(Scene: When the curtain rises it discloses a negro dance hall. It is night. Everything is in readiness for a hot supper and dance. There are benches and chairs around the wall. There is a door to the right, one to the left and a door upstage center with a window on either side. Upstage right there is a raised platform for an orchestra. Outside are heard snatches of a song, the tooting of a fife, gay laughter and talk and the beating of drums. A few people are sitting around, gradually others enter and mingle in small groups. There is general laughter and talk. In one of the groups is Jube. When the curtain rises Jazy and Judy are engaged in conversation.)
JAZY: Judy, is you guh dance wid me tonight?
JUDY: No, you're a fool. I ain't guh dance wid you.
JAZY: Wuh make?
JUDY: Well, you know how you done me de other night.
JAZY: I ain't done nothin'.
JUDY: Yes, you is. Time Coot-Duck come here, you start sidelin' off till you all got together. Make out you ain't see me atter dat.
JAZY: You wrong. I look for you every wey. You spile de whole night for me kaze I ain't kin find you. You know I ain't care nothin' 'bout Coot-Duck. You jes like all dese other wimmen--tryin' to put de blame on de mens.
JUDY: Ain't nothin'.
JAZY: I come to dis frolic tonight jes for you. Les we go an' get some hash an' rice.
JUDY: I ain't goin' no wey wid you.
JAZY: Oh, come on. Les we don't have no fuss. (They exit together. Big Charleston, a tall, well-built, brown-skinned man wearing a blue flannel shirt open at the neck and a red bandana hung loosely around his neck, enters from the