ACT II
SCENE 1
SUGARBUSH – day
BETSY is skipping uphill in a spanking white pinafore. Her rear-end has a bulky, diaper-like bandage which pushes the back of her skirt out. She carries a quart-sized tin bucket. She is heading in a beeline for ISAAC’S Big Tree.
She stops. She listens. She hears the sap dripping into the buckets.
She takes another step. She hears something else. A weaker version of the sound we heard earlier – like the forlorn complaint of tree branches iced-up after a winter storm.
Slowly, squinting at the spigot, she zeros in on the Big Tree. What she begins to realize is that oozing out of the tap, one-by-one, are thick drops of blood.
She drops the bucket and touches the blood drops with her forefinger. The flow increases. It fills the bucket quickly and overflows.
She tries to scream. Short puffs of raspy air come out of her throat.
The Big Tree ‘groans’. A gigantic ‘jugular vein’ shoots up the side of the tree trunk, bulging at the tap, which explodes with blood.
The bucket pops off its hook and hits the ground. The Big Tree buckles, as if punched in the stomach.
BETSY runs backwards. There’s blood all over her dress, hands and face. The other trees in the Sugarbush crumple and groan as buckets of blood snap off their hooks and hit the ground.
She falls, scrambles to her feet, turns and races out of the woods.
SCENE 2
SUGARHOUSE – day
A one-story, swaybacked shack stands in a field of tall yellow grass. A gas tank, recently installed, is set up near the door. A brand new, heavy-duty padlock sparkles next to a freshly painted sign:
“No tresspassing – DANGER!”
TUBBS, in a drunken rage, is trying to break in. He hacks at the lock with a crowbar. No luck. He throws the crowbar over his head.
TUBBS
Sit on my face.
He hoists a big rock, cradling it in his arms like a battering ram and runs at the door. The hinges give.
He TUBBS backs up again, takes aim, scuffs the dirt like a bull, farts and runs at the door with all his strength.
TUBBS
Baaaahhhhhhhh!!!
The door crashes open.
int. sugarhouse (CUT AWAY)
TUBBS blasts into the room. He trips and falls.
The interior is piled high with crates and boxes. He overturns one, looking for booze. Stencilled on the side:
“DANGER – explosives!”
He dusts off another.
“U.S.S.R.”
TUBBS
Walk tall…
He yanks at the plunger of a detonator.
TUBBS
…carry a big dick.
At last he spots a bottle of Wild Turkey up in the rafters, covered with dust. He drops the detonator, cracks open the bottle and slurps it down gratefully.
ENTER
ISAAC, out of breath, leaning in the door.
ISAAC
Pssst! Hey, Mr Tubbs!
TUBBS (wiping his mouth on his sleeve)
Say what?
ISAAC (out of breath)
It’s me…Isaac…I gotta…
TUBBS
Mais oui mon peteeet conspirator. Come out, come out wherever you are.
ISAAC
I ain’t supposed to go in there.
TUBBS
Well no, in fact you ain’t. In fact I shall come out to see you. Avec playeeer.
TUBBS emerges, squinting against the glare of the hot sun.
TUBBS
What seems to be the trouble?
ISAAC (so out of breath he has to take in huge gulps of air between phrases)
Ya gotta come quick ‘fore it’s too late I was running around in circles trying to sneak away and all I could think of was you. You Mr. Tubbs sir? I mean it’s like emergency serious. I get scared half t’ death but I figure you’d know what t’ do. You always get an idea. Looks like Brian’s in for it life or death and I ain’t kidding so please Mr. Tubbs, sir, ya gotta come quick up the Sugarbush ASAP!
TUBBS
Could you run that one by me again, my little apricot?
MUSIC: “BLOW MYSELF UP”
ISAAC
Ya gotta haul ass Mr. Tubbs, sir cuz if you think about it there ain’t nobody else from here to China that can fix things better than you so ya gotta git with it cuz Brian messed with the trees up Sugarbush and Old Man Flint‘s on the warpath. He gonna be hunting for somebody to punish n’ I figure, after me?, it’s Brian.
TUBBS
Brian’s in the soup you say?
ISAAC (BIG breath)
Ya gotta come quick cuz Old Man Flint…
TUBBS clamps his paw over ISAAC’S mouth.
TUBBS
That will do, my little rodent. Enough…
(swig)
…is enough.
ISAAC wriggles free.
TUBBS
I tell you, boy, that man is Evil.
ISAAC
Well what ya gonna do about it?
TUBBS drags him inside the Sugarhouse.
TUBBS
That’s the question I ask myself…all the time. ‘What I gonna do about it?’
ISAAC
DO DO DO DO OOOO…
TUBBS
What we gonna do about it? Oh oh…
ISAAC eyeballs the crates.
ISAAC
Uh oh.
He tries to back out. TUBBS grabs him by the collar, grabs again the detonator and pulls the two together like a couple of old friends.
TUBBS
Not so fast, my little sugar beet.
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D DIE
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D CRY
Don’t you git it? KaBOOM!
They high five.
TUBBS & ISAAC
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D CRY
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D DIE
TUBBS
LOOK AT ALL THEM CRAZY PEOPLE
TAKING HIM TO HEART
ISAAC
OO OO OO OO
TUBBS
ACTING LIKE HE’S GOD OR SOMETHING
STABBING IN THE DARK
ISAAC
OO OO OO OO
TUBBS picks up a pair of hand grenades.
TUBBS & ISAAC (dancing)
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D CRY
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D DIE
TUBBS
TOOK MY TREES AND
TOOK MY SUGAR
ISAAC
OO OO OO OO
TUBBS
AND TAKE IT ALL AWAY
Takes a self-pitying swig.
TUBBS
OH THAT BASTARD’LL BITE THE BULLET
HE WILL HAVE TO PAY
ISAAC
OO OO OO OO
ISAAC
Yup you’re right Mr. Tubbs absolutely right and I mean it’s okay to chill out with you an’ the singin’ an’ the dancin’ is cool but in the meantime our friend Brian’s gonna fry!
TUBBS clamps another thick paw over ISAAC’S mouth, lifts him up and carries him outside.
TUBBS (speaking into his ear)
Hush up my little string bean. Everything gonna go perfect. We got the plan, we got the goods, we got the brains, we got the personnel we got…
(eyeballing the detonator again)
…the technology.
He tilts the boy’s head and tries to pour booze down his throat.
ISAAC (spitting it out)
Yuck!
TUBBS
Try like this.
He sets ISAAC down and begins a soft-shoe. ISAAC joins in. They are terrific together. ISAAC vamps on his harp. They dance their way up the path leading into the woods.
ISAAC
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D DIE
TUBBS
That megaholic, two-faced, slickey-boy, piss-fed, manipulatin’…
He coughs and then joins in.
TUBBS & ISAAC
IF I WAS HIM
I’D BLOW MYSELF UP
IF I WAS HIM I’D CRY…
EXIT
TUBBS and ISAAC, dancing into the woods.
SCENE 3
SUGARBUSH – day
MUSIC: “BROKEN HEART” bolero ONLY
The trees are in bad shape. Blood flows weakly from the taps. All the buckets have fallen on the ground, spilling over with blood.
The congas throb. The MEMBERS huddle around the Big Tree, heads bowed in prayer. FLINT stands before them, high and mighty. REBECCA sits apart. She is not praying.
The spirit is building in FLINT – a volcano about to blow.
ISAAC and TUBBS creep up and hide behind the trees. No one notices. ISAAC darts over to REBECCA’S side and takes her hand. She barely acknowledges him.
MEMBERS (incantation in octaves)
THE PATH TO THE LIGHT IS PAVED WITH PAIN. BEAT THE PATH HARSHLY, THUNDER AND RAIN. CRACK THROUGH THE DARKNESS AGAIN AND AGAIN.
FLINT
What Evil is at work? Whose power destroys? I cannot appeal more devoutly to Thee, Lord. Hear my prayers. Stop the horror. Return the trees!
His body shakes. He’s in orbit. His eyes shut tight.
The MEMBERS have varying reactions. Some are moved. Others sneak looks of bewilderment and alarm.
FLINT
Make well these trees. Make the woods sing again, dear God in Heaven.
His face sags, his voice cracks.
FLINT
Bring forth the sun; bring forth the clear sky, the beating of angel’s wings like the white skirts of young girls swinging in the city on a hot summer night!
MEMBERS
AMEN.
FLINT has still not opened his eyes. In the fever of his vision he cannot unlock himself.
FLINT
Brothers and sisters, it is done. A miracle! Praise Jesus Christ our Lord God in Heaven.
MEMBERS
AMEN. PRAISE JESUS CHRIST OUR LORD GOD IN HEAVEN.
An unearthly trembling interrupts him. The blood from the trees quickens. FLINT opens his eyes at last.
FLINT
What? God delivers a miracle and you do not rejoice? Are you mad?
EMMANUEL
The trees, Judge…they’re worse.
MARIE
I’m scared.
BETSY
It’s all the same like before, Judge. The trees are still screwed up.
FLINT
This cannot be!
He stands, waving his arms furiously and lashes out. The wilder he gets, the more the MEMBERS are appalled.
FLINT
Don’t you see? The Devil is at work. An odious, befouling force.
ISAAC (to REBECCA)
I think this might be a good time to go.
FLINT throws himself against the Big Tree, like Captain Ahab on the body of the Great White Whale.
FLINT
I say out with you!
He strikes the tree with the butt end of his cane.
REBECCA
Father, please! I beg you, just go home. Go back down the mountain. I’ll go with you. I’ll look after you.
He can’t hear her. He can’t hear anything. His seizure of violence is brutal and overwhelming.
He strikes a vein in the Big Tree. A tremendous, pulsating jet of blood spurts out, as if the tree’s jugular had been cut.
The MEMBERS gasp, en masse. The wounded tree is spurting blood all over FLINT.
the music stops abruptly
BETSY (shrilly)
Let’s get him!
No one pays any attention to her.
BETSY
It’s that witchboy in that stupid shack! He’s a Devilboy! I seen it! He’s the one who’s responsible for this mess!
ISAAC tackles her. She is stronger than he is. She flips him over easily, twisting his arm behind his back.
BETSY
Brian did this you little twerp. You’re just defending him. He did stuff to me and now he’s done this.
(to everyone)
Get him and kill him and you get the trees back. It’s so obvious!
FLINT looks dazed. Blood is all over the place.
BETSY releases ISAAC, runs to FLINT and shakes his big bloody coat.
BETSY
Wake up, Judge. Do something about that kid. You know he done it. You said so.
FLINT
Did I?
REBECCA
You’ve lost your minds. Both of you.
ISAAC
Leave Brian outa this.
BETSY
It’s the truth. He’s a Devilboy and he’s got you under his spell.
TUBBS jumps out of his hiding place.
TUBBS
You make me puke, all o’ ya! You know who done this to my trees? You did! You and your disgusting religion. Get outa my woods!
FLINT (recovering)
Bring him down.
TWO MEMBER ‘THUGS’ move in. TUBBS puts up his dukes. His distraction allows ISAAC and REBECCA to make their getaway.
TUBBS
Just try it, you Jonestown choirboys. You ain’t got the sack!
He knocks his assailants down and darts behind a tree as another member trips and falls. They are exhausted.
FLINT and BETSY watch, stupefied, as different MEMBERS chase TUBBS all over the Sugarbush.
TUBBS
Yoo hoo! Catch me if you can, jizbags.
With this, his final verbal assault, he runs headlong into a tree and knocks himself unconscious. The THUGS tie him up.
FLINT
Take him downhill. Return to Meeting. Tonight we hunt the boy.
BETSY
Nuh uh! Get him now. Don’t wait!
FLINT
He won’t go anywhere.
BETSY
He will. He ain’t stupid.
FLINT (back in charge)
I know my adversary. I know him very well in fact. We have a common interest. We will hunt tonight.
SCENE 4
ROSE’S CLEARING – twilight
ROSE is in bed. She’s weak. BRIAN, on the floor, leans against the bed. She strokes his head.
ROSE
Getting those damn trees to heart attack was the hardest job we ever done, baby, but boy-oh-boy…
(coughing)
…was it worth it or what?
BRIAN
But look at what it’s done to you, sick in bed, weak as Hell, snivelling away on account of me.
ROSE blows her nose.
ROSE
I’m not snivelling! I’m fine and dandy. Stop feeling sorry for me. And it ain’t on account of you. Never was.
ENTER
REBECCA and ISAAC rushing up to the opened door. They cannot see ROSE.
REBECCA
Brian?
ISAAC
That’s him all right.
REBECCA
Can you hear me?
ISAAC
He’s talking to the bed.
BRIAN
Don’t come in!
REBECCA and ISAAC look at each other, befuddled.
ISAAC
There’s big trouble, Bri. Serious trouble.
BRIAN
I said get out!
They back out of the cabin.
ISAAC (shouting)
You got five minutes in there and then I’m coming after you and I’m gonna haul you off this mountain faster than you can snap your finger.
(to REBECCA)
How come he’s mad at us?
REBECCA (not believing herself)
Don’t worry. He knows what he’s doing.
They go and sit on the rock.
BRIAN picks up ROSE’S table improvising a door, replacing the one he blew off earlier. His heart isn’t in it.
ROSE
Listen kid, with me on vacation it’s time for you to face the music. They’re coming – Flint and his posse – just like they came for Frankenstein.
BRIAN
It’s hardly the same.
ROSE (coughing)
If you’re ever gonna take what’s yours, what belongs to you heart n soul…
BRIAN (taking her hand)
We’ve been through this before.
ROSE
And we’re going through it all over again, dearie. That’s life as they say.
(blowing her nose)
You gonna have to learn, sooner or later, how not to screw it up when your heart takes a hit. How not to blow off the rest of humanity.
She beckons him close. At first she doesn’t say anything. Then, looking straight into his eyes:
ROSE
This is your time, my boy. Forget yourself, and you’ll remember everything.
She looks up at giant snapshots of children. In front of each is an unlit candle.
A photo of a BOY in a silver frame. A birthday candle ignites in front of it, all by itself. The boy is TOMMY as a kid.
ROSE
You won’t have any more chances.
A photo of a cute GIRL. It is SHIRRONDA when she was very small. The candle in front of her ignites.
ROSE looks up at the photos, unframed and curling at the edges, thumb tacked on a beam. A string of Christmas lights blink on in front of them.
ROSE, smiling, begins to fade.
BRIAN
Don’t do this!
ROSE
It ain’t about you, baby, but fear not, I ain’t goin’ far.
She laughs, coughs and passes out in his arms.
All of a sudden the table BRIAN stuck in the doorway comes clattering down. In its place, ISAAC, eyebrows furrowed with resolve, is waiting.
ISAAC
It’s now or never, Brian. I mean it. You gotta bolt. If you get hurt Rebecca will just give up and die!
BRIAN (clearing the decks)
Hit the lookout, kid. Keep an eye. You know how t’ do it.
ISAAC
I ain’t movin’.
BRIAN (supernaturally powerful)
Scram!
ISAAC takes off.
REBECCA
What’s happened?
He looks at her sadly and slips the harmonica out of his pocket.
In the distance we can hear the triangle being rung. The congas start up. BRIAN plays the theme from “I WANT TO BE LOVED” . This works against
(INTRUMENTAL) – “REIGN OF TERROR”.
TABLEAU (OR FILM PROJECTION):
int. child’s bedroom – night
REBECCA, a child again, is asleep in her bed. The intense buzzing sound returns with the MEMBER ‘SOULS’ dressed as before, but without the mirror ‘eyes’. Instead, their eyes are covered by black bandanas, tied at the back, execution style.
BRIAN is in the background, watching. FLINT comes barging in.
FLINT
Becky? You awake?
REBECCA
Daddy?
FLINT
Your Mama’s gone.
REBECCA
Where to?
FLINT
She left us.
REBECCA
Mommy’s coming back. She always does.
FLINT
I’m afraid not, child. This time she’s run off with another Daddy.
REBECCA (arms around his neck)
I only have one Daddy.
He rolls onto the bed. He looks extraordinarily large in her small, little girl’s bed. The light in the room gets white hot, fast.
REBECCA
Daddy? What are you doing?!
EXIT
MEMBER SOULS
BLACK OUT
REBECCA (in darkness)
I can’t see! Where are you!
MUSIC “BROKEN PROMISES“
LIGHTS UP ON
BRIAN drops the harmonica. He takes REBECCA by the shoulders and shakes her, snapping her out of it. He hugs her. She hums the intro melody darkly.
BRIAN & REBECCA
ALL I WANT IS JUST TO
MAKE YOU HAPPY, BABY
ALL I WANT IS JUST TO
MAKE YOUR DREAMS COME TRUE
REBECCA
I AM A PRISONER AND I
SOMETIMES I WANNA TAKE MY LIFE
BUT SOMEONE ELSE IS HOLDING ONTO ME
SOMETIMES IT’S HARD
TO EVEN DREAM
ISAAC is shrieking in the distance.
BRIAN & REBECCA
BROKEN PROMISES
AND BROKEN DREAMS
NOTHING IN THIS CRAZY WORLD
IS EVER WHAT IT SEEMS
AND ALL I GET
FOR ALL THIS SWEAT
BRIAN
IS JUST A BROKEN
BRIAN & REBECCA
…HEART
We HEAR the sound of boots, stomping through the underbrush. At the edge of the clearing torchlight splinters through the trees at bizarre angles.
The congas grow louder. The triangle has stopped ringing.
REBECCA
ARE PEOPLE REALLY
HEARTLESS AND CRUEL
I KNOW THEY DON’T TEACH YOU THAT
IN SCHOOL
AND IF YOU LEARN
TO PLAY THEIR GAME
YOU BECOME LIKE THEM
AND ACT THE SAME
BRIAN & REBECCA
BROKEN PROMISES
AND BROKEN DREAMS
NOTHING IN THIS CRAZY WORLD
IS EVER WHAT IT SEEMS
AND ALL I GET
FOR ALL THIS SWEAT
BRIAN
IS JUST A BROKEN
BRIAN & REBECCA
…HEART
THIS CRAZY WORLD IS TEARING US
APART
THEY NEVER LET YOU FINISH
WHAT YOU START
BRIAN & REBECCA
YOU AND ME
CAN PUT THIS BACK TOGETHER
BRIAN
COME ON BABE
The MEMBERS, torches high, collect at the edge of the clearing.
REBECCA
WE ARE ALL PRISONERS INSIDE
IT’S JUST THE GOOD WE ALWAYS HIDE
SO COME ALONG YOU CAN BE FREE
YOU ARE ONLY WHAT
YOU BELIEVE
BRIAN & REBECCA
BROKEN PROMISES
AND BROKEN DREAMS
NOTHING IN THIS CRAZY WORLD
IS EVER WHAT IT SEEMS
The MEMBERS form a rough semi-circle a few short yards away from BRIAN and REBECCA.
BRIAN & REBECCA
BROKEN PROMISES
AND BROKEN DREAMS
BROKEN PROMISES
AND BROKEN DREAMS
There’s a disturbance at one end of the semi-circle.
ENTER
TUBBS. TWO MEMBER ‘THUGS’ (pug-faced FLINT henchmen) guard him. He is resisting, but to no avail. His ankles are tied, his wrists bound behind his back and his mouth gagged.
BRIAN & REBECCA
BROKEN PROMISES
AND BROKEN DREAMS
BROKEN PROMISES
AND BROKEN DREAMS
ENTER
FLINT, with BETSY. His clothes are covered with dried blood. A space is made for him. The volume of the mob (congas, pots and pans, tools, etc.) crescendos.
BRIAN takes REBECCA in his arms. Her eyes close. The mob worked up, but for the audience – the volume is ‘turned down’.
ROSE (voice – only BRIAN can hear her)
What did you promise me?
BRIAN
That I wouldn’t…
ROSE
That’s not the point! You’re jumping the gun! Rebecca’s not the one who’s gonna die, you idiot!
BRIAN
But you said…
ROSE
Forget what I said. It’s too late. I’m signing off.
Instantly the full sound of the mob returns.
FLINT
Take him!
BETSY
Yay!
TUBBS takes this opportunity to hop away, down into the dark woods. Nobody notices.
BRIAN
Rebecca, I don’t think you’re going to appreciate what I’m about to do.
REBECCA
Then don’t do it.
FLINT
Tie him up! The boy is mad!
BRIAN gently holds REBECCA at arms length.
BRIAN
I’ve decided…to stay outa your life. Without me or anybody else around ya won’t be bent or broken or messed with. You’ll get t’ make your own mistakes.
REBECCA
I’ll lose my heart forever if I break it one more time.
BRIAN
Because we truly care about each other…
REBECCA ‘reads’ his face with trembling hands.
REBECCA
I’m afraid.
BRIAN takes a step back, away from her.
BRIAN
…we’ll let the river take us…
She pulls him towards her quickly, in one motion and kisses him on the lips.
FLINT
Blasphemy!
BETSY
Witchboy!
FLINT advances. He holds a thick wooden Crucifix. He’s not afraid, but he’s not taking any chances. With a nod he directs the MEMBERS to encircle the lovers, closing in.
BRIAN, placing REBECCA behind him, assumes his ‘power stance’ – arms stiff, outstretched, upraised. The MEMBERS fall back.
Nothing happens.
FLINT, emboldened, whacks BRIAN with the blunt end of the Crucifix. BRIAN, waiting for his powers to kick in, gets his face smashed. He falls, holding his head. FLINT gives the Crucifix to BETSY.
BRIAN (smiling)
Woah.
FLINT
Now you know the power of God.
BRIAN
So that’s it. That’s what all the fuss was about. Rebecca kissing me!
FLINT kicks him in the gut. He buckles, but doesn’t seem to care.
BRIAN
Rebecca kisses me and all I lose is what I never wanted in the first place. And I was gonna walk away from this? Red, you’re a genius.
REBECCA
What are you talking about?
BETSY
It’s your stupid boyfriend. He’s a goner.
FLINT brings the Crucifix down hard on the back of BRIAN’S head.
BETSY
Lights out.
REBECCA tries to locate him.
REBECCA
Where are you?
FLINT (grabbing her hand)
You can still be saved.
REBECCA
You still don’t get it, do you? That I love him. That he can have me any way he wants.
FLINT
Silence!
REBECCA
If I told them all I knew…
FLINT
You are bewitched!
REBECCA
…about my blindness.
FLINT
Liar!
He covers her mouth with his hand.
FLINT
She cannot speak until she is prepared to tell the truth.
REBECCA (breaking free)
I know what happened to me ’Daddy’.
FLINT hits her hard across the back of her head with his cane. She slumps against him. He tightens his hand more firmly over her mouth, even though she’s barely conscious.
FLINT
Pick up the body.
They are paralyzed.
FLINT
I said pick it up, you morons! Get him the fuck outa here!
BETSY
Yah! Get on with it! Do what he says!
They stir, pick BRIAN up and create an efficient procession out of the clearing.
FLINT (to the stragglers)
Set fire to the cabin.
They don’t move fast enough.
BETSY
For Christ sakes…
(dropping the Crucifix and grabbing a torch)
…I’ll do it!
BLACKOUT
ORANGE SPOTLIGHT UP ON
BETSY, backing away from the heat. She trips and rolls. She pushes herself up.
BETSY
What a night.
She notices a bright object in the grass. It is BRIAN’S harmonica. She picks it up. It lets out a peep. She recoils and drops it. It plays a few notes by itself, sweetly.
BETSY
Not bad.
Suspiciously, she curls her fingers underneath it and with one, stiff, cupped hand, plops it into her pocket.
BETSY
Good harmonica. Nice harmonica.
She looks back at the burning cabin and then, as fast as her legs can carry her, runs down the mountain.
SCENE 5
SUGARBUSH – dawn
Tubbs hops up to the Big Tree as ISAAC shinnies down the rope. He yanks TUBBS’S gag off, working quickly, untying his hands and feet.
TUBBS
Ah, my little peccadillo, true friends never fail.
He stumbles off.
TUBBS (yelling back over his shoulder)
Now don’t you let nothin’ happen to nobody ’til I give th’ green light.
ISAAC
Where are you going?
TUBBS
Sugarhouse.
ISAAC shinnies back up the Rope.
He makes it just in time to observe the MEMBERS proceed, single-file, past the foot of his tree. They carry the unconscious BRIAN.
The last in line is TOMMY. He hangs his head. They leave. ISAAC cranes his neck to see if he missed anybody. There is a pause, then…
ENTER
FLINT, dragging REBECCA with him. MARIE and EMMANUEL are last. FLINT looks up. ISAAC yanks his head back in the nick of time.
REBECCA
Enjoying yourself, Daddy?
FLINT rips off a section of her blouse, stuffs it into her mouth and binds it securely in back.
FLINT (shoving her)
Find your own way down the mountain.
REBECCA, arms courageously feeling her way, heads off. MARIE chases after and guides her out of the Sugarbush.
ISAAC, struggling to observe, knocks over the basket that holds the Rope. FLINT looks up and sees it tumbling down.
FLINT
What have we here?
As the Rope snaps to its full length, FLINT catches it, holding it taut. It quivers like a giant bass string.
FLINT
Come on down, little brother, you are safe with me.
ISAAC
I ain’t scared o’ you.
FLINT
That’s right, there is nothing to fear.
ISAAC
That’s what you always say.
EMMANUEL
If it’s alright with you, Reverend…
FLINT
Yes, yes. Get going. Get out of here.
EMMANUEL leaves.
FLINT
Your friends will be needing you, you know. You must come down. Or must I climb up?
The woods are deathly quiet. The trees are still contorted. The blood has stopped oozing. It is rust brown, encrusted on the flanks of the trees. The Big Tree is in the worst shape of all, painfully disfigured and bent.
ISAAC, one tentative toe after another, begins to climb down.
FLINT
Atta boy.
ISAAC makes it about a third of the way down when FLINT snaps the Rope. ISAAC barely holds on.
ISAAC
Hey! Stop! I’m coming!
He inches down further. FLINT takes the Rope in both hands and snaps it brutally. BETSY comes running in, out of breath.
BETSY
Yay! Get him! Shake him off! Do it good!
Her voice is shrill and horrible to listen to. ISAAC is doing his best, but the hideous jerking action of the Rope is too much for him.
In one monstrous burst, FLINT snaps the Rope one last time. ISAAC falls with a shriek and lands on his back.
BETSY
Serves you right.
FLINT picks him up. His body is as limp as a rag doll. He tosses the boy onto the pile of dead animals accumulated at the foot of a nearby Marker.
ISAAC lands in a heap. His lifeless arms and legs assume unnaturally odd, uncomfortable positions. His face is upturned. His eyes closed.
FLINT dusts off his hands as if he just finished the dishes. He seems recovered, normal, purged. He strides off down the mountain.
BETSY stays behind. She looks small in the overwhelming cathedral of the Sugarbush. She stands there for a long time, breathing heavily. She walks over to where ISAAC is lying. She kicks some leaves up over his body.
BETSY
You never learned nothing.
She is starting to crack up. She picks up his inanimate hand, shaking it.
BETSY
C’mon! Stop faking!
She drops it.
BETSY (close to tears)
Tell ya somethin’?
She makes absolutely sure she’s alone with him, peering around the woods with her sharp little eyes.
BETSY
Just don’t tell nobody, okay?
MUSIC: “HEAVEN WILL COME”
BETSY
Don’t die, Isaac. Please? I need ya around. I need ya to get in trouble. I ain’t got nobody. Ever since my Mama got sacrificed…
She is sobbing. She knows he is dead. She reaches into her pocket, pulls out the harmonica and places it in his lifeless hand.
BETSY
Here.
A MOUNTAIN LION comes bounding out of the brush, snarling. The short hairs between his ears are bright red. BETSY screams and runs away.
The MOUNTAIN LION instantly transforms into ROSE who, kneeling beside ISAAC, strokes his cheek.
ROSE
WHEN ALL THE CHILDREN ARE
SO FAST ASLEEP
AND YOU LIE AWAKE
IN YOUR LONELY BED
TREMBLING
AND IF IT’S THE SAME FOR YOU
AS IT IS FOR ME
DO YOU CRY WITH THE SKY
IN YOUR STARRY EYES
WONDERING?
Two of the dead animals underneath the Marker flutter to life and dart away. Gradually, uncramping from their bizarre affliction, the trees begin to straighten and recover.
Once again CHILD ANGELS (like the DANCER ‘SOULS’ moments ago these are CHILD ‘SOULS’ spirit bodies of the youngest MEMBERS of the Kingdom) sit on the forest floor, hang from branches, float in mid-air.
ROSE
SOMEONE WILL COME TO YOU
IN THE NIGHT
PUT THEIR ARMS AROUND YOU AND
TURN OUT THE LIGHT
WE ALL NEED A MOTHER AND A FATHER
AND A LOVER
TO HOLD US TIGHT
AND HEAVEN WILL COME
TO YOU
The Sugarbush is no longer dark. Sunlight filters through the branches, healing the woods as the trees unbend completely and stand tall. The remaining animals and birds come fully to life. ISAAC begins to breathe.
ROSE
WHEN THERE’S SOMETHING YOU WANNA SAY
BUT YOU DON’T KNOW HOW
ABOUT THE WAY YOU FEEL
WHEN YOU LOVE SOMEBODY
LIKE A RIVER
LIKE A CLOUD
AND YOUR HEART CRIES OUT
AND YOUR BODY’S ALIVE
AND YOUR EYES
THEY SAY IT ALL
ISAAC opens his eyes a crack and looks at her.
ISAAC
Do I know you?
She hugs him close.
ROSE & ISAAC (ISAAC’s voice is weak, but there)
WITH LIGHT AND TEARS
AND MADNESS AND LAUGHTER
AND YOU’RE RISING
AS YOU FALL
SOMEONE WILL COME TO YOU
IN THE NIGHT
PUT THEIR ARMS AROUND YOU AND
TURN OUT THE LIGHT
WE ALL NEED A MOTHER AND A FATHER
AND A LOVER
TO HOLD US TIGHT
AND HEAVEN WILL COME
TO YOU
The Sugarbush is completely healed. ROSE carries ISAAC to the foot of the Big Tree.
ROSE
HEAVEN WILL COME
ISAAC
SOMEONE WILL COME TO YOU
She sets him on his feet. He is wobbly at first and then, fragile, stands.
ROSE
HEAVEN WILL COME
ISAAC
SOMEONE WILL COME TO YOU
ROSE
HEAVEN WILL COME
ISAAC
SOMEONE WILL COME TO YOU
ROSE
HEAVEN WILL COME
ISAAC
HEAVEN WILL COME
He holds this last note as ROSE transforms back into the MOUNTAIN LION and lies down. ISAAC releases the note, squats and stares into the animal’s golden eyes.
The MOUNTAIN LION expires.
SCENE 6
int FLINT’S office – morning
Outside his window the Square is shrouded in fog. The MEMBERS move back and forth methodically, loading their belongings into pickup trucks, vans and cars.
FLINT is on the phone.
FLINT
That’s right, Mr. Carson, I’m ready to proceed. I put those papers through this morning.
(beat)
What’s that?
(beat)
Why yes. I’ve always taken a personal interest in the souls of homeless children. It would be kind of you to take it upon yourself (through discretionary channels of course) to locate any children of need. Perhaps there is something we can offer them here.
(beat)
My pleasure.
(beat)
Goodbye.
He hangs up. Someone knocks. FLINT reaches under his desktop and presses a buzzer. The door opens.
ENTER
TOMMY, MARIE and SHIRRONDA. They stand in front of his desk.
FLINT
I appreciate your gift, my children.
They are silent. He looks them over.
FLINT
No one could more effectively seal the secret of our Divine presence here in the dark woods than you, with your supreme and well-intentioned sacrifice. God be with you all.
He makes an off-hand Sign Of The Cross as they leave.
On a nearby table is an open suitcase filled with documents. FLINT puts one more file inside and closes it.
He lifts a clean overcoat off a clothes tree and puts it on, gazing at himself in a standing mirror and paying scrupulous attention to his appearance. He picks at a ball of lint and flicks it on the floor. He sets his hat on his head carefully, like a crown. He smiles, trying on a benevolent expression.
He sees a photo of REBECCA in a standing frame. He picks it up and kisses it. Then he lays it down flat and smashes it with his fist.
SCENE 7
SUGARHOUSE (CUT AWAY) – day
BRIAN, REBECCA and TUBBS are strapped onto chairs and boxes. TUBBS is working his jaw like crazy, trying to loosen his gag.
TWO THUGS burst in the door. TUBBS’S gag drops off.
TUBBS
I’ll take on the both of ya ya queeny pussies.
One THUG yanks the gag back in place as the OTHER leads
TOMMY, MARIE and SHIRRONDA into the room – bound and gagged. They are shoved into chairs, up against posts and tied up. The other THUG straps plastic explosives onto their bodies with duct tape.
The light inside the Sugarhouse darkens as FLINT, in the doorway, blocks the sun.
FLINT (rapidly)
Blessed of the Blessed. First of the Last. Bravest of the Brave. Truest of the True. Heroes of Light. Warriors against Darkness. Children of the great Kingdom Of The Church Of Recovered Souls. We honor you. We respect you. We remember you. We understand you. We love you. We know who you are and we appreciate dearly what it is you perform for us, in this, your finest hour.
(pause, more slowly)
Would that it were I travelling with you across the Great Divide. Alas that is not meant to be.
BETSY shows up, her eyes red from crying. She takes her post at his side, as if on automatic pilot. She is not all there. She has seen too much for one day.
FLINT
In the Name of the Father and the Son and the Holy Ghost.
FLINT rests his hands on BETSY’S small shoulders.
FLINT
And for the honor of sending you off on your Great Journey, I have chosen little sister – the one with Permission.
His hands become active, busily massaging her neck and shoulders. BETSY shudders and shrinks away.
FLINT
The one who tells the Truth.
BRIAN stands up, his gag worked off.
BRIAN
Do it yourself, you bastard!
The THUG crams the gag back into BRIAN’S mouth.
BETSY
He’s right, Rev. I won’t do it.
FLINT
Come again?
BETSY finds a spot for herself on one of the crates. She takes a grenade in her hands and holds it in her lap.
BETSY
I’m going with them.
FLINT
Suit yourself.
He waves the THUGS out and looks at REBECCA one last time. Her eyes are terribly sad. FLINT says nothing. He picks up the detonator (with an awkward bunching of duct tape at the bottom) wheeling out a spool of fuse. He backs out the door, across the Sugarhouse yard and off stage.
TUBBS looks at BRIAN, winks.
There is an interminable pause.
FLINT (bellowing, off stage)
In the Name of the Lord Christ in Heaven…
There is a huge EXPLOSION. The windows shatter, but the group is unhurt.
BETSY starts to cry. BRIAN works his way out of the restraints. TUBBS shakes with laughter.
Smoke billows across the yard. In the distance we hear an harmonica playing the theme from “I WANT TO BE LOVED”.
TUBBS hops out of the door of the Sugarhouse. His ankles are still tied together. BRIAN is next, bringing REBECCA. The others follow. BETSY is last.
BRIAN sets REBECCA down and walks to the edge of the yard. FLINT’S cane is on the ground. BRIAN picks it up. He stands there quietly.
ENTER
ISAAC, playing the harp. He’s brought the MEMBERS with him. He stops playing and jumps into TUBBS’S arms. TUBBS lifts him up, swings him around and puts him down.
TUBBS
Ah, my little weasel, in the nick o’ time.
BETSY
I thought you was dead.
ISAAC
I was. Then I got to meet this old wizard lady n’ she told me all this stuff… Hey, Brian!
ISAAC tosses him the harp. A shudder passes through BRIAN’S body when he catches it. ISAAC snaps his fingers just like ROSE.
A HUMMINGBIRD with a red topknot appears, hovering above BRIAN’S head. He winks at the HUMMINGBIRD. It flies off.
BRIAN
I don’t want it. I don’t need it anymore.
He tosses it back to ISAAC.
BRIAN
Never was much good at it anyhow.
ISAAC
Funny. She didn’t say nothin’ about that.
(accelerating)
Okay. We got a ton of work to do. Both of us. All of us. She said so.
BRIAN
I bet she did.
ISAAC
She said you can’t hurt nobody no more. She said…
BRIAN
I’m opting outa witchboy celebrity, kiddo.
ISAAC
Whatever. Can’t waste time. Gotta do this.
(beat)
Beck?
REBECCA
Over here.
ISAAC
We got this important thing to get done. It’s my firstest thing.
(beat)
Put your hands on my face.
He takes her hands and puts them there.
RECECCA
You’re so warm.
ISAAC
I want you to…’see’…
(beat)
…with your eyes closed. See Brian. Tell me what he looks like.
REBECCA
I see…dark hair and…blue eyes…blue green eyes…
SHIRRONDA
Lord have mercy.
ISAAC
More.
REBECCA
White skin and a beautiful…intense face…
BRIAN smiles.
REBECCA
…smiling.
ISAAC
Open your eyes.
REBECCA
It will go away.
ISAAC
Nuh uh. ’S cool.
BRIAN
She said.
BRIAN & ISAAC (laughing)
It’s in the instructions.
REBECCA’S eyes flutter. She is squinting, careful, shading her eyes against the sun.
REBECCA
Oh my God! Everything is so bright.
TUBBS
I need a drink.
ISAAC, very much like ROSE, snaps his fingers absent-mindedly. A crisp new bottle of Wild Turkey materializes instantly in TUBBS’S hands. He winks at ISAAC and takes a swig.
ISAAC
It went perfect!
BETSY
Bad news, all the way around.
TOMMY
Aw suck it up.
BETSY
I’m serious! How about murder? You killed him ya know!
(pointing)
All of you! Ya killed the Judge. After all he done. I don’t have nobody now.
ISAAC
That ain’t so.
BETSY
You hate me!
ISAAC
What was she like?
BETSY
What was who like?
BRIAN
Your Mom.
BETSY
None of your business.
ISAAC
Was she fat?
BETSY
No sir.
BRIAN
Was she pretty?
BETSY
Of course she was. I’m pretty.
REBECCA
What color hair?
BETSY
I don’t remember.
MARIE
You once said she was strawberry blond, honey. I remember you saying that.
BETSY
So what if it was?
ISAAC
Well, was it?
She nods, reluctantly.
MUSIC: “DO YOU STILL LOVE ME?”
BRIAN
What if we were to show you…would you know her then?
BETSY
I don’t know.
In a shimmering light, ROSE materializes, ‘adjusted’ in the form of BETSY’S mother. BETSY can see her.
ISAAC
Ask her, Betsy. Ask her the question ya wanna ask. Ask us.
BETSY (looking around, shaking with emotion)
DO YOU
STILL LOVE ME?
I REALLY NEED TO KNOW
DO YOU
STILL WANT ME AROUND
OR IS IT BETTER
THAT I GO?
TOMMY
Come off it!
ISAAC
Let her be.
ROSE & BETSY
I THOUGHT OF WRITING YOU A LETTER
I THOUGHT OF GIVING YOU A CALL
ISAAC
DO YOU
STILL LIKE ME?
DO YOU THINK I’M FUNNY
OR STRANGELY SLOW
ROSE & ISAAC
T’ PICK UP THE PIECES
ISAAC
OF A BROKEN HEART
THE WAY I USED TO
NOT SO LONG AGO
ISAAC & BETSY
MAYBE I’VE BECOME A COWARD
CUZ I DON’T WANT YOU TO SAY NO
ROSE & BETSY
SITTING IN THE KITCHEN
ISAAC, ROSE & BETSY
WITH OUR LIVES INSIDE MY HEAD
BETSY
MY HEART IS SO DAMN FULL
IT’S GONNA BREAK
ISAAC
I’LL NEVER UNDERSTAND
HOW SOMETHING
ISAAC, ROSE & BETSY
BEAUTIFUL AS THE SUN
ISAAC
GETS STUCK BEHIND A CLOUD
AND LEAVES YA STANDING
BETSY
IN THE RAIN
ISAAC & BETSY
IN THE RAIN
BETSY takes her notebook out of her pocket and tears the pages out, one by one.
BETSY
DO YOU
STILL LOVE ME?
I REALLY NEED TO KNOW
DO YOU
STILL WANT ME AROUND
OR IS IT BETTER
THAT I GO?
ISAAC
You ain’t goin’ no place.
BETSY
How do you know?
ISAAC
Stop feelin’ sorry for yourself.
MUSIC: “ALL IN THIS TOGETHER”
ISAAC
How come ya think we wound up here in the first place?
BETSY
Cuz we’re stupid?
ISAAC
No. Just outa luck. Buncha losers got sidetracked is all. Ask Brian.
TUBBS
Little Petey Panny gotta pointy wointy.
ISAAC
You bet I do. We all do.
ISAAC and BRIAN work it, dance and sing the song together, bringing in, teaching each character until ALL take part and get the point.
ISAAC & BRIAN
DON’T HATE ME CUZ I’M DIFFERENT
ISAAC, BRIAN & tubbs
DON’T DIS ME CUZ I’M OLD
ISAAC, BRIAN & TOMMY
DON’T FIGHT WITH ME OVER NUTHIN’
ISAAC, BRIAN & SHIRRONDA
IF I’M HOT OR IF I’M COLD
ISAAC & BRIAN
DON’T HATE ME I GOT NO MONEY
DON’T GIVE UP ON ME I’M STUCK
ISAAC, BRIAN & REBECCA
MY COLOR IS MY BLINDNESS
IT IS STRONGER THAN A CRUTCH
ISAAC & BRIAN
THERE’S SOMETHING GOIN’ ON
I FEEL IT IN MY BONES
WUS UP FOR YOU IS UP FOR ME
ALL
THE PLANET’S GETTING SMALLER
THE PLANET’S GETTING SMALLER
THE PLANET’S GETTING SMALLER
ISAAC
EVERY DAY
ISAAC sets up the All In This Together dance. Each singer ‘learns’ the dance as they join in.
ISAAC & BRIAN
WE’RE ALL IN THIS TOGETHER, BABY
ISAAC, BRIAN & BETSY
WE’RE ALL IN THE SAME BOAT
ISAAC & BRIAN
WE’RE ALL IN THIS TOGETHER, BABE
ISAAC, BRIAN & TUBBS
OR WE’RE GOIN’ UP IN SMOKE
ISAAC & BRIAN
DON’T BLAME IT ON YOUR DADDY
ISAAC, BRIAN & BETSY
OR THE MOM YOU NEVER HAD
ISAAC, BRIAN & REBECCA
THE TRIALS OR THE SILENCE
ISAAC & BRIAN
OR THE DARKNESS IN THIS LAND
CUZ I BELIEVE IN SILVER LININGS
I BELIEVE IN HAVING DREAMS
I BELIEVE IN YOU AND ME MY FRIENDS
WE’LL BALANCE ON THIS BEAM
ISAAC, BRIAN & BETSY
THERE’S SOMETHING GOIN’ ON
I FEEL IT IN MY BONES
WUS UP FOR YOU IS UP FOR ME
ALL
THE PLANET’S GETTING’ SMALLER
THE PLANET’S GETTING’ SMALLER
THE PLANET’S GETTING’ SMALLER
ISAAC
EVERY DAY
More MEMBERS join in.
ALL
WE’RE ALL IN THIS TOGETHER, BABY
WE’RE ALL IN THE SAME BOAT
WE’RE ALL IN THIS TOGETHER, BABE
OR WE’RE GOIN’ UP IN SMOKE
ISAAC
A ROCK INTO A POND THEY SAY
A TINY RIPPLE GROWS
ISAAC & BRIAN
AND RISES LIKE A TIDAL WAVE
REVOLUTION ONLY KNOWS
ISAAC, BRIAN, REBECCA & TUBBS
NO MATTER HOW YOU CUT IT
OR AGREE TO DISAGREE
ISAAC, BRIAN, REBECCA, TUBBS & BETSY
THE PLACE BELONGS TO ALL OF US
LIKE THE ROOTS THAT GROUND THE TREES
During the break there’s a jubilant dance. Everyone takes part.
ALL
WE’RE ALL IN THIS TOGETHER, BABY
WE’RE ALL IN THE SAME BOAT
WE’RE ALL IN THIS TOGETHER, BABE
OR WE’RE GOIN’ UP IN SMOKE
THE PLANET’S GETTING’ SMALLER
THE PLANET’S GETTING’ SMALLER
THE PLANET’S GETTING’ SMALLER
THE PLANET’S GETTING’ SMALLER
ISAAC
EVERY DAY
BETSY
That was intense.
ISAAC
You bet.
REBECCA
Feelin’ better, Bets?
BETSY
I miss the religion part.
BRIAN
But the spirit part, your spirit, is alive. It’s free. It belongs to you. It ain’t bent outa shape like it was with the Judge. Or with me.
MUSIC – “HEAVEN N HELL” (REPRISE)
BETSY (thinking it through)
OH LORD
SHOW ME THE WAY
KEEP EVIL FROM ME
DON’T LEAD ME ASTRAY
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
ISAAC
GET DOWN ON YOUR KNEES
TELL YOUR STORY
LET YOURSELF GO
GET THE GLORY
ALL
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP
BRIAN
GET DOWN ON YOUR KNEES
SING YOUR HEART OUT
TRUTH WILL MAKE YA FREE
LET ME HEAR YA SHOUT IT
BRIAN (to ISAAC)
Okay kid. Take it.
ISAAC
I ain’t no preacher boy.
REBECCA
Go ahead, Iz. Bring us home.
ISAAC tries FLINT’S familiar preamble, faking his big deep voice.
ISAAC
So today let us all praise the brothers and sisters…
He covers his mouth with his hand. Laughs.
ISAAC (regular voice)
I ain’t no Reverend, am I? God rest his crazy soul. I’m me. Isaac! And what I got to tell you is that our Mama’s back! An’ tho’ she ain’t no Virgin Mary, she love you, she always love you and it’s her plan t’ bring us together, from all over the whole wide world, n’ to tell us A) Number One:
(ROSE’S voice)
That what you’ve got is a second chance, on the house, on me and on the mothers and fathers everywhere who watch their kids get away from ‘em, fall down, scrape their knees and hands and faces, hurting their hearts and minds and souls and hating life, hating themselves. Losing their homes or just plain losing out.
(himself again, big breath)
But th’ good news is you guys get t’ be kids all over again! Every day’s gonna be like Christmas morning! Ain’t that the balls!
BETSY
Balls!?
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP?
As BRIAN and ISAAC rush about, performing the miracle, the entire Kingdom become free – childlike – singing and dancing outside the Sugarhouse on a crystal clear morning.
TUBBS, hammered, improvises a Virginia Reel with BETSY, MARIE and SHIRRONDA.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP?
OH OH OH HEAVEN…ETC.
BRIAN and REBECCA join hands and separate from the group. ISAAC plays the magical harmonica THEME.
BRIAN
CAN YOU BELIEVE
I WANT TO CHANGE
I’M GONNA LEAVE
THIS MOUNTAIN RANGE
I GOT YOU INSIDE
BRIAN & REBECCA
YOUR FACE IS ALL BRIGHT
CUZ ALL I REALLY WANNA DO
IS SPEND ONE HUMAN
NIGHT WITH YOU
REBECCA
WITH MY DARKNESS BEHIND
I WILL TRY TO BE KIND
BRIAN
I WANT
REBECCA
I WANT
BRIAN & REBECCA
I WANT
They kiss.
ALL (except BRIAN & REBECCA)
TO BE LOVED
The light becomes white hot.
BLACKOUT
CURTAIN
THE END