MOBY DICKA Musical Adaptationbased on the novel by Herman Melville

Book Lyrics Music Composed By By By Lon D. Groendes Lon D. Groendes Rhett DeVelay and Rhett DeVelay

Rhett DeVelay Clements2122 Micheltorena

StreetLos Angeles CA 90039Phone #323-913-0564Musical.Theatre@hotmai

l.com

Copyright April 1990

PRODUCTION NOTES

For more than a century, Melville's classic saga of the nineteenth-century whaling era in America has been considered one of the world's ten Great Novels. The stature of the work is achieved in Melville's dramatic adherence to classical and Biblical symbolisms, woven into a "modern" tale that reveals ageless truths about human frailty when pitted against the laws of Nature...even more timely in an age that is dealing with the abuses of human arrogance in a world in which we are only a part, not the totality.

The novel was beautifully filmed, with Gregory Peck as Ahab. But it has defied theatrical interpretation, with the exception of Orson Welles' Moby Dick Rehearsed; an off- Broadway production that did not attempt the full dramatization of the work.

The recent innovations in technical achievement, and the audience attention given to the dramatization of literary classics, make it possible to stage a musical version of the work that is as inspirational and moving as the novel. Indeed, it is difficult to conceive of a better vehicle for reclaiming the mystique of the American Musical than this adaptation of the internationally acclaimed Great American Novel. One only has to read it again to "hear" its music, and "see" its inherent dramatic impact.

In writing the Book for this dramatization, strong attention to the staging was paramount. Although technical production directions are included, the Director and Designers are encouraged to interpret it as they see fit. The play can be staged in a sophisticated New York or London theater, or in a University, or in a regional theater. It would tour well, economically and financially. Toward this end, the music becomes very important; haunting, comical, lilting, romantic or dynamic...as the scene demands.

Melville's novel is in the public domain, and requires no purchase of rights. This musical dramatization, however, has been written using less than fifteen lines from the original work. This version is not so much an adaptation as a variation on a theme.

The only suggestion to be made for successful interpretation of this musical--to the Director, the Designer, the Technical Director and the Musical Director--is that you use your finest dramatic imagination. Whether with scrims, rear-screen projection, mobile sets, innovative lighting...a wonderfully dynamic and deeply moving New Musical is up to you.

L. D. GroendesGreensboro, North Carolina1999

COMPOSERS NOTES

When the idea of turning Herman Melville's most famous book Moby Dick into a musical was suggested to me in February of 1988, it triggered something within me that took hold immediately. The person who brought the idea to me was a writer who wanted to write the book and lyrics. But as fate would have it, his schedule didn't allow him to do more than have two short story conferences with me. Although he asked that I wait one year, I waited almost two years before I reluctantly realized another writer would be needed because the project had become an obsession. Reading the novel twice gave me sufficient ideas to compose eight pieces within six months, sometimes working on two or three pieces simultaneously. But in August of 1988 I couldn't go any further without book and lyrics.

The very first piece I started was "Bring the Whale Down" in February 1988, and the very last piece I wrote was "The Rachel's Plea" in January 1991. In November 1989 I approached my good friend, Lon Groendes, about writing the book and lyrics for the project. Although he lived in Greensboro, North Carolina and I lived in Los Angeles, California, we had worked together before and knew each other's temperaments and work habits. Neither of us doubted we could do this without ever meeting face-to-face. He had known about the idea from the beginning but had never said a word to me about his interest. So, when I finally approached him, he said, "I've been waiting for you to ask me." Within four months, I had a first draft and was able to continue writing the remaining eight pieces. By January 1991, all the music was written (except for interstitial music which would be completed at the time of the orchestrations).

The musical line was designed in such a way that it would form an arc from beginning to end. Although only two songs might be plucked out individually which don't refer directly to the subject ("Sing A Song To Me" and "My Heart Goes With You") the music was specifically designed to be heard all together and not as individual pieces, otherwise the power and emotional impact are dissipated.

Anyone who has read Moby Dick realizes that the tragic story lends itself to high drama and intense emotionalism. My main problems in writing the score were twofold: there were very few instances requiring women's voices, and the intenseness of the drama lent itself to very somber, dark music with little opportunity for any light music to relieve the dark story. Through much correspondence and innumerable phone calls, Lon and I worked in as many women's voices as we could ("Kyrie Eleison", "Oh He Yo", "My Heart Goes With You", "Ton of Bone", "Sweet Lenore") without destroying the texture and intent of Melville's story. The solution to the problem of having overwhelming amounts of somber music was achieved by taking out moments in the book that were short paragraphs and making them into full musical pieces ("Every Year", "Oh He Yo", "Ton of Bone", "The Ship's Carpenter", "Pip's Jig") which either propel the action forward, or better describe the character(s). The one thing I have never cared for in most musical theater is the excessive use of reprises in the second half. So instead of having full reprises I have woven in the themes or small sections of previously-performed pieces to remind the audience of something that happened in the first half without making them listen to the same thing all over again (the opening to "The Ship's Carpenter" contains Charity's short song from "Ton of Bone"; "Sweet Lenore" ends with a quick recap of "Moby Dick"; "The Rachel's Plea" uses the duet from "Moby Dick" but with Ahab singing the mad Prophet Elijah's part; the Overture is actually the first half of "The Chase"; "The Chase" uses Ahab's theme from "Moby Dick" very briefly). Although the bottom-line of any musical theater production is entertainment I don't think there's anything wrong with doing something that also has intelligence. This timeless story of love, vengeance, obsession, loss and the ultimate joy of being human is a perfect example of that.

Rhett DeVelay

Los Angeles, California 1999

CAST OF CHARACTERS

ISHMAEL - Young teacher, in his 20’s, turned whaler.

CAPTAIN AHAB - Bitter whaling-captain, in his 50’s, whose anger at losing a leg to Moby Dick (a massive White Whale) on his last voyage, turns vengenace into tragedy.

STUBB - First-mate, in his 30’s, of Ahab's ship, the Pequod. A simple man, his concern over the Captain's obsessive vengeance makes him confront his sense of duty to Ahab or the safety of his crew.

PIP - A pre-teen, indentured servant to Ahab. His poignant yearning for love and acceptance and his eventual insanity, caused by a tragic mishap, make him a pivotal character in the play.

QUEEQUEG - A mysterious Polynesian harpooner, in his 40’s, on the Pequod. His mystic premonition provides his friend Ishmael's salvation.

ELIJAH - A prophet, of indeterminate age, and former shipmate of Ahab's. He is the "Greek chorus" in this tale of vengeance.

BILDAD - A retired captain and co-owner of the Pequod, in his 50’s. A penny-pincher who thinks sailors should work for free.

PELEG - The other owner of the Pequod, in his 40’s. He is also retired from the sea but is on the "sailors side" when it comes to payment. His concern is aptitude..

LENORE - Loving wife to Ahab, in her 30’s.

CHARITY - Stern and loving sister to Bildad, in her 40’s. She considers his sailors her "children".

FATHER MAPPLE - Retired captain turned minister, in his 60’s, who blends elements of the sea into his sermons.

CAPTAIN COFFIN - Retired sea captain, in his 50’s, he now owns and runs the Spouter Inn.

CAPTAIN GARDINER - Captain of The Rachel, in his 40’s. While at sea, he requests Ahab's help to find his in searching for his two lost sons, set adrift on a whale hunt.

CHORUS OF SAILORSCHORUS OF WHORESCHORUS OF WIDOWS

SCENES

ACT I. Scene 1. The streets of New Bedford, Massachusetts. Day.

Scene 2. The Spouter Inn. Interior. Evening.

Scene 3. The Spouter Inn. Ishmael's Upstairs Bedroom. Night.

Scene 4. TRANSITIONAL: From the Spouter Inn through the streets of New Bedford, into:

Scene 5. Father Mapple's Church. Morning.

Scene 6. The Spouter Inn. Ishmael's Upstairs Bedroom. Night.

ACT II. Scene 1. The Pier just alongside the Pequod. It is stacked with baggage, crates

and a sign- on desk.

INTERMISSION

ACT III. Scene 1. Both scenes take place on the deck of the Pequod.

Scene 2. Various lighting changes are the only scene change requirements.

ACT IV. Scene 1. On the deck of the Pequod. Morning.

Scene 2. In a longboat on the open sea. Day.

Scene 3. The open sea near the Rachel's hull. Day.

Scene 4. TRANSITIONAL: Ishmael sings "I, Alone", as the CAST recalls the Plays drama in choreography.

TIME: The entire play covers the year 1845 as experienced by the men of the Pequod.

INDEX OF SONGS

OVERTURE

ACT I. Scene 1. "Every Year". Full cast. and Chorus

Scene 2. "Oh He Yo". Stubb, Sailors and Whores Chorus.

Scene 5. "Kyrie Eleison". Widows Chorus.

Scene 6. "My Heart Goes With You". Queequeg and unseen chorus.

ACT II. Scene 1. "Ton of Bone". Bildad, Peleg, Charity.

"Sing A Song To Me". Pip.

"Moby Dick". Captain Ahab and Elijah.

INTERMISSION

FANFARE

ACT III. Scene 1. "The Ship's Carpenter". Ishmael and Sailors Chorus.

"Stubb's Prayer". Stubb.

"Sweet Lenore" and reprise of "Moby Dick". Captain Ahab and Lenore.

"Pip's Jig". Instrumental

Scene 2. "Bring the Whale Down". Sailors Chorus.

ACT IV. Scene 1. "The Rachel's Plea". Captain Gardiner and Captain Ahab.

Scene 2. "The Chase". Instrumental.

"I, Alone". Ishmael.

CURTAIN

MOBY DICKA Dramatic Musical Adaptation

SynopsisOVERTURE ACT I: Scene 1. Ishmael, a young Massachussetts school-teacher, decides to try his hand at the adventurous trade of whaling. The play opens with a rousing introduction to the characters (EVERY YEAR), as Ishmael wanders into the lusty, whaling port of New Bedford, circa 1845. He finds lodgings in the Spouter Inn run by Captain Coffin, who quickly begins to aprise him of the "real life" of whalers. This is underscored with a confrontation between the Whores and Sailors (OH HE YO) that begins to make him a bit dubious as to whether he truly has a whaler's mettle.

Later that evening, in his room, he is confronted with his roommate, the Polynesian harpooner Queequeg, who frightens him with his heathen rituals. The two eventually become friends and visit the somber church of Father Mapple (KYRIE ELEISON), the following day, where they hear prophetic warnings against those that defy Nature first by the Prophet Elijah then by Father Mapple. Shadowing this scene, we first meet Captain Ahab, who has committed his life to the slaughter of the monstrous white whale, Moby Dick, that took his leg off on the previous voyage.

After the church service, Ishmael asks Queequeg about his past and his heritage. Queequeg explains that he is a king, among his people, and keeps the love of his land and people in his heart (MY HEART GOES WITH YOU).

ACT I: Scene 2. The scene opens with the brawling, comic "signing-on" of sailors (TON OF BONE), including Ishmael and Queequeg, to the whaling ship, the Pequod. The scene changes to a heart-tugging note as the young, black indentured servant, Pip, finally gets his chance to ship out to sea in the hope of finding a home he's never known (SING A SONG TO ME).

The scene ends on an ominous note as Captain Ahab, on a lonely stage, is confronted by the Prophet Elijah, who taunts Ahab with the revelation that Moby Dick is not a dumb beast with awesome cunning, but a messenger of wrath (MOBY DICK). Ahab storms offstage as Elijah ends his taunt. The sailors and their women crowd the scene saying goodbye. As the men board the ship, the curtain slowly descends.

INTERMISSIONFANFAREACT II: Scene 1. We see daily life on board the Pequod, now on the high sea, in its quest for whales. We are comically introduced to the ship's carpenter, a salty old curr (THE SHIP'S CARPENTER).

The mood shifts, as first-mate Stubb, whose only religion has been the sea, prays for the first time to a God he hardly knows vowing his faith if only his crew can be spared from Ahab's death-wish (STUBB'S PRAYER). The ominous prophecies of Elijah and Father Mapple begin to take deeper meaning as Ahab's single-minded vengeance is challenged by his first-mate Stubb, in a contretemps to Ahab who avows that his vengeance may cost him not only his life, but the love of his young wife, Lenore (SWEET LENORE). The scene ends in excitement as a whale is sighted. Pip is allowed to join one of the longboats in their pursuit of a whale (PIP'S JIG).

A dark, chilling scene opens as the sailors rip apart the carcass of a whale (BRING THE WHALE DOWN). The boy Pip, thrown overboard in the chase, is rescued by Queequeg, but it has cost Pip his sanity. Queequeg, sensing impending doom, orders the carpenter to make him a coffin, and begins a silent death-ritual.

ACT II: Scene 2. In their continued search for the whale, Moby Dick, the Pequod crosses paths with the Rachel: a ship in search for the Captain's two lost sons (THE RACHEL'S PLEA). As Ahab spurns the pleas of the Captain of the Rachel, thus setting into motion the prophecy of the Prophet Elijah, the tragedy escalates as the Pequod plunges into a deadly confrontation with Moby Dick (THE CHASE), ending with the destruction of the Pequod, the Captain and crew. With only Ishmael saved by hanging onto the floating coffin of Queequeg, and picked up by the Rachel, he brings the play full-circle as he sings a final, haunting reverie as members of the cast dance ghost-like around him (I,ALONE).

Moby Dick (1)ACT I: 1.

OVERTURE

(During the OVERTURE, the title 'MOBY DICK' is projected against the curtain in massive salt-box lettering that fills the entire curtain. Flickering across the entire proscenium and curtain are myriad reflections of light on rippling water).

ACT I. Scene I.

CURTAIN.(A morning street scene in

New Bedford, Mass. There is aview across he rolling hills of the town's street that shows the harbor below, filled with tall-ships and whalers. The entire CAST is "frozen" in place).

ISHMAEL (PA Offstage)Call me Ishmael.

(Immediately, the FANFARE begins as the CURTAIN rises. ISHMAEL enters upstage-

center on a rolling treadmill that simulates strolling through the streets. He makes his entrance bringing up the rear of a funeral cortège.

ORCHESTRA begins vamp into "EVERY YEAR").

(The rest of the CAST comes to life, and begins milling around, looking in shops, talking, etc.)

ISHMAEL("EVERY YEAR")

Every year I go a wanderin',Every year I yearn to be free.Every year my lonely soul implores,"To sea, go to sea!"

Moby Dick (2)ACT I: 1."Every Year", Cont'd.

In my bag, all my possessions,In this world that I'll ever need.Leave the good old school in Manhatto,For the point just 'round from Cape Horn.Leave the Halls of Academia,

For Polynesia's sweet gentle-born.(joined by SAILORS CHORUS)

Every year I go a wanderin',Every year I head out to sea.Every year I leave my life on land,And go where I need to be.

ISHMAEL (O.S.)Whenever I find myself growing grim about the mouth; whenever it is a damp November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet---and especially when I walk up to strangers and knock off their hats---then, I know it is high time to get to sea as soon as I can.

(ISHMAEL swings his backpack and accidentally

knocks off the hat of CAPTAIN

AHAB who is walking soberly with his wife, LENORE, who carries

their baby. They are accompanied by the young

servant-boy, PIP, who quickly picks up the hat, brushes if off and gives it back to AHAB. CAST continues EVERY YEAR.)

SAILORS CHORUSAlthough pleasures on land are sweet,What with women and the wine,Waltzing 'cross a ship's deck half asleep,Lord, there's nothing quite so fine.

(CHOREOGRAPHED MUSICAL REFRAIN)

LENORE(To AHAB) Every year, you go a wanderin',Every year, you yearn to be free.Every year, my aching heart implores,"Not to sea. Please, not to sea."

Moby Dick (3)ACT I: 1"Every Year", Cont'd.

AHABIn my heart, all the deep heart dreamsOf my soul are all with the sea.You knew when you married a whaler,Half your life would be most forlorn,

AHAB & LENOREWhen a woman marries a seaman,She's a widow from that day on.

STUBBEvery year, I go a whaling,Every year, the crew answer to me.As first mate, they'll do as they are told,If not, they could be lost at sea!

WHORE'S & WIDOW'S CHORUSAlthough pleasures on the land are sweet,For us, who must stay behind,Sending husbands, lovers and eager sonsOff to sea is harsh and unkind.(CHOREOGRAPHED MUSICAL REFRAIN)

PIP (slow and pensive)Every year I stand at the edge of the land,And yearn for the long, dark seas.Every year I beg to sign on boardBut they laugh, "Too young: not for thee."

ISHMAELEvery year, every year...

(CHOREOGRAPHED MUSICAL REFRAIN. Sailors wheel acrobatically with PIP. BILDAD, PELEG AND CHARITY break up the horseplay.)

BILDADEvery year that I'm here,And not on the sea,Every year I yearn to sail free...

Moby Dick (4)ACT I: 1."Every Year", Cont'd.

PELEGBut for you, Old Friend,Our ship now is a desk,Our harpoon the scribe's sharp quill...

CHARITYAnd lucky you are to have all your parts,Lucky you are to be here.

(FATHER MAPPLE walks up and crooks his arm

through CHARITY'S and counsels PELEG & BILDAD)

FATHER MAPPLEIt isn't luck, it's the High, Hard God that has brought you safe from the sea...to a dry-dock home on the sweet harbor's shore, 'stead of graves in the deep-green sea.

(WIDOWS move swiftly forward. Some alone, some arm-in-arm)

WIDOWS CHORUSYou know when you marry a whaler,Half your life will be most forlorn,When a woman marries a seaman,She's a widow from that day on...

(WHORES move in taking arms of sailors, pulling them toward the Inns.)

WHORES CHORUSAll the pleasures on land are sweet,But the women who stay behind,Are not all alike, not of a kind...There are those who mourn...There are those who love...

WIDOWS CHORUSThere are those who mourn...

WHORES CHORUSThere are those who love...

Moby Dick (5)ACT I: 1."Every Year", Cont'd.

SAILORS CHORUSAlthough pleasures on the land are sweet,What with women and the wine,Waltzing 'cross a ship's deck half asleepLORD! There's nothing quite so fine,so fine...LORD! There's nothing so fine!

ISHMAELEvery year, every year...

AHAB, PELEG, BILDAD, CHARITY, LENOREEvery year, every year...

PIPOh, please. Oh, please.Let THIS be my year...

FULL CASTEvery year we (they) go a wanderin',Every year we (they) yearn to be free.Every year the cold, hard sea demands,"To sea! Go to sea!"

Every year we (they) go a wanderin',Every year we (they) head out to sea.Every year we (they) leave sweet life on landAnd go where we (they) need to be.

(As ORCHESTRA plays soft reprise, the CAST disbands, going separate ways. ISHMAEL is now in front of the The Spouter Inn. A TRANSITIONAL set changeis done by sailors, changing from the streets of New Bedford to the interior of The Spouter Inn. CAPTAIN COFFIN welcomes ISHMAEL into the Inn.)

ACT I. Scene 2.

CAP'N COFFINWelcome, Laddie! Welcome... What's your pleasure? Grog? Vittles? I'm hopin' it's not a room. I'm spare on rooms. Can put you up with a mate for the night, if you're not against sharin' a room...no private rooms. None.

Moby Dick (6)Act I: 2.

ISHMAELWell, I was hoping for a private room...and, well, yes-- vittles! I'm going to be shipping out in the next few days...hopefully...if I can find a ship.

CAP'N COFFINWell, first things first, Laddie. Let's start with the vittles...what'll it be--clam or cod?

ISHMAELI beg pardon, Sir?

CAP'N COFFINChowder, Boy! Chowder!...you want clam or cod?

ISHMAELOh! Well, er, do they cost the same...?

CAP'N COFFIN(Laughing) Bless your barnacles, Boy! They come with the room! 'N, if you don't mind matin' with a fellow sailor this night, the grub comes with the cost of the room.

ISHMAELWell, I suppose if there's no private rooms...yes, sharing will be fine. Let's see then...I'll take clam. Clam chowder--with grog.

CAP'N COFFINSpoke like a matey! And for breakfast?

ISHMAELBreakfast? Oh, well, if that comes with the rest--I'll have a slice of Virginia ham...and, I'm mighty partial to grits and spoonbread with drippings...maybe apple pie, if you have one made--if not, any kind of fruit pie, and--

CAP'N COFFINEasy on, Lad...I serve nothin' but chowder here at the Spouter Inn. Will ye be wantin' clam or cod chowder for breakfast?

ISHMAELOh. I see...well...clam tonight. I'll try your cod tomorrow, then. My mate for the bed...is he a sailor, you say?

CAP'N COFFINOh, not JUST a sailor...he be a HARPOONER, Boy. He can teach you a thing or two, I wager. How be ye called?

ISHMAELIshmael, sir. Call me Ishmael.

CAP'N COFFINA good Bible name, that! And I be Captain Coffin.

Moby Dick (7)ACT I: 2.

ISHMAELCoffin?

CAP'N COFFINAye, Captain Coffin! Don't let that set you off course, Laddie! No soul that's eat or slept in my Spouter Inn has died just for the experience. It's like a charm...eat with Coffin, be saved by angels...leastways, it's been the history of this place so far. I'll be back directly with chowder an' grog...you want the grog hot or cold?

ISHMAELHot...er...yes, hot.

(COFFIN exits. ISHMAEL sits on a longbench/table and looks shyly around at the SAILORS and WHORES who are drifting into the Inn.

We are first introduced to a sailor who is STUBB, first-mate to a whaling ship, who grabs the skirt of a whore who is attempting to get away from him.)

STUBB COME TO STUBB, NOW, YOU HUSSY! Don't put on airs with me. My bed's warmer than the street corner you sleep on. Come be my mate. I'll put a smile on your face that'll last you a year...till I come back and hear you beggin' for more.

FIRST WHOREI'd sooner smile down a shark's gullet or sleep with a bear!

STUBBAYE! That's it! Come sleep with this old bear! Snuggle up in my rug, I'll make you warm enough!

(ORCHESTRA starts vamp into "OH HE YO".)

WHORES (together)HERE NOW! LEAVE HER BE, YOU LUBBER! LEAVE GO O' HER, YOU BASTARD SON OF SQUID!

(SAILORS look up laughing.) (Other SAILORS and WHORES walk through the door.)

Moby Dick (8)ACT I: 2.

FIRST WHOREYou want me to share your bed, matey, you pay me what's my due! I ain't giving you my charms for a pint o' grog!

STUBBPAY? To sleep with ME? They's many a whore an' many a wife who'd pay ME--you ball-bustin' mermaid.

(WHORES scream with outrage.)

SAILORS (together)PAY UP, MATE! What's fair is fair! A share's a share! Be nice to the ladies!

STUBB("OH HE YO")

Some sailors are wed to their wives and the sea,And some marry harpoons and oars,But, like, on my own, is what's better for me,On sea---with mates!On land---with whores!

SAILORS CHORUSOH HE YO! says he, sailors life for me,My pockets filled with gold.OH HE YO! says we, sailors life for me,Until we're all grey and old.

FIRST WHOREWhen I was young, my Ma warned me,"Never you mind...Whatever men want it's not free,Make them pay in kind!"

WHORES CHORUSPay us!Lay us down, we will for thee.Cross our palms with gold,Young or old, we're not finicky!

STUBBA' boundin' The Main, sailors lives is hard,With a tug, and a heave and a HO!Harpooning a whale leaves me ready for love,On sea---with mates!On land---with whores!

Moby Dick (9)ACT I: 2."Oh He Yo", Cont'd.

SAILORS CHORUSOH HE YO! says he,Sailors life for me,My pockets once filled with gold.OH HE YO! says we,Sailors life for me,Until we're all grey and old.

FIRST WHOREA whale's a whale; a girl's a girl,On that none will yaw.But it takes one hell-uv-a MAN!To face a gaping maw! (gesturing between their legs)

WHORES CHORUSPay us!Lay us down, we will for thee.Cross our palms with gold,Young or old, we're not finicky!

TUTISAILORS CHORUS WHORES CHORUS

Some sailors are wed When I was young,to their wives and the sea, my Ma warned me,And some marry harpoons and oars, "Never you mind...But, like, on my own, Whatever men want,is what's better for me, it's not free,On sea--- with mates! Make them pay in kind!"On land---with whores!

OH HE YO! says he, Pay us!Sailors life for me, Lay us down, My pockets filled with gold. we will for thee.OH HE YO! says we, Cross our palms with goldSailors life for me, Young or old,Until we're all grey and old. We're not finicky.

A' boundin' The Main, A whale's a whale;Sailors lives is hard, A girl's a girl,With a tug, and a heave and a HO! On that none will yaw.Harpooning a whale leaves me But it takes oneready for love. Hell-uv-a MAN!On sea---with mates! To face a gaping maw!On land---with whores!

Moby Dick (10)Act I:2

OH HE YO! says he Pay us! Sailors life for me, Lay us down, My pockets once filled with gold. we will for thee.OH HE YO! says we, Cross our palms with goldSailors life for me, Young or old,Until we're all grey and old! We're not finicky!

(SAILORS and WHORES disburse as they pair off going to sit at tables or to bedrooms, settle into stupors, etc) CAP'N COFFIN enters balancing chowder and grog. He goes to ISHMAEL's table. ISHMAEL, who has been captivated by the WHORES and SAILORS, takes a then begins to eat greedily).

CAP'N COFFINMy wench's set up your bed, Lad. You're sleepin' the night upstairs, first door to the right. It's a small room, under the eave, but it's warm--next to the chimneystack...it has a fireplace, n' she's stoked the coals for ye...Your mate's not in, yet...Hope you won't find him too much the heathen. He seems a good'n, all things considered.

ISHMAELUmmm...this is uncommon fine chowder, Captain. I had hoped to meet my bunkmate before goin' to my room. You say he hasn't been in?

CAP'N COFFINNot as yet. Most likely havin' trouble sellin' his heads.

ISHMAEL(choking in mid-gulp) Selling his heads, Sir?

CAP'N COFFINAye. Heads. Too many of 'em on the market, this trip. He's most likely havin' a rugged time unloadin' 'em. But, I must say he has a fair lot of uncommon good heads. Proper treated, they is--smoked and shrunk right nice, like they do 'em in the Pacific. Tried to sell me one for his room. I have enough as it is.

ISHMAELWhen you say,..."heads"...Sir. I assume you're speaking of... (indicates his own head, severed at the neck).

CAP'N COFFINOh, aye. Human heads. Shrunk and preserved, they is. Right nice lot he has. But the market is full as it is... like I said. He's a heathen, no doubt. I might have forgotten to mention that. But an UNCOMMON GOOD HEATHEN!, all the

same. I lived too long and been in too many ports to question a man's ways. It's live and let live, with Cap'n Coffin. Aye. Live and let live.

Moby Dick (11)ACT I: 2.

(ISHMAEL gets up from the table without finishing his dinner, and walks toward the "stairs").

CAP'N COFFIN(Calling after the ascending ISHMAEL) Ye ain't finished your grub, Laddie! Well. You'll be needin' your rest, then, right? Goodnight to ye, then. AND SWEET DREAMS!

(End of Scene)