Ain’t She Sweet
One-act Stage Play
Written by
Tony Del Degan and Abhay Parmar
Plot
A brothel is running an illegal liquor operation in its basement, bottling whiskey and selling it to patrons across Chicago. The Madame of the brothel and two of her escorts are running this operation, though one of the escorts has a secret that the other two do not know — the police officer who keeps coming to “check in” on the establishment during his nightly rounds is actually in love with her. The escort prefers the darkness over the light. Once he finds out about the liquor operation one fateful evening, he is torn between his honor and job, and his love. He must choose whether he should arrest her and her accomplices, thereby ruining the prospect of developing their relationship, or let her get away with her crime. His decision will affect his police partner, who often joins him on his rounds, and everyone else involved, ending in a tragic massacre at the hands of the police chief, who believes that the brothel is another one of Al Capone’s, needing to be stamped out as quietly and quickly as possible.
Scene
Most of the stage is set up like the interior of a 1920’s brothel, while a small section on one side acts as a back-alley for the building. These sections are separated by a doorway/wall piece. Parts of furniture can be rearranged for other sets.
Characters
| Ray Ross | The leading cop who falls in love with Hazel. |
| Jesse Hughes | Ray’s partner. Also a cop. |
| Luther Allen | The police chief. He has a special distaste for the mafia and organized crime. |
| Evelyn Price | One of the escorts. |
| Lucille Ross | Madame of the brothel. |
| Hazel Davis | The escort who Ray falls in love with. |
| Nino Valerio | Capo in the mafia. He has some kind of control over the brothel. |
| Raiding Cops/Extras | Cops who raid the brothel at the end/other extras who come in as needed. |
Scene 1
RAY Ross and JESSE Hughes are standing in the alleyway behind the brothel, RAY smoking a cigarette and JESSE leaning up against the wall. Light up only the alleyway — the brothel interior is pitch dark. Soft 1920’s jazz music is playing, drifting into the alley from the street. Both men wear their police uniforms — it is clear that they are on duty. Alley is dingy, trash bins and garbage scattered everywhere. The shadows crawl to the corners of the stage, and the alleyway is dimly lit. A haziness fills the set.
JESSE: (Fed up, he kicks a beer bottle. It rolls down the alleyway.) What are we doing here, Ray? You always feel tense when we patrol here. (Mumbling) This damn place has got you all wound up. Are you gonna show me what you wanted me to see, or not?
RAY: (His cigarette runs out, so he drops it, stamping it out. He reaches down to fumble for another one.) Just shut it, Jesse. I’m just… getting ready. (He strikes a match, lighting his cigarette.)
JESSE: (He’s not convinced.) Getting ready? I always looked up to you, Ray, and you’re getting worried. What was all that talk back at the station then? (Beat.) How ‘bout we just go in and finish our shift.
He pats RAY on the back. RAY looks back with his eyebrow raised.
RAY: I can’t, Jesse. (Still smoking.)
JESSE: Why not — Ray you’re a well-liked man, and well-liked men never hide what they want. This place’s got your attention, so let’s go in, damn it. (He waits for a response, but when he doesn’t get one, he continues.) You scared of the girls, or something?
RAY: (That last remark was true, and RAY shifts uncomfortably.) No, Jesse. Just leave it, alright?
JESSE grabs his arm, tugging on it playfully and stepping towards the brothel’s door.
JESSE: Then let’s go, Ray.
He waits — halfway through the doorway — for RAY’s response. After a moment of thought, RAY drops his cigarette, stamping it out again, then follows JESSE — albeit very uncomfortably — into the brothel. Lights turn on in the brothel set as the two pass into it, and the lights in the alley go black. We see EVELYN Price and LUCILLE Ross, EVELYN pouring whiskey into a cup for the Madame from a side table and LUCILLE stretched across a chaise lounge, a cigarette holder pinched between her fingers. LUCILLE is dressed quite gaudy, while EVELYN is less adorned, though she wears a heavy amount of makeup and jewelry.
As LUCILLE spots the two entering, a wide smile stretches across her face and she motions with her cigarette holder to EVELYN, who swiftly delivers the whiskey to lounging Madame, then hurries over to greet the two officers, putting on a seductive air.
EVELYN: Hey boys. (She approaches JESSE, running her hands over his arms. To JESSE.) Haven’t seen you before… (She turns to RAY, but before she can say something, LUCILLE walks over. Her walk is elegant, not seductive like EVELYN’s, but confident; it is clear that she is the Madame.)
LUCILLE: Two officers… are you both on duty?
JESSE is busy with EVELYN, so RAY answers her, trying his best to explain the situation.
RAY: (Glances at JESSE with a raised eyebrow, then back to LUCILLE.) We were… yes. We’re off duty.
LUCILLE: (Clearly doesn’t believe that.)I’ll bring out my girls — there’s only two available right now. Busy night… (Turning around, she calls for HAZEL.) Hazel! I expect her to be here shortly, she is simply obsessed with adorning her face…Hazel!
HAZEL comes out, but stops when she sees RAY. For a moment, they stare at each other, then realize that they are staring and quickly try and hide it. HAZEL continues on, moving to stand beside LUCILLE. EVELYN breaks away from JESSE and stands on the opposite side of the Madame. LUCILLE noticed HAZEL and RAY’s exchange, but lets it go for now.
LUCILLE: (She grabs EVELYN’s shoulders and stands behind her, looking over her shoulder and the two cops with a smile on her face.) You seem to be acquainting yourself nicely with that one, Evelyn. (JESSE.) How about you two go back and get to know each other better.
JESSE: (Excited.) Works for me. Let’s go, honey.
He runs up and takes EVELYN’s arm, leading her off stage into the back room. [Exit JESSE and Evelyn.] Now, there is only RAY and HAZEL. LUCILLE surveys both of them, noticing the real love in RAY’s eyes as he looks at her. She takes a drag from her cigarette holder.
LUCILLE: Here’s my last girl. This is Hazel — she’s just a sweetheart… (She pauses, closely examining RAY’s face. Another wide smile touches her lips.) Looks like you got a crush. I’ll leave you two here; try not to mess up the furniture.
She glides off. [Exit LUCILLE.] HAZEL seems hesitant to approach RAY.
HAZEL: You come here a bunch, but you don’t ever come in. I just see you standing outside. Don’t you have someone at home?
RAY: (He moves his lips in silent speech.) No… I… No, I don’t.
HAZEL sighs, then approaches him, taking his hands. He looks at her expectantly.
HAZEL: So what do you want to do?
RAY: (He is acting like a nervous boy asking a girl out on a date. Everything he says is an attempt to try and win her favour, and if he says anything wrong, he backpedals quickly in case she loses interest in him.) I… nothing if you don’t want to — I mean… I don’t wanna trouble you. We can just talk if you want to.
HAZEL: (She looks up at him, frowning, then quickly replacing the frown with a smile.) Sure. How about we go to the back… It’s much quieter there.
She leads him away through the curtained doorway into the back. [Exit RAY and HAZEL.] Once they go, after a moment, the curtain starts to shift and LUCILLE pokes her head out, scanning the room. Once she sees that it’s clear, she glides in. [Enter LUCILLE.] She moves over to the whiskey table, refilling her glass, then she moves to the candlestick telephone, and is about to dial when she hears someone entering through the alley doorway. [Enter NINO.] NINO Valerio walks in. He is dressed in a black suit with a pure white tie. A white fedora sits atop his head, pulled down close over his eyes, so that they are almost hidden beneath the brim. LUCILLE notices him and puts the phone back, putting on her confident bravado to greet him. He stops halfway into the room, looking around.
NINO: (Might have a slight Italian accent.) Busy night… Your girls all bein’ used?
LUCILLE: (She regards him with cold placidity.) You want me to find one for you? (Take a drag from cigarette holder.)
NINO: No. (Look around, then approach LUCILLE, standing over her threateningly.) I saw some cops come in; the tall one’s been comin’ for a while now, as if he’s patrolling outside. Every night, my boys and I’ve been watchin’ him… You gonna tell me what’s goin’ on?
LUCILLE doesn’t answer for a minute, then she comes up with something after taking the spent cigarette from her holder and tossing it away.
LUCILLE: Guess he’s just a little tight after work every night. Can’t blame him, Nino, my girls are the best in Chicago.
NINO: (He doesn’t want to hear it.) You’d better watch it, Lucille… The boss isn’t gonna want you telling him anything you shouldn’t be.
Their eyes lock for a moment, both of their gazes filled with fire. LUCILLE then turns away, crossing over to the small table where she got her whiskey, setting the glass down and finding a cigarette. She inserts it into her cigarette holder, then walks over to him, holding the thing up to him. He reluctantly reaches down to his belt to find a lighter, flicking it on and lighting her cigarette. She smiles and pinches the holder between her lips as she goes back to retrieve her whiskey. NINO puts his lighter away.
NINO: Do you understand me, Lucille?
LUCILLE: Crystal clear, Nino. (She takes her cigarette holder away from her lips and takes a sip of whiskey. She is trying to put on an uncaring facade.)
NINO: Get rid of that cop. Tell him whatever you want, but get rid of him. If he’s got a crush on one of your whores, then let him take her if he wants, as long as he doesn’t come back. (He waits to see if LUCILLE will say anything, but she doesn’t. He reaches up to stroke her hair. She lets him, though she doesn’t like it. The disgust is clear on her face, and he sees it. He takes his hand away, a frown on his lips.) We’ll be watching this building. Just remember that, Lucille.
He takes one final look around the room, then turns, leaving through the alley door, becoming enveloped by the darkness on the other side. [Exit NINO.] LUCILLE stands, a sense of relief flooding through her. She looks thoughtfully at the doorway for a moment, then takes one final drag of her cigarette before gliding away through the same curtained entranceway from where she came. [Exit LUCILLE.] The lights fade to black in the brothel.
Scene 2
[Enter RAY and HAZEL.] They begin to rearrange the furniture slightly, making the room look different. Once done, RAY sits down on the bed and HAZEL moves to the vanity. Lights on.)
HAZEL: So, uh what do you wanna talk about?
RAY: (Laughs along with HAZEL, admiring and breathing in every aspect of her.) No… uh… well you can call me Ray.
HAZEL: Ray, you seem like a fine gentleman. You know, there’s lots of respect that comes from being a cop.
RAY turns away. He seems nervous now that he is alone with HAZEL. There is something in her eyes which makes it difficult for him to meet her gaze.
HAZEL:(She notices his strange behaviour and can see his discomfort. She heads to the mirror, puts on more makeup, and dims the lights.) I’ve never liked bright lights — something wrong, Ray?
RAY: (He is flustered.) No I… I just thought you were kinda pretty, that’s all.
HAZEL: (She looks back at him without any surprise, perhaps since she’s heard this many times – often said as a lie though.) Kinda? Wait, what is that supposed to mean? (She is insulted this time.)
Looking more nervous, RAY keeps his gaze downwards, as if trying to think of what else to say but failing in each attempt.
HAZEL: (She notices his nervousness again and, this time, slowly approaches RAY. She sits beside him and gently holds his hand.) So, you got any past-times Ray, something to keep your mind off of work?
RAY: (He starts to feel slightly more confident and sure that HAZEL has shown interest in him.) Well, I’m dabbling in the bond business — nothing underhanded, of course.
HAZEL: (HAZEL’s eyes sparkle, and she draws even closer to him, faking interest in what he has to say. He thinks this is genuine, however, and starts to lean in as well.) So you’re quite a successful man… aren’t you, Ray?
RAY: (He becomes even more fascinated by her good nature, how interested she is in hearing what he has to say, how she compliments him on everything he does.) Well, it’s always been just a past-time… (Beat.) But, hey, I’m not being polite — tell me something about yourself.
HAZEL: (She begins to notice how he is growing more comfortable with her. She rises, drifting around the room, almost twirling.) Well, I like reading, and writing, and I love children… and watching plays — those beautiful plays with all the red velvet seats and the music! You can let your body go while wearing that beautiful, black dress and… (She bumps into a gramophone placed on a side table, which releases a curtain that had been caught underneath. Faint jazz music starts playing as RAY sees a door revealed behind it. She gasps, gathering the curtain and tucking it back under the gramophone. That done, she shuts off the gramophone, then stands there at the table, staring down at it, petrified.)
RAY: (He watched the whole thing, and doesn’t know what to do. He remains seated, staring up at her, waiting for a moment before speaking.) Something wrong, Hazel?
HAZEL: (Close to weeping.) No… I just… (She is shaking. The realization that she might very well go to prison is sinking in, and she is desperately trying to figure out what to do.)
RAY is now intent on finding out what she is hiding. His cop instinct is kicking in. Slowly, he rises from his seat, noticing how scared she looks. He moves to the gramophone, placing the disc back on, and the music starts playing again, all the while keeping his eyes on her like a rabbit watching a passing car. He holds out his hand and she looks down at it as if it might hurt her.
RAY: (Like a boy asking a girl to prom.) Shall we dance, then, madame?
HAZEL: (She looks at him in surprise. It seems like he is too in love to care about the door, and she hesitantly takes his offer as a sign that she is now safe.) Of course, Ray. (She takes his hand, slowly remembering what her job is and regaining her seductive confidence.)
They dance carefully around the furniture to the soft sound of the jazz record, and HAZEL eventually embraces RAY, leaning her head on his shoulder. RAY, however, seems intent on the curtain, and keeps glancing at it. Once the record stops, he lets go of her and looks into her eyes.
RAY: (He comes up with a plan.) Do you have wine?
HAZEL: (She smiles.) I’ll get it for you… Ray.
She skips around him, then leaves to search for wine. [Exit HAZEL.] Now alone, he looks at the curtain. After making sure HAZEL is gone, he walks over to it, unstuffing the fabric from beneath the gramophone and letting the curtain fall away. There is a door, and he opens it.
[Enter HAZEL.] She comes back with wine, and sees him peering into the doorway. She sets the pitcher down quickly onto the side table, and RAY hears it, turning around. She tries to approach him, but his next words halt her in her tracks.
RAY: (He feels betrayed.) Don’t come close to me…
They stare at each other for a moment, HAZEL close to tears and RAY infuriated.
RAY: (His lips move silently as he tries to find words to say.) There’s a speakeasy in your basement… You’re selling alcohol.
RAY and HAZEL freeze as the narration begins, then the lights dim — the only illumination comes from the candlelight. Both begin to rearrange the furniture again beneath the darkness, arranging it into the police office set. A recording of RAY’s voice begins to play, acting as narration. Jazz music accompanies it, playing softly.
RAY (NARRATION): They had been running it for months — Hazel and Evelyn and the Madame Lucille. She pleaded with me, telling me she loved me, that she didn’t want to go to prison… what was I gonna do? I had to choose between her and… and my job. She loves me — she really does, and I can see it in her eyes whenever we meet… (Beat.) It’s just a little alcohol, right?
[Exit HAZEL.]
Scene 3
[Enter JESSE and LUTHER.] The lights are still down. RAY is still on stage, so he moves to his desk, which sits in the center of the room. JESSE sits across from him so that they are staring at each other. Lights up and music off. There is a phone in the middle of the table and various things strewn about around it. LUTHER is standing a ways off, smoking a cigar and leaning up against the wall. His attention is drawn by something outside the alley door, which is now part of the police office, and leads outside into the street. All three sit quietly for a moment, RAY pondering in silence and JESSE fiddling with a pencil.
JESSE: I gotta tell you, Ray — that Evelyn girl was such a doll. Wasn’t rough or anything. Next time you wanna patrol that part of town, don’t forget to let me know. (He snickers, tapping the pencil on the table.)
RAY: (Glance over at LUTHER.) Well you’d better keep your mouth shut about it. (Gesture towards the chief.)
JESSE smirks, uncaring. He leans back in his chair, fixing RAY with a stare. RAY looks down at the table.
JESSE: So what are you up to tonight? Going back for another round with that pretty little moll you had there?
RAY: (Irritated.) She wasn’t a moll, Jesse.
JESSE: Of course she was — all those girls are, Ray. The mob owns most of the brothels in the city, you know.
Both men turn as they hear LUTHER speak up from his corner.
LUTHER: All of them — they own all of them. (Smoke cigar.) And I don’t want you boys near them when you’re on duty. Don’t know what goes on in those damn houses — no one does but the bitches who own them.
He continues to stare out the doorway, his little interjection now done. RAY and JESSE turn to look at one another, then resume their conversation.
JESSE: How about we meet there at eight?
RAY: (Frustrated.) Jesse…
He is interrupted by the phone on the desk, which begins to jingle loudly. He is about to pick it up, but JESSE beats him to it, lifting the phone to his ear.
JESSE: Chicago Police Department… (He listens for a moment. His face begins to twist into a frown as he does so, then he speaks again.) In the basement? Are you certain?
RAY perks up and begins to listen, a worried look on his face.
JESSE (CONT.): Yeah, okay. That’s just fine of you, sir — you’re a good citizen. (Pause.) I’ll tell the chief right away — see what he wants to do. (Pause.) Yeah, have a good night. (Put the phone down and look at RAY.) That brothel we wer- I mean, the one downtown… I just got a tip from some shifty sounding guy. He says there’s a speakeasy in their basement.
RAY looks like he’s about to puke. LUTHER turns around and fixes JESSE with a cold stare.
LUTHER: Another one… Is that Lucille’s? The one in the alley?
JESSE: (Turn around and look at LUTHER.) Yeah, that one. He says they’ve been runnin’ some kind of alcohol production operation in the basement for a couple months — maybe a year.
LUTHER: (Pause to think. Smoke cigar again.) I want you two to go down and have a look. If this tip is real, I might just send in the chopper squad to clear ‘em all out of there.
RAY: (Nervous.) Chief… that’s not necessary. You wouldn’t want to slaughter a bunch of… of girls.
LUTHER: (Silence for a moment as he stares at RAY.) Capone’s girls, Ray. They’re just a bunch of whores — a bunch of criminals. They gave up their lives as soon as they handed him the keys to their little den.
RAY: (Growing heated.) We don’t know if they’re Capone’s girls, Luther. What if their operation is just… just their own operation?
LUTHER: I don’t wanna hear it. Go down and- Jesse, go down with Ray and find out what’s going on.
RAY and JESSE get up from their desk and LUTHER walks over to JESSE, leaning over to speak into his ear while RAY waits near the door.
LUTHER: If there’s alcohol — any at all — you tell me.
JESSE: Of course, Chief.
He turns to go, but LUTHER keeps a grasp on his shoulder, turning him back around.
LUTHER: (Discreetly.) Ray’s got some hesitations. He’s young and he doesn’t understand. (Take a drag from cigar.) Don’t hesitate if he starts something.
JESSE: (He pauses.) Of course, Chief.
LUTHER pats him on the back and he follows RAY out the alley door. [Exit RAY and JESSE.] Now alone, the chief strides back to the doorway to stare, just as he had been. He takes a final drag from his cigar as the lights go out.
Scene 4
[Enter RAY, JESSE, and HAZEL.] Under the lights, the three rearrange the set, returning it to the brothel front room. They exit through the alley door, then wait for the lights. Once they go on, the three enter through the door, as if just arriving. RAY and HAZEL are walking close to each other, following JESSE as he storms into the room.
HAZEL: (Putting on her seductive voice.) So what are you looking for? Evelyn’s out today, or maybe she’s occupied… (Smirk.) It’s hard to keep track of her sometimes.
JESSE: (In a huff, stomping about the room and searching the tables and drawers.) I don’t want her; that’s not why we’re here. (After a moment of searching.) I’m going to check the back — Ray, you check this room.
[Exit JESSE.] He goes through the curtained doorway into the back room. HAZEL and RAY watch him go, then RAY embraces HAZEL, who confusedly accepts it, a frown on her face.
RAY: (Let go of HAZEL. He is trying to get her out without worrying her too much about the tip.) What do you say we go out tonight instead of staying here? Huh? We’ll have to go now, though, the restaurant closes soon. (He tries to drag her out, but she doesn’t move.)
HAZEL: (Beyond confused.) What are you talking about? I’ve got to work. You’re making me awful worried. What’s going on here?
RAY: (Restless.) Can I explain it to you while we walk?
HAZEL: And what about your partner? You just want to leave him here?
[Enter JESSE.] He has found the secret door, and now stands in the curtained doorway, staring at both RAY and HAZEL with anger on his face. No one moves for a few moments.
JESSE: The tip was bang on, Ray. There’s a speakeasy in the basement. (Turns to HAZEL.) Now… doll… looks like you’re taking a little trip to the can.
RAY: (Defensive.) No, Jesse. She’s not.
JESSE: (Shocked.) Excuse me? The chief gave us orders, Ray. He told us to check it out — I checked it out, and there’s illegal alcohol in the basement. Are you stopping me from doing what the chief asked me to?
RAY: (He is resolute.) Yeah, Jesse.
JESSE: (Losing his temper.) You’re dizzy with that dame! (Point to HAZEL.) That… that harpy’s got you all jumbled up.
RAY: (Doesn’t leave. His fury is building.) No, Jesse. You’re a real blockhead for telling Luther about this — it’s none of his business.
JESSE: (Can’t believe what he’s hearing.) I can’t believe this… none of his business? Are you so tipsy on giggle-water and that bitch’s body that you’ve lost your damn mind? Wake up, Ray, the prohibition’s going on, and this brothel is breaking the law — every one of these hookers should be in prison!
Jesse begins to pace the room, pulling his hair out — metaphorically, of course — while RAY turns to stare at a beer bottle sitting on a side table. HAZEL is standing off a ways, but notices RAY’s attention being drawn to the bottle.
JESSE (CONT.): You’re gonna come with me, Ray, and you’re going to bring that girl with us. We’ll come back for the other two when we shut this place down.
RAY: (His attention is fixed on the bottle.) No, Jesse. I’m not. You’re not going to take her away from me.
JESSE: (Fed up.) You idiot. (Takes out handcuffs.) I’ll just bring her in myself.
He tries to approach, but RAY grabs the beer bottle, cracking JESSE over the head with it. HAZEL shrieks in fright as JESSE falls to the ground, the handcuffs leaving his limp grasp and landing on the floor beside RAY. [JESSE Dies.] RAY is shaking now; he drops the bottle with a clang and stares down at JESSE’s body. He kneels beside it.
RAY: God-damn. (He turns to HAZEL, who is gaping at him.) Oh hell.
His hands start to hover over the body, his mind not able to process the situation. Tears start to fall from his eyes and he wipes them away roughly. He finally comes up with something to do.
RAY: I have to hide the body… (Wipes tears.) In the alle- no, not in the alley… (Perk up with an idea.) In the basement. I’ll put him in the basement. (To HAZEL.) Don’t go anywhere… please.
He rises, then leans down to grab the body, dragging it through the curtained doorway. HAZEL stands alone now, shock on her face. She collapses onto the chaise lounge and begins to sob. When RAY returns, he sees her, then approaches, leaning over to place a hand on her shoulder.
RAY: (Shaken.) I need to tell the chief something — give him an explanation… Please… just stay here.
He hurries through the alley door. The lights illuminate the alley and we see both sides of the stage. RAY stands there thoughtfully, looking down at the beer bottle that had been kicked around in the beginning. He stares for a moment, then picks it up and takes it with him as he retreats down the alley, the lights beginning to dim as he vanishes behind the set. Now, we see only HAZEL. She finishes crying on the lounge, then collects herself and leaves through the curtained doorway. Upbeat jazz music begins to play as she does so — too upbeat for the situation — which should feel off-putting.
[Enter LUCILLE.] Music continues through the whole of this next part, just fading to a quiet hum instead of a blare. LUCILLE drifts into the room, looking around with her cigarette holder pinched between her fingers. She glances about — she had heard voices from RAY and HAZEL, but now finds the front room empty. Regardless, she moves over to a painting on the wall, taking it off of its hanger and setting it down; there is a hidden space behind it with money stacked in piles. She takes it all out and begins to count it on the side table, glancing around as she does so. [Enter NINO.] He slips in through the alley door, then stands in it, watching her.
NINO: (In a mocking tone.) Something wrong with my money, Lucille?
She looks up at him, startled, then collects herself as she prepares to speak with him. She drops the money down onto the table and takes a drag from her cigarette, her free hand coming to rest on her hip.
LUCILLE: (She tries to sound uncaring.) No, Nino. It’s just fine. (Beat.) I’ve got it all here… Except for my cut, of course.
They stare at each other for a few seconds, the tension growing in the air. NINO moves further into the room, approaching the side table. He gets very close to LUCILLE as he reaches down to pick up and examine the money.
NINO: (Rifling through it in his hands.) How much?
LUCILLE: (Pause, as if she is making up a sum.) ‘Bout five-hundred. Just like we talked about.
He seems satisfied, but doesn’t move away from LUCILLE. He stares down at her and she stares back defiantly.
NINO: And what about my other reward?
LUCILLE takes a drag from her cigarette and blows it in his face. He takes it without flinching, and continues to stand like a statue as he watches LUCILLE turn and drift away across the room. She stops at the lounge chair and runs her hand along the velvet.
LUCILLE: I changed my mind. You only get the money.
NINO: (Irritated.) You don’t get to change your mind. Remember what I told you, Lucille? (NINO grabs her by the hair and forces her to stand. He begins counting the money. LUCILLE remains by the lounge chair, staring off into the audience and smoking her cigarette, listening to the ruffling of the bills. After a moment, NINO speaks again.
NINO: (Still stacking.) And what about those cops, Lucille? I saw them again before I came in today — I thought you ‘was gonna deal with ‘em. Doesn’t look like you are.
LUCILLE: Yeah, well, I can’t exactly give away one of my girls, can I? (Pause.) Hazel’s in on our little plot, so if she goes, she might give us up.
NINO: I don’t care what her name is. She’s just a whore — and why the hell did you let her in on this, Lucille? (Stop counting money and stare at LUCILLE.) Did you lose your mind? Huh? What if that bitch lets her tongue slip? What if that cop pulls something from her?
LUCILLE still has not turned to face him. She continues staring off into the audience. She takes another drag from her cigarette as he looks at her expectantly for a moment, waiting for an explanation.
NINO: (Frustrated, he turns back around to continue counting. He mutters under his breath.) God-damn woman.
After a moment, he finishes. The jazz record has already stopped, and LUCILLE turns to him now for the first time.
LUCILLE: Turn that on again, would you, Nino?
He looks at her in disbelief. He knows she is trying to dismantle his confidence, and tries to regain it by ignoring her. From his pocket, he pulls a folded sack, let it fall open before sliding the money into it.
LUCILLE (CONT.): Guess not.
He finishes putting the money into the bag, then ties it shut.
LUCILLE (CONT.): You know my favourite record, Nino? Ain’t She Sweet by Ben Bernie. (Take a drag.)
NINO doesn’t care. He pauses for a moment to glance at her before heading to the alley door.
NINO: (At the door.) Get rid of those cops, Lucille.
[Exit NINO.] LUCILLE stands for a moment alone, leaning on the lounge chair. Suddenly, she reaches up with a finger to wipe tears from her eyes. She tries to hold back her weeping while simultaneously smoking her cigarette. [Enter HAZEL.] The escort sees her Madame crying and rushes over to take her hand. She herself is still shaken by the incident with RAY.
HAZEL: Madame… what happened?
LUCILLE: (Regaining her composure.) Nothing, dear. (She knows that she has to ask HAZEL about RAY.) That cop, Hazel… I want you to tell him to leave — to leave and stay away.
HAZEL mouths silent words for a moment before speaking. LUCILLE watches her in confusion as she explains.
HAZEL: He… he killed his partner, Madame. (Pause to let LUCILLE gape.) He knocked him on the head and… and put him downstairs.
LUCILLE is speechless for a moment. She stops smoking.
LUCILLE: Downstairs? Here?
HAZEL nods. LUCILLE looks around the room in shock, as if expecting to find some answer there. She doesn’t.
LUCILLE: I… We… Oh, hell. (Collapse onto lounge chair.) We have to get rid of it! But… but how?
HAZEL has an idea. She is hesitant to suggest it, but does anyway.
HAZEL: Can’t Nino just take care of it?
At the mention of Nino’s name, LUCILLE straightens in her seat. She is about to say no when she realizes that he is their only option. She wipes more tears from her face.
NINO: Yeah, sure… I guess he could. (Long pause.) Give him a call Hazel, would you — but not for a while. Just… do it later.
HAZEL slinks away in confusion, leaving LUCILLE where she sits. [Exit HAZEL.] The lights fade on the Madame.
Scene 5
[Enter LUTHER, RAY, and RAIDERS.] They gather in the alleyway, which is now lit up. The brothel interior is dark — we can’t see inside at all. LUTHER is leaning against the wall, smoking his cigar, while RAY stands in front of him, pleading. The RAIDERS are standing farther down the alley, some leaning against the walls, others conversing with each other.
RAY: (Desperation in his tone.) Chief, please. I told you there was no alcohol here — we checked it out like you asked.
LUTHER: (Doesn’t care about what RAY has to say.) And Jesse still hasn’t shown up to work, has he? If he went straight home like you said last night, he still would have shown up this morning. (Smoke cigar.) I think you did something, Ray. You’re not just wound up because this is the first time you’ve got real lives to deal with — you’ve got some reason to defend this brothel. I’d bet anything on it.
RAY: Chief… don’t do this. These girls haven’t done anything wrong. (Beat.) You’re slaughtering innocent people on a hunch, chief! How is this justice? There’s people in that brothel — those girls are people, chief!
LUTHER waits until RAY has finished his rant, then puts his hand on his shoulder.
LUTHER: Go home, Ray.
[Enter LUCILLE, HAZEL, AND EVELYN.] The lights in the alley fade to black as the brothel lights turn on. LUCILLE is overseeing HAZEL and EVELYN as they both drag crates of alcohol across the room, gathering them into clusters near the door.
LUCILLE: (Smoke cigarette.) Move it along, girls. We open in another hour — I need these all out of my possession by then.
EVELYN: (As she is dragging a crate.) And when is your client coming to get these?
LUCILLE: Our client, dear. He should be here very soon.
HAZEL finishes with a crate, then straightens and looks down at the contents of it. She ponders for a moment, then turns to LUCILLE.
HAZEL: (Worried.) Do you know this client? How did he contact you?
LUCILLE: (Confused.) Why, he called me, dear — asked me for four crates of our product to be picked up at the front door. An hour before opening time, of course. (Smoke cigarette.)
HAZEL: (She knows what is going on.) What did he say his name was?
LUCILLE: Harry, or something like that. (Beat.) Why are you so stuck on this, Hazel?
HAZEL: I just… I don’t know, Madame. I’m just worried ‘bout all this cop stuff. What if we’re being tricked?
LUCILLE ponders that for a moment, smoking her cigarette. [Enter RAY.] He bursts in through the alley door, drawing the attention of all the girls. His face is twisted in anxious fright. He runs over to HAZEL, taking her hand. She looks up at him in shock.
RAY: We need to leave now (He grabs her arm and tries to pull her out, but she resists.) We have to go!
LUCILLE and EVELYN stand there, frozen in confusion.
HAZEL: (She’s finished with his attitude.) What’s wrong with you, Ray? You come in here all the damn time acting like a looney; what’s going on?
RAY: (Frantic.) The police chief is outside with a bunch of raiders. He’s tryna’ come in and kill all of you — he thinks you work for Al Capone.
At the mention of Al Capone, LUCILLE shifts uncomfortably. She walks over to RAY, placing a hand on his shoulder. She doesn’t believe him.
LUCILLE: What’s this about, Ray? I think you’re just trying to drag Hazel out of here so you two can go have some fun. The back room’s clear — we don’t open for another hour. (Smoke cigarette.)
RAY: (He is not in the mood for this.) No. You don’t believe me? (He turns to HAZEL.) We have to go now. Let’s get out before he comes in — I barely managed to slip inside, so when he finds out I’m gone-
HAZEL: (Interrupting.) Ray! Why are you so fixed on me? I mean nothin’ to you and you mean nothin’ for me. (Pause. They both look at each other, HAZEL fed up and RAY with both confusion and pain evident on his face.)
RAY stops for a second. His heart is about to crack, and he is now the innocent, shy man that he was at the beginning.
RAY: Didn’t… what… (Pause. Very slowly.) You said that you loved me.
HAZEL: (She can’t believe this.) So you wouldn’t arrest me! I’m an escort, Ray — that’s my job. You pay me to say things like that! I never loved you, Ray. I’m sorry, but I never loved you!
The lights fade slightly as a spotlight slowly grows around RAY. The girls are frozen in space as he looks down at his belt, his face twisted in grief. The bottle that he had picked up from the alley is tied to it — he kept it there as a reminder of JESSE. He now unties it, lifting it in his hands to examine it. Another recorded narration plays as RAY looks down at the bottle.
RAY (NARRATION): She never loved me… I was an idiot. I had murdered a man, covered for criminals when I should have turned them in. I should have been smarter. What was I now? Hard-boiled? Jesse would always tell me I would screw myself over one day — it wouldn’t be someone else who did me in. It would be me. I guess he was right.
The cops break in through the doorway under the light of another spotlight. They are all holding champagne bottles in their hands as if they are rifles.
RAY (CONT.): It was just a little alcohol… right?
He lifts the beer bottle as if it is a pistol, pointing it at the raiders. The spotlights shut off as the normal lights turn on again. No one is frozen now — there is proper motion again. The raiders, seeing RAY with a pistol (bottle) in his hands start to fire. The champagne bottles all pop their corks and LUCILLE, HAZEL, EVELYN, and RAY all act as if they are being shot with rifles, falling to the floor. [ALL die.] After a moment of silence, LUTHER enters through the alley door to survey the massacre.
LUTHER: (To one of the raiders.) Go check the basement.
The raider runs off through the curtained door and into the back room, just as another officer enters through the alley door. He approaches LUTHER to speak.
RAIDER: That black car parked across the road just sped off down the street, chief. There were four guys in it — looked like mobsters. One had a white fedora.
LUTHER: (He is looking down at RAY’s body.) Chase them. They’re Capone’s men.
The raider leaves through the alley door. LUTHER stands there, the other raiders watching from the doorway in silence as he stares down at RAY’s corpse.
LUTHER: (He’s like a disappointed father. He feels sad, but there is a sense of apathy, as if RAY got what he deserved.) Why? (He lights a cigar and smokes it.) You were loyal Ray. You were one of my best. (Pause for a moment. All light fades except for a spotlight on RAY’s body and LUTHER.) Why’d you do it, Ray?
He leaves the spotlight slowly. It holds on the corpse for a moment, then it goes dark as Ain’t She Sweet by Ben Bernie and His Orchestra begins to play.
[Blackout.]
