BLOGGER'S NOTE: This recap contains spoilers, so if you haven't seen the episode yet, move along.
By Edward Copeland
Because I thought this week's recap could get out of hand with more art than text and when posts get long with lots of art, they tend to knock other posts off the page, I decided to split the recap in half. Watching "Carnival Time" more closely the second time for my recap, David Simon and Eric Overmyer's script did contain a lot more worth writing about. I can't imagine how long it would have ended up as a single post, even though the "Carnival Time" episode of Treme isn't any longer than a regular episode. Once again, thanks to L.E.E. for answering some of my questions. I ended up with plenty of links to added information and videos in both halfs of the recap, so click away. If you stumbled on this part first, click here to read part I of this week's recap.
I chose this point in the episode as the starting point because this is when it essentially turns into a long montage, following most of the characters' activities on Fat Tuesday. First up, we see Toni desperately trying to re-create the Mardi Gras ritual they'd long held when Creighton was alive and which she dreamed about in last week's episode. Sofia sits in the entryway, having not bothered to wear anything special for the occasion. When Toni says, "Come on, let's go" she at least has a festive hat and mask on for the day. Toni stops when she realizes she almost forgot part of their annual duties and rushes back to turn on the music, except only mom places her hand over her heart. Daughter just stands looking bored, so Toni gives up and the two head out. While the music may not lead the Bernettes' day, it does ignite the look at everyone else.
Whistling introduces the song for this little montage as Davis, Simply and a couple of other friends pass a toke and consume mass quantities of alcohol at McAlary's place. Not yet outfitted, Nelson serves himself up a plate of home cookin' with the Zulus. In the shell of Albert's house, members of the White Feather Nation are busy getting their suits on. We spot Delmond there, but no sign of his father yet. Another tribal member struggles pulling his suit over his head.
The song's lyrics kick in. It's "Go to the Mardi Gras," sung by Professor Longhair and written by Roy Byrd (Professor Longhair's real name) and Tee Terry. The song begins, "While you stroll in New Orleans/You ought to go see the Mardi Gras/If you go to New Orleans/You ought to go see the Mardi Gras" As those lyrics
play in the background, we see Nelson having his Zulu makeup applied. "Zulu baby!" Nelson shouts. "When you see the Mardi Gras/Somebody'll tell you what's Carnival for" Davis works on his costume with help from others, which includes the words, "EVACUATION ROUTE" duct-taped on his ass. "Get your ticket in your hand/If you wanna go through New Orleans" Big Chief Lambreaux has come home for Mardi Gras and he's checking out the portion
of the suit he has on so far. "Get your ticket in your hand/If you wanna go through New Orleans" While other Zulu members wear far more elaborate costumes, Nelson just now is placing his grass skirt and black wig on. Once he's secured the wig, Nelson puts the big plastic cigar in his mouth and smiles at himself in the mirror. "You know when you get to New Orleans/Somebody'll show you the Zulu king" The whistling returns. Written on duct tape on Davis' back are the words "CORPSES OF ENGINEERS." He pulls down his Scream mask with one hand while carrying a bottle in the other as he and his fully costumed friends march out of the apartment chanting, "Burn it down." 
The volume comes down as the song's whistling fades away as Delmond and Davina help finish dressing their father in this year's suit. "You too damn pretty this year," Davina tells Albert. "You want me to follow you in the truck, right?" Albert says, "Me? I don't care. There some other Indians — I won't mention no names — Ronnie always gets to clap a few blocks down St. Bernard and need to ride a few blocks or so." Delmond asks his dad if he's going to come back to the house. "Where else am I gonna go?" Del tells his dad he has a couple of queen beds in his hotel room if he wants to stay there that night. "I'll put a room key in the glove box, alright," Del says. "You look real pretty, Daddy," Davina says. Albert prepares for his unveiling.
Outside the home-turned dressing area (using the blue tarp to conceal the suits), Dana Lyndsey and her cameraman await the Big Chief's entrance. "So you need to get the Big Chief from the moment he steps out," Dana tells her collaborator. The other members start coming through the tarp first chanting as others play drums and tambourines. Albert, of course, reveals himself last. Del and Davina watch from behind, the siblings with their arms wrapped around each other's waists. Albert unveils the inner design of his suit and, sure enough, his patch is the one that Del had been working on as a tribute to him with his house, covered with the blue tarp, and the tear drop on his face. The drums, tambourines and chants stop as Big Chief gives his annual call, then the other sounds slowly join back in with him as Dana smiles and her cameraman captures it all.
On Janette's Ripert-gifted day of Mardi Gras in New York, she enters her apartment with a gift from her friend Julie to share with her roommates Nick and Chas. Janette says, "Mardi Gras morning and we have here King Cake." She sets it down on the coffee table. Chas, who had been painting his toe nails, giggles at the sight of the Carnival tradition. "Behold the power and the glory," Janette intones as she removes the plastic covering. Nick, who had been reading a magazine, diverts his attention to the dessert, which tradition says cannot be served before Twelfth Night or after Mardi Gras. "Holy crap. Purple. Day-glo green. Gold. It's like an evolutionary imperative not to eat something that comes in those colors," Nick comments as Janette
returns from the kitchen wielding a knife. "We are going to eat this right?" Chas asks. "Not without being high we're not," Janette says. "Chas, I assume you have something rolled and twisted at hand." Yes, Janette finally will partake of some weed with her roommates, make that roommate. "Indeed I do," Chas responds as he retrieves a joint from his medicine box, "but we're on our own here, sister. Nick's not getting high anymore. He's found Jesus." Janette, licking some cake off her finger as
she slices, looks at Nick and asks, "For real?" "Oh yeah, for real," Nick responds, having returned to his Cuisine at home magazine. "He worships at the church of Chang," Chas tells her. "David Chang?" Janette says with surprise, referring to the third of the quartet of superstar chefs who visited Desautel's in season 1. "Listen. It's a serious restaurant serving serious food and it's time that I got serious about making serious food. Things have changed," Nick tells them. Janette wants to know when he started working for Chang. Nick says he got hired on last week, but Chas makes the change seem less mind-blowing by revealing he didn't stop smoking weed until yesterday. "Before Mardi Gras — that is an epic mistake," Janette informs him. Chas can't wait any longer and tears off a hunk of the King Cake. Nick takes a small sliver of it as well. "Yes! Yes! I can see the light!" Chas declares. "Oh man, this is some sick business. It's all like sticky and shit, but in a good way." Janette, slowly sinking further into the couch with the joint in her hand, just laughs. "Revolting. Truly. Cloying to the point of retardation," Nick rules. "Which one of you lyin' dogs would like to join me for dinner at Le Bernardin?" Janette asks. "Chef gave me the night off, invited me and said I could bring a guest." "Fuck, I've gotta work," Chas says. "I guess the honor will be all mine. It's my day off," Nick tells her. 
As Albert and his tribe take their dance into the streets of New Orleans, Dana continues to film them.
Toni waves and Sofia stands cross-armed as Pete Fountain's Half-Fast Walking Club (NOTE: Scroll down to get to the Fountain information) rolls by as Fountain plays on his trolley. In 2011, the musician paraded on Mardi Gras for his 51st time. "Daddy would've loved this," Toni exclaims, putting her arm around Sofia. "Yeah," is all the teen can muster.
"If this is what's right in this town, I don't want to know what wrong is," says Nelson, completely decked out in his Zulu garb, as he meets Thomas, costumed the exact same way, at the Zulu's ride for the parade, which turns out to be a fire engine. "I can't imagine we're brothers in this town," Nelson tells Oliver. "You got your throws, coconuts?" Thomas asks. "I should. I paid enough for them," Hidalgo replies. "That's what happens when you come in at the last minute. Everything costs a little more, baby," Thomas tells him. A man wearing a yellow suit with a large Z on it like a Zulu officer comes up to them. "Is this the cat you were telling me about? The one with the computer cables?" Derek Ross (Jay H. Banks) asks. "One and the same," Nelson says. "We're gonna need to talk then," Ross tells Nelson, as he reaches into his coat pocket and retrieves a business card, that is if he wants to get his goods past Greg Meffert "…you're gonna need some help then. Give me a call at the end of the week."
Annie almost looks understated compared to the others gathered at the Cajun Mardi Gras, including someone dressed as a chicken, men in black capes hurling whips and lots of odd and colorful costumes. "El capitaine," wearing a Napoleonic-type hat with a star on it, takes to the top step of the house where they've gathered with a bullhorn. "Alright Mardi Gras," he shouts into it as another man rides a horse around in circles. "Y'all ready?" he
asks. "First off, when we go to that Wanette house, get your butt off of that trailer, bring your musical instruments and you're gonna play for 'em. I wanna make sure that y'all beg. And if they give us that chicken, I want to make sure y'all…" The rest of his sentence gets drowned out by the noise of the various attendees. As if some participants were seeing The Rocky Horror Picture Show for the first time, another regular goes on the lookout for any "virgins" and wants to make sure their costumes get nice and dirty, ordering them to get down. "Get down! Look at the ground! Get your heads down! Get your heads down!" the man who looks like a warped Zorro enforces the orders of another man wearing a suit, a bowler and mask. "Hold on one goddam second," the masked man barking the orders shouts. "Stand up," he says to one of the celebrants on the ground. When he's standing, he grabs at something on the man's chest. "What the hell is this? Mardi Gras beads? Look what we got. Look what we got. No Mardi Gras beads." They throw they beads toward New Orleans and tell the guy he can go with them. Annie whispers to Harley, "What did you get me into?"Larry and the boys hook up with Antoine, Desiree and Honoré having a small Mardi Gras cookout. Alcide expresses wonder at the baby. "That's my sister, right?" Antoine's oldest son says. "Honoré," Desiree tells him. "You're Alcide, so that makes you Randall." His youngest son comments about the baby, "Hey, she's cute."
Antoine and Larry step to the side. "LaDonna didn't come with you all?" Larry shakes his head no. "Damn," Antoine says. Larry asks Antoine if the boys can stay with him for Mardi Gras because he thinks he needs to get back to Baton Rouge. "That bad? Larry nods in the affirmative to Antoine. "No problem. I've got this. Give me a minute," Antoine says as he goes to Desiree. Antoine tells her that Larry needs to leave the boys with them and Desiree doesn't mind — until he makes the suggestion the she take them home with her when she goes to put Honoré down for her nap because he has plans. "You think two teenage boys are gonna want to go to Jeff Parish to watch a little baby sleep on Mardi Gras?" Desiree hits back at him. You can see Antoine's wheels spinning — those dates he'd been arranging and having to watch bands with the class as well. "Do you know what time it is?" Desiree asks him without waiting for an answer. "It's daddy time." She places Honoré in her father's arms. Antoine frowns, but Larry smiles.The Zulus start tossing those famous coconuts.
Antoine takes Alcide and Randall with him when he meets up with LeCouer and some of the band students to watch the St. Augustine High School Marching Band perform. "I wish I had taken band," Alcide tells his father. "Yeah, I wanted you to," Antoine says. "Mom wasn't much on the idea," his eldest son informs him. "Nah — she wasn't gonna be raisin' no musician. Catch my meanin?" Antoine winks. The students seem to be watching with interest. LeCouer tells his class to pay attention as to how the St. Augustine band moves. Robert says to a classmate that they probably weren't ready.
Albert's tribe continues its route and Memphis Ronnie has indeed pooped out and chosen to nap in the truck.
From atop the Zulus' fire engine, Nelson spots his cousin Arnie in the crowd. He tells him to go out for a pass and Arnie takes off and successfully catches a golden coconut.
Toni and Sofia watch as a different Zulu float rolls by but as everyone reaches out for the throws, Sofia quietly walks away. Once the float passes, Toni turns around and notices that her daughter isn’t there anymore.
In Cajun country, the revelers have taken their festivities on the road, some on horseback, others in vehicles (including a school bus), others just on their own two feet. Many play instruments, including Harley, but Annie chooses to just sip from a can of soda.
As motivated as Davis was to grab one of the Muses' shoes, he seems even more manic to snag a Zulu golden coconut, berating a woman who grabs one that he insists had been tossed toward him. Another Zulu holds one of the treasured tokens out above the crowd but before Davis can attempt a grab, another man at a higher perch snatches it away. To make matters worse, he taunts Davis, who attempts to wrestle it away.
To me, this shot gets the prize for the episode's most curious image. While you can hear and see Indians in the background beneath an underpass, briefly we see what I assume is a man sitting on the stoop in an area that surely has seen better days. Several bottles and large cans sit beside the person as he takes another big swig from the bottle he's holding. We never see his face or him again.
Next we do see the Indians continuing their dance beneath that underpass and beginning to encounter some of the other Mardi Gras revelers as they reach a more populated area. Those watching include Antoine, Alcide
and Randall. As one of the tribe swings a particularly wide berth that makes some of the spectators step backs, Antoine tells Alcide jokingly, "If you see an Indian, get out of the way. Get the hell out of the way." He then return to clapping along with the rest of the crowd. Delmond definitely seems to have been infected with the spirit. He might not be wearing an Indian suit, but he's clapping, singing and making the moves. From the sidelines, Del hears someone shout his name. It's an old friend that Del hasn't seen in years. They briefly catch up until the friend tells Del he better get back to following his dad. They hug goodbye and Del starts to head back, but something stops him. His friend's group has a radio on that appears to be playing jazz. At first, Delmond looks annoyed, then his attention returns to the tribe and their tambourines. The mixture of the two musical forms has set something spinning in Del's mind.The Cajun Mardi Gras celebrants have whipped out their instruments for singing, playing and dancing. "You heard the rules," Harley whispers to Annie. "It's either dance, sing, play or chase the chicken." Annie laughs. Everyone gets down on their knees as a non-costumed man, presumably the home's owner, stands on the roof of his dwelling holding a live chicken. He tosses the bird into the crowd and some of the participants start their pursuit. It's a rather short one as the chicken gets retrieved rather quickly as the attendees who made the capture holds the eventual gumbo ingredient up in the air with pride.
While the merriment continues in New Orleans, Lt. Colson still has a job to do. He reports to two other officers that so far there's been, "nothing but the usual unusual. Two shootings, no murders and nothing in parades." One of the other officers says, "After the year we've had, I thought this was the Mardi Gras where we was gonna lose it." Colson agrees, "Me too." The third officer directs their attention. "Over there, gents." Two ladies walk by with drinks in hand, absent any shirts, though purple stars tastefully cover one of the women's nipples. They raise their drinks to the law enforcement officials. The officer who first spotted them kindly tips his hat. Colson just smiles.
Nelson certainly enjoys tossing throws to the crowds, especially those valued coconuts and especially when an attractive woman lusts for one. Of course, Nelson lusts for something else. He starts to give her a silver coconut, but she asks for a gold one. He tosses the silver one blindly to the crowd and tells her for the gold one, she'll need to give him a working phone number. She makes him take off his wig first. "You ready?" she asks. He whips out his cell and programs her number. "Remember, I said a working number," Nelson repeats." She pulls a cell from the top of her shirt and it's ringing after he dialed it. He gives her her prize and she gives him a very long kiss. Nelson climbs back onboard the fire engine and asks the Zulu standing next to him how many more of those coconuts he has.
The Cajun Mardi Gras, having secured its chicken, has taken its party to a cemetery where two fiddlers croon a Cajun song in what sounds like French. When the duo finishes, many sit on the ground surround the
tombstone of fiddler Dennis McGee. McGee died in 1989, but before he did he left recordings and was interviewed for documentaries on Cajun traditions. A non-costumed priest (I presume he's a priest, he's not wearing their liturgical costume either) speaks: "Let us begin in the name of the Father, the Son and the Holy Spirit. We gather together on this beautiful day to celebrate our culture, our life here, to remember Dennis McGee." Harley removes his capuchon from his head and when it comes off, so does his fake beard, revealing the Watt face we know. "So, for all of those people who have gone before us," the priest continues, "and passed down our traditions from generation to generation. Today is a time of having fun. Tomorrow will be a time of self-reflection when we decide on what is good, that which we need to keep and that which we need to let go of."
Antoine, still wanting to make his Mardi Gras dates happen, now travels with a posse — a posse made up of Alcide and Russell — and has taken them to Ernie K-Doe's Mother-in-Law Lounge on North Claiborne, right at the edge of the Treme. The singer, who died in 2001, opened the lounge in 1994 and named it after his most famous hit. This year (2011) marked the 50th anniversary of "Mother-in-Law," which was written by Allen Touissant, hitting No. 1 on the Billboard charts. Singing at the lounge in Treme time (2007) when the Batiste men enter is Cyril Neville, the youngest of The Neville Brothers. The lounge literally shakes as Cyril Neville enthusiastically gets into "(Every Time I Hear) That Mellow Saxophone," composed by Bumps Blackwell, Joe Maralsco and Roy Montrell, and first recorded by Montrell in 1956. Alcide and Randall definitely dig Neville's interpretation of the song, but their father has wandered to the outside area of Ernie's Lounge to try to explain to the second young lady he made a date with at the Prime Example of his complications. She does not look pleased.
Back where they started, the Cajun revelers are all about playing and dancing now. Harley's friend Wilson Savoy of The Pine Leaf Boys asks Annie, "How you enjoyin' your first Courir?" She tells him, "I love it. I love it." He follows up with, "You finally got over that trouble in your heart?" Annie says, "That is the corniest line. Does that line ever work?" Wilson says he finds that city girls usually like that "magical Cajun act." He then prods her about whether or not she's going to play. Annie remains hesitant, preferring to listen. "I know you didn't drive two and a half hours all the way out here to sit down and listen," Wilson says. "So come on, let's go." He grabs her arm and leads her to the porch with the other musicians and Annie gets out her violin.
Toni has followed the Saint Anne participants to the Mississippi, but she still has no idea where Sofia went. She calls her daughter on her cell phone and says, "Sweetie, I'm down by the river. It's really beautiful. The band is playing. Sofia, if you're anywhere nearby, I really want you to be here — to say goodbye to Daddy. I'll wait a little while longer."
Nelson and Oliver Thomas hop off the Zulu fire engine. "Boy, that was somethin'," Nelson declares. "It was a ride and a ride is what it is," Thomas says. "What an experience." Nelson almost sounds out of breath. "See you next year, bro," Oliver promises, giving Nelson a handshake with a half-hug. Of course, those who know Thomas' real-life story know that won't be happening. Nelson immediately dials that number he got in exchange for a coconut.
Toni makes a last-ditch attempt to reach Sofia by phone and even scans the surroundings for a sight of her daughter, but it's her turn to step up to the river. She takes the packet with Creighton's ashes out of her purse and releases them into the Mississippi. "Goodbye Creigh," she says, her voice cracking. She blows him a kiss and then moves on for the next person.
The Radiators have the stage at Tipitina's on Mardi Gras night. (In real time, The Radiators will return to Tipitina's for three final shows this Thursday, Friday and Saturday wrapping their "Last Watusi" tour and starting the New Orleans' band's retirement after 33 years.) Currently, the band performs "Long Hard Journey Home," a song whose lyrics reference Professor Longhair for whom the club Tipitina's was dedicated. Among
those imbibing while enjoying the show are Davis and Simply. Through the crowd, Davis spots someone else he knows having a drink — his former piano student Sofia. He pulls down his Scream mask and goes up to her at the bar. He lifts it and gives her a "Happy Mardi Gras" along with a little hug that the teen tries to prolong longer than Davis finds himself comfortable with. Sofia seems genuinely pleased to see him. Davis asks who she's there with and when she says nobody, he seems surprised. "Using my fake ID," Sofia confides. Davis puts his finger to his lips. "Call me if you want another piano lesson," McAlary tells her as they tap beer bottles. He goes back to Simply, pointing at her and saying in a joking way, "Bad! Bad!" Sofia hasn't smiled this widely in a long time. Surely, I thought as I watched, even Davis can't be this irresponsible. I've always defended his character, but if he just walks away, this would be the final straw for his character in some viewers' eyes. A few other fishermen join Uncle Don and Sonny at the end of Tuesday night's catch. Oysters and crab lay scattered across the table and as the fishermen chat, Sonny has absolutely nothing to add to the conversation. Don brings out a carton of beers and starts handing them out. When he gets to Sonny, Don begins to give him a beer but stops and asks, "Is this your problem or you a dope fiend?" Sonny finally can contribute to the conversation. "Dope fiend." Don gives him the beer. "Happy Mardi Gras, y'all," Sonny says. "Same to you man," one of the other fishermen responds.
"This — this un-fuckin-believable," Nick says upon his first taste of food prepared at Le Bernardin. "You forget," Janette comments. "When you work inside you forget what it's like."
Back at Tipitina's, Davis catches sight of a man way too old for Sofia coming on strong with the girl. It actually puts a pause in his drinking.
The three Batiste men have all crashed on the couch with the TV on. Desiree comes out and switches off the light. The digital clock clicks over to 12:00.
Colson and many of his fellow officers stand in the filthy but empty streets of New Orleans. The floats have been put away. The revelers are elsewhere. No more coconuts, doubloons, shoes or beads remain to be thrown. The street cleaners have some work ahead of them. A cop announces that it's after midnight. "Anyone else gets murdered now it's an Ash Wednesday killing." Terry says with amazement, "Gentlemen, New Orleans just had a one murder Mardi Gras and that happened after the parades and nowhere near the festivities. In this, of all years, how that happened, I have no fuckin' clue." Colson signs himself and looks up. One of his fellow officers points out that Colson isn't even Catholic. "I fuckin' am now." Colson's phone rings. It's Toni — panicked about Sofia. He tries to reassure her that he's sure she's fine.
Nelson consummates his deal with his new friend from the parade route, though he urges her to be careful with the grass skirt — he might need it again next year.
Annie comes home to find a passed-out teenage girl with her blouse off on the bed and a suddenly sober and quite somber Davis slumped in a chair insisting that, "This isn't what it looks like." Annie asks him what he thinks it looks like. "Me, her, eh…" are all the words Davis can bring forth. "Davis," Annie says as she approaches him, "I know your heart." She then kisses him and joins him in his chair, gently stroking his hair. "Did you have fun?" the obviously exhausted McAlary asks. "It was amazing," Annie replies. "Happy Mardi Gras," he bids to his girlfriend as they kiss again. Annie gets up to investigate Sofia as Davis explains who she is. "She's the daughter of a friend, drunk off her ass at Tip's. I tried to take her home, but her house is for sale. They must have moved."
Annie gently rubs Sofia's forehead and brushes her hair back. "I only took her top off because she threw up in my car and passed out." It's such a touching moment to see, not only for watching the innate trust that Annie places in Davis but in seeing Davis behave closer to the age he is instead of as the guy who still hangs around the college campus and assumes no adult responsibilities to speak of. "Did you try calling your friend?" Annie asks, but Davis tells her the only number he has is for Toni's law office. Annie retrieves Sofia's cell phone from her pants. "Check her pocket?" Just as Davis knew when that hug at Tipitina's was lasting too long, he tells Annie, "You think I was going to put my hands down her jeans?" Davis sees all the missed calls from Mom and Home and says, "Toni must be crazy scared." He calls.Delmond has found a friend to take back to his hotel room, but both seem more than a little tipsy and Del's motor skills are having trouble unlocking the door and holding the young lady up at the same time. He finally manages the feat and they enter the room only to her voices immediately and to see a trail of clothing leading into the bedroom. Del rushes the girl back out into the hall. "No no no room in there," he tells her. "My daddy has a new friend," he slurs as she convulses in laughter. They stumble back down the hotel corridor.
In the dark of Davis' apartment, Toni stares at her unconscious daughter. "She knows — about her father," Toni says. "Knows what?" Davis asks. Toni turns and looks at him. "That he killed himself." Davis says to Toni, "She didn't know that?" Melissa Leo uses her left hand to move her head away again and cover her face as Toni tells Davis, "I told her it was an accident." Treme still has four episodes left to go this season and while Leo, Khandi Alexander and Kim Dickens all shared the honors for the season one standouts, season two really has belonged to Leo and
Wendell Pierce. "She knows. Maybe she's always known." Toni sounds beaten. It's incredible she can keep working at all carrying this lie from her daughter and probably not allowing herself the proper release of emotions either. "Toni," Davis calls out, capturing her
attention, though when she turns to him she still hides half her face with her hand. "Kids do stuff. I did stuff…do. She's a good kid." This really marks a turning point for the Davis character, but will it be a permanent one that successfully starts transitioning him to an adult? His mother already recognized earlier in the episode that he's in love with Annie, so much so that he seriously contemplated foregoing his sacred New Orleans Mardi Gras for Cajun country just because he didn't want to disappoint her. Even if this is but a momentary blip in the Davis McAlary trajectory, it definitely has given Steve Zahn more beats to play and provided him with his finest hour, preventing Davis from becoming pure caricature, even though those elements were still there. "She's angry still. She's got every right to be. Angry at her father. Angry at me," Toni begins to break down. Uncle Don tells Cornell he's late. "And hung over too," Cornell replies. "Ash Wednesday. Sounds about right," his uncle says. Sonny, already on the boat, asks if this means Cornell is going out as well. "At least a couple days a week. Every chance I get," Cornell tells him. "Ship's got to be cleaned. Keeps me clean too." Sonny claims to get it. "You're not here to talk noble shit about puttin' in a good, hard day's work." Cornell disagrees. "Hell no. Just no place out here to party and get fucked up." Sonny agrees. "You're right about that." Cornell asks Sonny, "How was your Mardi Gras?" Sonny doesn't answer and Cornell just laughs. The music from some horns come in. "Catch any beads? How about them doubloons?" As the ship sails away from the dock, the lyrics kick in: "Your pocket’s a little lighter/You’re reeling in the dawn/you make you way down Esplanade/after everybody’s gone/you stand outside her window/she turns her head away/on the day after Mardi Gras day" It's "The Day After Mardi Gras Day" by Alex McMurray.
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