Treme (2010–2013): Season 4, Episode 4 - Sunset on Louisianne - full transcript

McAlary celebrates his 40th; Bernette gets a break in her case; Annie dumps her band; Lambreaux insists that Delmond carry on as Big Chief after he's gone; Everett returns to New Orleans.

Last night, that was nice.

What are we doing here? You and me...

- Is something going on?
- Um, I'm not sure.

We had a second autopsy done.

Billy's asthma was survivable.

He should have had his inhaler.

Sounds like negligence to me.

Does to me as well.

I assume a federal grand
jury's coming on Danziger.

I just wanted you to know

if I am subpoenaed, I am going to testify.

- I hate to start over.
- That's what you're paying him for.

His expertise. And if
you don't agree with it,

maybe you should find a new manager.

Say hi to my Big Chief for me.

He gonna be able to make
that walk, you think?

He aiming to. You know how
he is he put his mind to it.

We should talk about what if
he can't. If he ain't up to it.

He'll be up to it.

(horns playing)

♪ Sing, sing, sing, sing ♪

♪ Everybody start to sing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Now you're singing with a swing ♪

♪ Now you're singing with a swing ♪

♪ Everybody start to sing... ♪

(pots clanging)

(singing continues)

♪ Sing, sing, sing, sing ♪

♪ Everybody start to sing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Now you're singing with a swing ♪

♪ Sing, sing, sing, sing ♪

♪ Everybody start to sing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Now you're singing with a swing ♪

♪ When the music goes around ♪

♪ Everybody goes to town ♪

♪ But there's something
you should know ♪

♪ Whoa, baby, whoa ♪

♪ Sing, sing, sing, sing ♪

♪ Everybody start to sing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Now you're singing with a swing ♪

♪ Swing, swing, swing, swing ♪

♪ Let's do that trumpet swing ♪

♪ Blow, blow, blow, blow ♪

♪ Let's do that trombone blow ♪

♪ When the music goes around ♪

♪ Everybody goes to town ♪

♪ But here's something
you should know ♪

♪ Whoa, baby, whoa ♪

♪ Sing, sing, sing, sing ♪

♪ Everybody start to sing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Everybody go... ♪


♪ Come on and sing, sing, sing, sing ♪

♪ Everybody start to sing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Now you're singing with a swing ♪

♪ Swing, swing, swing, swing ♪

♪ Everybody start to swing ♪

♪ Ooh-ooh whaa ooh ♪

♪ Now you're swinging while you sing ♪

♪ When the music goes around ♪

♪ Everybody goes to town ♪

♪ Just relax and take it slow ♪

♪ Now that you've discovered ♪

♪ The music goes round and round ♪

♪ You've got to remember ♪

♪ You've got to swing it in this town ♪

♪ Sing, sing, la-la-doo-da ♪

♪ Sing, sing, la-la-doo-dup ♪

♪ Now sing it ♪

♪ Keep swinging ♪

♪ Now you're singing with a swing. ♪

It's a good day, no?

Yeah, it's good.

Davis: ... coming into the
station for moments like that one.

You killed it, you
guys. You guys killed it.

That was Louis Prima's "Sing, Sing, Sing."

(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 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!

In the name of the Father and of the Son

and of the Holy Spirit.

All: Amen.

Peace be with this house

and with all who live here.

All: And also with you.

When Christ took flesh

through the Blessed Virgin
Mary, he made his home with us.

Let us now pray that
he will enter this house

and bless it with his presence.

May he always be here with you,

share in your joys, and
comfort you in your sorrows.

Inspired by his teachings and example,

seek to make this home before all else

a dwelling place of love,
diffusing far and wide

the goodness of Christ.

All: Amen.

Lord, be close to your servants

who move into your house
and ask for your blessing.

Be their shelter when they are at home,

their companion when they are away,

and their welcome guest when they return,

and at last receive them
into the dwelling place

you have prepared for
them in your Father's house

where you live forever and ever.

Davina and Delmond: Amen.

- Pop.
- Hmm?


I'm fine.

Y'all stay here and finish
up with Father Marcus.

I'll be inside.

It does not get any better than that.

Here in the OZ studios, live,

the great Duke Heitger on trumpet,

Herlin Riley retooling Gene
Krupa for a second line.

Herlin, I got a question
for you. You ready?

What's up?

What would you do in life

if you weren't playing
the hell out of the drums?

- Family dentistry.
- (Women laugh)

- Really?
- No, man, I'm sorry. I'm kidding.

I'm kidding with you, man. I am a drummer.

I feel ya. All right, and you gals,

channeling New Orleans'
own Boswell Sisters.

And all on Louis Prima's 1936
classic "Sing, Sing, Sing,"

yet another gift that
this city gave the world.

Actually, I don't think the
Boswells ever did this one.

Are you sure? I seem to...

No, the Andrew Sisters did it.

Our arrangement is sort
of a combination of them,

Goodman and Prima, but Boswellized.

All right, well, I seem to recall

that the Boswells did it
and they did it better.

- All right.
- Everything's better with hot sauce on it

and everything's better if
it comes out of Louisiana.

- Well, yeah.
- Yeah, you're right.

Of course, they're all dead now. You know?

Prima, Krupa, Boswells...

dead, dead, dead.

Gone from this vale

and moldering for all eternity.

You know what? With them
it doesn't really matter

'cause they left their mark.

You know? They left something behind.

A legacy.

Davis, you okay?

Yeah, fine. Never better.

Davis: Of course, inside of me...

as inside of all of us...

there's a skeleton that's trying to get out

and do his thing.

But he's going to have his
way with us, eventually.

Death, the great leveler.

It's a lot to think about, you know?

That's why we do so
little thinking about it.

So what say you ladies?

About death?

Davis: Well, after all, I mean,

to quote the onetime New Orleans resident,

the great Count No-Count himself,

William Cuthbert Faulkner...

- What day is it?
- Wednesday.

- No, I mean the date.
- The 21st.


- What?
- Davis.

Tomorrow's his birthday.

He's gonna be 40.

Davis: "In sunsets we fall
into furious attitudes,

dead gestures of dolls... "

(car horn honking)

Mr. Everett.

Tim Collington, FBI.

I'm with the field office down here.

- How'd you know...
- FBI.

We can't help ourselves
sometimes, you know?


We got word you were booked
to come back down here

and I wanted to make sure to meet you.

I'm an admirer of the work
you did on Henry Glover.

You are?

Where you headed? Can we get some coffee?

Um, I mean, I got to rent a car,

get to my hotel, check in, drop my stuff.

No problem. How about we meet
in the lounge in about an hour?


Great. See you then.

Wait, don't you need to know what hotel?

All righty.

You back to do more work on Glover?

Uh, no, actually. Something else.

Collington: Well, listen, we
don't want to get in your way.

And, again, the work you
did on Glover was first-rate.

- Thank you.
- And, really, we're just here

'cause the big man wants to meet you.

- The big man?
- The US Attorney.

- Letten?
- That's correct.

Well, I'm not gonna tell Letten

or anyone else anything that's
not already in the article.

And, no, you can't look at my notes.

And I won't be sharing
my documents with you.

I'm a reporter. I'm not law enforcement.

- Understood.
- For three years, Jim Letten can't do anything

except for chase the old Mortal guys,

and now with the Dems coming in,

he's suddenly interested
in civil rights cases.

Your whole field office
should be fucking ashamed.

- Do you know that?
- It's not my field office.

Or mine.

They're out of Washington.
Civil Rights Division.

No wonder Jim Letten's jumping.

Look, maybe we should all be ashamed.

Or maybe people did what
they could when they could.


Go ahead, Robert.

All right, all right, all right, all right.

Okay, you know what that was?

That's Robert throwing every
lick he could into 12 bars.

But, listen, the lesson today was

to play a blues and only
change one or two notes

in the standard phrase.

Now, you can flat the third,

you can go to the second
for the dominant fifth.

All right? Play, y'all.

One, two, three, four.


All right?

See? Playing the blues changes is simple.

You just change one or two notes.

All right, now you go, girl. Ready?

One, two, two, to the one.

Oh, yeah.

Uh. You hear that?

That's the blues right there.

Come on, everybody.




Hey. How long you been up?

You hungry, Pop?


Come here.

One thing is we got to replace
the floor in the second bath.

Okay, Pop.

Didn't want to say nothing before

'cause I didn't want your sister

to go reschedule Father Marcus.

The only reason that man
agreed to do it at all

was out of respect for your mother.

The truth is, this house ain't finished

until we go on back
there in that guest bath

and replace them original tiles.

Should have taken that shit
out with everything else.

It don't look right.

I hear you.

Also, we got to rewire that fixture.

Put it on a dimmer.

When you were up on the roof,

you happen to notice
the gutter in the back?

No, Pop.

It's rusted out.

You got to deal with that or we're
gonna have water down the back wall.

You should have seen it when you
were up there with the branch.

Okay, I got all that.


I'm not gonna make that walk.

So you take my crown...

and adjust it so it fits you right.

You take 'em uptown this year.

- But don't you think George should...
- No.


- But all those years, he...
- You.

- Oh, hey, Miss Sonastine.
- Antoine.

- Working late, huh?
- No later than you.

Well, I had after-school program, me.

So I'm just cleaning up from that.

I know. I actually need
to get with you about that.


We won't be able to sustain
that program going forward.

What do you mean?

We have issues with our insurance carrier

when the school is open past dark.

- And if we don't secure the building...
- For the love of God.

I know. I know.

But this could leave our
entire school vulnerable.

Or so I'm being told.

Can't we meet somewhere else?

Again, the liability
questions that would be raised

if students were meeting off campus...

You mean you're telling me that I have kids

who want to play and learn this music
and we can't figure out a way to do that?

You telling me that
there's more of a liability

for them sitting in this room playing
music than running the streets?

This is coming to me from the board.

I can't argue with what they're telling me.

I'm sorry, Antoine.

Excuse me. Coming through, baby.

I already gave the neighbors 20 each,

so don't pretend you're here
for anybody but yourself.

Just me and my shadow.

Any more than that

and it ain't worth it
for me to unplug the juke.

Glad you're back on your feet, Miss LaDee.

Real glad for you.

Hey, you mind closing up for me tonight?

You going to see the Big Chief?

My night to relieve his daughter.

Don't let that motherfucker back in here.

♪ My favorite poison ♪

♪ Comin' out my stereo,
the finest of noises ♪

♪ Well, I know the darkness
before I see that light ♪

♪ Sometimes you've got to fall down ♪

♪ To stand on your feet, all right ♪

♪ Come on, like a fish out of water ♪

♪ You know I just can't breathe... ♪

Hey, has anybody recorded these guys yet?

Got them into a studio?

You're late on that, slick.

They're out with an EP

and they're looking at
a first album next year.

Revivalists, huh?

How many of these guys are even shaving?

They look like fucking kids.

They're old enough to throw down, brah.

You're gonna get us thrown out of here.

She's late.

She said she'd meet with you guys.

I'm pretty sure her word is good.

I'll make the introduction
when she gets here,

but after that, you guys are on your own.


To be honest, I just really
don't want to be in a position

of vouching for anyone in law enforcement.

Not after what these
people have been through.

- (Exhales)
- (Shop bell rings)

There she is right there.

Hi, Patrice. How are you?

Patrice, this is Agent Harkness

and Agent Rollins.

The guys I told you about.

Here, have a seat.

Miss Glover, we can't undo
all that's happened down here.

And I know that it's been a long time
that you and your family have waited.

But we're here now.


My legacy.

If I died tomorrow, what
would I leave behind?

A good-looking corpse.

You think so?

From certain angles
and certain light, sure.

You could go open-casket at Charbonnet's.

Be that as it may,

you know, what would be different

in this city of my dreams
because I lived here?

Some songs.

A few under-appreciated and
under-marketed classics to be sure,

but no one's gonna say my name
in the same sentence as Toussaint.

Hey, Davis,

let's go see Toussaint
over at the Gentilly Stage.

Sorry. It was just a joke.

Hey, what about your record label?

You started that. That's
still going strong.

That's a legacy.

No, Don B and Auntie Mame
have that well in hand.

In fact, I'm starting to think that
when it comes to New Orleans music,

my aunt may be something
of an idiot savant.

They just call 'em savants
nowadays. It's nicer.

- What if I opened a club?
- A music club?

No, Young Republicans club.

Yes, a music club.

- A lot of problems, I think.
- Like what?

- Drunks.
- I like drunks.

- Musicians.
- I like musicians. Some of them.

You know they closed two more
clubs on Rampart Street this year?

My band lost out on its last gig
to locked doors at Caledonia's.

The whole strip of once famous venues

is now standing vacant.

I'm just saying that a restored Caledonia's

or a Funky Butt... that's a legacy.

Happy birthday, Davis.

- You remembered.
- Yeah.

That's just the start, sweetie.

Give me till my off night;
I'm gonna cook you a full meal.

Belated celebration.

Who's better than you?

No one you know.

So this is called cornhole? Seriously?

It's like the state sport.


Can we bet on this?

Might make it more
interesting if we can gamble.

Or drink and gamble.

We'll get some girls

and drink and gamble with them.

Then when we run out of beer,

all of us can knock off a
liquor store, have some real fun.


There you go.

First, that horror show with
Cherise and her boyfriend,

which is way past senseless.

And no one is even close
to getting past that.

Then they walk in here and tell me
to shut down the after-school program?

I mean, is anyone even paying attention?

Tell me it's different where you are now.

Tell me it's better in high schools.

John Mac? I'm in New Orleans same as you.

I mean, I woke up this morning, I didn't
even want to get out of the damn bed.

You know what I'm saying?

I mean, we're trying to
build something and...

Look, Antoine, I can't tell
you it's gonna get easier.

I just watched the best snare
drummer I've seen in a decade

get sentenced to seven years in Angola.

I sat in the courtroom last week

- and watched his life get wrecked.
- So what's the point?

The point is if you're looking for
a reason to quit, you can find one.

No problem.

It was a lot easier
before I knew any of this.

I was just a player.

Gig to gig, set to set.

Miss that, huh?

Why now?

Why not now?

It's not like I'm gonna make captain.

I've got enough years for the pension.

Is it so hard to see me as something else?

Why do we have to define ourselves

by what we do for a living?

- (Door closes)
- I mean Mark,

he's a good guy, right?

He's Mark. He's not his job.

He's not Mark the accountant

and you're not Kay the housewife.

- Hey.
- Hi.

Sorry I'm late.


I heard my name mentioned.
Hopefully not in vain.

No, no, no, no. We were just talking about

how jobs shouldn't define people.

I'm not Terry the cop

and you're not Mark the accountant.

Definitely not. Well, I'm a
retirement consultant for one thing.

An actuary, not a CPA.

An actuary, right, right.
Right, right, sorry.

But still, you know,

you're Mark, no matter what.

I'm Terry no matter what.

Okay, we know you're Terry, Dad.

But what are you gonna do
if you stop being a cop?

I'm gonna... I'm gonna bag groceries.

- (Chuckles)
- Tend bar.

Sell melons out of a roadside van.

It doesn't matter, does it?

Maybe I'll go back to school.

Learn something new.

Learn to be an actuary, maybe.

- God help you.
- That bad?

The melon thing, that sounds good to me.



- Pop, you up for a spell?
- Yeah.

Feeling up to listening to something?

- Mm-hmm. - This piece
I've been working on.

Not sure about a bridge yet, but I've
been shaping the head of the tune.

Does it swing?

'Course not.

You know us modern jazz
cats can't swing for shit.


Been messing with this one phrase
I heard from this trumpet in this...

in this second line that came past.

Anyway, this is me playing
the changes on a temp track.

Somebody knows what they're
doing with a piano can do more.

(Music playing)


Zachary Richard is killing it.

That's why he's top of the bill.

You guys gonna run?

I kind of want to stay and watch him work.

Well, this being Eunice and all,
we're close enough to home tonight

and we can sleep in our own
beds if we get started now.

But you, not so much.

All right, well, we'll meet up in
New Orleans tomorrow for sound check.

9:00, hi-ho.

Drive safe, y'all.

Hey, what's-her-face
brought some papers for you.

- What's her face?
- Melanie.

You know, the nice lady
that deals with our shit

now that Marvin's too high and
mighty to deal with our shit.

Wait. 6,000 units sold

and we are more in the
red than when we started?

This is some bullshit. Where is she?

- Driving back to Austin.
- Oh.

Remember when Marvin
wouldn't miss any of our gigs?

Now we can't even get his stand-in
to hang around for the second set.

You know what? Fuck Marvin.

Fuck 'em both.

You got a lift back to the motel?

I'll manage. Thanks.

All right. See you tomorrow, then.

(Music playing)

♪ When they won't tell me the truth ♪

♪ Take my grandson fishin'
down at Camanida Pass ♪

♪ I hope some of this
beauty will last ♪

♪ But, Lord, it's
changing so damn fast ♪

♪ Each and every day ♪

♪ 'Cause I love the river
and I love the swamp ♪

♪ Snowy egret and the great bullfrog ♪

♪ But they're harder
to find one and all ♪

♪ Since the industry come to town ♪

♪ Sunset on Louisianne ♪

♪ The sun going down
on the promised land ♪

♪ I've given you everything I can ♪

♪ I've got nothing left to lose. ♪

So there were, in actuality,

never any bullets suitable for comparison?

No. No, I was trying to suss out

whether I was working in
a unit that was committed

to investigating possible
murders by NOPD officers

or whether the unit was engaged
in covering up those murders.

And one of the bullets disappeared?

Yes, as to prevent comparison.

What would you have done if
the bullet hadn't disappeared

on the way to the Jeff Parish lab?

Would you have allowed a
false comparison to stand?

Well, of course not. It was in no way
an attempt to manufacture evidence.

Look, you get me on the stand, I will
explain exactly what I did and why.

And I will further testify
about the climate of obstruction

and corruption within the homicide unit.

After which, one defense attorney
after the next will impeach you.

Makes for a circular argument.

I think the jury buys Terry as honest.

I think the explanation works.

Maybe, maybe not.

But it might serve us better
just to leave it alone.

The defense counsel will more than likely

look at this ballistics report,

see more missing evidence
and let a sleeping dog lie.

Respectfully, you get me on that stand,

I will lay these motherfuckers out.

I'll let you know, Lieutenant.


More trouble than I'm worth, huh?

It might just save your ass.

Excuse me, sir.


Okay, Donna's was just down there.

That was Funky Butt.

Across the street is Congo Square

and J&M Record was just up the block.

This... this is hallowed ground.

Okay, I know. It's not
the glorious money trough

that you and your banker buddies
are building across the street.

The place is a shithole, Davis.

Yeah, I know. (laughs)

Hey, all the great clubs in New
Orleans are and were shitholes...

Tip's, Funky Butt, Glass House, Maple Leaf.

Anyplace where you feel bad
dropping a pitcher of beer

on the floor is not gonna play right.

So what do you want?

Investors. Starting with you.

If you tell me this
block is going to be zoned

for high-rise luxury condos
or a new hospital center,

I'll buy it up so fast it'll make
your head spin. But a nightclub?

Don't you need an edifice somewhere

saying that you came,
you saw, you conquered?

Come on, man! Share my dream!

Nurture it!

Suckle it upon thy money teat.

(laughing) What, you're
gonna name it for me?

Yeah. I don't... if the
money's right, I don't care.

I just want it to be.

Dude, look. Hidalgo's
Blue Note Bar and Grill.


- Oh, my God.
- (Groans)

Let me talk to some people.

No promises. I'll just
see what some people think.

But if you name it after
me, any deal is fucking dead.

Hidalgo's Blue Note? Shit.

Sounds like an icehouse and a burrito stand

20 miles too far from Waco.

(Car starts)

(bike bell rings)

Marvin turning us over to the
junior varsity was a message.

You think they're gonna drop us?

He's been pressing me to go to Nashville

or Austin, record with
studio guys he's lining up.

Tour with guys he picks.

- What do you want?
- I want to stay with this band.

- Play what we play.
- And what's the label say?

I don't know. They've got a
lot of business with Marvin.

I mean, they're gonna believe
in him more than me, right?

- What would you do?
- Me?

I'm a stubborn Cajun from way
the fuck out on the prairie.

I'd probably drink a case of beer,

get in my tractor

and drive it into Marvin's parking lot

and plow his BMW under.

But seriously, what would you do?

I'd probably make a Nashville
record for the fuck of it.

I mean, take the shot.

Brass ring here. Reach for it.

If I want to keep the double
fiddle sound, will you come with me?

I don't want to have to
work through all these parts

with some country-ass Nashville guy.

Let me think on that.

And that was Stoudamire?

Tom Stoudamire.

The lieutenant in charge
of intake that shift.

So, he comes back to your station

and asks for Gilday's personal effects.

You give him the envelope. Was it sealed?


You see him open it?

Oh, he opens it.

Dumps it out on the
counter in front of him.

He takes the inhaler,
walks into the outer office

and I see him toss it in
a trash can in the corner.

And you retrieved that inhaler?

After he left the office,
I went over to the trash

and it was right there in the can.

So you kept it?

Till I heard you was a
lawyer for that man's family.

Then I mailed it to you.

(Keys jingle)

- Got to ask.
- Hmm?

How did you find me?

Oh, it looked like a
woman's handwriting to me.

Three female COs at IPC on that shift.

You were number two on my call list.

You wanted to be found, right?

I better get back to my shift.

Can't miss roll call.

Thank you for your help, Officer Duval.

Might cost me my job.

It might.

- Nelson: Mmm.
- Liguori: Can't beat Stein's.

So when am I gonna lose
you full time to Galveston?

I already need to be there more than I am.

I got people on the ground,
but they can't do what I do.

I don't doubt that.

Well, the last of the housing
demolition is almost finished.

Next month we can transfer title

on the last of the Mid-City properties.

So I can pay you out for your share.

What's left on the Jazz Center?

Almost finished shepherding
that through City Hall.

They've picked up a few
more friends of the mayor,

need to be taken care of.

Most of them are short-time guys,

but some of them want
to stay with the project.

I'll take that as a good sign all in all.

Let me ask you about something else.

What's gonna happen to those properties

on the other side of Rampart Street?

The old clubs?

Any point picking up
any of that real estate?

If the Jazz Center goes, that could revive

the back end of the French Quarter maybe.

Rampart's quiet right now.

No noise, no drunks.

And that quiet is buying us goodwill
with the neighborhood groups.

Now, if we want them to
support the Jazz Center,

we can't be jamming clubs in
on every side of us, right?

Better to bring people to hear the music

where we can control the venue.

Why are you asking?

No real reason.

(Music playing)

♪ Here we are now when somehow ♪

♪ It's not where we've been ♪

♪ It's my conclusion
that we're losin' ♪

♪ What we've been livin' in ♪

♪ And if there are
problems, we'll solve them ♪

♪ Before they drive us away ♪

♪ Yeah, yeah ♪

♪ The way it's goin' now, baby ♪

♪ I just can't say. ♪

Take it, Big Sam!

(Crowd cheering)

- (music playing on laptop)
- (Albert coughing)

(thumps, clatters)


Pop! Pop!


Pop, stay with me. Davina!

- I'm here.
- Call 911.

Stay with me, Pop.


- Here you go.
- Thank you.

All right.

Whoo! That was a good start.

- What you mean?
- It's Saturday night.

I want to keep cutting.

Three sets ain't enough for you, man?

Hell, no. Who's going late?

Look, I heard Wolf and them

might be throwing down at Bocat's Lounge.

- Ah, okay.
- Some gin, some juice.

- Some weed.
- Ah.

You know, for musicians only.

- Yeah, I know the spot.
- Yeah, you right.

So what about you, huh?

You ready to endeavor to persevere?

(laughs) Where you at?

- Have a good one, man.
- Yes, I will.

Call Cheri. She need to be here.

Atlanta way too far right
now. It's time, Davina.

I'll call from the hospital.

- You riding in back?
- Yeah, yeah.


Man: Yeah, you right.

Oh, shit.

- Oh, oh, oh, oh, shit.
- What's up now?

It's them complicated motherfuckers.

Play the changes, Antoine.
Just play the changes.

Shit, my head started hurting just looking
at you two walking through the door.

Kidd Jordan: Don't even go there, Antoine.

I can play anything you want to play.

Don't matter to me. Just
call a tune and let's go.

All right, Mr. Jordan. Oh, man.

I'm about to get cut by Mr. Kidd Jordan

and Donald Harrison,
Jr. In the same session.

Whoo, I thought this
was a friendly gathering.

Shit, Antoine, you better play the stuff

you know forward and
backwards or you'll bleed.

All right, all right. Yeah, you're right.

Shit. Well, we gonna
go old school, bitches.

- Let's go.
- (Playing)

Oh, yeah.


Hopefully Ronnie had something to eat.

- They're saying he's stable.
- What does that mean?

Delmond's back with his father now.

They're making arrangements
to send him home.

But he's gonna need a home care nurse now.

And he's gonna be on morphine.

Won't be long now, Miss LaDee.

Ah, shit. Daylight.

Yeah, that's wrong.

Man, I'm just gonna get a cab,

go home, and throw myself into bed.

Oh, now you see, this here is where

I lose all respect for you.

Who's the second line today?

You out of your motherfucking mind?

Come on, Rebirth? New Birth? TBC?

I'm a New Orleans musician, motherfucker.

I'll play till they ain't
got no gigs still standing.

Stooges going the Uptown route.

VIP Ladies comin' up from Tchoupitoulas.

But if you gonna keep on going,

you damn sure better get some
breakfast and coffee in you.

Coffee, huh? Irish coffee maybe.



L.P.: Hello?



I thought you forgot about us.

Oh, come on, now. It's
like you always said,

once New Orleans gets in your blood, baby.

Oh, yeah.

What brought you back?

I'm working on the original vigilante tip.

I got some fresh info

that's good enough to
bring me back for round two.

Well, welcome back.

The amazing thing is I get to the airport

and there's all these FBI
guys waiting to greet me.

They took me to talk to someone

who I can only describe to you

as a ranking federal official.


I'm not confirming anything,

but, damn it, you are so good, Toni.

- He wanted to see you?
- Yeah.

Anyway, the guy just
wanted to glad-hand me

and tell me that they're
going after all of it.

Danziger, Glover, your case, Abreu.

- The one before the storm.
- Raymond Robair?

Mm-hmm. They want all of it.

They want everything they can get.

Or so they're making it seem.

I mean, who knows? Maybe they'll push

for a consent decree on the NOPD.

I couldn't wait to tell you.

I just know that...

I know you've been banging your head against
the wall for a lot longer than I have.

Yeah, so long I sort
of forget I'm doing it,

which is the scariest part.



(Music playing)

But those clubs are jazz history.

They're history, all right.

Brother, if I saw any
daylight, I would tell you.

Right now the guys I'm dealing with,

they're interested in
the National Jazz Center.

Anything that bumps
against that has no suction.

Shrimp and grits are
perfect, on the other hand.

- Thank you, Chef.
- Very kind of you to say.

Still no name here, huh?

Redacted on Dauphine.

Yeah, that fucker Feeny
is holding me hostage.


You know, Tim Feeny is one of the guys

that's bidding to open a restaurant
as part of the Jazz Center.

I just saw him on a list with Besh and Link

and other usual suspects.

Well, I do hope As many
as I can. a bad word.

Lunch is on me.

No, no. My tab.

Oh, I hate this. I do.

We know that.

But you don't want to
walk away from that label.

Shit, we wouldn't.

Dump your pretty little ass
in a heartbeat if they said so.

(All laugh)

Look, let's keep all our scheduled gigs.

Go out strong.

Of course. To the one
and only Bayou Cadillac.


♪ I ain't much on Casanova ♪

♪ Me and Romeo ain't
never been friends ♪

♪ Casanova ♪

♪ Can't you see how
much I really love ya ♪

♪ Casanova... ♪

So about those fiddle parts...

- Yeah?
- (Horn honks)

What the hell?

- (laughing)
- (Men cheering)

- Yeah!
- You're a saint.

For a second there, I thought they
might have come to fix that hole.

Dream on, country boy.

So, I think I should stay with the boys.

Just feels more right, you know?

Look who's here.

- Hey.
- Hey.

- Hi.
- Hi.

- So how is he?
- In and out.

The morphine.


Hey. Come here.


Getting big, this one.


A friend of your
father's. Good to meet you.

Oh, right. Thank you
for being there for him.

Can I go...

Oh, yeah, yeah. Of course.

He already knew you were on the way, so...

- Okay.
- Go right on ahead.


You had enough?

- Me?
- Yeah, you.

Going all night and all day
like someone half your damn age.

- What you trying to prove?
- Nothing. I'm just a player.

- I just want to play.
- (Laughs)

So where you going now, player?

I'm going to get me another gig, brah.

- (Car horn honks)
- Taxi.

Miguel. Hey, man!

All: Oooh!



Good Lord, that is majestic.

My girl can burn, girl.

Janette: I'm not taking
credit for dessert, though.

Everything up until now was all me,

but this...

this is Frank Brigtsen's recipe

for onetime use only in this setting

in honor of a certain local provocateur

having reached his fifth decade.

So this is Frank Brigtsen's recipe, eh?

Will you write it down?

I swear it will go no
further than this kitchen.

No can do.

After tonight even, I'm
obliged to forget what I know.

I swore on an oath.

You cold, cold bitch.


An amazing meal.

Never to be forgotten.

- Oh.
- Thank you.

Davis, I have to ask a question

and I hope you won't take offense.

Ask away.

Well, you know we a Jan Janette.

We knew she was too good for you
the first time you two went together.

- And the second.
- And the third.

If you can call the on again, off again,

now you see her, now you
don't thing that you two...

- We've loved you every time, my dear.
- Very kind.

And the violinist Annie.

She was a doll, if
you'll pardon the mention.

She is a doll. No argument.

And the one between first round
Janette and second round Janette.

- What was her name?
- Claudia.

- Claudia.
- Claudia. She was pretty and talented.

We have one of her lithographs
in the den, actually.

- Hmm. - All the women have
been first-class, Davis.

I mean, from our window,

it has been a parade of charm

and class and beauty.

And the question is?

Gents, I am as astonished as you are.




Oh, woman.





Pop, the music I played for you before...

I wrote it for you.

I know.



What if we had a baby?


Shut that piehole.


(kids chattering)

Jennifer: Mr. Batiste, you look rough.

Today is one of those music
appreciation days, right?

Where we listen to music and
you sit in the back quiet?

- (Rimshot)
- (Kids laughing)

All right. Hey, hey.

Who up in here in this classroom

to learn how to be a professional musician?

Let me see your hands.

Who up in here want to learn
how to play music professionally?

All right, then. Heed me on this.

Coca-Cola, aspirin...

and Miss Linda's beef
yakamein, extra salty.

That's the Holy Trinity right there.

- Uh-huh.
- (Laughing)

Years from now when this lesson

saves your little narrow behinds

from the worst hangover ever,

y'all remember who taught you
how to play New Orleans music.


All right, now.

(laughs) Mmm.

Pull out your charts for "Tootie Ma."

I want y'all to come up to the board

and I want to see you notate a new solo.

Each one of you. Come
on, Robert, you first.

Get your lanky behind
up here and do something.

(kids laugh)

There you go. All right.

Don't write so loud, now.

(Kids laugh)


(wheezing stops)


You should say good-bye.

(Door opens)

(music playing)