front of my eyes.
I thrashed each one soundly
And beat each one roundly
And more I did seek
CRISTIANO
By using your BEAK!
(More gasps)
FRANKIE
Wha!? No.. no no no… that is not the line
And more I did seek
Both the proud and the meek!
And when they were piled
My temper not riled
My hand wrapped in gauze
CRISTIANO
You picked at your SCHNOZ!!
FRANKIE
AAAAAUUUUGHH!!!! EVERYONE OUT OF THE ROOM!!
JOE
What a waste! And so young too
GANGSTER 2
He’s so dead.
GANGSTER 1
Can’t say we didn’t warn him
(They all scramble for the doors. Once gone. Frankie charges towards Cristiano who stumbles backward.)
Cristiano! Old friend. You are brave. Quite brave. But dangerous. And I am sworn by our brotherhood to keep you from danger.
CRISTIANO
What? Sworn?
FRANKIE
Yes. And we are practically brothers you know. Roxane, you know, is a relative of mine. Distant cousin, but still related.
CRISTIANO
Roxane…
FRANKIE
She loves you y’know. Or thinks she does. You need to talk to her.
CRISTIANO
Talk to her? I can’t. I mean.. I can’t talk to her. I’m horrible with women. I get tongue tied.
FRANKIE
Haha. You.. with your looks have a tongue of lead. Me with my tongue of silver.. I have this huge… what did you call it? Yes. A Schnoz.
CRISTIANO
About that. I apologize. I was told that you admired courage.
FRANKIE
And I do. But tell me. Have you real courage?
CRISTIANO
OF course!
FRANKIE
Then I have an idea. You are to write her a letter. Here is your first one. Merely sign your name to it. It will be perfect. She will become completely infatuated with you. I know it! Between the two of us, with your looks and my words, we will be her romantic hero!
CRISTIANO
Will it work?
FRANKIE
With us? How can it fail?
CRISTIANO (while perusing the letter)
How can it fail? OK! I’m in. (They shake hands as the other men sneak back in, incredulous.)
FRANKIE
A deal! We’re in it together!
(The men laugh though somewhat nervously)
GANGSTER 1
Hey Frankie. Does this mean we can make fun of your nose now?
(Frankie knocks him unconscious.)
Scene 4: The City
Various scenes in New York
(Roxane and Vita travel through the streets. At various points, Roxane is delivered letters. We hear her read them in a voice over.)
ROXANE
My dearest Roxane,
The more of my poor heart you take
The larger grows my heart!’
I’ve loved you from afar it seems like forever. I dare only tell you this in a letter, or my passion will consume me. My dearest heart, perhaps this will tell you how I feel about you.
‘Since some target I must show
For Cupid’s cruel dart,
Oh, if mine own you deign to keep,
Then give me your sweet heart!’
Roxane my beloved,
I live each moment in hope. Hope that I still reside in your loving heart.
‘My heart to yours sounds but one cry:
If kisses fast could flee
By letter, then with your sweet lips
My letters read should be!
If kisses could be writ with ink,
If kisses fast could flee!’
My heart,
Each second I ask myself, “Can it be that she truly loves me?” Oh say it is so. I only survive knowing you love me and think of me each day. Thinking of you makes me become the kind of man I wish I could be. I long for the day when we might be together, for on that day I may touch your cheek with my trembling hand. I live for that day, knowing that when it comes, my life will be fulfilled.
Scene 5: The Harvard Inn
(Cristiano is seated at a table.)
(Enter Frankie)
FRANKIE
My friend. It’s working. I hear that she is deeply in love with you. She wants to meet with you tonight.
CRISTIANO
What? Meet?
FRANKIE
Yes. Tonight. At her house. Outside her window. It’s perfect. You’ll finally get your chance. Go! Talk to her.
CRISTIANO
What? I can’t talk to her. I won’t know what to say!
FRANKIE
Don’t worry. We’ll plan ahead. I’ll tell you what to say and you just memorize it.
CRISTIANO
But I can’t. I’ll forget. I’m terrible at this.
FRANKIE
Wait. I have an idea. This is what we will do…
Scene 6: Roxane’s House
Interior of a simple but nicely decorated home.
(Roxane is shuffling through Cristiano’s letters. Enter Vita and Angelo.)
ROXANE
Mr. Yale.
ANGELO
Roxane. (he waits for Vita to leave. Roxane motions her off.) There will be war Roxane. It’s arranged. Them Mick’s, The White Hands from Five Points. They want control. We gotta take ‘em out.
ROXANE
War?
ANGELO
Yes. You don’t seem worried about me.
ROXANE (distracted)
Worried?
ANGELO
Will I ever see you again Roxane? Don Uale put me in charge Roxane.
ROXANE
Congratulations Angelo
ANGELO
I’m supposed to take that Rube Cristiano and your cousin to do a special hit. That Frankie is trouble. Maybe I’ll figure out a way to get rid of him too.
ROXANE
(Gasps) Cristiano?
ANGELO
What’s wrong Roxane? You sick or something?
ROXANE
Cristiano. Oh my love…
ANGELO
Oh I’m so glad you feel the same as me Roxane! And right when I gotta go too!
ROXANE
And you want to get back at Frankie?
ANGELO
I can see why you’d be worried, he’s family.
ROXANE
Me? Worried about Frankie? I wish he’d be taken down a few rungs!
ANGELO
Really?
ROXANE
Yes. And I know just what you can do.
ANGELO
Yeah?
ROXANE
He’ll only get more famous if you let him make this hit. Make him stay at The Harvard Inn with Cristiano as a babysitter. That’ll drive him crazy and ruin his rep.
ANGELO
You DO love me Roxane! I must go. Farewell!
ROXANE
Farewell Angelo!
VITA (Mocking)
Farewell Angelo.
ROXANE
Quiet Vita! Not a word of this to anyone!
Scene 7: Outside Roxane’s Window
There is a balcony with French doors leading into Roxane’s room. An area beneath the balcony provides foliage for hiding.
(Roxane is above in the Balcony. Frankie is hidden and Cristiano is below the balcony.)
CRISTIANO
Roxane. Hst! Roxane!
ROXANE (comes to the window)
Who is it? Who’s there?
CRISTIANO
Cristiano!
ROXANE
Where are you? I can barely see you? Do you love me Cristiano?
CRISTIANO
Oh yes! I do!
ROXANE
Tell me how much.
CRISTIANO
A lot.
ROXANE
That’s good. But… tell me more.
CRISTIANO
I love you… very much.
ROXANE
This is not like your letters.
CRISTIANO
I love you so… awfully much.
ROXANE (rising to leave)
Well that I know. So for now… Good night.
CRISTIANO (he waves to Frankie to help him. Frankie begins playing to Cristiano who copies him)
NO! Please come back.
ROXANE
But you sound so stupid now. Not romantic like your letters.
CRISTIANO (speaking haltingly)
It is because my mind is struck dumb by your beauty. I cannot think of what to say. I must speak instead with my heart. A heart full of joy at seeing you.
ROXANE
That’s better.
CRISTIANO
My love for you grows each day. Creeping upward like a rose vining its way toward heaven.
ROXANE
Yes. Much better.
CRISTIANO
This morning as I slept, the sun struck my eyelids with its rays. In my dream, it was you, Roxane, who shone with an inner light. I bathed in your light of love and knew only peace. When I awoke and saw it to only be the sun, I cursed the sun.
ROXANE
Oh do not curse! But why do you speak so haltingly?
(Cristiano and Frankie panic)
FRANKIE
Night has come Roxane. And my words struggle to find their way to your ear.
ROXANE
But my words find you quickly.
FRANKIE
But that is only because you are above me. Your words fall to my ear like drops of crystal rain falling from the warm summer sky. My words must drift up slowly, carried here and there on subtle breezes.
ROXANE
Then I shall come down.
CRISTIANO
NO!
ROXANE
Your voice DOES drift on breezes.
FRANKIE
Loves words are light and subject to the whims of many things. A soft breeze. A quiet word. I only hope my words of love find your heart and not just your ear.
ROXANE
Oh Cristiano. My heart and yours move with the same rhythm. I am yours.
FRANKIE
Then I will be bold and make my request. One thing only do I want. I dare to ask –
CRISTIANO
A kiss!
ROXANE
What? You ask…
FRANKIE
Idiot! You move too fast.
CRISTIANO
C’mon Frankie!
ROXANE
What’s that you whisper?
FRANKIE
My words were presumptuous. I am ashamed. But I only voiced what is my heart’s greatest wish. A single kiss, and my life will be full. If I die tonight, I may stride to heaven in joy that I carry your kiss still upon my lips.
ROXANE
Then climb up and I will give you this gift.
FRANKIE
Climb.
ROXANE
My heart is pounding!
FRANKIE
Climb!
ROXANE
Oh Cristiano!
FRANKIE
Climb you fool!
CRISTIANO
Oh Roxane!
(They enter the house)
(Frankie walks away. )
FRANKIE
I am a Genius! My words have done what my face could never do. I’ve won her. From this day forward she will be…. Cristiano’s! And he is with her now. Right now. While I walk down these streets. Galluccio… You are a fool. A fool.
(Enter Angelo)
FRANKIE
(Aside) Perhaps there is a way to stop their meeting. (to Angelo) Paisan! What are you doing out on these streets.
ANGELO
Looking for you as a matter of fact. I’ve just come from Roxane’s house.
FRANKIE
What? Me too! But I was not alone.
ANGELO
What do you mean!?
FRANKIE
I was there with the new kid. Cristiano. He’s with her now. Him and his good looks. I think he will likely spend the night with her. If things go like I think.
ANGELO
No! Come with me.
(They return to the house)
ANGELO
ROXANE! ROXANE!!
(She comes to the window. Cristiano stands behind her)
ANGELO
Roxane, who is that behind you?
CRISTIANO
It’s me boss. Cristiano.
ANGELO
(to Frankie) You are behind this in some way. I know it. (to Cristiano) Come down from there. I have something for you to do.
ROXANE
NO! You promised.
ANGELO
Sorry Roxane. Don Uale insists. We’re putting a hit on Wild Bill Lovett tonight. And you are just the fellas to do it. Get me? Meet me at the Harvard Inn. You got fifteen minutes. (He exits)
(Cristiano holds her hands and looks into her eyes. Kisses her briefly and leaves)
ROXANE
Remember Frankie. You promised me you’d watch out for him. (She enters the house)
FRANKIE
(alone, he watches her leave.) I remember.
Scene 8: An Alley
An alley with various items of refuse.
(Frankie and Cristiano run onto stage. They are both beat up and hurt badly. They hide as Lovett’s men run by them.)
FRANKIE
You ok kid?
CRISTIANO
Yeah. Just sore. But I’ll feel better when we are back on our turf. These Micks are dangerous.
FRANKIE
Your hitting on all sixes there boy.
CRISTIANO
Will we make it?
FRANKIE
Will make it. Don’t worry. Mind your potatos and we’ll be drinking moonshine at the Harvard soon.
CRISTIANO
What if I never see her again Frankie?
FRANKIE
I gotcha covered pally. Here’s a letter I wrote earlier. Keep it in your pocket. (he gives it to Cristiano)
CRISTIANO
She talked to me after you left Frankie. It ain’t me she loves. Its you. Your words. She loves what you say, not me. You gotta tell her. I’m a lotta things Frankie, but I ain’t a guy what takes another guy’s doll.
FRANKIE
Slow down. Lay off that. We’ll figure it out later. Right now we gotta get home.
(a car pulls up. Roxane jumps out and runs to the guys.)
ROXANE
You’re both hurt! C’mon.
(Angelo comes on the scene with some of Lovett’s men. They hide in the shadows. When Frankie and Cristiano rise, there is a shot. Cristiano is hit. The Irish leave. Angelo leaves slowly. Roxane is in shock and sits a short distance away.)
CRISTIANO
Frankie. I’m hit.
FRANKIE
It’s ok kid. I got ya.
CRISTIANO
Don’t forget to talk to her Frankie. Don’t forget.
FRANKIE
I already did pally. You were wrong. It’s not me she loves, its you. It was always you.
CRISTIANO
Roxane…. (She comes to him.) Roxane… I…
(Cristiano dies. Roxane throws herself across the body. Frankie gives her a moment.)
FRANKIE
C’mon
(Sirens start.)
FRANKIE
Roxane. He’s gone. We gotta leave. It isn’t safe here. (Roxane nods. Kisses Cristiano and finds the note. She pockets it and is lead offstage by Frankie.)
Scene 9: Roxane’s House
(Roxane is sitting in a chair. Regiano runs in with Nick.)
REGIANO
Roxane. They know he’s here. I’ve just come from the restaurant. Word is that Frankie’s been holed up here for two days. Lovett’s boys are on the way.
ROXANE
No. I can’t lose him too.
(Enter Frankie in bandages. He is banged up and moves slowly.)
FRANKIE
Lose who? Regiano you old Ravioli. Hey Nick old Boy. What are you doing here?
NICK
Oh Frankie. The jig is up. Lovett’s men are on the way. They know you’re here.
FRANKIE
And Lovett? We did a number on him last night, but I don’t know if he’s dancing with the devil or not.
(Nick shakes his head no.)
Well. Then I still have work to do. (He looks at Roxane) And a promise to keep.
ROXANE
You cannot go out there my old friend. It isn’t safe.
FRANKIE
Safe? SAFE?! When did I ever do what was safe? If one always does what is safe, then one never lives. Danger is what makes us savor life!
NICK (From a window)
Frankie, they’re right down the street!
FRANKIE
You see? My dance card is full. I cannot keep my guests waiting.
ROXANE
Oh Frankie. (She is beside herself)
(Frankie sits near her and takes her hand.)
FRANKIE
You told me once that I might read one of Cristiano’s letters. That he was a poet. May I read one last bit of poetry before I go?
(She takes out the letter and hands it to him. She turns away.)
Ah. His hand writing is so expressive.
‘Roxane, adieu! I soon must die!
This very night, beloved; and I
Feel my soul heavy with love untold.
I die! No more, as in days of old,
My loving, longing eyes will feast
On your least gesture–ay, the least!
I mind me the way you touch your cheek
With your finger, softly, as you speak!
ROXANE
How you read that letter! One would think. . .
FRANKIE (continuing to read):
‘ Ah me! I know that gesture well!
My heart cries out!–I cry “Farewell”!
(He signals to Nick and Regiano who begin to put out the lights. As he speaks, he drops the letter and simply recites the text.)
ROXANE:
You read in such a voice–so strange–and yet–
It is not the first time I’ve heard that voice!
(She comes nearer very softly, without his perceiving it, passes behind his
chair, and, noiselessly leaning over him, looks at the letter. The darkness
deepens.)
FRANKIE:
My life, my love, my jewel, my sweet,
My heart has been yours in every beat!’
ROXANE
Its so dark. How can you read it? (he stops all pretense of reading the letter as she realizes what has happened)
FRANKIE
‘Here, dying, and there, in the land on high,
I am he who loved, who loves you,–I. . .’
ROXANE
Frankie! I should have guessed. It was you all this time.
FRANKIE
No Roxane.
ROXANE
Yes. You loved me.
FRANKIE
No Roxane. Not I. Cristiano.
ROXANE
The tears on that letter are yours. Your words
FRANKIE
And his blood Roxane.
ROXANE
Why have you been silent for all these years my love?
FRANKIE
Why?
(Nick and Regiano run back in.)
NICK
Frankie. You gotta run paly. This ain’t no joke. Them Lovett’s are gonna surround the place.
WHITE HAND 2 (From outside)
We know you’re in there Galuch. Come out and we’ll leave the girl alone!
FRANKIE
Too late boys. Its time. (He rises and puts on his coat. Checks his gun, but hands it to Nick. He pulls out a knife and holds it in his hand, closed.)
ROXANE
NO! NO FRANKIE!! Live! I love you!
(He holds her and kisses her tenderly.)
FRANKIE
Sorry Doll. In fairy tales, when the princess kisses the ugly toad, he turns into a handsome prince. But me… I’m still a toad. That will never change. Rhymer, Fighter, Philosopher, Poet, Hood. All those things. And tonight… a man in love? On my stone, write “He was everything and nothing.” I fight now for the lost causes. For truth and beauty. For Art. For love. (he stands and moves towards the door.) They can take all that away from me but there is one thing they will never steal.
ROXANE
What?
FRANKIE
My style! (He winks, dons his hat and strides from the room.)
(Blackout. A shot is heard.)
CURTAIN
