Libretto Vocal Book Music by Jeanine Tesori Book and Lyrics by Brian Crawley Based on The Ugliest Pilgrim by Doris Betts NOTICE: DO NOT DEFACE! * Should you find ic necessary to mark cues or cuts, use a soft black lead pencil only. IR SALE. + This book is rented for the period specified in your contract. Ir remains the property of (MUSIC THEATRE INTERNATIONAL ™ 421 West 54th Street ‘Music THtaTns INTERNATIONAL New York, NY 10019 (212) 541-4684 Book and Lyrics © Copyright 1997 Brian Crawley Music © Copyright 1997 Jeanine Tesoxi Al Rights ReservedIn accordance with the terms and conditions specified in your performance license, all music, bries and dialogue contained ‘herein are the property of the Authors and are fully protected by copyright You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material andlor the exclusion of existing material. Any changes shall constitute a wilful infringement of said copyright and will subject you to all rhe criminal penalties and civil liabilizies under the United States. Copyright Act. This book may not be duplicated and must be returned at the conclusion of your production. This Play is the property of its ‘Authors. Remember, you have rented these materials and been. granted a performance license. You may not duplicate any ‘portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission ‘and posting on the Internet, or use them for performances other than those specified in your license agreement. ) MUSIC THEATRE INTERNATIONAL 421 West 54th Street New York, NY 10019 4 (212) 541-4684 | ‘Music Tagarrs INTERNATIONALPage 3 Violet received its world premiere at Playwrights Horizons (Tim Sanford, Artistic Director; Ira Weitzman, Associate Producer) in Manhattan, on March 11, 1997. It was directed by Susan H. Schulman, and choreographed by Kathleen Marshall. Michael Rafter was Music Director. Orchestrations were done by Joseph Joubert and Bury Red. Perry Cline was Production Stage Manager and Luis Perez was Fight Director. The set for Violet was designed by Derek McLane, the lighting design was by Peter Kaczorowski, the costume design was by Catherine Zuber, and the sound design was by Tony Meola. The cast was as follows: Lauren Ward Michael McElroy Michael Park Violet... ‘Amanda Posner . Stephen Lee Anderson Bus Driver, Preacher, Rufus, Radio Singer, Bus Driver 4 Robert Westenberg Old Lady, Hotel Singer, Old Lady 2... (Cass Morgan Woman Knitting, Landiady, Gospel Soloist soneeRow Ryan sssuePaula Newsome Michael Medeiros -velKitk McDonald Woman With Fan, Music Hall Singer, Mabel - Leroy Evans, Waiter, Mechanic, Radio Soloist, Bus Driver 3, Earl Creepy Guy, Bus Driver 2, Radio Singer, Billy Dean, Virgil . noPage 4 ROLES (to be played by 5 women, 6 men) Violet.... Late 20s, mezzo (belt) Flick, a soldier. Late 20s, baritone Monty, a soldier... Mid 20s, tenor Early teens, mezzo soprano Late 30s, baritone Old Lady, Hotel Singer, €t6.-oonennenneOlder woman Preacher, Bus Driver, etc...... Mid 30s, tenor ‘Music Hall Singer, Mabel, etc... seossne Mid 308 Gospel Soloist, Landlady, etc... Older woman, Billy Dean, Virgil, etc. Early 20s, tenor Radio Singer, Waiter, ete... Older man 4 LESS SePage 5 SCENES AND MUSICAL NUMBERS: SPRUCE PINE, NORTH CAROLINA TO KINGSPORT, TENNESSEE Opening/ Surprised. Young Vi, Violet Violet, Company -Father, Young Vi, Violet, Monty, Flick KINGSPORT T0 NASHVILLE, TENNESSEE Question & Answer... All To Pieces -Monty, Violet Violet, Monty, Flick ‘NASHVILLE TO MEMPHIS, TENNESSEE Ler Ie Sing... Flick MEMPHIS ‘Who'll Be The One (If Not Me) You're Different... Lonely Stranges/ Anyone Would Do. ...Radio Singers Monty -Music Hall & Hotel Singers Violet Lay Down Your Head ‘MEMPHIS TO FORT SMITH, ARKANSAS Hard To Say Goodbye Promise Me, Violer..... Violet, Flick Violet, Monty, Flick TULSA, OKLAHOMA—HOPE AND GLORY BUILDING Raise Me Up.. ...Gospel Soloist, Preacher, Gospel Choir Down The Mountain. Young Vi, Father Raise Me Up (reprise) Violet, Preacher Look At Me.... Violet, Young Vi That's What I Could Do ._.Eather ‘TULSA TO ForT SMITH, ARKANSAS Promise Me, Violet (reprise). Bring Me To Light Flick, Violet Young Vi, Flick, Violet, ‘Monty, Father, Company | RTE)Page 6 dlPage 7 acrI The story begins on a sleepy street in a small sown in the Blue Ridge Mountains of North Carolina. Perhaps the only sounds to be heard at first are a breeze in the trees, a creaking window shutter, a lazy dog sniffing uj | trouble, Vols is kneeling ona bench, wish ber back to 16 pier ij schedule. Young Vi, about 13, is gathering split kindling to the percussive sound of wood being chopped. The two are in separate domains, not watching one another. A slash (j) marks the moment of an interruption; both characters keep talking after one. YOUNG VI MAMA, WHY’S A MAN HAVE EYES? IF I TELL YOU, DON’T YOU TELL— SO HE CAN TRY YOU ON FOR SIZE THERE'S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL VIOLET A BATTERED NOSE, A PIMPLED CHIN— UNEVEN EYES TO TAKE IT IN LEROY EVANS (Enters dragging a leash.) Roscoe? (Whisles.) YOUNG VI MAMA, WHY’S A MAN HAVE HANDS? IF I TELL YOU, DON'T YOU TELL— GO ASK YOUR BEAU, HE UNDERSTANDS THERE'S HONEY IN THE BUSHES, LORD. AND WATER IN THE WELL VIOLET I HAVE TO START THE PREACHER ON THE SCAR THAT CUTS A RAINBOW CLEAR ACROSS MY CHEEK Hl YOUNG VI |ONEY IN THE BUSHES, LORD i IN THE... FATHER (Offitage.) Violet, watch out! Young Vi straightens, her mouth open wide, terrified by something we can't see. Violet stiffens. LEROY EVANS Roscoe! Fishes something out of his pocket. Leroy’s got a hambone with your name on ic. L Wipes it on his pant leg, has a bite, ses Violet You going someplace, Violet? Violee turns to glower at the man; he avoids her eye. Young Vi straightens, her mouth open wide, terrified by something we can't see. Perhaps, whenPage 8 Violet turns, a shaft of sunlight cuts across her face. Young Vi has disappeared. An old lady who has been busy with her baggage gets in line. Instead of answering the man, Violet takes a lollipop out of her mouth, then ssicks her tongue out at the man when he turns to pursue his dog. She looks ‘at her luggage and sings sarcastically: VIOLET Is THIS A SUITCASE—IS IT MINE? AM I SITTIN’ BY THE CANDY STAND, BENEATH THE GREYHOUND STATION SIGN? HAVE I GOT A TICKET IN MY HAND? STUPID. THE PEOPLE OF SPRUCE PINE ARE STUPID. LORD, PLL CALL THE WHOLE TRIP OFF IF LEROY EVANS LOOKS ME IN THE FACE NOPE, I WIN, HE'S TERRORIZED THIS TOWN IS A SUPERSTITIOUS PLACE— Points at the Leroy Evans’ disappearing form. NEXT WEEK, WON'T THEY BE SURPRISED The bus has pulled in by now; Violet and the old lady gather their bags. BUS DRIVER Get your tickets ready. This is the Memphis bus, by way of Johnson City, Kingsport, Knowille, Nashville, and a buncha towns no bigger’n this one. Tickets, please. The driver squints at Violet. As she hands him her ticket, she drops a book. Violet is too involved with her bags to get it, so the old lady behind her helpfully picks it up. The old lady is on Violet's good side OLD LADY Giddily and quickly “The Baltimore Catechism.” A Catholic, in these parts? VIOLET No ma'am. OLD LADY How you read it I don’t know, with the margins so fall of writing! VIOLET Violet snatches the book away. Ie was my Mama’s. BUS DRIVER Move along, m... Sees the scar and says, involuntarily: Oooh. Miss. She stops on her way down the aisle to read his name from the card at the front of the bus.VIOLET “MR. WALLACE WEATHERMAN’ GIVE MY SCAR ANOTHER NOSY LOOK IN A WEEK, YOU'LL BE SURPRISED— GOT MY HEALIN’ PLANNED OUT IN MY BOOK NEXT WEEK, ILL COME BACK DISGUISED He thinks well of himself, I can tell that. But what does he have, really? LIPS? THIN. CHEEKS? FLAT. I SURE DON'T WANT MINE LIKE THAT. NOSE? BENT. EARS? RUNTS. GOT FOUR EYES AND HE CAN'T SEE ONCE. NOTHING IN HIS FACE FOR ME HIS HAIR THOUGH—IS IT CHEROKEE? IT’S BLACK ENOUGH TO BE I WANT MY OWN AS SOFT AS A BREEZE— AND ALSO CURLIER PLEASE Page 9 Violet exchanges a look with a black soldier, Flick, she has noticed sneaking a drink. OLD LADY ‘Do you mind if sic here, deat? I like co be up front, so’s I can see out the front winders. Otherwise I get dizzy, looking off to the side... VIOLET ONCE I BET HER EYES WERE GREEN ‘WONDER HOW THOSE EYES WOULD LOOK ON ME FUNNY, IF SHE RECOGNIZED FINDERS KEEPERS, LADY, WAIT AND SEE NEXT WEEK, WON'T YOU BE SURPRISED. Praise God, it is started. September 4th, 1964, MAMA, YOUR BOOK SAYS ‘IT’S BLESSED TO PITY’ MAMA, JUST LOOK, I'M A LONG WAYS FROM PRETTY BE AN ANGEL MAMA, HELP TO. SAVE ME MAKE THE LORD RESTORE THE FACE YOU GAVE ME— AND I WILL PRAISE HIS GRACE, RAIN OR SHINE ‘WHEN YOU SEE A BRAND-NEW FACE WHEN YOU SEE A BRAND-NEW FACE, WHEN YOU SEE A BRAND-NEW FACE— AND IT’S MINE— ‘WON'T YOU BE SURPRISED WON'T YOU BE SURPRISED WON'T YOU BE SURPRISED WON'T YOU BE SURP.. OLD LADY You going far? VIOLET Tulsa Oklahoma.Page 10 OLD LADY I never been there. I hear the trees give out. (Sees the scar.) Oh! My goodness. (Covers.) Course my mailman Vincent Finzer was born with a cleft palate, and he couldn’t be any sweeter! VIOLET T wasn’t born with this scar. It took an axe blade to split my face in two. OLD LADY ‘Well I'm going to Nashville. The country-music capital of the world? My son lives there and works in the cellophane plant. (Pauses,) He's got three litele boys not old enough to be in school yet. I don’t know how I feel about a house full of children. VIOLET e's hor in here. OLD LADY Angrily; at Violes, or her life? Thad eight children myself. Stevie, the youngest, I lost him to Korea. Harvey's the only ‘other boy. The girls, of course, are scattered to the winds, they made such beautiful brides... sorry, dear. VIOLET Thope you have a nice visit. OLD LADY It's noc a visit. I maybe will move. I tell you what though, and I know you won’ think well of me for it, but I am right tired of children. The old lady settles back; she and the other passengers begin humming. VIOLET LOOK AT HER SKIN— CHINA-WHITE, TISSUE-THIN LOOK HOW THE LIGHT CUTS CLEAR TO THE BONE GIVES HER FEATURES A TONE— TD TAKE IT ANY DAY PRAISE GOD FOR EVERYONE I MEET. WHILE I, | AM ON MY WAY MY FACE IS MEAN VIOLET OLD LADY EIGHTY YEARS” EIGHTY YEARS’ ‘WORTH OF TEARS ‘WORTH OF TEARS MIGHT SCRUB IT CLEAN MIGHT SCRUB IT CLEAN, AS HERS, AND AS STRONG AND STRONG VIOLET BUT JESUS, DON'T WAIT SO LONG TO MAKE MY FACE OKAYJORDAN RIVER'S WHERE YOULL FIND ME IP's wi AND AS I'M GOIN’ ALONG ALL AT LAST, THE NORTH CAROLINA BORDER! AND I, AND I, AND I, AND I VIOLET AND I... 1AM ON MY Way. ALL BEFORE ANOTHER SUNRISE WAKES ME BEFORE ANOTHER NIGHT IS GONE TLL FIND OUT WHERE THIS HIGHWAY TAKES ME YOU KNOW I GOT TO TRAVEL ON LEFT MY TROUBLES ALL BEHIND ME. BACK THERE WHEN I CLIMBED ON BOARD ALL FLICK, _-IT'S WIDE UT NOT TOO WIDETO FORD BUT NOT TOO WIDE TO FORD. ‘VIOLET YOUNG VI AND AS I'M GOIN’ ALONG T CARRY WITH ME PROMISES THAT CAN'T GO WRONG VIOLET AS I TRAVEL ON MY WAY Page 11 PROMISES THAT CAN'T GO WRONG BUS DRIVER - FIRST THING I'LL DO, _ OLD LADY GO TO SAL'S| READY OR NOT, FLICK BARBECUE. ALL THOSE BOYS, CAN'T BE SO BAD VIOLET GREASY, MESSY MAKING NOISE’ NOT THE WORST RED HAIR'S A THOUGHT, BARBECUE. GRUBBY HANDS POSTYVE HAD; — REALLY FINE— I'VE HAD WORSE DIRTY TOYS NOT SO BAD NOT LIKE MINE— ALL NO MATTER WHAT BUS DRIVER TLL HAVE ME OLD LADY SOME PIE NO BETTER FLICK THAN SQUIRRELS ITs BOUND VIOLET/ YOUNG VI TO BE DRY AHEAD FULL OF CURLSViolet looks at the cover of @ magazine she has brought along: young Vi echoes the action. VIOLET/ YOUNG VI LIKE JUDY HOLLIDAY BUS DRIVER ‘WAVE GOODBYE FOLKS, TO CAROLINA! OLD LADY HIS WIFE THINKS ’M A DRAGONFLY, LORD YOU'VE GOT TO HELP ME FIND MY WAY FLICK TOO BAD WE DON’T SEE EYE-TO-EYE, LORD ‘WE COULD PASS THE TIME OF DAY OLD LADY/ FLICK AND AS I’M GOIN’ ALONG I. CARRY WITH ME OLD LADY/ FLICK/ VIOLET PROMISES THAT CAN'T GO WRONG VIOLET AS I TRAVEL ON YOUNG VI AS I TRAVEL ON MY WAY. AS I TRAVEL ON AS I TRAVEL ON MY WAY ALL LEFT MY TROUBLES ALL BEHIND ME BACK THERE WHEN I CLIMBED ON BOARD JORDAN RIVER'S WHERE YOU'LL FIND ME, IT’S WIDE, BUT NOT TOO WIDE TO FORD AND AS I’M GOIN’ ALONG I CARRY WITH ME VIOLET PROMISES THAT CAN'T GO WRONG AS I TRAVEL ON ALL AS I TRAVEL ON... ON... ON... ON... ON... ON... MY WAY Tearing down the mountain, Young Vi almost runs into her father, who is ssruggling up the path with a burlap seed bag slung over his shoulder. FATHER Whoa! Whos! Whoa! Where you think you're headed, Violec.Page 13 YOUNG VI Please, Papa. FATHER a Stern. | ‘You feed the chickens? | YOUNG VI al Yes sir, I did everything. Please. She tries t0 keep going, he catches hold of her shoulder, FATHER ‘Whatever happened / best tell me now. YOUNG VI Let me go! I can handle them myself! / I don’t need... ‘She keeps talking in a torrent until her futher interruprs. FATHER All right. Go slow. YOUNG VI The Elum brothers waited till you headed into town. E FATHER ‘They came all the way up here to pester you? YOUNG VL Yes sir. . FATHER You tell them only monlkeys and morons laugh outa ignorance? Ui YOUNG VI ‘Their deacon says the accident is just desserts cuz we never go to church. Papa is it true? She bursts into tears. FATHER Tell you what, gitl. Here's a quarter. Hie tucks a strand of her hair bebind her ear. There’s a new picture show in town. Takes place in Tahiti or some such. While you're at it I believe the Elum brothers have some business with me. ‘She throws her arms around him. YOUNG VI ‘Thank you Papa! FATHER He waxches her go, then calls after. Hey! Go the back way so nobody sees you!Page 14 BUS DRIVER Selfrighteous. Kingsport, Tennessee. Twenty minute rest stop. Anybody not back on the bus in 20 minutes won'r be going on to Memphis; not today. The company sings as they pile off the bus into the Kingsport station. Hl COMPANY i} MN MS, GOOD 'N PLENTY STRETCH YOUR LEGS AND GRAB SOME COKES HAVE A TOOTSIE ROLL, OR TWENTY GET ANOTHER PACK "A SMOKES i APPLE COBBLER, A LA MODE CUPPA COFFEE FOR THE ROAD? TLL HAVE SOME COFFEE FOR THE ROAD ‘The old lady speaks to Violet as they make their way. OLD LADY ‘Are you going to get something at the grill? VIOLET I guess so. OLD LADY Save me a place then, at a nice table. I have to go to the ladies first. COMPANY FEAST YOUR EYES, FEED YOUR BODY HAVE A SANDWICH, JUMBO SIZE FB HOPE THEM BURGERS AIN'T TOO SHODDY | WANT SOME KETCHUP ON THEM FRIES? | APPLE COBBLER, A LA MODE CUPPA COFFEE FOR THE ROAD? TLL HAVE SOME COFFEE FOR THE ROAD Violet takes a seat at the grill, not a table. Flick, the soldier from the bus, is seated beside her, and beside him is Monty, a white paratrooper we haven’ ‘seen before. Flick shuffles cards as they talk. A waiter gives Flick the evil eye, which the soldier doesn’t notice. FLICK. I ‘You're at Fort Smith? ’Swhere I’m headed. Wondered where you got to after basic. VIOLET Tuna-fish sandwich. WAITER ‘Two things. One is, all we got is chicken. That is some scar! Wanna see mine? ee FLICK 7 Don’t know why they'd pick you ro train kids to jump outa airplanes. VIOLET ‘What was two?Page 15 MONTY Cuz I'm fearless. WAITER ‘Two. You should take one of our booths, VIOLET Excuse me? FLICK Because you keep your eyes closed when you jump. Like you do with your women. Never know what's gonna tum up under you. WAITER ‘You might be more comfortable there. Problem with putting a nigger in uniform is, he comes to think he’s just as good as anybody else. Flick stiffens; Monty looks up at the waiter and waits for Violets answer. VIOLET ‘You mean him? Pause. ‘What if I told you we're traveling together. The waiter snors, slaps down a plate in front of Violes, with a toosbpick- speared sandwich and chips. Flick turns around in bis seat, and looks Violet fill in the face. She snaps: Don’t think that means anything, mister Flick shrugs and turns back around. T know what that must be like for you people. MONTY Last year, he coulda been thrown in jail for here. But you know what thats like ‘Fick andi up and grabs bis dufel VIOLET Do you? FLICK Come on, Monty. Let's grab a table, leave these folks to themselves. MONTY Problem with purting a waiter in an apron is, he starts to think he’s cute. Monty slugs his beer, then slaps down the empty botele om she counter, in imitation of the pissy waiter. He follows Flick to a table in the back. FLICK Don’t buy any more of his bees. I've got some hooch on the bus. Flick begins to deal out the cards, Stung by Flick’s words, Violet picks up the top slice of bread, sares at the chicken, pushes a few potato chips around. She calls over: VIOLET By the way. I hate to do you any favors, but he’s a mechanic. I's a way to cheat on the deal. EESPage 16 Flick and Monty look at one another, then at her. ‘One-handed grip; the mechanic's grip. It’s the middle finger. He can second-deal and bottom-deal. He can buclde the top card with his thumb and peep. MONTY Ain’t she sweet. FLICK Lady, what is it you wane? To play? Violet comes over t0 their table. VIOLET Long as i's a legal deal. I get mad if I’m cheated. FLICK And mean when you're mad. (Laughs.) I'm Grady Fliggins and they call me Flick. Flick leas over with mock formalin to Deke ber hand She eas the deck he offers against « possibly stacked shuffle, pulling ous a center third and restacking the deck 3 times. Flick grins. VIOLET And I’m Violet Karl. Spruce Pine. MONTY Monty Harrill. From near to Raleigh. You gon’ eat that sandwich? VIOLET She pushes it towards him. Chickens I got at home. Why don’t we play straight draw poker. Young Vi carries on a small paper bag full of those store-bought goods she and her father can't make for themselves; flour, coffee, ec. Her father looks at the receipt and the change she brought home, FATHER Violet Karl! YOUNG VI ‘That's all the change they gave me, Papa! Every cent! FATHER This isthe thied time you let them short-change you at the store. I thought you was s posed to learn ‘richmetic in school. YOUNG VI Tean add any numbers you name. And I can subtract by Is and 5s FATHER ‘Where does that leave 2, 3s, and 4s? YOUNG VI Miss Becber says next year. IPage 17. FATHER Next year? YOUNG VI ‘Miss Young does ‘rithmetic. But Miss Young left town all of a sudden, after the Is and 55, because the preacher's boy got her pregnant. Miss Beeber says to let that be a lesson to us, but what's that supposed to mean? FATHER Stay away from the preacher's boy, for a start. How much money you got saved from picking galax? YOUNG VI No Papa, that’s my money! I earned ie! FATHER Ie was my money you lost at the store. We're gonna play some draw poker. I'll learn you to subtract by 2, 3s, and 4s, and by 6, 7, 8s and 9s, for that matter. And pokcer'll give you something to do with the boys, when the time comes for that, and you'll never have to leave rown because of it ‘She comes over beside him to the table, be shuffles. YOU GOT YOUR ROYAL FLUSH, YOUR STRAIGHT FLUSH, YOUR 4-OF-A-KIND A FULL HOUSE, A FLUSH, ’N A STRAIGHT, 'N A 3-OF-A-KIND TWO PAIR, ONE PAIR, AND NO PAIR AT ALL BUT HIGH CARDS NEVER WON A POT, THAT I CAN RECALL YOUNG VI What's the por : FATHER, ‘We'll get there. FIRST YOU SET THE ANTE, SAY A PENNY, THEN BEFORE THE DEAL’S BEGUN WE BOTH ANTE UP OUR PENNIES— He throws in a penny, she tries to imitate by shrowing several coins in too. NOT TOO MANY, JUST THE ONE LET’S SEE WHAT YOUR CARDS ARE— He spreads her cards face up on the table. ALL YOU GOT’S A PAIR OF QUEENS AND NOTHING MORE ONCE YOU BET, YOU GET TO DRAW SOME— THAT'S WHAT LOTSA QUEENS ARE FOR YOUNG VI A PENNY? FATHER THAT'S A PAIR A QUEENSPage 18 YOUNG VI A NICKEL? FATHER THERE’S THE BET I SAW ‘He takes her nickel, and throws one of his own into the pot. During the chorus, they draw their cards; he fs hers over as he deals ther. TLL SEE YOU. NOW FATE INTERVENES— SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW A NICKEL IS IN THIS CASE WHAT YOU SHOULD BET He throws in a nickel of hers, a nickel of his, shows bis cards. IT’S A GOOD BET, BUT I WIN YOUNG VI Papa! FATHER (As if it’s obvious.) Threc-of-a kind. And 3-of-a-kind beats 2 pair. Now how much did I win from you? YOUNG VI Eleven cents! FATHER (Shufling as he talks.) And 3.29 minus 11 cents is what? YOUNG VI (Catching on, annoyed.) 3 dollars 18 cents. FATHER First step in teaching anything is to get your student’s attention. Pe he a Joy ithe and ane of bis own for the ante; then deals another band, hers face up. LOOKY WHAT YA GOT HERE: SIX AND SEVEN, THEN A NINE AND TEN, NO EIGHT ‘WHAT YOU DO IS DITCH THIS FOUR AND PRAY TO HEAVEN FOR A STRAIGHT FIRST YOU GOT TO BET THOUGH, MAYBE TWO BITS, WHICH I RAISE YOU BY A DIME Throws first her quarter, bis own 35 cents, then another of her dimes into the por, SEE I'M FORCING YOU TO MATCH ME BY A FEW BITS AT A TIME= Page 19 YOUNG VI I'M WINNING? FATHER, WELL, A STRAIGHT CAN WIN | YOUNG VI BUT WILL IT? FATHER THERE'S A FAMOUS SAW SAYS YOU CAN'T WIN UNLESS YOU'RE IN— 1 SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW | I SAY MOST THINGS FALL IN LINE | BY THE LUCK OF THE DRAW | i YOUNG VI Fl LET'S STOP THIS GAME RIGHT NOW, I'VE i PUT ENOUGH IN FATHER I WAS BLUFFIN’, BUT I WIN p He pulls in the money from the pot. | YOUNG VI Papa! FATHER te} ‘Straight beats two pair. i | YOUNG VI | I don’t even know the hands! : FATHER YOU GOT YOUR ROYAL FLUSH, f YOUR STRAIGHT FLUSH, YOUR 4-OF-A-KIND I A FULL HOUSE, A FLUSH, ’N A STRAIGHT, 'N A 3-OF-A-KIND TWO PAIR, ONE PAIR, AND NO PAIR AT ALL BUT HIGH CARDS NEVER WON A POT, THAT I CAN RECALL YOUNG VI What's the por? LE FATHER ‘What you ante into. | FATHER FLICK = Now how much did win from you? Flick, Monty, and Violet have also been playing: now their games overlap.Page 20 YOUNG VI MONTY Thirty-six cents! Gimme a break, This is s'posed to be a friendly game, not a killing. FATHER (Shuffling as he talks.) And 3.18 minus 36 cents is what? YOUNG VI Gimme the cards. I'm dealing this one! ‘She takes the deck, and deals out their hands, her own hand face down now. FATHER FLICK, YOU DON'T KNOW THAT'S THE WAY IT’S THE GAME YET PLAYED, BROTHER YOUNG VI MONTY I CAN PLAY IT FLICK’S GONNA WIN, FIRST I DRAW A CARD OR TWO, CLEAN US OUT, | | THEN 1 GIVE YOU TAKE ALL OUR CHANGE | ALL MY MONEY | FATHER/ FLICK | HATE TO SAY IT, BUT IT’S TRUE FATHER/ MONTY GUESS I'LL OPEN WITH A NICKEL YOUNG VI VIOLET I WILL SEE THAT, i AND [LL RAISE YOU TLL RAISE YOU STRAIGHT AWAY STRAIGHT AWAY Young Vi pushes an indiscriminate amount of her money into the pot FLICK YOUNG VI YOU GOT SOME GUTS TAKIN’ CANDY FROM A BABY FATHER SEE YA GUESS I'LL SEE YA MEN ‘WHO TAUGHT YOU TO PLAY? 4 |TWO CARDS FATHER YOUNG VI I GUESS YOU GO FIRST? THAT'S RIGHT, KID FATHER YOUNG VI AT YOUR. SERVICE, ‘PA’ She deals him two cards, then one to herself. NOW MY CARD—HOPE MY LUCK’S REVERSED YOUNG VI/ VIOLET SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW BAH BAH DAH BAH You got to bet to win. The men bum. ALL MONTY YOUNG VI/ VIOLET DEE DEE DEE DEE—DIME Each throws a dime into their respective por. SEE YA SEE, AND RAISE ‘Whose play is it? You watch out! Must be hers. ‘Whatcha gor? FATHER/ MONTY FLICK MONTY YOUNG VI FLICK FATHER Page 21Page 22 ALL (ROUND) SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW FATHER CALL MONTY KINGS FLICK STRAIGHT YOUNG VI FLUSH, ‘She lays out her cards; her father looks in shock. MONTY BY THE LUCK OF THE DRAW FATHER VIOLET Baby that’s a Royal Flush. ---Royal lush. _ FLICK BY THE LUCK OF THE DRAW YOUNG VI Is thar good? VIOLET BY THE LUCK OF THE DRAW FATHER/ MONTY Til be damned. The two Violets pull in the pots. ALL BY THE LUCK OF THE DRAW BUS DRIVER I said it, and I meant it. Bus 322 is leaving Kingsport for Memphis, Tennessee, by way of Knoxville, Nashville, etc, etc., 0% schedule, which means in no more than five minutes. So swallow that coffee, visit thar bathroom, pay that tab, then grab your seat if you got one, or get your ticker ready if you don’t. Flick and Violet reboard; Monty follows after giving the driver his ticket. MONTY Damn. If Viii-tut hadn't won that hand, I'd say those cards was marked.Page 23. VIOLET Flick is s0 good, he doesn’t have to cheat. I've been watching real close. But yoi.. FLICK (Laughs really deeply, tres to recover.) Don’t ure the man’s pride, now. MONTY (Defensively,) No need to spare my feelings. VIOLET Every time you say ‘Whose play is it” You're holding a pair. And when you lift the cards up close to your nose? It’s cuz you're about to bluft. MONTY Da-yumn! What kind of gisl knows poker like thar? VIOLET I grew up on a mountain, high up on one. With Mama dead, shuffling cards by a kerosene amp was all was left to me and my Papa. Once I passed 15, we'd drink together too. FLICK Moonshine? VIOLET Applejack, or a beer he made from potato peel. FLICK Sorry to hear about your Mama. Want a drink of this? (He offers his flask.) MONTY ‘And where you headed now? ‘VIOLET Ics a pilgrimage. I'm going to see this television preacher in Tulsa, the one that heals? ‘And I'm coming home pretty. With this face, I think that counts as healing, Ill even trade if he says to... Pd take somebody's weak eyes or deaf ears. Flick searts to laugh. 1 tried to get down to Charlotte last year, when he set up his 8-pole canvas cathedral tent, seats 15,000? But I didn’t haye enough saved yer. Flick laughs harder, starts coughing. ‘Now what's so fanny? MONTY He's jes’ gor a cough, there VIOLET Let the Lord give me a cough, so long as I’m healed of my looks while I’m still young enough o— Just when he was gesting his laughter under control, Flick starts off again. I don’ know what you think is so funny. TEBEPage 24 MONTY ‘We don’t think it’s funny. VIOLET How come you're both laughing at me then, MONTY T’m not laughing. FLICK Listen. Pll take on that scar, and a game leg besides, if your Preacher makes me a warrant my officer. Flick winks. Both Monty and Flick start to laugh at the idea. VIOLET Don’t be ridiculous. i | i FLICK Okay. How "bout we just swap faces, clean and simple. VIOLET Bur what do I want with colored skin? No offense, but I want people to think I'm pretty. Bus Flick is offinded, and he gets up and goes back to the bus bathroom. Wel, you said you'd swap it off! What's wrong if I don’t want it any more’n you? (Pause.) His drink and his cards, and I hure Flick’s feelings. I oughta be che expert in hurt feelings. (She calls back.) Flick? MONTY Don’t worry "bout him. He's jes’ havin’ a smoke in the bathroom. (Moves closer her,) How old are you? Thirty? VIOLET ‘Twenty-five. MONTY Your Papa still alive? ‘VIOLET Is this Twenty Questions? What's the prize? MONTY f ass the time, that’s all. | VIOLET 4 ‘My Papa died 3 years ago. He left me some moncy, and I saved a bunch more so I could j make this trip. a MONTY I bet your preacher is a good-looking man.Page 25 VIOLET ‘Maybe you think with your uglies. I prefer co use my head. MONTY I think your preacher's a fake. Ever see a doctor agree to what he’s done? VIOLET T’ve seen enough doctors for one lifetime. Papa took me to some in Charlotte for my 18th birthday. They all said he waited too long. It’s never too late, is what the Preacher says. MONTY Don't suppose you got a man back home. Violet gives hina the look she gave Leroy Evans earlier. VIOLET Nope. All on my lonesome. MONTY Explains a lot. If you had a man, he wouldn’t let you make a trip like this. ‘VIOLET How would you know? MONTY SOMEONE SURE HAS HAD SOME TROUBLES; A'GIRL ON A MOUNTAIN ALONE NOTHING BUT HER CHORES TO DO. NO ONE NEAR WORTH TALKIN’ TO FEELING SORRY FOR HERSELF FOR BEING ON HER OWN : VIOLET YOU HAVE ALL OF THE ANSWERS TO THE STUPIDEST QUESTIONS BUT THE TRUTH IS NEVER SO PAT— TRY AND WRAP YOUR MIND AROUND THAT SOMEONE SURE HAS HAD IT EASY; A BOY IN THE SKIN OF A MAN THINKS HE’S BORN A GIFT TO WOMEN THINKS HE’S IRRESISTIBLE THINKS WHAT NO ONE ELSE HAS MANAGED, HE’S THE ONE WHO CAN— I GOT NEWS FOR YOU, SWEETIE PIE. TM THE ONE WHO CAN SEE YOU'RE LYING— BETTER HOPE THERE'S A DOCTOR BY WHEN I REACH FOR THE SHAME YOU'RE TRYING TO HIDE— MONTY YOU THINK YOU KNOW THE ANSWERS BUT YOU DON’T KNOW THE QUESTIONS BET THE TRUTH WOULD KNOCK YOUR ASS FLAT—Page 26 ‘TRY AND WRAP YOUR MIND AROUND THAT ‘THINGS GET PRETTY WICKED OUT THERE ’ TULSA JES’ AIN'T LIKE YOUR FARM BEST BE CAREFUL NOW, YA HEAR? UGLY, EVERYWHERE YOU LOOK WHAT YOU OUGHT TO CULTIVATE’. A HEALTHY DOSE OF FEAR ‘And don’t count on your TV padre for nothin’. Things are mean and ugly in this world—I ‘mean act ugly, do ugly, be ugly. Flick'l tell you. VIOLET Act ugly, do ugly, be ugly. That could only be che motto of a pretty boy. MONTY Long as you figure you got miracle due why not ask that preacher to make you a man? ‘Wouldn't make no difference if you was ugly or not. You'd never hafta be pregnant, either. VIOLET If could be a man like you? Maybe I would ask. With hair like yours, and P'd want a beard co match. I bet your hair gets lighter in che summers, doesn’t it. MONTY Is that how you like ie? VIOLET You watch, P'll ask to be a man like you in Tulsa. So I can change colors like the leaves. MONTY You think you're funny don’t you. Whatcha got here. ‘He grabs her catechism. VIOLET Furious.) Gimme that! MONTY ‘Unh-unh-unh! Oooh, stuf filling out. VIOLET Dammit to hell! MONTY ‘What's in the envelope, love letters? “He waves it in front of her, taunting her. Oooh-oooh-cooh! VIOLET Dama you. Flick reeurns from she bathrooms. MONTY That ain’t no way for one of God’s children to talk! Flick, catch! eePage 27, He feints as throwing the book to Flick. MONTY ‘VIOLET LOOK AT WHAT MY JESUS HAS DONE... Scop it, it isn’t funny. Flick! Help me! HE MAKE A DUMB MAN SPEAK ce Flick grabs the book and returns it. AMAN SPEAK DUMB Grow up, Monty. Both of you. LORD ALMIGHTY, MAKE A DEAD MAN COME ee Frustrated, angry. It was my Mama's. Young Vi is hiding in the attic, reading by flashlight. She has on a goofy old hat of her mother’s. She hears her father calling from downstairs: FATHER Violet! Where is ict She calls back: YOUNG VI Where is what! FATHER ‘Young lady, am I gonna have to come up there? YOUNG VI If you wane your reading glasses, you left ’em on the table. ‘She hears her father’s footsteps thundering up the seairs. She serambles to hide the book. ‘Whatever I did I didn’t mean it! FATHER ‘When you were younger, you didn’t keep secrets from me. What changed? YOUNG VI Papa I’m almost fourteen! FATHER ‘And when did I say you could have your Mama’s book? YOUNG VI On my sixteenth birthday. FATHER Take off the hat. And why did I say ie? YOUNG VI ‘There are things in its pages not suitable for a young giel. eo ErePage 28 FATHER Well? She shyly produces the book. YOUNG VI i Tes only a catechism. i FATHER e's what she wrote inside it that worries me. YOUNG VI You never told me she was religious. FATHER ‘Your Mama was so mindful of heaven, she was no earthly good. YOUNG VI Is i true she had the choice of any boy in the 5 counties hereabouts? FATHER Is that what she says? He opens the book and flips through its pages. YOUNG VI : I s'pose she liked best the boys who had done some traveling. : FATHER You're the expert. f YOUNG VI ‘Why don't you like me asking no questions. t FATHER, , Any questions. YOUNG VI You don’t talk proper. i i Hl FATHER i ‘And because I don’s, people think I'm stupid. I hare to see you take after me there. YOUNG VI T'm nothing like you. Someximes I wonder if Pm even yours. 4 FATHER You're mine, all right. Fulla questions. (Offirs her his hand.) I'm feelin’ lucky tonight. I got a quarter says you can’t win a single hand. YOUNG VI You're on. A new driver speaks over the PA. sytem in the Nashuille station.Page 29 BUS DRIVER 2 Bus 322 to Memphis, making all local stops, will be leaving the Nashville station in 15 minutes. Connections are available in Memphis to all points west. Passengers reboarding bus 322 may reclaim your seas at any time. The old lady mates her way over o Violet, who is reading a new movie magazine she has purchased at the station newstand. Flick and Monty are sitting nearby, playing cards. VIOLET Come to say goodbye? OLD LADY Why don’t you stop the night with me, and my boy. Harvey won't mind. That's him over there. (She waves 0 him.) You can wash and change clothes and catch a new bus tomorrow. VIOLET No, thank you. I'm in a hurry to get to Tulsa, OLD LADY You got to overnight in Memphis anyway, why not spend that night here. VIOLET ‘Why not spend it in Memphis. OLD LADY A girl alone. A girl that maybe feels she’s got to prove something? Some people might try to take advantage. (She does not look at the soldiers.) VIOLET Next week, when Pm pretty, I hope I'll have that problem. Thank you, [Link]. : OLD LADY Young lady, don’t you think you're being unzealistic? VIOLET Excuse me? OLD LADY Obviously, what with your... I understand you maybe don’t have many opportunities for... Do you really think these soldiers are the answer? Monty raises bis hand like a schoolboy. MONTY I musta missed the question. D'ja hear a question, Flick? FLICK I don’t think I did. OLD LADY ‘What I mean is, I had looks once. In the end, it don’t amount to much. poPage 30 MONTY And you are living proof of that. VIOLET Don't be mean to her. OLD LADY ‘And you, young man. When you could have any woman in the world, to toy with this young ‘woman’s hankerings is... cruelty, plain and simple. MONTY Don't tip on your way out. Break that hip of yours. The old lady whacks Monty with her purse. OLD LADY Sticks and stones! Sticks and stones! The old lady exits in a hurry. VIOLET Sarcastic.) That was real nice of you, thanks. MONTY Iwas helping you get rd of her. VIOLET ‘You call that help? Did you chink I would be impressed? MONTY ‘Why would I wanna impress you. VIOLET Ask yourself FLICK ‘Why'nt you just leave her be, soldier VIOLET ‘You gonna spend this whole trip mad at me? (Flick says nothing.) After all those hands I let ‘you win. FLICK Let me win? Lady, I could mop up this floor with you, any time you want, Like I’m doin’ ‘with Monty right now. MONTY Oh thar’s right, Flick. (In his idea of « pasrician accent.) ‘We're traveling together. He's been in the family for generations.” FLICK ‘You better watch your mouth, corporal. ee: = Page 31 MONTY ‘Yes, sir! (Derisive.) FLICK ‘Wanna take this outside? MONTY Any time you want. VIOLET Stop itt Coupla barnyard cocks. Ever chop the head off one? Brain the size of a walnut. Tiny little peckers too. MONTY (Looks at her quizzically a moment.) You're a kick. FLICK She's got your number—Montgomery. VIOLET Montgomery? I'm so sorry I haven't been calling you by yout proper name. MONTY Flick, you are in so much trouble now. ‘VIOLET Tcan’t believe, Montgomery, the way you treated that poor old lady. She can’t be all that happy. She's definitely not happy about Harvey's children, she as much as told me that. If she used to be pretty... Could a person be changed in Tulsa, and not be any different? : FLICK You'd be different. (Smiles) Course, there’s no telling how. What is it you want to change, anyway? I mean, besides, you know... VIOLET I'm nor telling. You'll only make fun. MONTY Someone's gone fishing. FLICK Shut up, Monty. He'll behave himself, I promise. VIOLET Promise, Montgomery? MONTY Long as you don’t call me that. VIOLET I'D LIKE A PAIR OF GENE TIERNEY EYES. Monty fluffi his hair and purses bis lips, like his idea ofa starlet.VIOLET TRY MONTY'S MOUTH ON FOR SIZE— A LITTLE FULLER THOUGH Flick, amused, punches Monty's shoulder. ie A MOUTH SO SOFT THERE'S NO END OF ROMANCE... | MONTY WHAT'S A MOUTH GOT TO DO WITH ROMANCE? FLICK YOU GOT TO ASK, YOU’LL NEVER KNOW MONTY I BEEN WITH MORE'N YOU, MY FRIEND | i FLICK NONE OF YOURS WANT SECONDS, THOUGH MINE ALL COME BACK FOR MORE I | MONTY Hi Yeah, to me. VIOLET BOYS, BOYS, BOYS! ‘WHEN I'M IN LINE FOR MY MIRACLE AND THE PREACHER IS ALL SET TO GO I KNOW JUST WHAT ILL ASK FOR } i The men have started shadow-boxing. Fs ill BUT I'M NOT TELLING YOU, AT LEAST TILL YOU STOP ha | SQUABBLING AND PRETEND YOU'RE ACTUALLY LISTENING ke MONTY Prewry please, Viii-luc. Sugar on top? r Violet pulls Monty’s cap down over his eyes. ‘VIOLET IF L HAD GYPSY HAIR | AND A FACE TO MATCH IT | NO TRACES ANYWHERE, | OF A WAYWARD’ HATCHET 1 COULD BE CYD CHARISSE SHOOTING ON LOCATION i IN SOME FAR-OFF AND TINY NATION OH, WITH LIPS LIKE THOSE tq | TD LOOK ALMOST SHAMELESS OH, BUT ADD THE NOSE, | NOW I'M PURE AND BLAMELESS IF CYD CHARISSE ISN’T, THAT’S HOW IT GOES I LOVE’ER ALL, I LOVE ’ER ALL I LOVE ER AH—AH—ALL TO PIECES! I LOVE ’ER ALL, I LOVE "ER ALL I LOVE ER AH—AH—ALL TO PIECES!‘VIOLET IF I LOOKED IN THE KNOW ‘WITH A HINT OF MYST’RY LIKE A BRIGITTE BARDOT WITH A DARKER HIST’RY IF I THREW YOU A GLANCE, AND I LET IT LINGER 1 COULD WRAP YOU AROUND MY FINGER— OH, ONE OF BARDOT'S WHY SHOULD SHE BE STINGY? OH, THROW IN HER TOES MINE ARE JUST TOO DINGY PLL EVEN LEASE HER MY MOUNTAIN FOR THOSE I LOVE ’ER ALL, I LOVE ’ER ALL I LOVE ER AH—-AH—ALL TO PIECES! I LOVE 'ER ALL, I LOVE ’ER ALL I LOVE "ER AH—AH—~ALL TO PIECES! From the magazine stand Violet plucks a copy of Time with an Ursula Andress cover shot. Monty tosses the vendor quarter. I COULD BE A LEADING LADY— PRESENT TENSE, AND BACKGROUND SHADY— TAKE AN HOUR OR TWO TO GO FROM DOWN-AT-HEEL TO TIPPY-TOE FROM NO BIG DEAL TO THE STAR OF A PICTURE SHOW MONTY You should ask that Preacher for some Ursula Andress legs. iy | VIOLET I | I think my legs are fine. ia MONTY No but, rising oura the ocean in that white Dr. No bikini? VIOLET (Challenging.) What's the marcer with my legs? ; MONTY Nothing! They're... long. VIOLET (Angry.) Then why'd you bring ’em up at all? FLICK Pointing.) What you need is some Ursula Andress there. ‘VIOLET _ (Embarassed.) \ can’t believe you said that. Flick takes the Time magazine.FLICK NOT THAT IT MATTERS TO ME BUT YOU SAID.A LEADING LADY IS WHAT YOU WANNA BE HOW ELSE YOU GONNA GO. LIGHT UP A PICTURE SHOW? VIOLET GIVE ME JUST A MINUTE THOUGH TO RANSACK MY PORTFOLIO BORROW ELKE SOMMERS’ HAIR AND JUDY:GARLAND’S PRETTY CHIN PUT GRACE KELLY’S LITTLE NOSE WITH RITA HAYWORTH’S SKIN BUT AVA GARDNER FOR THE EYEBROWS BERGMAN CHEEKBONES UNDER GYPSY EYES Monty and Flick, unnoticed by Violes, surn to the sports column in Time. LCOULD SHINE LIKE A MOONBEAM. ON THE SILK OF A BALL GOWN I COULD BE SOMEONE LOVELY TURNING HEADS ON HER FIRST NIGHT IN TOWN IN TOWN ALL I NEED IS SOMEONE TO WONDER, WHO IS SHE TO ASK HOW TO MEET ME MONTY St. Louis? Nab. VIOLET TO LOVE ME ALL TO PIECES MONTY They're 8 games out with 30 to go. FLICK Bur look at that Lou Brock. His legs belong in a museum somewhere. And Bob Gibson? ‘The man has an arm of steel. MONTY Thirty to go, like I said. (Follows Flicks gace.) Say, Viii-lus, how come you're stopping in Tulsa? Hell, if you're gon’ be Bridget Bardot, why not go all the way to Hollywood, Californ-i-ay. YOUNG VI MAMA, WHYS A MAN HAVE EYES? MONTY Long as you're a movie star, I'l tell you what, Ill go AWOL, I'll go right along wich you. Right Flick?Page 35 YOUNG VI SO HE CAN TRY YOU ON FOR SIZE Past and present interleave as young Violet rans on singing to herself ‘gathering split kindling into a pile. From a new vantage point we can see her ‘fasher chopping wood in time t0 her song. VIOLET ‘You know what Monty? Both of you. Drop dead! YOUNG VI THERE’S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL Violet shakes her head, and leaves the two men to board the bus. MAMA, WHY’S A MAN HAVE HANDS? IF I TELL YOU, DON'T YOU TELL— GO ASK YOUR BEAU, HE UNDERSTANDS THERE’S HONEY IN THE BUSHES, LORD AND WATER IN THE. FATHER Violet, watch out! Young Violet straightens, her mouth open wide, tr The scene settles in the Preacher’s chapel. PREACHER ‘Watch out, everyone! Watch out demons, the Lord is onto you tonight! “Brose cecal vota Jeeva—gran maysa sayla. Ord seesayla posh, brone base eesais vrone basha. Elohim, elobim!” He's got me speaking in tongues tonight! Glory to God! There is a girl in the center section who can feel her facial scar beginning to heal Young Violet screams again, ecstatically now. Is this the git] with the scar? C’mon up here, and tell us what's happened. YOUNG VI (Near hysteria.) God is with me, I can feel him! PREACHER God is with you. YOUNG VI Yes he is! (Screams again.) PREACHER (Addresses a TV camera.) Tell the folks at home, where did the scar come from. YOUNG VI (Sobers up.) 1 was hit by an axe blade. PREACHER By the blade of an axe. And you've had it how many yeais now. YOUNG VI Ever since I was 13.Page 36. PREACHER Since she was 13, ftiends. And are you ready for a healing touch? YOUNG VI Yes! PREACHER ‘Are you ready for God's power as ic is manifested in my hands? YOUNG VI Yeast PREACHER ‘Are you ready to be healed? YOUNG VI Yes! Virgil joins the Preacher on stage, standing behind young Vi. The Preacher lays bis hands on her face. At the conclusion of the healing, young Vi collapses backwards into Virgil's arms. PREACHER Praise the Lord, for he has healed thee of thy scar! Go forth now, go forth and shout! Doctors didn’t help her. Operations didn’t help her. But suddenly she’s healed by the power ’a God. (Addreises the camera.) See what I want you to grab hold of, every one of you, in your homes, as well as here. Prayer knows no bounds. God’s here tonight, God is there, God is everywhere. You don’t need to leave home for a miracle, if you reach out your fingers, just like this. (He stretches out his fingers.) Match your fingers to mine, on your television screen. Do you feel God’s power coming through that screen? LOOK AT WHAT MY JESUS HAS DONE Violet has ber eyes closed, and dreamily joins in the Preacher's sune, finally taking it over. PREACHER) VIOLET HE MADE A DUMB MAN SPEAK A LAME MAN RUN VIOLET. LORD ALMIGHTY THANK YOU FOR YOUR SON FLICK (Whispers.) Vi-oh-LETTE, you sleeping? VIOLET (Sits up.) Day-dreaming. FLICK Siill mad at us? (Violet looks at bina, doesn't answer.) Anyway, I thought you'd wanna see this— the Wolf River. (Pronounced like ‘wolves’ without the ‘.)) VIOLET ‘What's so impressive about that dinky ol’ thing? t_Page 37 FLICK ‘Means we're almost to Memphis. The Wolf dumps into the Mississippi. Now that's a VIOLET Seems funny I'll be crossing such a big old river soon, hundreds of miles from North Carolina, when I've never even seen the ocean back home. FLICK Some day you come down to the seashore, Vi-oh-LETTE— Cherry Grove, O.D., around there. Watch us row these big nets up on the sand with trucks, all us men up to our necks in the susf— VIOLET ‘You do thar? FLICK ‘When I'm home. VIOLET ‘A few hours ago I was so mad at you I could spit. FLICK Mm-hmm. Afterwards, you know what? We strip and dress by this big fire on the beach. And make chowder while the cold wind is blowing. VIOLET Know what I think? You couldn't wait to leave your home town, same as me. FLICK ‘Why do you say that. « VIOLET Up to your neck in the surf is fine, I expect, long as you keep it to once a year. FLICK ‘What else you gor to tell me. VIOLET Ob, I don’t know. I never knew a negro to talk to before; we don’t see too many in the mountains. You're like a foreigner to me. FLICK Al's Lam is a man, Vi-oh-LETTE. Just like anyone VIOLET How'd you get the name Flick? FLICK ‘When you go to say Fliggins, but you come up shore: that’s me. rE raPage 33. VIOLET ‘You like ic in the Army? FLICK 7 ‘Well... Now I'm a 2-rocker sergeant, I can order the likes of Monty around. Where else am I gonna get that? Post Office? Cigarette factory back home? So. VIOLET Monty says Johnson could send you two to Vier Nam. FLICK Mmmm-hmm. VIOLET T think Monty maybe wants to go, FLICK (Laughs.) Man has an easy life, he looks forward to danger. Course when you join the Army, you know the risks goin’ in, T always make it a point to know what I'm getting into. How ‘much you know about this TV preacher? VIOLET He works miracles, for a start. FLICK Most people chink faich healers are frauds, Vioh-LETTE. As a rule VIOLET ‘What if he’s the exception? Besides, after Papa died, I tried’everything else. Doctors, snake is handlers, even a Catholic Church once, like Mama's? They were no help. Plus I tried to be : healed at home. The Preacher stretches out his fingers? And you match them on the screen? | But God’s power was too filtered and thinned down for me. Ea Flick chuckles. r ‘What. Don’t you believe in God? i i FLICK J Tsure don’t believe he’s gonna come at me through a TV screen. | VIOLET ‘You would if you needed to bad enough. FLICK Td believe in the tooth fairy if I needed to bad enough. 7 VIOLET | Tm serious Flick, People take one look at this, and figure that’s all there is to me. You think I can change this on my own, before it’s too lace? FLICK Too late for what?- Page 39 VIOLET Remember the first time you looked at me? Like you'd seen worse things? It’s what I liked about you. Most people though... You know I had to lie to myself, act like making this trip wouldn't be hard. I never coulda left Spruce Pine if I hadn'. FLICK ‘So what do you need with this preacher. You came this far without him. VIOLET But what if I can be to the Preacher what Goliath was to David, a need so giant I will drive hhim into action! So giant that God could be invented on the spot. FLICK Violet let me tell you something. You gota do what you gotta do, but in the end you do it alone. You choose your road, then you walk it, one step at a time. RAISE YOUR FOOT, NOW THAT'S THE WAY YOU'LL BE MOVIN’ ON TODAY RAISE THE OTHER, PUT IT DOWN NOW YOU'RE HEADED INTO TOWN WHOA BOY, YOU GOT LEFT, RIGHT? OH BOY, AIN'T THAT RIGHT GOT SOME YEARS AHEAD TO GO; YOU'LL GO FREE IF YOU TAKE IT SLOW ‘WHOA BOY, YOU GOT LEFT, RIGHT? OH BOY, AIN'T THAT RIGHT TWO KINDS OF PEOPLE IN THIS WORLD, SOME SAY YES AND SOME SAY NO TIME TO SAY WHAT SIDE YOU'RE ON; EENY MEENY MINY MO SAY YES, AND YOUR ADVENTURES START NOT ALWAYS AS EXPECTED; SAY NO, YOU STAY APART, BUT YOU STAY PROTECTED YOU GOT TO GIVE YOURSELF A REASON TO REJOICE, FOR THE MUSIC YOU MAKE COUNTS FOR EVERYTHING NOW EVERY LIVIN’ SOUL HAS GOT A VOICE— YOU GOT TO'GIVE IT ROOM, AND LET IT SING MY FAMILY NEVER HAD TOO MUCH, MADE THE BEST OF EVERY DAY ATE WHAT WAS ON OUR PLATES, YOU KNOW? NEVER THREW A THING AWAY WE KEPT OUR NIGHTMARES ON A SHELF, OUR DREAMS WERE ON THE TABLE; PASS EM DOWN, ’N HELP YOURSELF AS LONG AS YOU ARE ABLE MY MAMA TOLD ME, SON, FORGET WHAT MIGHT HAVE BEEN GIVE YOURSELF A BREAK, WHATEVER'S HAPPENING DON'T LET YOUR SPIRIT SON COME CLOSIN’ IN— I‘YOU GOT TO GIVE IT ROOM, AND LET IT, LET IT SING YOU GOT TO GIVE IT ROOM, AND LET IT SING YOU GOT TO LIFT UP YOUR VOICE, AND SING GOT SOME YEARS AHEAD TO GO YOU'LL GO FREE JF YOU TAKE IT SLOW GOT SOME YEARS, IT WON'T BE LONG YOU'LL BE FREE TO SING YOUR SONG ‘WHOA BOY, YOU GOT LEFT, RIGHT? OH BOY. THERE'S PRECIOUS LITTLE REALLY, FOLKS LIKE US CONTROL— BUT YOU CAN MAKE YOUR MUSIC FROM THE SIMPLEST THING AND YOU'RE THE ONE HAS GOT TO TEND YOUR SOUL; YOU GOT TO GIVE IT ROOM, AND LET IT, LET IT SING YOU GOT TO GIVE IT ROOM, AND LET IT SING YOU GOT TO LET IT SING YOU GOT TO LET IT SING YOU GOT TO GIVE IT ROOM, AND LET IT SING MONTY (A little jealously.) Comfy, you two? VIOLET Montgomery. MONTY a] Ie’s Monty. VIOLET ‘What might you want. MONTY “We're almost to Memphis, Flick, We gotta get off the bus and change anyway; long as we don’t have to report till Monday, how’s about a little R&R? FLICK Sure. Wanna join us, V-oh-LETTE? MONTY Flick, Viii-ur’s got a big day ahead of her tomorrow, with that preacher pulling rabbits outa hats and all; I don’r chink she’s gon’ wanna join us in the big city. | BUS DRIVER 2 ‘Memphis, last stop. Check inside the station for connection times. People pile off the bus, stare collecting their luggage. “ FLICK You thought about what you gonna do here? Mose folks have to wait a long time._ Page 41 VIOLET Some of Mama’s cousins live in Memphis. I was thinking they might rest me overnight. FLICK ‘These relatives know you're coming Vi-oh-LETTE? ‘VIOLET T never even met them. But soon as I show up and tell them who I am... FLICK Prob’ly been years since you heard from a one. Kinfolk can be a bad surprise. MONTY. Only cousin I had got drunk and drove a tractor over his baby brother. Did it on purpose, too. ‘VIOLET You are such a liar. Monty's grin is his answer. FLICK: T know a woman runs a boarding house here. She won’t give us any trouble. We can stay there tonight, and ride on tomozrow. We'll get you a nice room. ‘VIOLET (Doubsful) 1 don’t know... FLICK You know ws beter than your relatives. Do you some good, too. Have some fun. Find some lieele place on Beale Street, and have a beer. . VIOLET No thanlk you. I don’t think ie would be right. MONTY ‘There, you see? That would be the real miracle, getting Viii-lut to have some fun. FLICK. ‘You look like you could use an extra hand, Flick helps with her suitcase. MONTY Tl go call you a cab, Viii-lut. VIOLET ‘Thanks, Flick, for asking me. Thanks for everything. They almost embrace, but don’t. The ovher pastengers have disappeared. Flick and Violet are standing in the shadows of the garage, not inside the station proper. A man in mechanic's overalls approaches, MECHANIC Hey boy. What do all them stripes make you, a buck sergeant? A staff sergeant? What.Page 42 ‘We don’t want no trouble, mister. FLICK, MECHANIC Cuz they don’t make you jack shic in Tennessee. FLICK ‘Mister if you wanna wall outa here without help you better stare walking right now. MECHANIC Rufus, you believe this boy? Rufus appears, cleaning his fingernails with a knife He's all duded up, ain’t he. RUFUS MECHANIC T guess he figures, long as he’s got the uniform, he’s entitled to one of our gies, right? No matter what she looks like. VIOLET Violet tries to slug the mechanic, but Flick catches her before she can. MECHANIC ‘As Flick pulls her away, the mechanic shoves Flic You filthy... Nice try, missy. back as Monty returns. MONTY ‘Yeee-hah! Monty and Rufus fight: Monty disarms bbim, but Rufus punches him in the gut; he doubles over. VIOLET Are you okay? MONTY ‘Warch your stuff Rufus bas taken Violet's purse and suitcase. VIOLET Hunh-unh, give it back! She grabs on to her purse; Rufus lets go of i, and runs off wish the suitcase. , who shoves the mechanic MECHANIC Here we go, boy. The mechanic picks up a crowbar. FLICK Come on. Flick blocks several blows with his duffel bag, then manages to wrest the crow bar away from the mechanic. He raises it over his head, threatening the mechanic, who panics. MECHANIC Sheriff The mechanic runs away. MONTY Hot damn! I ever get in another fight? Make sure you're on my side. Viii-lut too.aaa. Page 43, VIOLET (To Flick.) Are you all sight? FLICK fe Yeah. You? i | VIOLET I lose my suitcase. L FLICK ‘We better not go after it. Anything important in there? VIOLET fe] ‘The dress I was gonna wear tomorrow. My rélative’s number. L | MONTY hy ‘You're gon” hafta stay with us then. It’s some kinda, whattaya call it, suspicious omen. ke FLICK ‘Try that again. MONTY | There's your first miracle, right there. I called it, temember? Unless you're afraid of a colored establishment. VIOLET No. But how cheap is it? FLICK Under five. VIOLET All right, but I'm taking the GAM bus outa here, with or without you two. (Beat.) I don’t know what I’m gonna do abour that dress. As shey walk in one direction, a bed rolls on from another, with a landlady following. There is a radio on a bedside table. Violet kicks off her shoes and steps onto the bed; Monty and Flick watch her. MONTY Comfy? ‘VIOLET As a roll of fence wire. LANDLADY Te wasn’t made to be stood on, miss. They hear a blues guitar solo through an open window. FLICK Hear that? I bet if you could be black on Beale Street for 5 minutes tonight, you wouldn’t ever go back. Where's the ice machine?Page 44. LANDLADY In che hall—lemme show you. Monty throws a gum wrapper on the floor; the landlady glares at him, and swats him. FLICK Vi-oh-LETTE, you freshen up, then come on down to our room. Flick leaves, swatting Monty as he goes. MONTY ‘Why is everybody always hittin’ me? (He lingers, leaning against the door frame.) After tonight, you'll have sump'n real to write in that book of yours. Sump'n to remember. VIOLET So many things you can’t remember, even by writing them down, hr ——T—— LANDLADY ‘Whatsamavter, you crazy? Bringing those two here! This ain't New York City. Anyone finds out about the gal, there’s gonna be trouble. FLICK Almeta, come on. Her suitcase was stolen. LANDLADY She could lose 5 suitcases and have a dozen scars, and she’d still be white. I got a business to consider. Flick pulls a swenty dollar bill out of his wallet. ‘Asight. Yall can stay the night, but don’t you ever bring them back here again. And if you leave the premises? Use the exit on the alley. VIOLET ‘Maybe this was a bad idea. MONTY ‘Naaah—we'll go ’n get drunker than my old cousin, draw some dirty pictures in your book. You come on down the hall and get drunk enough to drive a tractor, all right? When he leaves, Violet takes off her dress, and lies down on her bed in her slip. HOTEL SINGER HOW'D I GET TO BE SO BLUE? SEEMS I DON’T HAVE ANYONE WHEN RIGHT NOW ANYONE WOULD DO. OH, RIGHT NOW ANYONE WOULD DO. Violet falls asleep. Flick’s voice is heard faintly, over the early evening ssreet sounds of Memphis. FLICK RAISE YOUR FOOT NOW THAT’S THE WAY YOU'LL BE MOVIN’ ON TODAY RAISE THE OTHER, PUT IT DOWNYoung Vi rises from behind YOUNG VI Papa? Papa it’s me, Violet! She runs to bina and they hug. Then he holds her at arms’ length, FATHER Look at you! Damned if you didn’t get your face back! YOUNG VI Thad a miracle, FATHER About time too. Your old man could use 2 licde peace and quiet. You remember what I taught you? the bed: she casches sight of her father. RADIO SINGER WHO'S GONNA LACE YOUR KID-LEATHER SHOES WHO'S GONNA BOUNCE YOU ON HIS KNEE ‘WHO'S GONNA HEED YOUR HULLABALOOS ‘WHO'LL BE THE ONE, IF NOT ME Young Vi accepts the cue t0 dance with her fasher. RADIO TRIO DANCE WITH ME DARLIN’, STAND ON MY TOES FATHER (Looks around.) The place has changed. YOUNG VI Te needs painting. Bur the flowers, see? I planted them myself, all along the path. FATHER ‘What use are flowers? And what's that? YOUNG VI. ‘A mean-looking face I hammered up to scare people away. I've been here so long RADIO SINGER DANCE TO THE OLD-TIME ME-LO-DEE WHO'S GONNA LOVE YOU DO YOU SUPPOSE ‘WHO'LL BE THE ONE by myself, I talk to it sometimes. If NOT ME OLD LADY Just so long as it don’t tall back. YOUNG VI Papa, ie’s the old lady! And don’t you look relaxed. Old-fashioned. OLD LADYPage 46. YOUNG VI | Your dress? It’s pretty. | OLD LADY fel My drink. It’s bourbon. Harvey makes a powerful relaxin’ Old-fashioned. ; YOUNG VI | Td like you to meet my Papa. OLD LADY Pleased to meet you, son. YOUNG VI He's your age. I mean, he would be... OLD LADY Tunderstand, dear. The old lady and the father dance. FATHER RADIO SINGER: Time's funny that way. Time changed for ‘WHO'S GONNA GLOVE me after your mother died. I could lay YOUR DELICATE HAND awake a year between sundown and sunup, next morning Violet would be a day older, I'd be three hundred and sixty- WHO'S GONNA BOUNCE five. YOU ON HIS-A KNEE OLD LADY ‘You ought to try one of these. WHO'S GONNA KNOW She swirls the ice cubes in her drink, THE LAY ’A THE LAND FATHER ad T think I ought to be goin, WHO'LL BE THE ONE, i 7 IF NOT ME | YOUNG VI No, stay... FATHER Ht ‘You got menfolks coming. I'll be on my way. (He goes.) YOUNG VI T'm not expecting anyone... OLD LADY | Let him go, dear. uy RADIO TRIO ROOSTER GO COCK-A-DOODLE-OO00, COCK-A-DOODLE- OODLE-IVE Monty appears.Page 47 MONTY Ladies, ladies! Who here feels like dancing? Monty dances withthe od lady. RADIO TRIO ROOSTER GO COCK-A-DOODLE-O00, COCK-A-DOODLE- OODLE-EE RADIO SINGER WAKE UP MY DEAR, IT’S A QUARTER-TO-FIVE OLD LADY Oh! My. (Laughs) ; RADIO SINGER | ‘WHO'LL BE THE ONE, IF NOT-A ME i MONTY Little sister, care for a spin? ‘He dances with young Vi. ae RADIO TRIO HEAR THE ROOSTER CROW: COCK-A-DOODLE-OH ‘WHO'S GONNA LOVE-A YOU Ee OLD LADY RADIO SINGER Isn't he fine. DO YOU SUPPOSE Fy YOUNG VI WHO'LL BE THE ONE. But... on the bus... IF THE ONE IS NOT ME OLD LADY Honey I'm not on the bus now. He puts me i in mind of my Raymond, when he was 4 young, | i | WHO'LL BE THE ONE. IF NOT ME i MONTY ‘Shhh! Look over there, little sister— YOUNG VI Tes a white-tail deer. She'll come right up and eat out of my hand, if I'm still. MONTY Stretched out like that, in her underwear. (He reaches to turn off the radio, and finds Violet's book.) What's this. “Praise God for Memphis and for two new friends.” One’a them is me! OLD LADY T chink I hear the children calling... (She leaves, unnoticed.)Page £8. i) YOUNG VI ‘Will you dance with me again? ‘Monty seems not to hear her. MONTY I shouldn’e sead this, not with her lying there all defenseless like that. Without the clothes, it's not a hell of a lot improved. (He laughs.) YOUNG VI Idon’r think I want to hear anymore. And sadly, young Vi disappears. MONTY MR. WALLACE WEATHERMAN... HIS BLACK HAIR, IS IT CHEROKEE... (Flips pages.) ..-AND HER SKIN, CHINA WHITE, TISSUE THIN... (Flips pages.) TWO KINDS OF PEOPLE IN THIS WORLD SOME SAY YES AND SOME SAY... (Flips pages.) TD LIKE A PAIR OF GENE TIERNEY EYES TRY MONTY'S MOUTH ON FOR SIZE, ALITTLE FULLER THOUGH... (Flips pages.) Violet jolts awake; Monty is reading her book, and doesn’t see her. She considers speaking, bus instead lies back down and pretends 10 be asleep. ‘Act ugly, do ugly, be ugly. What do you know about it, blue-eyed boy... (Flips pages.) There's a Gideon Bible in my room, and inside it are a lot of dirty words somebody. wrote. Ir’s like something Montgomery would do. YOU THINK YOU GOT THE ANSWERS, DON’T YOU NOT A QUESTION OR DOUBT YOU'RE FULLA SHIT, SO DARLIN’ WON’T YOU pad BE A GOOD GIRL SCOUT TAKE A HIKE, TAKE THE SCENIC ROUTE. CUZ EVER SINCE YOU | SAT WITH HIM ’N. ME, WELL FLICK AIN'T THE SAME YOU NEVER ACT: LIKE OTHER WOMEN, AND HE ACTS LIKE HE'S TAME YOU'RE A PAIN IN THE ASS i GOT NO KINDA CLASS AND A TONGUE WITH A NASTY AIM BUT THERE'S SOMETHIN’ ABOUT YOU... { YOU'RE DIFFERENT, THAT'S WHAT GOOD LOOKIN’ YOU'RE ANYTHING BUT ANNOYING AS HELL AT THE START... COURSE I KNOW THAT SCAR MUST REACH TO YOUR HEART YOU'RE DIFFERENT, THAT'S ALL JUST HOW THOUGH IS HARDER TO CALL—Page 49 LIKE A BACK ROAD I THINK WILL DEAD-END THAT I TRAVEL PAST WHERE I INTEND CUZ IT SEEMS TO UNRAVEL, AROUND EVERY BEND YOU KNOW WHAT I THINK IT IS? YOU GOT NO DEFENSES AGAINST ME MOST OTHER GIRLS PUT A WALL UP AROUND THEM THEN EXPECT ME TO CLIMB TILL I'VE FOUND THEM YOU'RE DIFFERENT, THAT'S IT, AND MORE THAN I CARE TO ADMIT— THERE'S‘ SOMETHIN’ YOU GOT GOIN’ FOR YOU MEANS THAT THERE’S NO WAY I CAN IGNORE YOU YOU'RE DIFFERENT, THAT'S ALL FLICK (Enters holding a coke, and a flask.) What're you doing? Weren't you gonna wake her up? MONTY (Stashes Violet's book away.) 1 was, about to. FLICK She'll need time to get ready. MONTY But Flick, are you ready? FLICK To do what? . MONTY GET LOADED GET PLASTERED IT’S THE PRINCIPAL SKILL WE'VE MASTERED FLICK GO TOIT YOU BASTARD BOTH WE CAN DO IT AGAIN AND AGAIN AND AGAIN AND AGAIN FLICK Now she’s walking up olet now makes a show of stretching and yawning. Look who's back in the world. We cattied you a sody pop, plus something to spruce it up. Frick spikes her soda and hands it to her. VIOLET Now sur your faces, I have to tell you something. (They urn away as she dreses.)1 dreamed you two came to my house, on the mountain. And Moncy was rootin’ for UC EET CPage 50 somethin’ in my sock drawer? This is peppery. Monty was like Burt Lancaster or something. Where's that music coming from again? MONTY Let's find out. LET'S GET BOOZY GET HAZY ‘He takes Violet and spins her around. i CAREFUL, VII-LUT, WHOOPSI-DAISY Go TOIT GO CRAZY WE CAN DO IT AGAIN AND AGAIN AND AGAIN AND AGAIN . Monty takes her hand, spins her, and when she stops Flick, Monty, and : Violet are in a dance hall.. The music hall singer spots Flick and winks at him. During the uptempo section of this song, Flick and Monty join Violet out on the dance floor. They all three show off for one another. The two men one- 1p one ariother in a good-natured but obvious way. Mansy does a shimmy and declares, “That's Elvis, right there’ and Flick and Violet follow with sheir own specialties. The dancing is more athletic than sexy; there is litele touching involued, as that would spell srouble for Flick. Once the singer sees who Flick is with, she loses interest in him. MUSIC HALL SINGER HEY, I'M DYIN” TM DYIN’ FOR WHAT YOU GOT THERE MAYBE I’M LYIN’ TM LYIN’ BUT WHAT DO YOU CARE OH, OH, OH, WHOA LONELY STRANGER NO STRANGER THAN ANYONE HERE 1'M IN NO DANGER NO DANGER, ’SLONG AS YOU'RE NEAR OH, OH, WHOA DON’T YOU LEAVE ME DON'T EVER GO 1 PLEASE BELIEVE ME i I KNOW, I KNOW, I KNOW—YEAH! HEY, I'M DYIN’ | TM DYIN’ TO DO SOMETHIN’ WRONG il THERE'S NO DENYIN’ DENYIN’ STRINGS IT ALONG OH, OH, WHOA ‘When the song's tempo slows, Flick is caughe close to Violet, watched by the singer and a woman at a nearby table. Flick goes to a Coke machine to buy some sodas. Once Flick is gone, Monty takes Violet in his arms for some slower dancing. YOU JUST MET ME YOU'LL NEVER STAY YOU'LL FORGET ME SOME DAY eeePage 51 Monty's hands start to wander a bit; Violet is surprised but does nothing to stop him. When Flick reowrns he sees this, catching Violet's eye, not Monty's Resigned, Flick sees down the beers, and turns wo leave she two alone. Violet Lets go of Monty, and runs to follow Flick. SOME DAY... LONELY STRANGER NO STRANGER TO ‘WHAT'S IN MY HEART AM I IN DANGER IN DANGER, LETTIN’ THIS START HOTEL SINGER HOW'D I'GET TO BE SO BLUE? SEEMS I DON'T HAVE ANYONE, WHEN RIGHT NOW ANYONE WOULD DO Violet catches up with Flick, who is returning to the hotel. FLICK ‘What happened to Monty? VIOLET I thought he was right behind us. (Carefully. You wanna wait up for him? FLICK He can handle himself, HOTEL SINGER IT’S AT THAT HOUR OF THE NIGHT IF 'M ALONE, I’M NOT ALL RIGHT DON’T KNOW WHAT I'LL DO IF I CAN’T HAVE YOU TO HOLD TILL LIGHT. Violet and Flick are standing outside her door. VIOLET I mean, as big a city as Memphis is... I don’t even have a lock on my door. Should I be worried? FLICK ‘There’s somethin’ I been woriderin’ about. VIOLET ‘What is ic FLICK, Does this ever hurt you? (He touches her scar. She shivers buc doesn’t pull away.) VIOLET Only when the weather changes. (Pause,) Flic... The landlady appears.Page 52 LANDLADY If you'e looking for yout towels—Plic’s is om his bed. And yours I left in your own room. The landlady clearly isn’s budging. VIOLET Ginight then. FLICK See ya in the morning. HOTEL SINGER MAYBE THERE’S A MAN OUTSIDE MY DOOR HEY THERE, MISTER, HOW ARE YOU? YOU COULD BE JUST ANYONE ‘WHEN RIGHT NOW ANYONE ‘WOULD DO Violet finds her bed, gets in i, and sleep. Monty approaches the door. He sowcher dhe handle, end iohen it swings open, he enters Violet's room. She is ‘tuakened when be crashes into a chair, and curses MONTY Fuck! Viii-lue? VIOLET ‘What, what! Where’s Flick? MONTY, T could wake him up. Might get awful crowded though. Whar’s “at smell, licorice? , VIOLET Anise. To keep my dreams sweet. MONTY Honey you ain’t dreaming now. ‘He puss her band in his lap. She pulls bir down ro her, and as they kis she Tights fade. On she last day of bigh shel, a boy follows young Vi home. BILLY DEAN ‘Wait up! Violes, wait for me! YOUNG VI Billy Dean Elum, what are you following me for. You go on home BILLY DEAN C'mon, Violet! Slow down. YOUNG VI ‘Whar is i you want, BILLY DEAN Ain't you never had a boy follow you home from school before?Page 53 YOUNG VI ‘You know the answer to that. BILLY DEAN Still, you know what it means, right? She raises her eyebrows, waiting. He ras his eyes. ‘Means I like you! Means I wanna gerwith you. YOUNG VI ‘Who put you up to this. BILLY DEAN Nobody, honest! YOUNG VI Billy Dean, you are so dumb. One day you're calling me names, the next I’m supposed to think you're sweet on me? BILLY DEAN Names? What names? YOUNG VI Axe-head. Freak-face, BILLY DEAN (Pause.) Oh. Monty and Violet are sitting up, talking in her bed. Monty is half asleep. MONTY ‘What do you think, Viiilur. Black leather pants, jacket— tools stuck: all over my body with duct rape— VIOLET (Derisive.) The secret life of boys. MONTY ‘C'mon, Viii-lut, One day I'll come through Spruce Pine, flat out, throw you up behind me on my cycle! We'll lean all the way through them mountains. Would you like that? Take you through cricks and ditches... You can jes’ holler and hang on. (He yawns.) BILLY DEAN Look, they found out I never done it. They axed me, when you get with a girl, and you hic the bump? Does it go off to the left, or the right? And I didn’t know. YOUNG VI Billy Dean why didn's you just answer? You had even odds of getting it right, He still docsn’s get is; she laughs at him. How much are you getting for this. BILLY DEAN on, Violet. a si aa. i Page 54. YOUNG VI How much, BILLY DEAN i Five dollars. We could splic it. ! YOUNG VI f I don't want the money. I want you to be gentle. I BILLY DEAN (Quick, eager.) VIL be gentle. YOUNG VI is ‘And Billy Dean, here's a tip—there isn’t any bump. u MONTY ‘My Norton though, she’s a working piece of iron, I mean, she has guts. ‘Another yawn overtakes hirn. VIOLET ‘You're nor going to sleep on me. MONTY Ain’t you tired? ‘VIOLET You're the one who woke me up. MONTY ‘Are you sorry that I did? (No answer.) Anyway, I wasn't the first, was I. ‘VIOLET a So. MONTY So T hope he was as good as me. My Norton though, she’s got the best front forks of anybody. She'll nearly roll you up a tree trunk and right down the other si... (He drops off) | VIOLET My Look at your litle haits. (She touches his hair; he groggily brushes her hand away.) It's like i shoebrush. Sleepy now you've done your business, aren’t you. (He falls against her.) No you don’t, don’t go leaning on me. What if I want to lean, ever think of that? There’s no keeping you up, is there. Go ahead then. Go to slecp on me. " LAY DOWN YOUR HEAD, AND SLEEP, SLEEP | TLL BE YOUR PILLOW, SOFT AND DEEP LEAVE ME YOUR TROUBLES, I WILL KEEP YOUR DAYS GONE BY, YOUR DAYS GONE BY Monty lies against her with bis full weight. = LAY DOWN YOUR HEAD, AND DREAM, DREAM YOU'RE SO MUCH GENTLER THAN YOU SEEM IS THERE A CHANCE YOU MIGHT REDEEM. MY DAYS GONE BY, MY DAYS GONE BYMINE IS SHORT, AND MY EARS ARE RINGING EVERYWHERE, MY SKIN IS SINGING— i LAY DOWN YOUR HEAD, AND SLEEP, SLEEP I'WILL BE PLEASED, YOUR SOUL TO KEEP GIVE YOURSELF OVER TO THE DEEP OF DAYS GONE BY, OF DAYS GONE BY ——a Page 55 ’ AND OH, HIS BREATH IS $O WARM | } MUSIC HALL SINGER [ BY THE TIME YOU COME KNOCKIN’ MY | MUSIC HALL SINGER LANDLADY HOTEL SINGER | | LONELY STRANGER MAYBE THERE'S A ke STRANGER EI AT MY DOOR WHAT'S TO KEEP HIM =| \ NO STRANGER WATTIN’ FOR? Ey 1 NO DANGER, HOWARE YOU! i SLONG AS YOU'RE NEAR YOU COULD BEJUST ANYONE YOU COULD BE JUST | DONT EVER GO ANYONE CUZ RIGHT NOW ANYONE. [ ALL THREE KI BABY YOU MAY BE THE STRANGER AT MY DOOR Flick is back out on the street, zipping up his jacket against the night air, sipping from bis flask. LANDLADY | MAYBE THERE'S A STRANGER | ALL THREE I AND RIGHT NOW ANYONE MUSIC HALL SINGER, ‘WOULD DO HOTEL SINGER, i WOULD DO LANDLADY t OH, ANYONE WOULD DOAct IL By shis time of night the few passengers on the bus are talked out, and hypnotized by she rhythms of the turn signal, the windshield wipers, and the driving rain. BUS DRIVER 3 HEY, FM DYIN” TM DYIN’ FOR WHAT YOU GOT THERE, LONELY STRANGER T'M DYIN’, BUT WHAT DO YOU CARE, OOH, OOH, OOH, WHOA YUKKA DUKKA DAKKA DUKKA DON'T (BOMP) YOU LEAVE ME (BOM?) DON'T EVER GO, WHOA-WHOA-WHOA DON'T BELIEVE ME KNOW, I KNOW YUKKA DUKKA DAKKA DUKKA He spins the wheel as he pulls into the station. Callin? all soldier boys. This is Fore Smith Arkansas, through no fault of mine. The rest of us get 10 minutes to use the facilities. The sound of a car horn; a shuddering diesel engine; the horn agains and finally the pneumatic “shoosh” of a bus door opening. The driver and a few ‘passengers leave; Monty stirs in the seat beside Violet. VIOLET Ready or not, Montgomery. MONTY Monty. Monty Monty Monty Mon... You're doin’ that on purpose. : VIOLET ‘Whar are you gonna do about it? MONTY ‘Waic right here, Violet. You got a surprise comin’. ‘As he leaves, Flick comes forward to where Violet is. With the seat beside her now empty, he rakes it FLICK Fort Smith's the last rest stop you get. Don’t you wanna get up and stretch? VIOLET Tm okay. FLICK ‘What happened to Monty? VIOLET He's buying me candy and sodas, like he’s been doing all day. (Pause.) I think at this point I could ride his Norton by hearsay alone. Slide ic chrough the corners, fight for the groove, pop the throrcle comin’ into the straight? Do that for 10 laps and I get the big money.ee ee Page 57. FLICK Lemme see that gum wrapper. (He prints something.) lete’s mny address. You keep it. Never can tell. After Fort Smith, iv's straight up to Tulsa, Maybe 2, 3 hours. You excited? VIOLET (Looks away.) 1 don’t even know what street the Hope and Glory Building is on. (Violet opens her book.) Can I borrow your pencil? FLICK, ‘You gonna write me out your address? VIOLET Iwas gonna write, ‘This is the day which che Lord hath made.’ But come to think of it, before Memphis, what kind of days was he sending me? She tears ofa piece of a page and writes something down. Here’s my address. FLICK (Reading,) You wish you'd stayed in the mountains? VIOLET Almost. Though I never would’ve met Monty then. FLICK (Cooks away, rise.) Right. Best of luck / to you, now. VIOLET. Or you! Flick I meant you too. I didn’t / mean... FLICK All chis candy ’n shit, 'scuse my French, know why Monty's buying it? Cuz he thinks that’s easier 'n talking to you. There's a man you can count on. VIOLET ‘What do you know about it. FLICK T know a plain girl when I see one, with dreams don’t make no sense. VIOLET Maybe not t0 you. FLICK Don’t you get i? You're just a piece of ass to him. And an easy one at that. VIOLET ‘What gives you the right to be jealous? FLICK ‘What makes you think I am? ia aaPage 58 VIOLET ‘You heard me say I left the door unlocked. FLICK Last I heard it couldn't lock. VIOLET ‘What did you expect, an invitation? FLICK Forger it. I don't go for sloppy seconds anyhow. VIOLET Sure seemed like you were ready to go last night. FLICK DON'T WORRY DON'T SWEAT IT GO DO SOMETHIN’ WRONG, THEN MOVE ALONG CUZ IT WON'T WEIGH ON YOUR MIND IF YOU DON’T LET IT IT ISN’T HARD TO SAY T'M SO SORRY I MEANT BETTER HELL IT’S NOTHIN’ NEW YOU PUT ME THROUGH, ‘TAKE YOUR TIME NOW TO SPELL OUT JUST WHY IN YOUR FIRST LETTER k IT ISN'T HARD TO SAY GOODBYE i MONTY'S NOT THE POINT ISN'T NOW, NEVER WAS Hi | BUT YOU CAN'T EVER GET ENOUGH | OF A THING YOU DON’T NEED | i) WHAT YOUR MIND DOESN'T HEED YOUR HEART DOES 4 DON'T WORRY 1 DON’T SWEAT IT DON'T KNOW WHAT HE SAID CLIMBIN’ IN YOUR BED BUT IT TOOK HIM ALL THE WAY BUT YOU DON'T GET IT CUZ ANYONE CAN SAY TM SO LONELY [WANT SOMEONE DAMMIT, HE’S THE KIND YOU ALWAYS FIND DOIN’ SOMETHIN’ TO CATCH SOMEONE'S EYE ‘WHO'S THE REAL DUMB ONE IT ISN'T HARD TO SAY GOODBYEPage 59. VIOLET FLICK YOU KNOW WHAT REALLY. BOTHERS YOU? MONTY'S NOT THE POINT MONTY HAD THE NERVE TO DO ISN'T NOW, NEVER WAS ‘WHAT YOU WERE ONLY. BUT YOU CAN'T EVER GET ENOUGH DREAMING OF OF A THING YOU DON'T NEED MONTY'S JUST A BOY, FLICK, 1 KNOW THAT WHAT YOUR MIND DOESN'T HEED BUT I DON'T REGRET IT YOUR HEART DOES 1 DID SOMETHING FINE | TLL REMEMBER FOREVER i VIOLET i TWO KINDS OF PEOPLE IN THIS WORLD i SOME SAY YES AND SOME SAY NO. 1 I'M ONLY LEARNIN’ TO SAY YES i I'M BOUND TO MAKE MISTAKES BUT I'M BOUND TO TRY I KNOW YOU THINK I'M NO GREAT SHAKES BUT THERE’S MORE TO ME THAN MEETS THE EYE | GOODBYE, al | BUT I DON'T GIVE A DAMN \ AND I'LL TELL YOU WHY | T'M MILES AND MILES FROM WHO I AM FOR ONCE I'M NOT AFRAID OR SHY GOODBYE | IF I WAS SMART I'D GO BACK HOME | | T'M GONNA MISS YOU, FLICK, A LOT | | I WISH YOU FELT THE SAME AS I GOODBYE i FLICK - “Well you just made this easy on yourself, didn’: you. VIOLET T told you the truth, Flick. Why can’t you do the same. Violet pushes past Flick to the bus bathroom. Monsy boards the bus with a bag full of candy. MONTY I better go back and get her. FLICK No! Leave her be. | MONTY | Ifshe don’t come out, how’m I gonna wish her luck? FLICK ‘You're never gonna see her again, right?Page 60 MONTY I don’t know. Maybe. FLICK If you do go back there, at least set her down gentle. She's not a one-nighter. MONTY She might surprise you there. Anyway it ain’t so easy for me. I take one look in them sad eyes, 'm ready to promise her anything she wants. FLICK Yeah but soon’s you break that promise, il hit her twice as hard. MONTY Least I won’t be with her when it hits. FLICK That what you think? Daman. I got no time for a boy like you. Flick ges up and arts to collec his things. MONTY Nah, now wait a minute Flick. C’mon, you're right. I need your help. What do I say? VIOLET YOU GOT MY NUMBER, SO CALL ME ‘WHEN IT’S CONVENIENT FOR YOU FLICK Sit down. They share a bus seat. VIOLET. SOME NIGHT YOU'RE DRUNK AND YOU'RE LONELY. GOT NOTHING BETTER TO DO TLL BE SITTIN’ HOME, WAITIN’ TO HEAR FROM YOU FLICK I GOT YOUR NUMBER, PLL CALL YOU, MONTY. I GOT YOUR NUMBER, I'LL CALL YOU, : FLICK EXPECT TO HEAR FROM ME SOON— MONTY EXPECT TO HEAR FROM ME— YOU NEVER KNOW, WITH THE ARMY— MIGHT BE YOUR NEIGHBOR BY JUNE FLICK Gandt| | | Page 61 WRITE ME ANY TIME— MONTY TLL WAIT TO HEAR [Link] “Monty works his way to che back of the bus. VIOLET YOU WEREN'T SO BAD, FOR A SOLDIER YOU WEREN'T THE BEST OR THE WORST. BUT WHEN YOU STARTED TO CRY, BOY I TELL YOU, THAT WAS A FIRST DON’T YOU COUNT ON MY WAITIN’ TO HEAR FROM YOU MONTY Vili-lut! (Hears Violet throwing up.) You all right? (To Flick.) She’s getting sick in, there. (To Violet.) You worried / or something? VIOLET 1m fine (She comes ou) Ie all she candy and the soda, what do you think? Ise i your stop? You better get ready to go. VIOLET MONTY YOU GOT MY NUMBER SO— 1 GOT YOUR NUMBER SO— BOTH What? VIOLET MONTY YOU GOT MY NUMBER SO— 1 GOT YOUR NUMBER SO— BOTH ‘What? Violet finally puss one hand on Monty's shoulder, one hand over his mouth. VIOLET YOU GOT MY NUMBER SO CALL ME— MONTY EXPECT TO HEAR FROM ME SOON— VIOLET SOME NIGHT YOU'RE DRUNK AND YOU'RE LONELY— MONTY UNDER THE SPELL OF THE MOON— He sries to souch her arm, she grabs it away. VIOLET. I'LL BE SITTIN’ HOME, KNITTIN’ SOMETHIN’ FITTIN’ JUST WAITIN’ TO HEAR FROM YOUPage 62 FLICK Come on, Monty. MONTY He walks away with Flick, then changes his mind, and returns to face her. PROMISE ME, VIII-LUT PROMISE YOU'LL DO THIS ONCE YOUR HEALING’S THROUGH FLICK Monty? MONTY COME TO THIS STATION ANY TIME SUNDAY I'LL BE HERE FOR YOU I'LL BE WAITING, BY THE ROADSIDE ANY TIME, I'LL MAKE DO PVE BEEN WAITING, FOR A LIFETIME TO GET YOUR SWEET KISS SO VII-LUT, PROMISE CUZ PLL BE WAITING FOR YOU PROMISE ME, VII-LUT WHY WON'T YOU FACE ME ALL I WANT IS YOU. YOU'RE NOT SOME BEAUTY THAT DON’T CONCERN ME. MONTY FLICK I'LL BE HERE FOR YOU SHOULD I SPEAK UP— TLL BE WAITING OR LET HER GO— BY THE ROADSIDE. AM I JUST CAUGHT UP IN A MAKE MY LONESOME DREAM TRUE = DREAM— FLICK, I'VE BEEN WAITING, FOR A LIFETIME, FOR SOMEONE SIMPLY TO LOOK AND SEE ME THE WAY THAT I SEE YOU MONTY PROMISE ME, VII-LUT— VIOLET I TAKE A DIFFERENT LINE— MONTY WHY WON'T YOU PROMISE—ES 7 . Page 63 VIOLET I WON'T BE PASSIN’ THROUGH— | MONTY i LIKE I PROMISED. } i VIOLET ! IT COSTS A LOT YOU KNOW MONTY Look, Pll buy your ticket back here. ‘Monty tries to give her money, but she refuses it VIOLET 4 I GOT YOUR NUMBER, MY DARLING j “THE FUN HAS ONLY BEGUN— { WHY STOP AT ONLY AN EVENING— ¥ TWO NIGHTS ARE BETTER THAN ONE” { He tries 10 kiss her, they crack heads painfully. DON'T YOU THINK I KNOW I WON'T BE HEARIN’ FROM YOU? MONTY SLOW DOWN, YOU KNOW I'M THE BEST THING HAS EVER HAPPENED TO YOU ay ae TOO BAD YOU OPEN YOUR MOUTH BOY. YOU LOOK TO GOOD TO BE TRUE RY fy | | 2 MONTY T'm coming here Sunday. See you then, all right? And you get off that bus! i i j ' VIOLET i i | : i VIOLET No I won't!Page 64 FLICK PASSENGERS ‘That's enough! Leave the girl'in peace! You LEFT MY TROUBLES ALL BEHIND ME he Tulsa and back in eee "W0 "BACK THERE WHEN I CLIMBED ON days? BOARD MONTY JORDAN RIVER'S WHERE YOU'LL FIND You jes’ don’t get it, do you. ME TLL BE WAITING, BY THE ROADSIDE— IT’S WIDE, BUT NOT TOO WIDE TO FLICK, yo) IT'S WIDE. VOICE 1 ote HIS WIRE THINKS 'M A DRAGONFLY, AND TLL CALL YOUR NAME... VOICE 2 VIOLET / YOUNG VI Spas ! RED HAIR'S A THOUGHT ee REALLY FINE, NOT LIKE MINE AND AS TM GOIN’ ALONG VOICE 1 HELP ME FIND MY. DIALOGUE (FEMALE) DIALOGUE (MALE) I said it, and I meant it. Bus 322 is leaving Whatsamatter, you crazy? This ain't New Kingsport for Memphis, Tennessee by way York City. She could lose five suitcases and of Knowille, Nashville, etc., etc., on have a dozen scars and she'd still be... schedule, which means in no more than... VIOLET / YOUNG VI I KNOW YOU'RE WITH ME As the passengers take over the singing, the scene transforms to the Preacher's chapel The Preacher's chapel is half sage see, half Art Nouveau temple (a relic of Tulsa’s oil boom style). The passengers become his volunteer choir, doing a foot-stomping, hand-clapping number to sir the congregation up. CHOIR TM ON MY WAY, OH I AM ON MY WAY PREACHER Are you on the way, or ate you in the way? CHOIR ON MY WAY, I AM ON MY WAY PREACHER I say are you om, or are you in the way? CHOIR ON MY WAY, OH I AM ON MY WAY RAISE ME UP, LORD ‘WON'T YOU RAISE ME UP AND ON MY WAYPREACHER Cuz anybody in the way had better get out of the way conight. How would you like it friends, if the Lord were to raise you up tonight? CHOIR RAISE ME UP, LORD WON'T YOU RAISE ME PREACHER CHOIR Maybe you feel distant, maybe you feel TAM ON MY WAY far from God tonight. But God hasn’t moved. He’s the samé place he ever was. Ifyou haven't heard him, maybe you 1AM ON MY WAY haven’t been listening. If you haven't seen him, maybe your eyes have been closed! Don’t worry, if, you don't want him, he ain’e coming. CHOIR 1AM ON MY WAY PREACHER But if you wane him— CHOIR OH, IF YOU WANT HIM PREACHER Ifyou need him— CHOIR OH, IF YOU NEED HIM PREACHER ‘Why not let him raise you up to his side! CHOIR LORD, WON'T YOU RAISE ME UP AND ON MY WAY PREACHER Let him fold you to his bosom, like a favorite angel! LULA OH, ON MY WAY, I AM GLORY BOUND LULA CHOIR RAISE ME UP, OH .UP EIPage 66. LULA & CHOIR RAISE ME UP RIGHT OFF THE GROUND. LULA CHOIR Pe GIVE ME THE WINGS OF AN ANGEL RAISE UP, RAISE UP | TLL FLY AWAY RAISE UP, RAISE UP | CHOIR, TLL FLY AWAY LULA I WANT TO FLY LIKE AN ANGEL | CHOIR PLL FLY AWAY LULA TLL FLY TO YOU PREACHER How many are ready to get healed this afternoon? Raaaaise your hands if you're ready. LULA CHOIR WON'T YOU RAISE UP! - RAISE UP! PREACHER ‘When medical science fails you. When all the clinics, the hospitals, and the infirmaries in the world suuurn you away. CHOIR WHAT DO YOU DO PREACHER What do you do. When even the family doctor shakes his head. CHOIR RAISE UP! PREACHER And says, I'm sorry, I've done everything I can. CHOIR | RAISE UP! PREACHER And says, there’s not pill in the world can help you now. I know one doctor you can surely depend on. LULA WHAT IS HIS NAME?Page 67 PREACHER His name isn't John Hopkins. Oh no. His name isn’t Ben Casey. CHOIR HIS NAME IS JESUS PREACHER, If you believe in Jesus raise your hands Hallelujah! Now there’s a woman right beside me God has called to sing his Biblical, scriptutal music; what’s your name again sister? LULA Lula Buffingson, PREACHER ‘That's right, Lula. Make it a prayer. LULA Amen. ‘WHEN MY THOUGHTS ARE TROUBLED, AND MY SPIRITS ARE Low WHEN MY URGES SICKEN, AND MY SINS AMAZE ME I DEPEND ON YOU MY LORD BECAUSE I KNOW, YOU WILL... LULA CHOIR RAISE ME ‘YOU WILL RAISE ME, YOU WILL RAISE ME YOU WILL RAISE ME ‘YOU WILL RAISE ME, YOU WILL RAISE ME TKNOW YOU WILL, YOU SAID YOU WOULD YOU WILL RAISE ME, YOU WILL RAISE ME ‘YOU WILL RAISE ME (AD LIB) ‘YOU WILL RAISE ME, YOU WILL RAISE ME RAISE ME UP, RAISE ME UP RAISE ME UP, RAISE ME UP RAISE ME UP [RAISE ME UP, RAISE ME UP OHITM ON MY WAY 1M ON MY WAY, I AM ON MY WAY I WANT TO FLY LIKE AN ANGEL TM ON MY WAY, I AM ON MY WAY TLL FLY TO YOU, ON MY WAY TM ON MY WAY 1AM ON MY WAY TAM ON MY WAY PREACHER Praise the Lord. Jesus wants to heal you, so comfort you, to make you prosperous and normal. Praise the Lord, blessed is his name. The same power who raised this Blue and ‘White Chapel in Tulsa Oklahoma's claim to fame, the One Solid City Block Hope and Glory Building—he can raise you up too, friend. He is a bone healer, a fever breaker, a cancer ender, 2 eumor disappearer. Who believes Jesus has the power to heal? Raise your hands if you believe. CHOIR RAISE UP YOUR HANDS IF YOU BELIEVEPage 68. PREACHER ‘What's happened? Is this a woman who could not walk? And Virgil's gonna raise whoever it ight be onto the stage and send her on up to me. You see what's happened, right before our eyes? Now engineer I might start speaking in tongues at this point, if the spirit moves me. ‘You just hit me with a spot when that happens. This little woman is dancing! Friends, there's someone invisible, invisible bue invincible, in this chapel tonight. God is with us in this chapel tonight! ‘And I'l open up the Bible, like I'm gonna read from it. Before we call it a night in this glorious chapel, I believe every cane will be broken, I believe every wheelchair will be abandoned, I believe every stretcher will be overturned! And here is where I'll introduce the volunteer choir, from... Virgil? VIRGIL Philadelphia, sir. PREACHER ‘The City of Brotherly Love. Yall get ready now. This is where y’all starc singin’ again. PREACHER CHOIR “That's right. Raise yourselves up off __-RAISE ME UP, OH RAISE ME, RAISE ME UP ‘your seats! Raise up! My Bible says, ‘shout unto God with the voice of LULA triumph. Blessed is his name! Look at OH WON'T YOU RAISE ME what God's doing before I start laying hands on people! Imagine what he’s CHOIR RAISE ME UP, OH RAISE ME, RAISE ME UP going to do afier I start Glory! WONT YOU RAISE ME, WON'T YOU RAISE ME (WON'T YOU RAISE ME UP. aise your hands, and let's shout. WON'T YOU RAISE ME, RAISE ME Wishoue breaking cadence, WON'T YOU RAISE ME addressing the light booth. WON'T YOU RAISE ME UP Raise that special on me now. Engineer, WON'T YOU RAISE ME, RAISE ME ‘ Pree | RAISE ME UP, RAISE ME UP that’s your cue, Raise the light. Engineer! RAISE ME UD. RAE MET How much am I paying you. Wheeere’s RAISE ME, RAISE ME, RAISE ME, RAISE ME the Fresnel I just purchased? RAISE ME, RAISE ME, RAISE ME, RAISE. ME To the choir, who keep singing until stopped. PREACHER ‘All right, al right, shu up! You there, are you awake or not? VIOLET You mean me? PREACHER Mind telling me what happened to my cue? What kinda engineer are yo! VIOLET T’m, um... not an engineer.| | i | | | Page 69 PREACHER How do you expect to run a lightboard then? Give me strength! VIOLET T'm here to see you. PREACHER All right then, you've seen me. Now you're fired. VIOLET But I don’t work for you. PREACHER Not after today you don’t. (Furious, at everyone.) People! What's the matter with you! Do Thave to do everything alone? I need your help! VIOLET And I need yours! I came here to be healed. PREACHER Tomorrow night, sister! (To the choir.) The same night you people are gonna be on zelevision! You can't be singin’ like you'd rather be fishin’. Lula here's the only one singin’ for me, she’s givin’ me what I need. The rest of you. LULA I'm singin’ for the Lord. PREACHER Wha? ‘ LULA Not for you. For the Lord. PREACHER Of course, that’s what I meant. LULA Thope so. VIOLET 1 just chought the choir was wonderful LULA (Aside, to Violet.) Thank you baby. PREACHER Virgil, where are you. VIRGIL Right here, sic. ce rPage 70 PREACHER: Go and minister to this young lady. And Virgil? VIRGIL ‘Yes sir. PREACHER (Sotto voce.) Clear the chapel of the singers first. We don’t want any scufis in the naugahyde. ‘VIRGIL Right. Everybody—that’s a 6 o'clock call tomorrow, a 6:30 show. “As the choir files ous, Virgil rakes Violet’s arm. VIOLET I never thought of it as a show before. VIRGIL Right this way, ma’am. VIOLET Teame to talk to the Preacher. VIRGIL Nobody talks to him unless they calk to me first. VIOLET You're so young. I need his blessing. VIRGIL Not to worry, ma'am, We'll get you taken care of in a jiffy. On the way down the mountain, the Fasher supports young Vis she holds a quilt to her cheek. YOUNG VI PAPA, CAREFUL FATHER EASY DOES IT. HOLD ON BABY, THERE WE ARE— YOUNG VI HOW FAR? FATHER WE'RE HALFWAY DOWN BY NOW WE'LL GET YOU TAKEN CARE OF, SOMEHOW_ Page 71 : Violet's lines overlap what the father sings. VIOLET Thave something to show him. FP FATHER GOD ALMIGHTY, SHOW YOUR MERCY VIRGIL | a GOD ALMIGHTY, PLEASE FORGIVE. Beton cot ae cee Be | GOD ALMIGHTY, SHOW YOUR MERCE our | Olay, but only if you take me to him after. j ee ‘From ber book she draws an envelope | ful of paper slips. |] Here’s what I need. I've written it all down. My name. My one desire. The Bible verses which must speak for me. YOUNG VI I THERE'S THE RIVER FATHER WE CAN CROSS IT He lifts her up, t0 carry her across HOLD ON TIGHT NOW, BE PREPARED— YOUNG VI I'M SCARED! FATHER | I KNOW,"BUT DON’T YOU FRET | WE'LL GET YOU TAKEN CARE OF, YETPage 72 FATHER VIRGIL My child, we'll certainly pray for your DON'T YOU FRET... spirie. f VIOLET Never mind my spirit. | ‘VIRGIL PLEASE FORGIVE All suffering has a purpose. He hums a phrase. , . VIOLET THERE'S THE DOCTOR'S— Maybe that’s true, but it doesn’t make it THERE'S A LIGHT ON fight! ‘VIRGIL HOLD ON BABY, : BABY, Kneel with me. Lord, help us to remember MOS er . ‘you have a purpose in all things. With me By now young Violet is staggering, today is—what was your name again, sister? Peel conscious. Her father supports He looks up and Violet has disappeared. jer. FATHER THANK HEAVEN FOR THAT MOON WE'LL GET YOU TAKEN CARE OF— ‘VIRGIL You come back here! FATHER SOON VIRGIL Call security! We got a scrambler. The father approaches the doctor's door, and prepares to hick ie open; lights : pull our attension to Violes, who flings open, then closes the door to the | Preacher's chapel. The Preacher is praying in the darks of the chapel, at a back pew. ‘VIOLET Hello? Mr. Preacher? Anybody? When nobody answers, Violet approaches the altar. THIS IS WHERE THE PREACHER STANDS NO ONE'S LEFT TO TESTIFY FOR ME ALL I HAVE ARE YOUR WORDS, LORD TO RAISE ME UP AND SET ME FREE She empties her envelope full of Bible quotations one by one onto the altar. Lazarus. The withered hand. The ear of Malchus. The woman at the door of Peter's house. The healing pool of Bethesda. “The crooked shall be made straight,’ Isaiah. Uh! ‘She is startled when the Preacher sits up straight.i | | Page 73 PREACHER He was talking about a valley, not a scar. VIOLET | Please don’t send me away again. f PREACHER 7 What are you doing in my chapel. VIOLET Ineed your help. (In a rush.) Jesus healed an impediment of speech. See my impediment? Mud ina blind man’s eye was all he needed. Remember? PREACHER “Favor is deceitful and beauty is vain.” That's in Proverbs. VIOLET “T shall yet praise him who is the health of my countenance.” Psalms, sce? PREACHER “By the sadness of the countenance the heart is made better.” Ecclesiastes, seven, three. VIOLET (Oh that’s not fair! And it isn’t true, besides. PREACHER Why don’t we go find Virgil. VIOLET Please help me. I have such high hopes for you. PREACHER So many people do, sister. But right now I’m exhausted. Come on. She is excited when he rakes her by the hand: but he tries to lead her out of the chapel ‘Come back another time; you got to go on home. VIOLET T can’t, not tonight. I came from North Carolina on a Greyhound bus! PREACHER ‘What do people think, I'm a healing jukebox? Drop a quarter in and watch me go? Come to the service tomorrow, sister, like eves-body else. ‘VIOLET Well which is it, a service, or show? Call it an act and you could take it to Vegas. PREACHER Let me tell you something, Miss Hoity-Toity. I started out preaching from the back of a fat-bed truck. I faced the doubtful. I faced the hostile. I faced the Klan! Sister, T was on Jire for the Lord. I could feel his power burning in my fingers. And most ever-body who ‘came, got their miracle.Page 75. ' VIOLET ' PLL FLY AWAY I WANT TO FLY LIKE AN, PLL FLY AWAY | PREACHER You gor to understand. Violet raises a hand to shush bi. leat : VIOLET TLL FLY TO YOU \ PREACHER § Before you let... yet VIOLET | Be quiet a second. f 000, 000, 000, OH f PREACHER | Can’t you just... ue VIOLET [2 ‘You had your chance! ea OH, WON'T YOU RAISE UP PREACHER Don't count on... kg 1 VIOLET | | Raise up your hand if you're ready. | Violet rises hers. PREACHER Please, sister.. VIOLET IF YOU'RE READY . Say how many want touch, how many wanna get healed. RAISE UP Say I got the power to heal RAISE UP ‘You can talle now if you want. 000-OH-OH-OH, WHAT IS HIS NAME? You can save ic all up if that’s better. HIS NAME IS.Page 76. VIOLET PREACHER JESUS Jesus, girl PREACHER This is not what you need. You're barking up the wrong tree. VIOLET 1AM ON MY WAY Jesus wants to heal you, and make you prosperous and normal! 1AM ON MY WAY Her eyes close as she sings this, and he sries to leave. Oh no, you're nor going anywhere! a LhL—— ON MY WAY, LAM ON MY WAY RAISE ME UP, LORD WON'T YOU RAISE ME UP AND ON MY... The Preacher retreats as she advances, until she's backed him up bebind the alsar. LOOK AT ME NO ONE WILL LOOK AT ME NO ONE WILL DARE TO SPEND THE TIME IT TAKES TO LOOK AT ME— TO REALLY LOOK AT ME WHAT DID I DO TO MAKE YOU ANGRY AT ME MY GOD THIS IS SO HARD LOOK AT ME LOOK AT ME CAN YOU IMAGINE ‘WHAT IT’S LIKE WHEN PEOPLE LOOK AT ME— She directs her words to the heavens. LOOK AT ME IS THIS THE TENDER MERCY THAT YOU'RE KNOWN FOR MY GOD DON’T BE SO HARD She starts beating her book againse a pew. GIVE ME THE WINGS OF AN ANGEL DON’T PULL BACK DON’T SHUDDER LOOK ELSEWHERE LOSE INTEREST YM ALMOST THERE The Preacher has disappeared. Violet starts desperately arranging things for her healing.Page 77 t t THIS IS WHERE THE PREACHER STANDS 2 TWO KINDS OF PEOPLE IN THIS WORLD : ALL I HAVE ARE PROMISES TO RAISE ME UP AND SET ME FREE When her book starts coming apart, she rips it into pieces and shrows the pages and whatever quotes are still inside up into’ the air; the pieces settle down all around her, and the altar. Violet's father has magically taken the ' Preacher's place. Violet is at first oblivious to the change. TD LIKE A PAIR OF GENE TIERNEY EYES AND AVA GARDNER'S EYEBROWS AND ANYBODY’S CHEEKBONES A DIFFERENT MOUTH BENEATH A NEW AND BETTER NOSE— AND PLEASE, THE EYES— BUT GOD, GIVE ME SOMETHING! SOMETHING OF MY OWN, SOMETHING MINE SO I WON'T BE ASHAMED WHEN I FIND A MAN Violet sees young Vi enter, and follows her gaze to their fatber. TO LOOK AT ME ‘WHY WON'T YOU LOOK AT ME IT WAS AN ACCIDENT, OR WAS IT REALLY YOUNG VI Look at me! | . VIOLET | GODAMMIT LOOK AT ME i | 4 VIOLET/ YOUNG VI | THIS IS YOUR HANDIWORK THE GIFT YOU GAVE ME FATHER So what? Once I look at you, then what. Here I am, looking at you. Satisfied? YOUNG VI You act like it’s all my fault. VIOLET DON'T PULL BACK—Page 78 FATHER T’m not the one who up and decides one day the woodshed is the place to play. VIOLET DON'T SHUDDER YOUNG VI LOOK ELSEWHERE T’m nor the one who doesn’t check co sec his LOSE INTEREST blade is loose! ACT DISTANT, EMBARRASSED FATHER YOU BETTER Ie wasn't loose! The shim came out, damn BE CAREFUL ic. A man can’t be expected to check the CUZ I WON'T shim every time he uses his axe. ACCEPT THIS NOT THIS TIME YOUNG VI YM ALMOST THERE Ther you check it now. VIOLET GOD, I JUST WANT YOU TO APOLOGIZE FATHER Don’t try to quote to me from the Book of Suffering. YOUNG VI ‘You don’t know anything about ic! Young Vi runs off, and her father calls after her: FATHER tal T know its every page by-heart! I VIOLET f Pd like to see you ty this [Link] before you dare speak ro. me of suffering. - FATHER ‘Whar is it you want to heat? VIOLET ‘You know what I want to heart FATHER Te was all my fault? Is that what you want me to say? Well all right then. It was all my 1 fault. Y'm sorry, and there’s an end. to it. | VIOLET ‘There is no end to it. Not for me. FATHER Just tell me what you want, damn you. I will say it, I will do it. What does it take.7 F Page 79 VIOLET ‘The last owelve years of my life? Can you get those back for me? Can you take back all the frightened looks from litele girls, the jeers their brothers lung at me, the words of Christian sympathy their parents spat in my. face like boiling oil? FATHER ‘You think the accident didn’t leave its mark on me? ‘VIOLET ‘Not out for everyone to see and be sickened by! FATHER “Farmer Karl was chopping wood—chopped his daughter pretty good. Don’t let Farmer Karl see you—he might split your face in two.” VIOLET And then he'll take you to a stupid doctor who sews you up like a pair of old shoes. And then he'll wait five years too long to cry and make it sight. You know what I think? You did ic on purpose. You were afraid I'd leave if | were pretty, so you took care of that. You made damn sure no one else would come within a mile of me. He shakes her, checking an impulse to hit ber. FATHER EACH DAY, I GOT YOU OUT OF BED SAW THAT YOU WERE FED THAT'S WHAT I COULD DO SUNDAYS, I'D GIVE YOU CHANGE TO GO 4 TO A PICTURE SHOW f | | THAT'S WHAT I COULD DO THAT'S ALL I KNEW TO DO | YOU'RE THE IMAGE OF YOUR MAMA fe! SHE'S IN EVERYTHING YOU ARE YOU'VE GOT HER EYES, YOU'VE GOT HER SMILE— BUT YOUR OWN SPIRIT CARRIED YOU THIS FAR IF I COULD TD TAKE AWAY YOUR SCAR He ‘places both hands gently on her cheeks, across her scar, then removes them. FORGIVE ME YOU'RE MY ONLY STAR LOOK HOW BRIGHT, LOOK HOW STRONG, 7 LOOK HOW BEAUTIFUL YOU ARE i I RAISED YOU STRONGER, CHILD, THAN ME WHICH YOU'LL ALWAYS BE | THAT’S WHAT I COULD DO I RAISED YOU STRONG ENOUGH TO START SEEIN’ WITH YOUR HEARTPage 80 THAT'S WHAT I COULD DO THAT’S ALL I KNEW TO DO THE REST, I GUESS, IS UP TO YOU Child, is there someone who can make you happy? She's embarrassed. You don’t have to say. I understand. Keep a secret from your old man. VIOLET Iwant to bless you, but thae’s not my job. I would if it were up to me. FATHER (He takes a step back.) Look at you. Just look at you! VIOLET Did I have a miracle? FATHER I wish your Mama could see you like this. VIOLET Oh my God! Thank you! Did he fix the nose too? Or just the cheek? FATHER ‘Maybe she’s watching us right now. ‘VIOLET (She almost souches her cheek.) 1 want to touch it but maybe that’s temptation. I should ‘wait until i's settled. FATHER Tam bushed! VIOLET apa tell me, what do you see when you look at me? FATHER T could almost sleep forever. There is a great whirring sound, and all the Bible quotes on the altar are borne mysteriously into the air, then scastered. When shey have settled, the (father has disappeared. VIOLET LUCKY MY MIRACLE TURNED OUT SO GENTLE MAYBE THE BEST ONES APPEAR ACCIDENTAL I DON’T DARE TO CHECK IT IN THE MIRROR GIVE HIM TIME, TO GET THE FEATURES CLEARER BUT BY THE SOLDIER'S BASE, WAIT AND SEE. ‘WHEN I SHOW MY BRAND-NEW FACE, ‘WHEN I SHOW MY BRAND-NEW FACE, ‘WHEN I SHOW MY BRAND-NEW FACE TLL BE FR... | IPage 81 BUS DRIVER 4 (Impatient to have to repeat this.) 1 said, ticket please, ma'am. VIOLET Mr. Wallace Weatherman! He looks at her warily. Remember me? BUS DRIVER 4 Name’s Johnson, ma’am. Says so right on the badge. Viole i nthe bus agains the evecpy gy in whe adjoining seat speaks. CREEPY GUY ‘Where you headed? MABEL TM SO TIRED, TIRED OF SITTIN’ VIOLET Abhop, skip and a jump, or North Cafolina, depending OLD LADY 2 NEED MY BOTTOM REDESIGNED ‘CREEPY GUY 1 thought my ride was bad, but yours is worse! (Snort) EARL WISH MY CLOTHES WERE LOOSER FITTIN’ : CREEPY GUY T'd like to use this time to bring you closer to God. He offers her a pamphlet, MABEL/ OLD LADY 2/ EARL THINK 'M GONNA LOSE MY MIND ALL NEED SOME COBBLER A LA MODE THERE'S A STATION DOWN THE ROAD TLL GET SOME COFFEE FOR THE ROAD EARL Before I bought this here flea circus (pats his case) was a barker on the midway. Now there's money in fleas—but I can’t say ie's my calling. There's just no way to do it artistic. OLD LADY 2 GOT A YEN, GOT A CRAVIN’ MABEL Thad three straight husbands teach me to drive, before it rook. aa kePage 82 EARL TAKE A LEAK TO SNEAK A SMOKE. MABEL So this traffic cop didn’t know where to run—I had to swerve several times before I hit him. CREEPY GUY BET MY WIFE IS MISBEHAVIN’ MABEL I married him too, oncet he got out of emergency? OLD LADY 2/ CREEPY GUY/ EARL THINK IM GONNA HAVE A STROKE ALL NEED SOME COBBLER A LA MODE, THERE'S A STATION DOWN THE ROAD LLL GET SOME COFFEE FOR THE ROAD Earl remains in the bathroom, smoking. OLD LADY 2 (To the others on the bus.) Am I the only one that smells it. MABEL es comin’ from the case. OLD LADY 2 ‘What do fleas eat, anyways? MABEL Oh don’t even. CREEPY GUY Should we open it? EARL Git yer paws offa my fleas! CREEPY GUY (To Earl, Sir, have you found the Lord? MABEL q Inever knew he was missing. CREEPY GUY Jesus loves you too, sister. MABEL That may be, but whar's it got to do with you?Page 83 VIOLET (Laughs,) 1 shoulda’t laugh, not after what he’s done for me. Mister, can I have a cigarette? T wanna lift up my smoke so every eye follows to my brand-new... OLD LADY 2 (Cuts ber off) Have one of mine, sweetie. Who knows what he’s smokin’. MABEL Puts me mind of my Raymond. VIOLET (To the old lady.) You rémind me of someone. CREEPY GUY (To Mabel.) You might be interested in somne of my literature. ‘She threatens to swat away bis pamples with ber fan; he draps ie VIOLET If you had a miracle, how do you suppose it would come? Alll at once, like a lightning bolt? Or a melting as slow as the bus ride from Tulsa to Fort Smith. MABEL Or in a package about six foot two, with smoky grey eyes. VIOLET Anyway, it hardly matters. Monty won't come, and I won't stop OLD LADY 2 Now who is Monty? Is he stationed at Fort Smith? VIOLET But what if Monty's waicing— I'll iptoe into the bus station, and when he turns he won’ ‘know me. Yl have to explain how this gypsy hair and juicy mouth is still Violet Karl. MABEL ‘What color eyes does he have, honey: VIOLET But if he cums and knows [Link] my old face... I'l run away. I'l say, “Mr. Johnson, don’t you dare lec that man on the bus!” She startles the driver out of a reverie. BUS DRIVER 4 God in heaven! VIOLET I don’t think Monty will follow. MABEL For me, it’s smoky grey, or get outta my way.Page 84 VIOLET I don’t even think he will come. BUS DRIVER 4 Fort Smith, next stop. OLD LADY 2 (Reaches into her pocketbook for her compact.) Time to freshen up. ‘VIOLET No! (She turns her face away.) OLD LADY 2 You could use some powder, too. VIOLET I's your mirror I'm avoiding. I don’t want to jinx my miracle. You see, before I went to Tulsa, my entire cheele was covered by a great big scar. Clear across my nose? OLD LADY 2 I'm not sure what to make of that, dear. VIOLET I know it’s hard to believe, seeing me now. But soon as I step off the bus, my healing will be complete. MABEL ‘How long has it been since your back has seen a mattress, baby. VIOLET Maybe a day and a half . MABEL (To the old lady.) Oooo, somebody's gonna sleep good tonight. BUS DRIVER 4 Ten minutes. ‘VIOLET (Peering out the window.) The soldiers aren’t here, neither one. OLDLADY2 Best get off the bus and see. Wait, let me at least get the hair our of your eyes. ‘And she pulls back a strand of Violet's hair. Violet gets off the bus. From the blacktop, she tries to look through the glas-paneled walls of the station to the people inside.Page 85 BUS DRIVER 4 FIRST THING I'LL DO, . OLD LADY 2 GET SOME DAN'S BET HE FORGOT, EARL I IRISH STEW STUPID CUSS TM KEEPIN’ THESE MABEL | THICK ’N HEARTY ‘HAVE TO WAIT —_OUTA SIGHT; LIKE IT OR NOT, IRISH STEW IN THE BUS SOMEONE MIGHT SMOKY GREY HAVE SOME BEER PARKING LOT STEAL MY FLEAS ANY DAY ant ALL NO MATTER WHAT BUS DRIVER 4 SOME BLACKBERRY OLD LADY 2 { PIE I’M RAISIN’ SOME EARL HELL TLL NEVER SAY DIE CREEPY GUY 1 COULD TRY TO SELL | CREEPY GUY WHAT I CAN'T GIVE AWAY BUS DRIVER 4 MADE GOOD TIME CROSSIN’ OKLAHOMA Monty, in the dress uniform of the Green Berets, spots Violet. One of the glass panels of the station walls is a door, and it opens to reveal Flick. MONTY Vili-lus, there you are... I wasn’t sure which bus you'd be on. ‘VIOLET Monty? (Excited.) It was all I could do not to sneak a look before I gor here. Well? What do you think? MONTY I tried to tell you what would happen. But you didn’t wanna hear it. VIOLET On! Her hands flies to her cheek. She takes off running. The sun makes a funhouse mirror of the glass door Flick holds open, and in it Violet sees her own image reflected. Perhaps this isthe one time swe see her face, scar and all, as she sees it. She stares at herself, roo seurmed to speak. When the glass door closes, the spell is broken. MONTY Sergeant Grady Fliggins. Whar brings you here. FLICK 1 been waiting since daylight, scared to miss you, scared you might not...Page 86 MONTY ‘Come with me to San Francisco. I'll get you a ticket, Viii-lut. VIOLET Go away. Both of you. Don’t look at me! MONTY ‘We'll have a few days together before I go. See, I'm going to Viet Nam, Viii-lue! I volunteered. VIOLET. Flick! Not you— FLICK Not me. MONTY- Nab, Special Forces only takes the good soldiers, right? (Short laugh.) Look, I found a ring in my Crackerjack. (Holds it out to her.) It’s one ’a them omens. I'll get you a real one in San Francisco, I promise. See I didn’t know if you'd even come back for me. Bu you did. So what do you say, Viii-lut. Wanna hitch a ride to the Moneymobile? VIOLET Please! I'm so ashamed. MONTY I didn’t mean to... Don’t ery. Thingsll be okay. Ie barely even counts as a war. Flick, make her stop? (Pockets the plastic ring.) Vil write to you, Viii-lut. How’s char. Listen, Tm gon’ miss you. Wish me luck. VIOLET You be careful. MONTY Anyway. Monty moves away. Young Violet emerges from the station. FLICK Viob-LBTTE— maybe you still feel a hundred miles from who you are. ‘VIOLET Tve gor to get back on the bus. YOUNG VI DON'T PULL BACK—r Page 87 z FLICK YOUNG VI f But I know who you are. And I know DON’T SHUDDER where you belong, too. ] LOOK ELSEWHERE. | VIOLET i i All alone on the side of some goddamn GIVE ME THE WINGS al i mountain. \ ; | OF AN ANGEL it FLICK 4 No, Vi-oh-LETTE. You belong with me. TM ALMOST THERE i ' FLICK T wish you coulda seen yourself, the way you looked when you firs stepped offa that bus. - VIOLET I WANTED A PAIR OF GENE TIERNEY EYES AND AVA GARDNER'S EYEBROWS OR EVEN JUST-THE CHEEKBONES | BUT NOTHING'S CHANGED IT’S TOO LATE NOW TM GOING HOME— ‘Flick moves toward Violet, and she pulls away. GOD, CAN'T YOU LEAVE ME! IF 1 COULD TD STAY WITH YOU | | FLICK BUT VI-OH-LETTE, YOU CAN I KNOW YOU FEEL LIKE NOTHING'S CHANGED BUT LOOK AT YOU, YOU'RE DIFFERENT YOU'RE NOT THE GIRL YOU WERE WHEN YOU BEGAN TEE AND LOOK AT ME | STAND BACK AND LOOK AT ME t | TM NOT AT ALL THE MAN \ YOU FIRST LAID [Link] LOOK AT ME SWEET JESUS, LOOK AT ME I CAN'T BEGIN TO FIND THE WORDS TO TELL YOU HOW I LOVE YOU PVE BEEN WAITING, FOR A LIFETIME, AND NOW YOU'RE SO NEAR T'M GONNA WAIT HERE UNTIL THE WAIT IS THROUGH PROMISE ME, VIOLET—VIOLET HOW CAN I PROMISE? FLICK LIKE I PROMISED YOU VIOLET CAREFUL NOW, GRADY YOU BETTER MEAN THIS FLICK VIOLET ALL I WANT IS YOU I'VE BEEN WAITING— SCARED TO LOSE YOU— SCARED MY PLAN WOULD FALL = HOW DO I KNOW YOU'LL I'VE BEEN WAITING— AFRAID TO LOSE— THROUGH— NEVER LEAVE? I'VE BEEN WAITING, FOR A BUT MAYBE YOU'RE THE ONE, LIFETIME TM WAITING FOR FOR SOMEONE SIMPLY THE FIRST ONE TO SIMPLY TO LOOK AND SEE ME. -.SEE ME VIOLET THE WAY THAT I SEE YOU Violet turns away from Flick in confusion. YOUNG VI MAMA, WHY'S A MAN HAVE EYES? IF I TELL YOU, DON’T YOU TELL— VIOLET Flick. What do youi see when you look at me. YOUNG VI MAMA, WHY'S A MAN HAVE HANDS? IF I TELL YOU, DON’T YOU TELL— Flick reaches out to caress, and kiss Violet's face. YOUNG VI GO ASK YOUR BEAU, HE UNDERSTANDS THERE'S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL FLICK, IF 1 ASK YOU TO BE WITH ME BY AND BY WILL YOU MEET ME TONIGHT, LOVE, IF IT’S TOO DARK TO SEE WITH THE NAKED EYE WILL YOU BRING ME TO LIGHT FLICK /VIOLET IF 1 HAPPEN TO STAGGER AND FALL BEHINDWILL YOU HELP ME TO WALK, WILL YOU EASE MY MIND Page 89 ‘WILL YOU HELP ME TO FIGHT, LOVE ADD EARL WILL YOU BRING ME TO LIGHT ADD OLD LADY WILL YOU BRING ME TO LIGHT ADD YOUNG VI/ BUS DRIVER 4 I KNOW YOU WILL TRY ADD FATHER TO HELP ME FIND MY WAY, LOVE, ADD MABEL IT WON'T WONDER WHY ADD MONTY WHEN NIGHTS ARE LONG ADD LULA/ CREEPY GUY IF YOU'LL HOLD ME TILL IT'S LIGHT YOUNG VI/ BUS DRIVER 4 LIKE A COMET THE CLOUDS IN THE NIGHT DISGUISE EARL/ MABEL LIKE A STORM AT IT’S HEIGHT, LOVE FATHER/ OLD LADY/ LULA LIKE A BABY THE FIRST TIME SHE OPENS HER EYES ALL WILL YOU BRING ME TO LIGHT WILL YOU BRING ME TO LIGHT WILL YOU BRING ME TO LIGHT. TO LIGHT, TO LIGHT, TO LIGHT, TO LIGHT LEFT MY TROUBLES BACK THERE WHEN I CLIMBED ON BOARD JORDAN RIVER’S WHERE YOU'LL FIND ME IT’S WIDE, BUT NOT TOO WIDE TO FORD AND AS I GO, AND AS I GO AND AS I GO, AND AS I GO ALONG I WANT YOU WITH ME IF I TELL YOU MY HEART HAS BEEN OPENED WIDE IF I TELL YOU I'M FRIGHTENED IF I SHOW YOU THE DARKNESS ‘VIOLET/ FLICK) MONTY I HOLD INSIDE* E F a 3 kB c-) iL Ss a Be de gs as 8 pe ge 8 2 38 | 9 9g vo 288 8s & 2s BO 2 2 De B 8 BF a 38 BOS =zi Page 91 PRODUCTION NOTES Entr'acte: a tape of the following plays as the actors return to the stage. MUSIC HALL SINGER Hey, I'm dyin’ I'm dyin’ for what you got there Maybe I'm lyin’ T'm lyin’, but what do you care ‘Ob, oh, ob, ob. whoa Lonely stranger Tm in no danger Lonely stranger No stranger to what's in my heare Optional additions & substitutions, Use either change below if it suits your actor better. Page 10: VIOLET Lips? Thin. Cheeks? Fat. I sure don’t want mine like thar. Nose? Broad. Ears? Runts. Got four eyes and he can’t see once. The driver’s hair must remain black, for Violet to think him Cherokee. She can wish for black, page 13: VIOLET Black hair's a thought, Really fine— Not like mine— Our first Violet's hair was reddish so it didn't make sense for her to wish it red. An extra line, page 82: VIOLET Not our for everyone to see and be sickened by! FATHER ‘Why do you think I hate to go to town? Know what the little boys holler ou? “Farmer Karl was chopping wood_—chopped his daughter pretty good. Don't le: Farmer Karl see you— he might split your face in two.” Use the above for clarity, if you want. The following isn’s necesary, bus use it if you like, Page 87: OLD LADY 2 (Cuts her off.) Have one of mine, sweetie. Who knows what he’s smokin’. Look at she circles under his eves.Page 92 EARL Lady you got your nose so deep in my business it's gonna snap off if you so much as turn your head. (To driver.) You hear what she said? BUS DRIVER 4 lister I’ve heard ir all. EARL nna de thin” 2 BUS DRIVER 4 ‘ake your seat please sir. re ware brushes his head as if to cover be EARL jome ’n get it boys! OLD LADY 2 Dope fiend! He's havin’ a narcotic fit. VIOLET (To the old lady.) You remind me of someone. CREEPY GUY (To Mabel.) You might be interested in some of my literature. She threatens to swat away his pamphlet wich her fan; he drops it A word about stage directions ‘The stage directions in the script do not indicate what Susan H. Schulman or Kathleen i gined as I was writing. I a r—r——“—“‘OhU—Mh—Udh—[_5~— Est thought the tenor, rhychm, and flow of the scenes would be. Use the lines as written. Use the i stage directions as you like. ; | \Page 93 A word about the scar ‘Afcer our frst production at Playwrights Horizons, we discovered the “scar issue” can be a volatile one. Reviewers usually mention it, some approvingly, some not. Audiences at talkbacks always bring it up, and while most people seem to love the scar’s absence, some are adamant that it ought to be visible. So I felt a word explaining our intentions might be helpful. Jeanine Tesori and I wanted to write Violet together because the story spoke so deeply to us, and because it seemed to require a non-literal presentation. Director Susan H. Schulman. was also taken with it, and early on the three of us talked about what shape the piece might take, We considered splitting Violet into two parts—one actress playing the beautiful, ideal version, and another che scarred reality. Susan worried about the burden this idea would put upon casting the piece; as soon 28 we cast rwo adult actresses, she pointed out, we'd be making a literal statement as to what we thought beauty and ugliness were, and taking away an audience’s opporcunity to decide this for themselves. wondered what would happen if instead we split the character into her adult self, and the girl she was at 13. Once puberty strikes a lot of bright, talented, talkative girls seem to become shy and self-conscious, toning themselves down in responsc to boys. Perhaps with these two we could examine Violet's scar in its universal, as well as its particular aspects. Excited by the idea, we soon agreed the most theatrical approach would be to not represent the scar at all. We weren't about to drive a bus onstage; why not leave the scar to the imagination as well? I suppose someone could wrice an excellent stage adaptation of The Ugliest Pilgrim that depended upon having a great big scar on Violet's face—bue thar’s not what we did. I could imagine a scar being featured indirectly—in reflections on mirrored set surfaces maybe, or projections on its walls. (This would take a cue from Doris Berts’ story, in which mirrors are prominent.) There is a stage direction late in Act II, suggesting Flick hold open a door in the Fort Smith bus station: “The sun makes a funhouse mirror of the glass door... in it Violer sees her own image reflected. Perhaps this is the one time we sce het face, scar and all, as she sees it. She stares at herself, too stunned to speak. When the glass door closes, the spell is broken.” But using a cosmetic scar in the piece we've written isn’t feasible. Young Vi appears in scenes before and after the accident; she'd have to run backstage repeatedly to put a scar on, or take it off. At one point during the bus ride, Violet daydreams that Young Vi is healed by the Preacher's touch. What else could he do, but pull the scar off of Young Vi’s face? Violet believes herself to be healed in Tulsa, in che second act, and isn’t disabused of the idea until she sees Monty at Fort Smith. If she wears a scat for the whole act, the audience will be impatient during the entire scene preceding the finale, knowing that whatever she herself might think there is no possibility that she’s been healed. But if she’s taken off her usual scar temporarily Monty has to come up with a clever way to sneak it back onto her face. In the second production we did together, at A Contemporary Theater in Seattle, Susan used a slide with an abstract image of a scar towards the end. It was quite an effective solution, to a problem the three of us were never completely convinced was important. A production that relied on projections might even make good use of scar images througout the evening. But make-up? There's no need for it. —Brian Crawley