Joel and Alice

Story by Sailorboy, dramatised by C van D

Scene 1. The chancel of a Gothic-style cathedral (as before)

Sunday morning Mass is being celebrated and the cathedral is full of worshippers. The camera focusses on the front row of the choir, where Joel, in cassock, surplice and ruff, is singing the “Agnus Dei” as a solo. His castrato voice is exquisitely beautiful.

The camera then switches to a family pew in the fashionable part of the nave: a pew rented by the Sanders family. The paterfamilias, Jabez Sanders, a well-to-do corn merchant, is dressed in a sober black suit with a large gold watch chain across the front of his waistcoat. His black silk hat is on the pew beside him. His wife Mrs Wilma Sanders is dressed in the height of mid-Victorian fashion with an elaborate hat.

Next come the three Sanders children. Twelve-year-old James and ten-year-old Michael are dressed in sailor suits. Fourteen-year-old Alice is a smaller, slimmer version of her mother.

The camera switches from Alice to Joel and back to Alice. The girl’s eyes are riveted on the boy, his angelic features and wonderful music.

Scene 2. The drawing-room of the Sanders home, later the same day.

The room is furnished in High Victorian style with many pictures, ornaments and bric-a-brac. Two ladies are seated at a small tea table. One is Mrs Sanders whom we’ve seen already. The other, a smaller dumpier version of herself, is her married sister, Mrs Ninna Willmott. A coloured maid enters with the tea things.

Mrs S. Just put them there, Lulabelle.

Maid. Sho’ thing, Miz Sanders. (She puts the tray down and goes out).

A coloured manservant enters to announce the arrival of a guest.

Manservant. Bishop Marelli is here, Ma’am.

Mrs S. Thank you, Davis. Show the Bishop in.

Bishop Marelli enters. He is dressed as we’ve seen him before, except that he’s removed his biretta on entering the house, showing limp whitening hair. Mrs Sanders introduces her sister.

Bishop. Good afternoon, ladies. It’s extremely kind of you to have invited me to tea, Mrs Sanders. And to make your acquaintance, Mrs Willmott. (He inclines his head to her.

Mrs S. It’s an honor to have you visit our home, Bishop. You don’t think it’s unpatriotic to have tea instead of coffee?

Bishop. On the contrary, Mrs Sanders. And at four o’clock in the afternoon I definitely prefer tea.

Mrs S. pours out. Ninna offers him a pastry, which he takes. They exchange small talk for a few minutes.

Mrs S. Bishop, I have to confess I had an ulterior motive in asking you to tea.

Bishop. Feel free, dear lady. Feel free! (Beaming at her).

Mrs S. Well, now, Bishop, we’ve been so impressed with your new young chorister – is his name Joel? – that we asked your nice young Father Greenwood about him and where he came from. You can imagine how we felt when we learned he was an orphan with no family at all, no one to love and care for him. So for a start, I suggested he should come here to Sunday lunch, so’s we could get to know one another a little better.

Bishop. Yes, I know. I told Father Greenwood it was an excellent idea. Joel is, as you say, an orphan. Just moping around the lay brothers’ quarters and the library was making him very run-down and depressed, seeing the other boys go home for the weekend, whilst he had nowhere to go. So what is your problem?

Mrs S. Well, Bishop, we’ve three kids of our own. On the one hand it would be good for Joel to meet up with children of his own age. With our two boys, James and Michael, there’s no problem at all, of course. But Alice now – Alice is fourteen and growing up fast. She’s not a child anymore.

Ninna Willmott (under her breath) And developing into a real little hot-pants if you ask me.

Mrs S. Now, Joel is a good-looking boy, but we don’t know him at all, and you do hear terrible things, don’t you, when temptations get too strong for young people to control. If anything happened, so that Alice couldn’t have a white wedding, when she’s ready for marriage, I – I don’t know – I don’t know what…..(She breaks off in confusion).

Bishop. Set your mind at rest, dear lady. I know the dangers you have in mind, but there is no possible risk to your daughter, from meeting or being with Joel.

Mrs S. It’s good of you to say so, Bishop, but how can you be so sure?

Bishop. You just have to take my word for it, Mrs Sanders, that all those dangers have been removed. However great the temptations, Joel is no threat to Alice.

Ninna Willmott (laughing) Nor to any girl I guess! I figure that what the Bishop is saying, Wilma, is, Joel’s been fixed. You remember when I first got Buster – my King Charley spaniel- I had him fixed. I got the gardener’s boy to do it, so’s he wouldn’t be running after girlfriends – I mean the dog, not the gardener’s boy, of course.

Mrs S. I don’t follow you, Ninna. What has your dog got to do with Joel?

Ninna W. Oh honestly, Wilma! (She whispers into her sister’s ear. The other woman’s eyes grow rounder and rounder).

Mrs S. And they do that to human children – to little boys like Joel? For mercy’s sakes!

Ninna W. Oh of course they do, Wilma – don’t be so innocent! Down on the plantations, do you suppose they’d let all those black boys just go studdin’ around uncontrolled? Course they don’t!

Bishop. It’s quite clear that few of the realities of life escape you, Mrs Willmott. What you say is absolutely true. Whenever I can get any boys with exceptionally good soprano voices I arrange for them to have a small operation – it is very minor surgery for boys of that age - and to be made “castrati” – as the Italians call them. In time I arrange for them to go for professional voice training.

Mrs S. And Joel is…..has been…..

Bishop. Joel is a castrato. In time he can look forward to a career on the operatic stage. It comes, as you say, Mrs Willmott, at a certain sacrifice. Joel will never become a man. He will never be able to get married or father children.

Mrs S. So, Bishop, if he were to be alone with Alice..

Bishop (interrupting) Joel has been examined by a doctor. His operation has been thorough. There is no possibility, however great the temptation, of anything untoward happening.

Ninna. In other words, Wilma, even if Alice pulls her panties down and opens her legs, Joel still won’t be able to “do it”.

Bishop. Quite.

Mrs S. Well, I guess that’s okay then. Some more tea, Bishop?

Bishop. Thank you – I don’t mind if I do.

FADE OUT.

Scene 3. By the lake.

The scene is a bathing-place by a small lake out in the country. A sandy beach has been formed, and there is a thatched hut where people can change into bathing things.

The Sanders’ 4-seat open horse-drawn carriage is drawn up by the roadside, the bay gelding cropping the grass. Davis, the coloured manservant, is smoking a clay pipe.

Alice, fully dressed, is sitting on the stump of a tree, watching the boys, who are playing in the water. James and his younger brother Michael are in the nude. Joel is wearing a pair of cotton trousers. James speaks first.

James. Why don’t you take those wet pants off, Joel? It’s much nicer swimming with no clothes on at all.

Michael. It’s because he’s shy, that’s why. He doesn’t want to show off his cock and balls. I don’t mind people seeing mine. One day I’ll have big balls – really big balls, with a big cock. Look!

(The camera focusses on 10-year-old Michael’s genital area. Talking of ‘big balls’ has aroused him and his penis is half-hard.)

James. Michael, will you just stop behaving like that?

Michael (dancing around) I don’t care! I don’t care! Look, if I just keep pulling and pulling, it goes as hard as – as hard as a choo-choo train! (He begins masturbating). Joel, can you make yours go hard?

Joel says nothing. He is blushing scarlet.

James (who is also getting an erection from embarrassment) Michael, just leave Joel alone, will you?

Alice (calling) I think you boys have been in the water long enough. It’s getting late, you’re tired, and, Michael, you’re beginning to show off. Go and get some clothes on.

James. Oh, alright, Alice. C’mon, Michael, c’mon Joel. (they all go into the hut).

(Alice waits, sitting on the tree stump and playing with the ribbon on her straw hat. Presently the boys all come out again, dressed.

Alice. James, Michael, why don’t you get Davis to take you home in the carriage? Joel and I will follow on presently.

James. Okay, Alice. C’mon, Michael. (They climb into the carriage which moves off immediately.)

Alice. We’ll go this way, Joel. I know a nice way back. (Takes his hand).

A few minutes later. Another part of the lake-side.

Alice. This is a good spot. Let’s sit here on the grass.

Joel. Won’t they miss us?

Alice. Why should they? We’ve got all the afternoon. (She pauses, looking at Joel through half-closed eyes). Do you like me, Joel?

Joel. I like you a lot, Alice.

Alice. I’d say that you and I, we go together like – like peaches and cream!

Joel. Or like waffles and maple syrup!

Alice. Or like hot dogs and football games! (They both break into happy laughter).

Alice. Come closer, you funny boy! (She edges closer to Joel and slides her hand inside his shirt, feeling for the nipple).

Alice. You’re real cute, Joel – do you know that? Real cute! (She continues to fondle Joel’s nipples. Joel says nothing. A few minutes go by.)

Alice. D’you know what Mamma said, before we came out this afternoon? She said “Now be good, Alice”. Joel honey, I’m going to show you just how good I can be. Watch!

(Alice unbuttons the top of her dress and takes out a perfect breast, rosy-tipped, firm and round.)

Alice. Would you like to kiss it? Go on, it’s all yours!

(Without a word Joel takes the girl’s nipple in his mouth and begins to suck it. Alice becomes visibly aroused, her face turning pink and her breathing becoming heavy Presently Alice offers Joel her other breast to suck).

Alice (in a hoarse whisper) Oh Joel, say you like me! Say you like me!

Joel (in a much quieter tone) I do like you, Alice – I like you very much!

Alice. Wait!

(Alice’s dress is ankle-length and beneath it she has several layers of petticoats. She hauls the whole lot up above her knees, and spreads her legs. Unusually for a Victorian girl she is wearing brief panties, not long drawers, and Joel gets a full view of her love-mound, as is Alice’s intention.

Alice. Do you like it?

Joel. It’s very nice!

Alice. You can look but you mustn’t touch. Not yet. Okay, you’ve seen mine, now I’m going to feel yours. I’m going to see how big you are getting.

(Alice slips her hand down the top of Joel’s trousers.

Alice (thinks)

(The screen shows Alice’s daydream, floating above her head. She has ‘been this way before’ with other boys, and expects to find 4 – 5 inches of rampant penis, silky to the touch, hot and throbbing. BUT –

Suddenly a puzzled look appears on her face. She withdraws her hand and closes her legs abruptly.)

Alice (muttering) Something’s not right.

Joel. Whatever’s the matter?

Alice I don’t know, but something. Stand up – drop your pants.

(Joel stands up and loosens the draw-string of his cotton trousers, which fall to his ankles. The camera zooms in on his gelded genitals. Alice looks with amazement and incredulity at the tiny fold of skin that is all that remains of Joel’s scrotum, his very juvenile penis, retracted right in, limp and lifeless.))

Alice (to herself) A tiny little limp cock, and no balls at all. Michael’s better equipped than that, and he’s only ten. (To Joel). I don’t understand – did you have an illness of some kind?

Joel. No, it wasn’t an illness. The Bishop made me have an operation on my privates. They explained it would help me to sing better, and it did. My voice will always be high. Only I wouldn’t be able to get married or have children. Or do the thing with a girl that starts a baby. My – my cock won’t go stiff anymore, so I can’t get it inside a girl. I’m sorry, Alice, but I can’t do it. I’ve tried and tried, but I just can’t!

Alice. You’ve been GELDED! So you’re not a boy at all. How pathetic!

Joel. No, I suppose I’m not a boy, not altogether. (His face has gone scarlet with embarrassment)

Alice. And here I was dreaming of the hot time we were going to have, and all the time you were no more able to have sex than my pony, Diamond, who had to have his balls cut out when he got too frisky, poor boy…….

(Alice is, for the moment, lost for words. Suddenly she looks up, as light begins to dawn.)

Alice. I do believe I understand! On the plantations the black boys are all gelded, soon as they are old enough. It makes them stronger for work and they can’t be a nuisance with white girls. You’ve been gelded because – because you’re a SLAVE! You’ve got a fair skin but underneath you’re black! Ugh, you’re revolting. To think I let you touch me – ugh! No, keep back! (as Joel reaches out to her) I never want to see you again, never, never, never!

(Alice springs up and dashes off, her long skirts brushing the grass).

Joel Alice, come back!

(He is left standing there, a pitiable figure, his trousers still round his ankles. Suddenly his face puckers up and he dissolves into tears).

Fade out.

Scene 4. The parlour at the Sanders residence, later the same day.

Jabez Sanders and his wife are sitting on opposite sides of the fireplace. Wilma Sanders has a piece of embroidery in a tambour-frame, that she is working on. Jabez is reading the daily newspaper. The headlines are “Epic Riverboat Race, The Natchez vs. the Robert E Lee”.

Jabez. Wilma dear, ring the bell for Davis – I want a mint julep. And have yourself some chilled wine if you want.

(Mrs Sanders rings the bell. Davis comes in and Mrs Sanders orders drinks.)

Jabez. Alice is late.

Mrs S. I think I can hear her now – yes, here she is.

(Alice bursts into the room. She looks flushed and hot, having walked all the way from the lake).

Mrs S. Hello dear – did you have a nice time with the boys?

Alice (ignoring the question) Mamma, I don’t want to see that boy Joel again – ever!

Mrs S. Did something go wrong, dear?

Alice. I don’t want to talk about it, Mamma. Only don’t ask him here again, please!

Mrs S. Alright dear – I’ll tell Father Greenwood he’s not to send Joel here anymore.

Alice. Thank you, Mamma. I think I’ll go on up to bed. Goodnight, Papa. Goodnight, Mamma.

Mrs S. Goodnight dear – sleep well. (Alice goes out. Mrs S. turns to her husband. ) I always knew something like that would happen. It comes of showing kindness to the lower orders. They always presume too much.

Jabez. I guess that lets us out, anyway. (He returns to his newspaper, scarcely interested).

FADE OUT

Scene 5. In Father Greenwood’s office, a few days later.

Fr. Greenwood is seated at his desk reading a letter. There is a knock at the door.

Fr. Greenwood. Enter!

(Joel comes timidly in. He is wearing a cotton shirt and a little pair of brief cotton trunks. His feet are bare.)

Joel. You sent for me, Father?

Fr. Greenwood. Yes Joel, I sent for you, and I have to tell you I’m most displeased. Displeased and disappointed. Can you guess why?

Joel. No, Father. I’ve no idea.

Fr. Greenwood. I have a letter here from Mrs Wilma Sanders. Those kind people showed you every kindness, giving you meals, allowing you to play with their children, and how do you repay their friendship? By assaulting their daughter Alice. I can’t begin to tell you how distressed the family are. Besides…..

Joel. But Father, I never…….

Fr. Greenwood. I don’t think you should say anything, Joel. You would be sure to tell me a lie, and that would make matters worse. Your behaviour is unpardonable. What upsets me most, though, is this. The Bishop had you castrated, believing in his wisdom that it would prevent you doing anything like this. It seems he was wrong, and that you have learned nothing.

Joel. Father, I….

Fr. Greenwood. Be quiet! I’ve heard enough. You are now going to be punished. The Church has a prescribed punishment for nasty, dirty-minded boys – one that you will not forget in a hurry. You are going to be birched.

Joel says nothing. His face has gone pale with terror at the threat of punishment.

Fr. Greenwood. Come here, Joel. (He half-leads, half-drags Joel across the room and pulls a curtain to one side. High up on the wall, two iron rings are fixed. Clearly, boys have been punished here before.)

Fr. Greenwood. Joel, reach up to those rings. (Joel does so. Fr.Greenwood secures Joel’s wrists to the rings with cords. Then with a quick movement he tweaks Joel’s pants down).

Fr. Greenwood (calling out, and ringing a small bell) Brother Sebastian!

(Brother Sebastian enters. He is a huge man, dressed in a monk’s habit, and he has a tonsure. In his hand he holds a pickled birch-rod, which he flexes to test its suppleness.)

Fr. Greenwood. This is the boy I told you about, Brother Sebastian. Do your duty. Twelve strokes.

(Brother Sebastian nods, takes up his position and lashes Joel’s bare buttocks. Joel gives a shrill scream of pain.

Fr. Greenwood. One!

(Brother Sebastian lays on another stroke. Joel screams again. Beads of blood start on his very fair skin.

Fr. Greenwood. Two!

(Father Greenwood continues to count the strokes. By five, the boy’s bottom is a mass of blood.)

Fr. Greenwood. Twelve! That’s enough, Brother Sebastian. You may go. (Br. Sebastian goes out)

(Father Greenwood takes a small knife from his desk and cuts the boy down. Joel collapses in a heap on the floor, unconscious).

FADE OUT.

F I N I S