Treme (2010–2013): Season 3, Episode 6 - Careless Love - full transcript

Sonny rushes, but still misses the boat. Fats Domino tickles Davis McAlary's fancy and a few of the ivories. Antoine Batiste seeks reading help for Jennifer. Janette Desautel endures corporate hell. Toni Bernette and L.P. Everett get a witness. Desiree gets a new ally.

(Alarm clock beeping)

- Shit.
- (Alarm stops, radio turns on)

Dj: We're talking to the Krewe of Endymion,

joined now by Kevin Costner,
actor extraordinaire.

And before we ask the first question,

I just have to tell you
that in my little hot hands,

I have not one, but two tickets... wow...

to the Krewe of Endymion's Endymion
Extravaganza in the Superdome.

So if you want them,
start calling right now.

- And, Don...
- Don: Okay, Monica has given me

the first question here, Kevin.

And I'm gonna make this real easy

for you in New Orleans,
the people in this area.

Who do you like in the
BCS, Ohio State or LSU?

- (Honking)
- (Horn blares)

- Whoa.
- (Tires screech)

Fuck you!

- (Tires screech)
- Oh, no.

No, no, no!

Come on, come on, come on.

(Seagulls screeching)

Man: Go, go, go, go, go.

Jesus, come on. Fuck.

- Oh, shit!
- (Tires screeching)


Sonny: You fuckin' Irish bastard!

(Bell ringing)

(Truck horn honks)

(Boat horn blares)


Oh, sh...


(Music playing)

* Hanging in the treme *

* watching people sashay *

* past my steps *

* by my porch *

* in front of my door *

* church bells are ringing *

* choirs are singing *

* while the preachers groan *

* and the sisters moan in a blessed tone *

* mm-hmm, yeah *

* down in the treme, just me and my baby *

* we're all going crazy *

* while jamming and having fun *

* trumpet bells ringing *

* bass drum is swinging *

* as the trombone groans *

* and the big horn moans
and there's a saxophone *

* down in the treme *

* it's me and my baby *

* we're all going crazy *

* while jamming and having fun *

* down in the treme *

* it's me and my baby *

* we're all going crazy *

- * while jamming and having fun. *
- Man: Whoo!

Davis, you are out of your
motherfuckin' mind, daddy-o.

Et tu, Brute?

No. I mean, you know,
it's so fuckin' retarded,

it might actually be brilliant.

- I really can't tell.
- It's a thin line

between genius and stupidity.

"Spinal tap."

- That movie was truth, dude.
- (Laughs)

Hey, man, you know, some
of this stuff is funny.

Some of it's sad. Some of it's angry.

Some of it's even good.

"The new ninth ward"?

- Davis, man.
- I see Irma doing that one.

You got Irma?

But I'm working on it.

Uh-huh. And who else?

Robert Parker, Frogman,
Frankie Ford, Al Johnson...

I mean, every one of the
Greats that's still standing.

And you're gonna stage this opera?

Well, first, we gotta get it on record.

Right now I got my aunt's backing

to put out a single
disc of the best tracks.

She's even agreed to forgo the label's cut

so that we can deliver
some of this cash money

to these old heads that
have never seen a dime.

- Ah, that's a beautiful thing, baby.
- Yeah.

The thing is...

I need some big numbers, some anthems,

you know, some 11:00 numbers.

And after all this writing and arranging,

I'm just kind of burnt.


You wanna write together?

Oh, I'd be honored.

You think you got another
"Foot of canal street" in you?


- Yes! All right.
- Yeah.



(Plays note)


Yeah, no.

That was... that was a bad start.

Do over.

(Plays chord)

- Pretty.
- (Both singing notes)


(Snapping fingers)

- And...
- (Saxophone joins)

Ah, yeah, yeah.

Attaboy, girls.

I can tell you didn't
practice on your own, though.

You came in here without
the melody in your head

until you got with Cherise.

Took me a bit to get the hang of it.

Yeah, well, you got there.

- Going again, one more time.
- I gotta go, Mr. Batiste.

I need to give my brother his lunch money.

Well, when you get home, I want you to
play this with your eyes closed, hear?

Don't look at the music.

I want you to play with your whole body,

not just your fingers and your eyes.

- Not my fingers?
- Antoine: That's right.

Why do you think musicians are
always wearing sunglasses on stage?

- 'Cause they high?
- No.

So they can't see their
fingers and their eyes.

Nobody can see their own eyes.

- Musicians can.
- Cherise: Bye, Mr. Batiste.

Okay, now see here is
where the music changes.

This is a ballad. It's a story song.

Words and music coming together.

And the music actually kind
of helps to tell the story.

See what I mean? Huh?

The great ones, they
hear it all in their head

at the same time and put it together.

All right, now how do the lyrics

tell you how to phrase the song?

How do the words tell you how to play?

Go ahead, girl. Don't be shy.

Woman: Chemotherapy produces a
fall in the number of blood cells.

There'll be significant hair loss

within two to three weeks
of the first treatment.

You'll experience all the
routine side effects...

constipation, fatigue, nausea, vomiting...

but that is temporary.

- How temporary?
- It's difficult to predict.

Between sessions of chemo,
you'll gradually feel better.

Then it's time for another one, huh?

I'll make your appointment with
the outpatient chemo clinic.

After that, you can
reschedule with them directly.

Not before Mardi Gras.

Mr. Lambreaux, we need to be
aggressive with your treatment.

Ash Wednesday or later.

I'm not arguing with you, doc.

I'm a chief.

- Darren: I know.
- You know?

I'm saying she can't read,
not she can't read music.

I'm saying she can't read her damn ABCs.

She plays by ear, I know.

As far as coping mechanisms go,
she's doing pretty damn well.

- Antoine: But she can't read.
- (School bell rings)

How does a kid get to the seventh
grade and not learn how to read?

She's not the first.

Believe me, she won't be the last.

Does the school know? Jesus, lord.

Ain't anybody gonna do nothing about it?

I can't speak to her
other classes, Antoine.

But the only reason she's
still coming to school

is because of band.

We take that away,

we're likely to lose her altogether.

But she needs...

Look, head down to the front office.

Talk to the vice principal.

But she ain't gonna tell you
what you hope to hear, Antoine.

And you witnessed all that on or
about the same evening, Mr. Geary?

I did.

Wilson whipped that boy's ass.

Cuffed him to a light pole,

went in the bar and had a drink,

then came out and whipped
the boy's ass some more.

Did you make any attempt
to notify any authorities

about what you had seen?

Anyone from the police department?

You know the N.O.P.D.
wouldn't have done a damn thing

other than come after me for making
a complaint on one of their officers.


If you can stay just a little longer,

I'll have my assistant get on the
computer and type up your statement.

If you can read it back and sign
it, I'll be able to run you home.

- You mind?
- Okay.

Mr. Geary, I wanna thank
you for calling on the ad.

And I promise we won't make anything public

unless I've got half a
dozen documented complaints

against officer Wilson.

Ma'am, you do what you have to do.

You know, I did one tour in
Afghanistan, a tour in Iraq.

What the hell that asshole gonna show
me that I ain't already seen, right?

L.P.: You don't recall any case like that?

Well, let me ask you,
doctor, were there any cases

that you did handle down here

in which the ruling on manner
of death gave you any concern?


I have depositions for
paying clients this afternoon,

but if you still have calls to make
tomorrow, I'll split them with you.

Thanks, but I'm pretty
much down to the last clips.

Looks to be a waste of
three weeks, to be honest.

- Well, it was a good idea in theory.
- In theory, yeah.

Yes, sir, I understand.

And did anyone else from your office

come to New Orleans that
fall or was it just you?

She came to us with a
profound learning disability,

one that wasn't addressed at any point.

They just passed her along?

We've spoken to her mother in great detail,

urged her to consider a
school with more resources.

Y'all can't get her what she needs here?

- R.S.D.?
- Uh-huh.

Not even close.

Special needs students require
resources that don't exist anymore.

So what are we saying here?

Jennifer's coming to school,

she isn't a disciplinary problem,

and she enjoys band class a great deal.

Aw. It's as good as it gets, huh?

Would you rather have
her leave school entirely?

- We're doing what's possible.
- Then let's get her somewhere else,

somewhere that can help.

Well, for that, her mother
would have to assert herself

at one of the charter schools.

And getting a special needs
student into one of the charters...

Well, that's problematic for other reasons.

Woman: As for undocumented
workers, our policy is very clear...

no one without a verifiable
and valid social security card

will be allowed to work in
this restaurant at any time.

Full documentation must be provided

before any kitchen worker
or server clocks in.

But post-Katrina I was short on help.

I put the word out.

I found a group of Mexican
guys up in Mississippi

who were willing and able,

brought them down here on a
bus, and they worked out fine.

And, yeah, their social security
cards didn't match their names,

but those guys saved my ass.

No illegals. No exceptions.

This is just one of a group of restaurants.

There's more at stake
here than just your place.

The immigration police come around now

a lot more often than they
did just after Katrina,

and we can't afford to
get tangled up in that.

I get it. I do.

City park ain't too far from here.

- Streetcar's on Carrollton.
- Ladonna: Starting up again in may.

- Streetcar?
- Yeah.

You can ride that downtown
anytime you feel an itch.

Um, the streetcar was
okay a couple of years ago,

but now I don't know.

What you mean?

Well, I'm gonna be getting
a car-car soon enough, right?

Just sayin'.

You're gonna be getting an
ass-whupping pretty soon,

you don't catch up to
that attitude of yours.

Just sayin'.

Let's move on, then, to
the issue of termination.

How do we terminate?

Let's say we're unhappy with
an employee's performance.

Well, we need to communicate
that with the employee.

We need to let them know and, of course,
keep a record of that communication...

What it's about, the way
they're doing their job

that we... you are displeased with.

First, you give them a verbal caution.

The second time, it
becomes a written warning.

And then, finally, the formal termination.

And there's a form, of
course, that you'll fill out.

Okay, so if somebody's giving me lip,

if somebody's talking
shit, I'm getting backtalk

or I don't like somebody's attitude,

I can't just say, "hit the bricks"?

Well, it is your kitchen, chef,

but the Tim Feeny restaurant group

will be responsible for your decision

should that employee seek legal redress.

So generally, I would advise
against summary dismissals.

Now then, in your packets
you'll find the two forms

that we use for written notifications.

Same problem as last time.

Davis: Which is?

Davis, darling, these
are all wonderful people

you have on these songs,
but outside of New Orleans...

What? Robert Parker?

"Barefootin'"? Frogman?

All these guys had
careers that went national.

But we need more presence,

something that'll take
distribution to the next level.

What Mannie Fresh did
for the hip-hop sampler.

Oh, dare to dream, Davis.

Dare to dream.

Which brings me to another
topic... sexual harassment.

As a woman, chef, surely you know

what it can be like for
a female in the workplace.

We want to be very careful and watchful

about our behaviors and our language.

We need to communicate what is
acceptable and not acceptable

in the way that we speak to one another.

Okay, having reached the two-hour mark

on the Feeny group policies and practices,

I gotta go off.

I mean, I got real work I gotta do.

- Chef...
- Listen, this is the restaurant business,

and the women who work in it are tough.

If some guy's an asshole,
they'll let him know.

And if he doesn't wise up, he's gone.

This shit's just common sense.

Be that as it may, our attorneys require us

to inform employees and
supervisors of our written policy.

So to that end...

"It is and has been the Tim
Feeny restaurant group's policy

to provide a working environment

free from discrimination
and/or harassment of any kind."

You think you can make this work?


Baby, I gave up half my practice

when we went to Baton Rouge.

I rebuilt it there. I can do it here, too.

No problem.

You sure?

People down here still got
teeth they gotta tend to, right?

- (Both chuckle)
- Thank you for all this, baby.

Ain't no thing.

(Laughs) Oh.

(Cheering, applauding)

Leo: Hey, Sonny, you gonna
help with the equipment?

Come on, get your ass over here.

Hey, bro, we only got an hour.

Your shit ain't gonna set itself up.

Lightin' ain't gonna wait on you.

(Music playing on radio)

- (Song ends)
- All right, to get in the mood for today's show,

that was Michael Doucet and Beausoleil's
version of "Flammes D'enfer."

Before that, the Balfa Brothers
giving us "La valse du port Arthur."

And before that, the great Amede Ardoin

playing accordion on "Valse de Opelousas."

Yeah, man, that's taking
it all the way back for us.

You know, Amede and Dennis McGee,

right there at the beginning.

Yeah, so you guys are right
out of that tradition, huh?

I mean, some drums, some amps,

but all of it's still in that
Louisiana prairie pocket, huh?

Yeah, with a little bit of New Orleans

creeping in there, thanks to Annie tee.

Ah, yes, the sweetheart
of Frenchmen Street,

Annie Talarico.

So pleased to have you back
on the show again, Annie.

- Thank you, Davis.
- Good of you to drop by whenever you're back in town.

(Laughs softly)

So let me ask you if the
rumors about you are true.



No, not those rumors.

I'm speaking to the talk on the
street about your recording contract.

Oh, yeah. Lost Highway Records.

Yeah, we're supposed to be going
into the studio this spring.

Ah. Is there any chance that we might give

our listeners a preview of that recording?

Well, this is one of Linzay's songs

that I think ought to be on the release.

- Well, that's kind of you to say, Annie.
- (Annie chuckles)

- (Band playing)
- (Silent)

That's the third time you've
given your show over to these guys.

I know. They're great.

This point is, Davis, that it's bad enough

you shilling for your heritage
tours and your opera-in-progress,

but she... she's your girlfriend.

I know, I can't believe it either.

It's like...

- Davis, this is nepotistic.
- No, Darnell.

If she sucked, it would be nepotistic.

- But they're great, she's great, so it's cool.
- Cut it short.

Do something else with your last two hours.

Something else?

Yeah, something else, man... anything.

- I quit.
- What?

- I quit.
- (Scoffs)

Yeah, fill the last two hours

with whatever your heart desires.

First of all, you never quit.

I fire you, Davis. That's how we do.

Look at us, Darnell...

we're learning, we're growing.

- Davis...
- No, no, it's cool. It's cool.

Look, I got a lot on my plate right now,

what with the opera coming together.

And I'll take some time,
you'll take some time,

and we'll get back to
missing each other, okay?

It's cool. It really is.

(Music continues)


(Muffled music playing)

Can you throw in that
bottle of whiskey, too?

Fuck you.

(Band playing within)

♪ After all the years ♪

♪ is it far or near? ♪

♪ lord, I wish you were here... ♪

Bobby, come on.

Remember who you're talking to.

Sure, I got connections down here, but
this thing is fixed from Washington.

It's hud money and it's
hud that's calling the tune.

Six-term state legislator

from sugar land, South of Houston.

How this guy didn't get indicted
along with delay, I'll never know.


Yeah, brother.

That's what I'm talking about.

I mean, they even got black people voting

to knock down all the
public housing down here.

It's a fucking feeding frenzy.


Yeah, I'm good with Alphonso.

I'm good with all those guys.

I just gotta get in the door, is all.

Thanks, Bobby.

Alphonso Jackson... that name
mean anything to you, brother?

Can't happen. I'm sorry.

But where she at now, Elie,

we don't have enough special
needs resources for her.

And I've got a waiting list so
long that I'm gonna disappoint

half the families on it next fall.

Have you considered a private?

Maybe something with special programming?

Her family don't have
that kind of money, no way.

- I thought since she was a special case...
- I'm sorry.

Maybe another charter, but
we are over capacity here.

- Told you.
- Yeah, you did.

The charters ain't taking no special
needs kids if they can help it.

Brings down their test scores,

which is what we sell ourselves with.

- So she gets nothing.
- School system is sunk.

Even before the storm it was sunk.

Now there just ain't enough lifeboats.

Shit is supposed to be women
and children first, ain't it?

- Man: Where's the decaf? This is all regular.
- Woman: They messed up.

- Thanks.
- You got it.

- Grease trap backed up.
- I told you, we have people for that, chef.

You just pick up the phone.

I'll have somebody come over right away

and make sure it doesn't happen again.

There's somebody I want you to meet.

Janette Desautel, this is Emily Chang.

She's a very accomplished publicist
we brought on for this project.

(Laughs) Publicist?

I can't tell you how excited I
am to be working this account.

- Big fan.
- Opening like this...

We intend to make the most of it.

It's a big investment. Needs a big splash.

A place this size has to
be a destination restaurant.

People will make the decision
whether or not to eat here

long before they leave Dubuque or New York.

We need to help them make that decision.

We want to be loved in New
Orleans first and foremost.

Nobody's saying we're not gonna have

a loyal local crowd, but look around.

This is not gonna survive
on just a walk-in trade.

And that means media.

And there's a nice narrative to this.

The flood cost you your restaurant.

You leave New Orleans,
you go to New York...

Le Bernardin, Lucky Peach, all that.

- You come back better than ever.
- Whoa, wait a minute.

Wait a minute. Let's not overstate...

I have a contact at "The Today
Show" who just loves New Orleans,

and I think we have a
good shot at a segment.

"The Today Show"? Wow.

- Wait, what does the flood have to do with this?
- We won't exploit the flood.

All I meant was there is a reservoir
of goodwill towards New Orleans.

Look, Miss...

Chang. But call me Emily.

Emily, there were people
who stayed during the storm

and all that time after it.

I didn't stay. I don't think we need...

It's the last thing any
sensible person wants to do...

talk about their damn self on TV.

It's distasteful and, yeah, it's bullshit,

but we need asses in the seats.

And to get there, we have to decide

what the story of this restaurant is...

what your story is,
before somebody else does.

So it's either gonna be
you telling your story

to Regis-fuckin'-Philbin or whoever

or it's gonna be some
asshole on the Internet.

We need to get in front.
That's what Emily's for.

Have you had any media training?

- (Phone rings)
- Hello?

Yes. Who's calling?

Dr. Whaley from
Virginia... Richmond, right!

Thank you for calling me back.

As I indicated, I'm looking at
deaths in the wake of Katrina.


That's right, I came across this case

where this fellow was
shot and then burnt up.

In a car, yes.

Glover, right.

Oh, shit!

No, no, no, no. Not you. Sorry.

Just give me one second.

Free coffee... from a fed?


So this is how it begins, huh?

It ends somehow in Gitmo, right?

They're both mine.

Sorry, they ran out of extra large.

- (Laughs)
- So what's up?

Remember I asked you about a reporter?

Not local, out of town.

Some kid from Oakland here,

working for something called "Propublica."

- The fuck is that?
- Some online shit, not for profit.

Anyway, he's been calling
every out-of-state pathologist

who worked down here at
DMORT after the storm.

- Going around Minyard, huh?
- Yeah.

I got a call from a
cutter I know in Dallas.

Says the guy is especially interested

in something to do with a
burnt body on the west bank.

Glover. Henry Glover.

You know the name?

You didn't pass me the
files on that one, Terry.

You holding out?

There are no homicide files.

Nothing but a missing persons report.

No investigation,

no detectives assigned, nothing.

The family never called it in?

- No, they did.
- Well, who talked to them?

A detective named Bidwell.

Told them he didn't know anything about it.

Told them to call the district.

Bidwell, huh?

Where's he now?

My shift.



- (Scoffs)
- He's a sergeant now.

Jesus fuck.


Is fats back down here to stay?

No, he comes by every now and then,

but he's got a new house across the river.

You know, no grocery
down here, no hospital.

You ain't got a prayer, son.

Davell, this honors him so hard,

at this point, I can't imagine
him not being part of it.

Well, look at it this way...
you're gonna meet the man anyway.

That's worth the trip, ain't it?

Hey, he shakes this
hand, it goes unwashed...

- (Laughs)
- The rest of my life.


I can't sing opera.

(All laugh)

Well, it's an opera in four acts,

um, all about Katrina and
everything that's happened since.

It's all done in a New Orleans
style that you pioneered.

A rhythm and blues opera
with you as the headliner.

(Playing piano intro)

♪ I found my thrill ♪

♪ on blueberry hill ♪

♪ on blueberry hill ♪

♪ when I was drinkin' beer... ♪


- * The moon stood still... *
- Davell: Yeah.

♪ On blueberry hill ♪

♪ and lingered until ♪

♪ I'm through, I'm through... ♪


It ain't like I can't do things.

I can count.

I can read some signs, some words.

You're coping with it, I know.

And I can play music.

I listen to how it sounds
and I figure it out.

There's more to it.

Mr. Batiste, I know a lot of
people who can't read music.

I mean, most of the
players from around the way,

they don't read no music,
or they don't sight-read.

You think if they could
learn more than they know now,

they would wanna learn?

I think they doing fine.

They playing what they like to play

and they making money doing it, you know?

If I learn to play my
horn, I'll be all right.

I just wanna stay in band
class with you and Mr. Lecoeur.

("Blueberry Hill" continues)



♪ You were my thrill ♪

♪ on blueberry hill ♪

♪ on blueberry hill ♪

♪ where I found you ♪

♪ the moon stood still... ♪


(Phone clatters)

Come on, Davis, you had
to see that coming, huh?


I had him there for a moment.

Well, there's no choice now, right?

I gotta get Irma.

- Where again?
- Coffee shop in the bywater.

Well, damn. What are you worried about?

It ain't like you dragging the
girl down to some nightclub.

I'm just saying, desiree,
I'm all unescorted and shit,

rolling around with a
little 14-year-old girl.

It don't look right.

- What?
- Well, look at you, Antoine... all proper.

Hey, even when I was
out there mixing it up,

I wasn't chasing no young girls.

(Laughs) I mean, not that young.

Can't tonight.

Meeting this lady down
at my mother's house.

Anyway, I have a solution to your problem.

You got honoree when she wakes up.

Aw! But...

Stroller's over there. Have fun.

- Hold up.
- (Door opens, closes)

(Sewing machine whirring)


- Davina: How you feeling, daddy?
- Fine.

I'm thinking of taking leave from my job.

Come back from Houston full time

while you start your treatments.

- No need.
- I don't mind.

I already talked to my office manager.

He knows what's going
on with you right now.

Pssh, everybody's all up in my business.

He's my boss, daddy.

I just told him what was going on.

I could go back this
weekend, pack some things,

be back down here before
you start your first session.

When is your first chemo?

After Mardi Gras.

You couldn't get it started sooner?

Didn't want to.

Are you hearing this, del?

(Door opens, closes)

Just like her mama.

Think what you're asking.

He is sick, and he needs
to do what he needs to do.

I'm gonna ask that man to
start chemo before Mardi Gras?

Put him flat on his ass
so he don't finish a suit

for the first time in forever?

You ever see somebody get sick

and stop doing the things
that made them who they are?


You know what happens
next? They get sicker.

They stop living for what they
were living for in the first place.

He needs to take that walk...

this year like every year.

And tomorrow I want you
to cab it to work and back.

- I'm serious.
- I promise.

Till we put this thing right,

I don't want you behind the wheel
anywhere near that coffee shop.

- I got that.
- Thank you.

That's where they'll be
looking for you, all right?

- Okay. Oh, see you soon.
- Bye.

- Safe travels.
- See you.

- How did your mother take it?
- Worse than I thought she would.

Even though we didn't
have the money to rebuild,

even though we talked about selling,

I think she always believed she
would come back down here eventually.

I mean, she grew up on
this side of the canal.

You posted signs?

It's like they didn't want us coming back.

- It's like they have a plan.
- You know what?

They fuckin' with the
wrong people this time.

They fuckin' with me and mine.

I need to find a way to fuck these
people up the way they did to me.

They think I'm gonna go
away? I ain't going nowhere.

- Six flags?
- Yeah, it's crazy.

The whole damn amusement park
is just sitting out there,

a wreck from the storm.

No security. No one's watching.

And you wanna go out there for what?

Just to check it out.

Take some band pictures on the midway
or in front of some of the rides.

- Who's driving?
- What do you mean?

I promised my mom I'd park it for a while.

The thing with the cops, remember?

She's worried about the
police hassling you, right?

Well, no one's mad at me. No
one's looking to hassle me.

I'll be the driver and
I'll be careful with it.

I promise.

(Band playing)

(Music drowns out dialogue)



(Distant music playing)

There's pride on bourbon street.

Are you serious?

Jeez, don't be so paranoid.

(Band accompanies recording)

All that minor-key stuff...
that sounds great, man.

We'd never get a chance to get into that.

Sidney Bechet could live in that scale.

But, bennie, man, I
thought y'all were working

that "Bugle boy march" pretty good.

Y'all ever heard George Lewis do that one?

With Jimmy Robinson on trombone?

- Yeah.
- Ooh, they swing.

Bennie: But the truth is
when I hear all that music,

it just really let me know
how far we got left to go.

Man, just keep shedding.

I'm still shedding. You'll get there.

Doesn't seem that way sometimes, man.

Dr. White: Look, if y'all
gonna be down on yourselves,

let's go back to one of
the ones you really learned.

- (Recording stops)
- How about "Shake it and break it" on two?

- One, two.
- (Band playing)

Now you know these guys, right?

You've seen them around the way.

That's hot 8, Bennie Pete's bunch.

I've heard them play all over.

Now you know they came up in the street.

I mean, they as street
as you can get, right?

But here they are with Dr. Michael White...

The Professor, Dr. Michael
White... learning the tradition.

What you don't know today
can be learned tomorrow.

And there isn't a
musician who's worth a damn

who ever stops learning.

You, too?

(Knocking on door)

Fucking up again.

Smells like dog shit in here.

- What are you, my sponsor?
- Close as you got.

So what tripped you up, man?

I don't know.

I'm back playing at the clubs

with the same old people
and the same old scenes.

Bullshit. I was in a band
with you for four months.

The last two, you stayed
clean as a whistle, bro.

You call your girl?

- She calling you?
- (Snickers)

Now, see, I know this is gonna make me

sound like a psychiatrist or some shit,

but if I was a betting man,

I'd say that this is you
trying to find a way out.

- A way out?
- From the girl, her family.

I love that girl.

Well, if you love her and
she loves your narrow ass,

then where does that go?

Come on, man, get your shit together.

(Door opens, closes)


Then I raised objections, of course,

but it was Dr. Minyard's call.

But you were there

when the Orleans parish
people did the postmortem.

No. We were in Louisiana after the storm

to provide support and assistance

to local authority and we
did do our own autopsies,

but whenever there was a suspicious death,

anything that looked like a homicide,

we turned that over to the locals.

And in my mind,

I strongly suspected that
Glover was a homicide.

Why is that?

For one, there were metal
fragments in the charred remains

suggestive of shattered projectiles.

Of course, I could never
be completely definitive

given the condition of the body

and the fact that the
skull itself was missing.

You never saw the skull?

- Where'd you get this?
- A reliable source.

This skull never made it to DMORT.

I had no skull at autopsy.

The hole could be thermal from the fire,

but it can also be
indicative of a gunshot wound.

A close-range coup de grace, in fact.

But you can't be sure?

Not without an examination
of the remains, but...

you're here telling me that witnesses saw

the victim fall from a gunshot wound,

that he was driven to a
police checkpoint still alive,

and that the witnesses then saw
the police drive the vehicle away

with the victim in the rear seat,

and, above all, the
location of the vehicle...

behind the levee, in the weeds.

With this level of charring...

I've seen lots and lots
of car fires, accidentals,

but this...

this is a postmortem arson

with an accelerant having been used.

A trained pathologist should
consider this a probable homicide,

and he would be telling police to
begin a full-bore investigation.

Will you say that on record?

I said it then, I'll say it now.

Dr. Whaley, was this the only case at DMORT

where you had a difference of opinion

with the Orleans parish officials?

No indeed. No.

There seemed to be a consistent pattern

of rendering "undetermined" rulings

in cases where evidence
of violence was apparent.

I see.

And did you have occasion
to become familiar

with the case of a Joseph Abreu?

White male, 20s, gunshot wound to the head?

That name isn't familiar.

Will you take a look at his, too?

This is another one that
was ruled "undetermined"

by Dr. Minyard's office.



(Men laughing)

Bidwell, your vehicle's a shit pile.

- Don't leave without cleaning it.
- I'll get to it, L.T.

- Man: So then what?
- So I say, "how could he be a faggot

if he fucked your girl?"

- (Men laugh)
- Now.

Clean your fucking vehicle or
I'll drop a note in your jacket.

Yes, sir, Lieutenant Colson, sir.

Fuck you.

The leg is deep fat fried.

It's marinated in buttermilk, garlic,

and then breaded and fried to order.

Basically, it's like a dressed-up
version of fried chicken.

The loin is lightly stuffed
with grilled escarole.

It's very delicate.

The loin should be pink in
the middle and cooked through.

Rabbit roulade and fried
leg served on bread pudding.

Red pickled pears.

Contrasts come together on the plate

to make a balance.

And the soul of the dish...

Glace de viande.

Tim: Chef.

You need to get into character.

Oh, man.

There's a time to cook,
there's a time to sell.

Now, we're not gonna be able
to open before Mardi Gras,

but we still gotta keep the wheels greased.

All right, take it home for me, I guess.

And the pork again. The plating
on that still needs work.

As you can see, this stuff has
kind of taken over my kitchen.

So which block of Deslonde
was your house again?

- 2800.
- You know the Joshua family over on Forstall?

They've put $5,000 into fixing their house

after it was cited as a derelict property.

Even after they complied and
spent the money, city tore it down.

That's only a few blocks from you.

Anyway, you got burned by something called

the "imminent health risk" demolition list

where New Orleans took all this FEMA money

and put houses on that list whether
they needed to be tore down or not.

Folks like you waiting on
road home or insurance checks.

- Why?
- Well, since the storm,

a lot of money's been made
just tearing stuff down.

We're seeing some pattern
to where the demolitions are.

In mid-city, it might be
part of another land grab.

Actually getting people home...

I guess no one's figured out
how to turn a quick buck on that.

We posted Idabelle Joshua's
story on our website.

- You might wanna look at that.
- What do you mean posted?

Karen's running a blog
called squandered heritage.

We're trying to document what's
been happening as best we can.

- You some kind of writer?
- Just concerned.

Demolishing houses with people
still fighting to come home?

- This is civic suicide.
- But you're doing okay.

I mean, you in your
house and all here uptown.

This goes past my property line or yours.

It's about the city.

What kind of city's gonna come back?

What's New Orleans gonna be?

Who gets to come home and to what?

Pam and me, we were down at
the council vote last month,

the one about the housing projects.

Never seen anything like it.

They snuck their
supporters into the chamber

before the meeting was supposed to start.

Stopped people from attending,
stopped people from testifying.

Everyone I talk to says
something different.

I mean, there's gotta be some
rules or laws as to how they do...

Katrina took away
whatever rules there were.

Now it's just them and what they wanna do.

And us.

So you're going to Washington.

That's where the money is.

Willie Sutton.

He was a bank robber, famous.

Some reporter once asked
him why he robbed banks.

"That's where the money is."

Same principle, I guess.

If there's no need for me here,

I'll saddle up and ride
to the next opportunity.

Those boys in D.C., I
knew them all in Austin.

Start popping open a
pearl beer and a lone star.

♪ The stars at night are big and bright ♪

♪ deep in the heart of Texas. ♪

Go with God.

So this one's different than
the one you had before...

- The one with the Hyatt.
- It is different.

- What happened?
- Politics.

Wynton Marsalis endorsed
Landrieu over Nagin,

so Nagin cooled on Irvin Mayfield

that was fronting the Hyatt project

and who came in with Wynton

when we were pitching
the idea to the mayor.

- So they fucked themselves.
- They did.

Ever since the election,
the Hyatt people, Irvin...

no one who had anything
to do with the project

could get Ray Nagin on the phone.

Payback is hell.

So this new thing here?

A jazz center in Armstrong Park.

Incorporating the municipal auditorium.

We're going with some new developers

who are closer to the mayor's heart,

maybe stepping sideways away from Irvin.

Looking for some other people
to be our standard-bearers.

Well, keep me posted.


- National jazz center, huh?
- Yeah, in Armstrong Park.

And they want the both
of us for cultural input.

You know, they wanna do
the thing the right way.

- Cultural input?
- Yeah, and local color.

Big chief Albert in his
prettiest Mardi Gras suit

and his visionary jazzman son

with the piercing brown eyes
present, live at jazz center...

a Lincoln Center in New Orleans

would be a fine thing if it can happen.


Seriously, pop, you should meet these guys.

I'm busy building this
here facility in Gentilly.

No, you've been busy going to Willie Mae's.

I've seen them fried
chicken boxes in the fridge.

That's for your sister.

Oh, well, you can tell Davina I ate it

because I thought it was for you.


- (Camera clicking)
- Photographer: So, chef, bring that plate a little higher up.

- Tilt it towards me a bit.
- (Clicking continues)

Show the plate a tiny bit
higher and to your right.

There you go. Not too much.

- Tim: You can smile.
- Photographer: Give me that big smile.

- What?
- Smile... you can smile.

Tim, why don't you stand next to me?

- Okay.
- So you don't distract her.

- I need her eyes at me. There you go.
- Janette: Yeah, thank you.

Chin down just a touch. Nice big smile.

I like that.

And that plate just a
little closer to your body.

- There you go.
- Tim: Yes, like you own them.

Photographer: Right there.
Show me a little teeth.

There you go. Right there.

(Car door closes)

- Hey.
- L.P.: Hey.

- Good trip?
- Great trip.

Broke this thing open, actually.

- Everything okay?
- Fine.

L.P., you wanna come in for a bit?

Honestly, I feel like celebrating.

Eyehategod at Southport...
That's my move tonight.

Really? That's your move?

- (Toni laughs
) - L.P.: Mm-hmm.

(Music playing)

- For real?
- Yeah.

(Stammering) The... well...

The lyrics are
tongue-in-cheek, miss Irma.

It's like you can't believe what
you're saying, even when you say it.

In fact, you're making
fun of the point of view.


Yeah, sort of.

- Sardonic.
- Sardonic, exactly.

All I can say is I hope they
have a good ballad for the B side.

(Music playing)

♪ I'll meet you on Dick Cheney Street... ♪

Davis McAlary, you're the
luckiest white man in America.

* Right next to the
statue of Michael Brown *

♪ in the new ninth ward ♪

♪ folks are living so easy there ♪

♪ times used to be so hard

♪ chicken in every pot ♪

♪ oh, they dance a lot ♪

♪ in the new ninth ward ♪

Back-up singers: * the new ninth ward *

♪ the new ninth ward ♪

♪ the new ninth ward ♪

- * times are easy there... *
- (Vocalizing)

* They used to be so hard *

♪ well, we kicked out all the criminals ♪

♪ got rid of the blight ♪

♪ put a little camera
on the traffic light ♪

♪ the kids, they come to school ♪

♪ they come to learn and not fight ♪

* this time around we're making it right *

* in the new ninth ward *

♪ the new ninth ward ♪

♪ new ninth ward ♪

* the new ninth ward. *

(Panting, moaning)

(Condom snaps)

- (Music playing)
- (Men chanting, shouting)

(Music blaring)

You having fun?

A lot of energy.

I'm surprised you wanted to come.

Thought you'd be out with
your fellow, one of his gigs.

- He kind of pissed me off.
- How'd he do that?

Sometimes he can be kind of immature.

Immature, huh?

(Crowd cheering)

I'll be right back.



Everybody pay their tab?

Ladonna: Always.

Hear that.

- Ladonna: I've been meaning to ask you something.
- Mm-hmm.

What does "Tu et pocky way" mean?

- I mean, for real.
- For real?

Yeah. Yeah, for real.

I can't tell you that.

'Cause I'm a woman.


(Sighs) You are all woman.


But you ain't Indian.

So if I wanted to know the
secret handshake or something,

what you're saying is there's
just no hope for me, huh?

Baby, there's always hope.



Are you crazy, Sonny?

You can't see Linh, not now.

I need to see you.


Go. Go.

Forgive me. Please forgive me.

I don't know what happened.

I... I'm so sorry.

I... I love Linh so much.

I... I just... I don't know what happened.

I could... please forgive me.

(Music playing)

* Anyone *

* anyone *

* anyone *

* anyone *

* you can blame me *

* try to shame me *

* and still I'll care for you *

* you can run around *

* even put me down *

* still, I'll be there for you *

* the world *

* may think I'm foolish *

* they can't see you *

* like I can *

* oh, but anyone... *