Scene Three

 

In one, we are at the dock in Papeete. Painted on the backdrop is the prow of the SS Sonoma. We hear the strains of "The Room Upstairs", only instead of Molly entering, we now meet the devastating BARON CONRAD VON STEIGLITZ, tall, handsome, and very Prussian with a monocle in his right eye and a Heidelburg dueling scar on his left cheek. HE is followed on stage by CHANG and WANG. All three wear business suits. BARON

In the room upstairs,
I have whips and chains;
I've electric chairs
Which will blow your brains.

CHANG She will be in Stateroom A.

WANG

The documents are in an alligator briefcase.

CHANG

You sure you are the man to cope with Mandalay Molly?

BARON

You ask that of the Baron Conrad von Steiglitz, whom no woman can resist?

WANG

You don't know Mandalay Molly.

BARON

And you don't know Stuttgart Steiglitz. (THEY exit right, almost colliding with ANNIE MAY, who is hidden behind tons of yellow base, jade earrings and a kimono with a slit up the side. Her eyes are slanted upward, and SHE walks in tiny Oriental steps.) ANNIE MAY Missy Morry. Missy Morry. (MARCEL comes on from the opposite direction, carrying a packet of mail. ANNIE MAY hobbles toward him.) ANNIE MAY Excuse me, Honorable Genterman. Have you seen Mandaray Morry?

MARCEL

nnie May. What are you doing dressed like that?

ANNIE MAY

You wasn't suppose' tuh recognize me.

MARCEL

And I have not seen "Mandarray Morry". You know she never gets up till two. I shall see her at the club tonight.

ANNIE MAY

Dat's what yo' thinks.

MARCEL

What? What do you say?

ANNIE MAY

Nuddin'. I ain't said nuddin'.

MARCEL

Just what is going on here?

ANNIE MAY

Where?

MARCEL

Here. Looking for Mandalay Molly here at the dock at this hour of the morning. Dressed like that.

ANNIE MAY

Well…uh…you see…I'se…Miz Molly, she done helpin' me changin' my image.

MARCEL

Your what?

ANNIE MAY

                                        Chu chin,
                                        Play the gourd,
                                        Strum the lute,
                                        Strike the gong.
                                        Chu chin,
                                        I'se Annie May Wong.

Chin chow,
Slant the eyes,
Use chopstick,
Play mah jongg,
Chin chow,
I'se Annie May Wong. (The music swings into the kind of big jazz number so many colored maids performed in so many films of the period.) I'se Annie May Wong,
I'se yeller as sin,
I'se feelin' jus' fine
And drinkin' rice wine
While dreamin' o' moonshine gin.

I'se Annie May Wong,
I'se free as a breeze,
I'se feelin' no pain,
I'se eatin' chow mein
While longin' fo' black-eyed peas.

Within my hair I wears a dagger,
Up my kimono sleeve a knife---
Mah feet's so bound I stumble and stagger,
I cain't pronounce an "r" to save my rife.

I'se Annie May Wong,
I'se singin' twelve tones---
I once was Annie May Jones,
But now I'se Annie May Wong!
 

(As SHE sings and dances, SAILORS, SOLDIERS, DOCKWORKERS and PASSENGERS gather to join her. Among these are ESME, CLARISSE and COLIN, who are also boarding the ship. They do not dance, though. THEY simply stand by, tapping their feet.) I'se Annie May Wong,
I'se takin' a bow---
I'se got me new clothes
And, Lord only knows,
I chuckles in Chinese now.

I'se Annie May Wong,
I'se diff'rent an' new---
I'se got a surprise,
Not only mah eyes
Is all kinda slanted, too.
 

(A MIDDLEAGED MAN with a Captain's cap enters. HE carries a bottle of booze in his hand and joins the number with a zest greater than anyone else's, even Annie May's. HE is drunk out of his gourd. CHANG and WANG also join the group, and ANNIE MAY and CHANG have a brief flirtation.) ANNIE MAY                                         I once was black jus' like a spaniel
                                        Or maybe chocolate like a mink---
                                        I'se one up on Hattie MacDaniel,
                                        When did you ever see her play a Chink? I'se Annie May Wong,
I'se pressin' duck bones---
I once was Annie May Jones,
But now I'se Annie May Wong!
  (Toward the end of the number, as it is building to a crescendo of rhythm, MOLLY enters, valise in hand, her eyes hidden behind dark glasses. SHE stops in abject amazement, or in as much abject amazement as she can express. When the number is finished, MIDDLEAGED DRUNK collapses completely. The OTHERS leave him there as they return to their chores or board the ship.) MOLLY Some secret mission.

                                                                             (The ship whistle blows.  ANNIE MAY grabs her suitcase.)

ANNIE MAY Come, Miz Molly. I mean, Missy Morry. We hurry. (As THEY exit, TWO PETTY OFFICERS appear. THEY go straight to the collapsed drunk.) FIRST PETTY OFFICER Captain O'Mara, wake up. Your ship is leaving.
 
 

BLACKOUT