ACT I
SCENE 1
(Note 1: the opening sets(s) ‘resides’ in the skeleton of what later becomes the TOWN SQUARE – eg: the ROCK CLUB becomes the MEETING HOUSE, the DAY CARE CENTER, the CANDY STORE…etc. The set is a scene-within-a-scene kaleidoscope including, with shifts of lighting and emphasis, all locations.)
(Note 2: the opening scene(s) occur in rapid ‘cuts’: SCENE, BLACKOUT, SCENE, BLACKOUT…etc.)
INT. ROCK CLUB – night
The place is packed. A band is playing:
MUSIC: instrumental intro – “BROKEN HEART”
BRIAN, a young man in his early 20’s, is standing at the bar, signalling for beers.
He looks back over his shoulder at the crowd. SARAH, a pretty GIRL is looking back at him, smiling.
(Note: SARAH is played by the same actress who subsequently plays REBECCA. Wig, make-up, attitude shift her appearance.)
BRIAN salutes – mouth of beer bottle to forehead. She laughs.
BLACKOUT
LIGHTS UP ON
ROSE, a bizarre woman in her well-preserved late 60’s, with fake-red hair and too much lipstick punches BRIAN on the shoulder. She takes his beer and slugs it down. She peers at him over rhinestone glasses, purses her lips and rolls her eyes.
(Note: dialogue moves quickly, like a 40’s Noir flick.)
ROSE (sarcastically)
New girl?
BRIAN
What are you doing here?
ROSE
Keeping an eye on you.
BRIAN
And what do you see?
ROSE
Moonlight In Vermont…lover…
ROSE yanks up her bra and throws her head back like Mae West.
ROSE
I’m gonna powder my nose.
BRIAN
Missed you.
ROSE two-steps backwards, away from him and bumps an unsuspecting PATRON with a suggestive thrust of her hip, spilling his drink.
ROSE
Carumba!
BRIAN
Some things never change.
BLACKOUT
LIGHTS UP ON
A MARINE in dress uniform picks SARAH up in, spins her around and laughs.
On stage an amplifier blows, showering sparks over the moshpit, whipping them into a frenzy.
BRIAN bulldozes his way through the crowd.
BRIAN
Hey, Mighty Mouse, dude, she’s my girl.
The MARINE lets go of SARAH, grabs BRIAN by the lapel and punches him.
BRIAN takes the kid’s forearms in each hand. The MARINE screams – his flesh burns under BRIAN’S hands.
BLACKOUT
SARAH (in darkness)
You jealous son of a bitch! I was asking the kid about the war!
SPOTLIGHT ON
BRIAN alone, gasping, clutching his heart.
BLACKOUT
SCENE 2
INT. DAY-CARE CENTER – MORNING
(Note: The KIDS in the center are played by the same kids – thinly disguised – we meet later in Vermont.)
SARAH walks around, checking on kids who are finger-painting on big pieces of newsprint.
A BOY (later – ISAAC) is sitting at a piano and staring at the radiator. It hisses. He plays a few notes on the piano (the harmonica theme from “I WANT TO BE LOVED”). It is jarring against the “BROKEN HEART” bolero. He looks out the window.
SARAH takes a little GIRL (later – BETSY) in her arms and admires her artwork.
GIRL
It’s you and Brian when you get married.
BRIAN throws open the day care door, pushing in a bicycle. The BOY stops playing the piano, gets off the piano stool and goes to the radiator.
SARAH will not look at BRIAN.
SARAH
Thanks for knocking.
BRIAN, upset and out of breath, leans the bike against a standing blackboard and begins to write, furiously. His hand is bandaged. Bloodstains ooze through the gauze. He reads out loud as he writes.
BRIAN
“I’m pathetic. I’m sorry. I
(drawing a heart)
…love you.”
He tosses the chalk at the radiator. The BOY picks it up and looks at SARAH. She winks at him. The radiator immediately begins banging and knocking.
BRIAN
I want us back.
SARAH
You always do.
SARAH turns sharply, facing BRIAN head-on but standing away from him.
MUSIC: “BROKEN HEART” (SONG)
BRIAN & SARAH
THE HOUSE WE LIVE IN
THE WAY WE LAUGH
THE SOUND AND FURY
THE PHOTOGRAPH
SARAH
Loss can be liberating.
BRIAN
YOUR LOVE COMES IN
AND TAKES MY BREATH AWAY
BRIAN & SARAH
AND NOTHING’S REALLY CHANGED FOR ME
SINCE THAT FIRST DAY
INSERT: The little GIRL paints big red X’s across BRIAN’S face in her painting of BRIAN and SARAH.
BRIAN
AND ALL THE POETRY
THAT I HAVE READ
SARAH
AND ALL THE TALKING
LATE AT NIGHT IN BED
BRIAN & SARAH
LEADS TO A…
BROKEN HEART
I’M GIVING YOU ALL AWAY
I KNOW THAT SMILE ON YOUR FACE
IS NOT FOR ME
I’LL TAKE A BROKEN HEART
I’LL TAKE IT ANY DAY
I KNOW THAT LOVE IS ALL THERE IS
YOU’RE NEVER THAT FAR AWAY
SARAH
I hope someday you take a good look at yourself, Brian, and see how you affect people.
(baby talk)
…the boy that nobody understands.
BRIAN turns and looks out the window. He sees ROSE pushing a grocery cart. She gives BRIAN a cheery, rippling wave. He waves back, sadly.
BRIAN & REBECCA
YOU READ THE PAPER
I’M ON THE PHONE
WE HOLD HANDS IN THE CAR
YOU SING THE SONG
BRIAN
SOMETIMES I THINK IT’S JUST THE
SIMPLE THINGS
BRIAN & SARAH
THAT HOLD OUR LIVES TOGETHER
SINCE THAT FIRST DAY
BRIAN
AND ALL THE DREAMING
YOU AND I HAVE DONE
BRIAN raises his bandaged hand; palm forward, a ‘benediction’. SARAH moves towards him, like a robot. She is not moving of her own volition.
(Note: SARAH knows what is going on. She is terrified and can’t control herself.)
SARAH (backing away)
AND ALL THE VICTORIES
THAT WE HAVE WON
BRIAN & SARAH
LEAD TO A
BROKEN HEART
I’M GIVING YOU ALL AWAY
I KNOW THAT SMILE ON YOUR FACE
IS NOT FOR ME
I’LL TAKE A BROKEN HEART
I’LL TAKE IT ANY DAY
I KNOW THAT LOVE IS ALL THERE IS
YOU’RE NEVER THAT FAR AWAY
The little GIRL picks up her very wet finger painting and runs between SARAH and BRIAN.
GIRL
Leave her alone!
In rapid succession:
SARAH walks into the painting – the slimy colors smear her clothes. SARAH grabs the GIRL by the arm and shakes her violently.
ROSE’S head pops up over the ledge of the window. No one can see her. She is eating popcorn.
BRIAN’S arm shoots out from his side, rigid, like a piece of machinery. So does SARAH’S. Whatever motion BRIAN makes, so does SARAH. He opens his hand quickly. So does she, letting go of the GIRL, who crashes into a desk.
BRAIN grabs his rigid arm with his normal arm, aiming it away from SARAH. He knocks over the standing blackboard, which crashes, into the window, shattering the glass. ROSE ducks.
The rigid arm, back in control, aims at a ceiling light. The light explodes.
BLACKOUT
SARAH (in darkness, screaming)
What are you? Some kind of alien?!
BRIAN (simultaneously)
Get me outa here.
BRIAN
I’M LETTING GO OF EVERYTHING
I’M LETTING GO OF YOU
SPOTLIGHT ON
BRIAN riding – NIGHT. He wears headphones. We ‘hear’ what he hears.
MUSIC: “BROKEN HEART” (GUITAR SOLO)
Thunder and lightening. BRIAN is squinting, trying to see the road. Headlights from oncoming cars flash across his face.
BLACKOUT
LIGHTS UP ON
BIKE – MORNING
A HUMMINGBIRD with a bright red topknot hovers overhead, ‘staring’ at BRIAN.
BIRD (ROSE’S voice)
Snap out of it, kiddo! Wake up! The sun is shining!
The BIRD flies off. The first rays of sunlight hit BRIAN’S face.
At the side of the road, like Burma Shave ads, are seven signs. They read:
“THE KINGDOM…OF HEAVEN…IS AT HAND…ENTER THE HOUSE…
OF THE LORD…TURN RIGHT, THIS WAY”
MUSIC – HEADPHONES
BRIAN & SARAH
I’LL TAKE A BROKEN HEART
I’M GIVING YOU ALL AWAY
I KNOW THAT SMILE ON YOUR FACE
IS NOT FOR ME
I’LL TAKE A BROKEN HEART
I’LL TAKE IT ANY DAY
I KNOW THAT LOVE IS ALL THERE IS
YOU’RE NEVER THAT FAR AWAY
I’LL TAKE A BROKEN HEART, ETC.
ROSE’S VOICE (over music fade)
Well Toto, there’s no place like home.
She laughs.
BLACKOUT
SCENE 3
TOWN SQUARE – DAY
In the center of the square is a refurbished, two-story Victorian hotel. A covered porch surrounds the first floor. A Widow’s Walk is perched on the roof. Over the front door is a brand new sign, which reads: “KINGDOM HOUSE”.
To the left of the Kingdom House is a low, one-story building. On the roof is a simple steeple and bell. It has double doors in front painted blue, and a hand-painted sign, which reads: “MEETING HOUSE”.
To the right of the Kingdom House is a chicken shack. It has been converted into a store, and has it’s own pink and white sign, which reads: “CANDY STORE”.
In front of the Kingdom House, on sparse grass, is a roughly built pine platform. Rising up out of it is a tall, four-by-four post. Attached to iron rings on either side of the top of the post are long black leather straps.
BRIAN unloads the bike, unzips his fly and urinates in the tall grass next to the Candy Store. He zips up, crawls back to the pine platform and passes out.
ENTER
TUBBS, 55, a 60’s throwback hippie lunatic alcoholic in overalls and a fatigue jacket, peering at BRIAN. He is holding a shovel. He belches and tips back an empty bottle of whiskey.
TUBBS
Rain in Spain!
He heaves the empty bottle across the square, smashing it against the wall of the Kingdom House. BRIAN wakes up.
TUBBS
Welcome t’ Hell’s Little Acre, schport.
TUBBS laughs, raises the shovel with both hands over his head like weapon, sprints across the square, trips on a rock, somersaults and falls into a freshly dug hole in the ground.
ENTER
A DOE, a tuft of bright red fur between her ears, steps unsteadily into the open. She’s drunk. She looks at BRIAN and then at the hole.
TUBB’S filthy arm pops out of the hole with a fresh bottle of Wild Turkey. He pours some into a cupped hand. The DOE staggers over to him and drinks.
TUBBS
Nice dearie. We gonna help the kid?
(singing)
My funny Valentine…
The DOE blinks and burps and hobbles off into the woods at the edge of the square. BRIAN climbs out of the car.
BRIAN
Wait up. I ain’t oriented yet. Hey! Red!
The DOE disappears.
TUBBS lurches out of his pit and scatters debris (sticks, cardboard, dirt, grass, leaves, etc.) over the top of the hole, camouflaging a trap.
TUBBS
Trap me a preacher man, ain’t life sweet.
He jumps gingerly up and down on the trap to test it.
TUBBS
Pooh bah!
BRIAN rubs his eyes, shakes his head at TUBBS in disbelief. TUBBS suddenly looks up.
TUBBS
I know you. Braintree?…Brando?…Beazabubb?
The trap gives way a little.
TUBBS
Little Son O’ Sam come up here summers all self-centered, I remember. She said you was comin’. An’ that I was t’…
TUBBS scratches his head. The trap gives way completely and he falls through.
TUBBS (muffled)
…prepare.
BRIAN
What’s happened to this place?
TUBBS (from the hole)
This ol’ fleabag? Sugar Town? Sold it t’ the cult, dude. Lock stock n’ maple sugar barrel. Might as well cut my balls off good it done me.
BRIAN (yanking Tubbs out of the ‘trap’)
Sold who what?
TUBBS
Meantime ol’ Red she poop out on our partnership like a gasbag. N’ we was goin’ strong. Like pigeons in a pie.
BRIAN
Ya never did make much sense old man.
TUBBS
Who you callin’ old?
BRIAN smiles a ‘you got that right’ smile, gives TUBBS a big hug, turns and walks into the woods where the DOE disappeared.
TUBBS
You got hair down there now, I can see that.
SCENE 4
SUGARBUSH – DAY
A grove of maple trees dappled with sunlight. In the center, the tallest – the BIG TREE – contains in it’s uppermost branches a CROW’S NEST construction of twigs, scraps of colored rags, newspapers, leaves and tin cans.
(Note: The CROW’S NEST ‘doubles’ as the WIDOW’S WALK on the KINGDOM HOUSE. The BIG TREE is likewise ‘built’ into this same structure.)
Crouched on the edge of it is ISAAC, age 12. He’s dressed, head-to-toe in black hip-but-discarded rags. He snaps his fingers and winks. The sound echoes throughout the immense forest.
He digs out a pair of gigantic binoculars. Focuses.
ISAAC
I gotta be good.
He peeks down at REBECCA (formerly SARAH), age 20. She wears sunglasses and an immaculate white dress. She is asleep on a blanket in the middle of the Sugarbush.
ISAAC
Shhhh.
He looks again through the binoculars. Stops.
ISAAC
Uh oh. Somebody comin’ uphill! A new dude!
He nudges a boom box into place and switches it on, dances.
MUSIC: “GOTTA BE GOOD”
He lifts off the top of a straw basket, and dumps a knotted rope over the side. The tail end jerks to a stop a few feet off the ground.
ISAAC (rapping)
NO MATTER WHAT I DO
I JUST WANNA HAVE FUN
I WANNA STAY OUTSIDE
WANNA RUN AND RUN
AND PLAY WITH THE TREES
AND DANCE WITH THE SKY
He jumps overboard.
ISAAC
AND JUST GO CRAZY
SO I DON’T HAVE TO LIE
AND I KNOW IT’S BAD
He catches the rope like an acrobat. He shinnies and dances his way down.
ISAAC
AND I GOTTA BE GOOD
AND I TRY SO HARD
T’ DO WHAT I SHOULD
WHEN I’M FIXIN’ STUFF
WHEN I’M CLEANIN’ UP
WHEN I TIE MY SHOES
WHEN I FILL MY CUP
I NEVER GET IT RIGHT
IT JUST COME OUT ALL WRONG
WHEN I HURRY IT UP
IT TAKES TOO LONG
MAN, I GOTTA BE GOOD
I GOTTA BE GREAT
OR THAT OL’ JUDGE FLINT’S
GONNA WHUP ME AT THE STAKE!
UH HUH
THAT’S RIGHT
STAY COOL
BE NICE
While ISAAC is singing/dancing,
ENTER
BETSY, age 13, in a prim white pinafore, arriving with a pot of blue dye and a big paintbrush for marking trees. She aims for ISAAC’S Big Tree with great concentration.
ISAAC
I GOTTA BE GOOD
But I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
WHAT I GONNA DO WHEN THE SKY IS FALLING?
WHAT I GONNA DO WHEN THE GRASS IS GREEN?
WHAT I GONNA DO IF THE VOICE IS CALLING?
WHAT I GONNA DO IF I WANNA SCREAM?
I GOTTA BE GOOD
But I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
UN HUH
THAT’S RIGHT
STAY COOL
BE NICE
ISAAC, exhilarated and out of breath, is suspended, feet first, at the end of the rope, inches above BETSY’S head. She hasn’t seen him. Flailing madly, he lands on one end of a long stick. In the middle of the stick is rock. The other end is under BETSY’S starched white skirt.
The stick pops up, jerks BETSY’S skirt up with it and exposes her skinny white legs. The bucket of dye spills all over her. She screams and wakes REBECCA.
BETSY
My dress! Look at it! You ruined it!
She whips out a notebook-with-pen (which she wears like a quiver) and scribbles feverishly.
BETSY
Sin of Playing! Sin of Climbing! Sin of Scaring! One, two three!
ISAAC hides behind REBECCA.
BETSY
You’re going to get beat on for sure.
ISAAC
I didn’t do nothin’ bad, honest.
REBECCA
What are you two arguing about now?
BETSY
I’m reporting him. I’m telling the Judge. I caught him fair and square, that obnoxious little brat! He was…
She begins writing again.
BETSY
…straying from the Path.
REBECCA searches in her bag for something.
REBECCA
Betsy, darling?
BETSY
Playing is bad! He’s not supposed to climb the Big Tree and you know it and he should get beat on for it. You never report him. You protect him and tell him secrets and he’s your favorite!
REBECCA
We are all equal before God, little one.
BETSY
Yeah right.
ISAAC crawls over to BETSY on hands and knees.
ISAAC
I’m sorry. I’m really, really, really, really sorry.
BETSY
Don’t butter me up, you phoney.
She begins writing again.
BETSY
Sin of Fakery!
REBECCA
Hush girl.
(singsong)
I got maple sugar candy, from the store.
BETSY
That’s so obvious.
REBECCA
Some for Isaac. Some for you.
BETSY
Drop dead.
REBECCA
I won’t have you making a federal case of yourself in front of the Judge is all.
BETSY
Now you’re going to lecture me. I hate that. Everytime you talk that way you make me cry, and I hate crying. First you screw my mind up, and then you make me cry.
REBECCA
Isaac apologized, Betsy. You heard him.
BETSY accepts the candy.
BETSY
What about my dress.
REBECCA
As long as a person doesn’t mean to do bad, it isn’t bad. Don’t you see? Isaac would never intend to hurt anybody. Even you.
We hear the pulsating bass and conga rhythm of
MUSIC: “CITY GOT A BROKEN HEART” (INTRO)
BETSY
How come the Rules come out different when you say them?
REBECCA
It’s no different really. At least I don’t think so.
BETSY plops down on the blanket. REBECCA draws her close and gives her a hug. BETSY is crying. ISAAC’S face is full of hope.
ISAAC
Why can’t now be forever?
ENTER
MEMBERS of THE KINGDOM – a religious cult, all ages, all races. They are refugees from urban life. They are living in the country, but wear city clothes, ill suited to their environment. The men and boys wear black; the women – white. Some have facial scars, some limp; others have the exhausted expressions of recovered drug addicts and alcoholics. They carry buckets, hammers and spigots. Several also carry a giant Marker (a scarecrow made of straw and dressed in a heavy black overcoat and hat.
They ‘plant’ the marker near ISAAC’S big tree.
ENTER
JUDGE FLINT, 45, the charismatic leader of the KINGDOM. One of his legs is slightly shorter than the other, affecting his walk. He uses a cane. He is wearing a long black greatcoat, a red silk shirt with a string tie (knotted with a Crucifix) and a wide-brimmed black hat.
(Note: The Marker is similarly dressed.)
BETSY, excited, jumps up and runs to greet him.
BETSY
Hey Judge!
MUSIC: “CITY GOT A BROKEN HEART” (SONG)
FLINT
WHY DO WE FIGHT?
WHY DO WE FIGHT?
WHY DO WE FIGHT?
WHY DO WE FIGHT?
WHY DO WE FIGHT?
FLINT is a passionate powerful singer, in total control of himself and his flock.
FLINT
CITY GOT A BROKEN HEART
CITY GOT A BROKEN HEART
CITY GOT A BROKEN HEART
KINGDOM
AY OH, AY OH, AY OH, AY OH…
ENTER
The DOE, sweaty and sobered up. She watches the proceedings from behind a tree.
FLINT
LOOK AT THE CHILDREN
LOOK AT THE BUILDINGS
LOOK AT THE FIRES BURNING
LOOK AT THE PEOPLE CRYING
KINGDOM
AY OH, AY OH, AY OH, AY OH…
BETSY takes FLINT’S hand. The MEMBERS work, drilling holes in the blue-marked Maple trees and plugging them with spigots.
ISAAC sings “GOTTA BE GOOD”. He doesn’t need the radio. The driving rhythm of “CITY GOT A BROKEN HEART” supports his rap/singing.
ISAAC (rapping over the break before FLINT sings)
NO MATTER WHAT I DO
I JUST WANNA HAVE FUN
WANNA STAY OUTSIDE
WANNA RUN AND RUN
AND PLAY WITH THE TREES
AND DANCE WITH THE SKY
AND JUST GO CRAZY
SO I DON’T HAVE TO LIE
AND I KNOW IT’S BAD
AND I GOTTA BE GOOD
AND I TRY SO HARD
TO DO WHAT I SHOULD
WHEN I’M FIXING STUFF
WHEN I’M CLEANING UP
WHEN I TIE MY SHOES
WHEN I FILL MY CUP
During ISAAC’S rap, TOMMY, 19, belts an old man in the mouth. He seizes the guy by the throat and pins him to the ground.
BETSY
Tommy! Cut it out!
TOMMY sees BETSY and FLINT glowering at him. He lets the guy go, grabs a shovel and begins to dig furiously – a hole of no apparent use.
ENTER
BRIAN, silently at the edge of the Sugarbush. Nobody sees him.
FLINT
WHY DO WE FIGHT?
WHY DO WE FIGHT?
WHY DO WE FIGHT?
WHY DO WE FIGHT?
(Note: While FLINT sings this chorus, ISAAC sings, contrapuntally:)
ISAAC
I GOTTA BE GOOD
BUT I WANNA BE BAD
I GOTTA BE GOOD
BUT I WANNA BE BAD
FLINT
CITY GOT A BROKEN HEART
CITY GOT A BROKEN HEART
CITY GOT A BROKEN HEART
CITY GOT A BROKEN HEART
(Note: Again, while FLINT sings, ISAAC is joined by TOMMY)
ISAAC & TOMMY
WHAT I GONNA DO IF THE SKY IS FALLING?
WHAT I GONNA DO IF THE GRASS IS GREEN?
FLINT
LOOK AT THE CHILDREN
LOOK AT THE BUILDINGS
LOOK AT THE FIRES BURNING
LOOK AT THE PEOPLE CRYING
ISAAC & TOMMY
WHAT I GONNA DO IF THE VOICE IS CALLING?
WHAT I GONNA DO IF I WANNA SCREAM?
They scream and join with FLINT and the MEMBERS, infected by the excitement. The three leads, FLINT, ISAAC and TOMMY seem to enjoy each other and get off on their singing.
BRIAN, from behind a tree, enthralled, is caught up in the song, surreptitiously adding his voice.
FLINT, ISAAC, TOMMY & BRIAN
WHAT WE GONNA DO? AH!
KINGDOM
OO OO OO…!
FLINT, ISAAC, TOMMY & BRIAN
WHAT WE GONNA DO? AH!
KINGDOM
OO OO OO…!
FLINT, ISAAC, TOMMY & BRIAN
WHAT WE GONNA DO? AH!
KINGDOM
OO OO OO…!
FLINT, ISAAC, TOMMY & BRIAN
WHAT WE GONNA DO? AH!
KINGDOM
OO OO OO…!
FLINT, ISAAC, TOMMY & BRIAN
WHAT WE GONNA DO? AH! AH! AH!
The music stops. The congas fade.
FLINT looks at REBECCA who is babysitting the children too young to help out. One BOY with a bruise on his shoulder holds a wounded field mouse up to REBECCA’S cheek. REBECCA pats it with her thumb.
BETSY runs over and snatches it out of the BOY’S hands. She hurries it over to FLINT.
FLINT (patting her head)
A gracious offering and sacrifice, sister Betsy.
BETSY
Death gives life?
FLINT
Death…as you know…
BETSY (to herself)
My poor Mama.
He calmly breaks its neck and tosses the body casually at the foot of the new Marker.
FLINT
…is life.
He crosses himself and mutters a prayer. BETSY imitates him.
FLINT waves to SHIRRONDA, 40 years old, a former prostitute (extra jewellery and lipstick). She can’t get her tap into a tree. It is obvious that she has no idea what she is doing.
FLINT (helping her)
A firmer grip, sister, will…
(hammering it home with a grunt)
…bring your ship into port.
SHIRRONDA
Bless you, father.
FLINT, moving near REBECCA, touches her shoulder. She starts. He squats and hugs her.
BETSY watches them. She knots up her face in disgust/jealousy. She sticks her tongue out at ISAAC. ISAAC pulls the corners of his mouth with his fingers and bugs out his eyes.
FLINT (standing, arms outspread)
Let us pray.
The Kingdom drops to their knees in unison and chant. The congas rumble. Their eyes are shut, their arms upraised. FLINT takes one last look at REBECCA and bows his head. ISAAC is the first to see BRIAN.
ISAAC
Hey Mister! You’re the dude I seen! Look Judge! This guy come up on a bike! I seen him from the tree!
Everything stops. Nobody moves. Nobody speaks. They look to FLINT. BRIAN walks across to REBECCA’S blanket.
ISAAC (infatuated)
Who are you? Where do ya come from? What are you doing here? Who…?
BETSY
Shut up!
FLINT hasn’t taken his eyes off BRIAN.
BRIAN (too loudly)
Anybody seen a drunk deer up this way?
He laughs, all by himself.
BRIAN
Or a small log cabin? It’s supposed to be up here somewhere, top of Maple Mountain?
FLINT
Can’t you see, young man? The girl is blind.
The MEMBERS start murmuring again. The congas start up, quietly.
BRIAN
Wow! No I…I’m so sorry.
REBECCA
I’m used to it.
BRIAN
I wish I could get used to the darkness in my life.
REBECCA
Without darkness there is no light.
FLINT
Are you alone?
BRIAN
I’m always alone. Even when I’m not.
FLINT
Our Kingdom provides patience and prayer for the disappointed.
REBECCA
For those who don’t fit in anywhere else.
ALL (rote)
A PERFECT AND HOLY VISION OF THE FUTURE.
ISAAC
I know where the cabin is. But it’s weird up there. They says a crazy…
FLINT
Just follow your olfactory nerves, young man. Sniff your way up the mountain.
There is a titter of obedient laughter from the MEMBERS. BETSY laughs loudest.
BRIAN turns. His expression is dark. His head cocks towards FLINT who has a violent coughing fit.
REBECCA
Father? Are you alright?
FLINT
These trees…
(cough)
…can be your friends as they have been…
(cough)
…ours.
ISAAC
Just keep following uphill, like a coon-dog. You’ll see it, clear as water, just on top, but don’t…
REBECCA covers ISAAC’S mouth with her hand.
FLINT (still coughing)
Just follow the…
BRIAN releases his control.
BRIAN
Sounds fine to me.
He stands up, walks backwards and trips over a stump.
FLINT (recovering)
God be with you.
ISAAC
I’ll run ya up.
BETSY
Stop kissing his butt.
BRAIN looks at REBECCA. She enters a trance. He mouths the words she says just before she says them.
REBECCA (evenly)
Yes, little brother, you go ahead. It’s Christian to be neighbourly.
FLINT
Sister Rebecca!
REBECCA shakes off BRIAN’S spell.
REBECCA
Forgive me, Father.
BRIAN (under his breath)
She knows not what she does.
FLINT
What’d you say, boy?
BRIAN notices the DOE quietly moving up the path, undetected by the Kingdom. The DOE stops, winks at BRIAN, and shakes her tail.
BRIAN
What’s up with you guys? You ain’t exactly Falwell material. You seem busted up, broken in some way that…
ISAAC (happily)
We follow the Path. We follow Sweet Jesus.
ISAAC & REBECCA
We follow the Lord.
ALL (quickly)
WE LIVE IN A PERFECT AND HOLY VISION OF THE FUTURE.
BRIAN
OK.
REBECCA
It’s not merely ‘OK’. It’s a matter of life and death.
FLINT
In a world unsafe.
ALL
OUR WORLD MADE SAFE.
The DOE flies off into the deep woods. BRIAN salutes and follows after her with ISAAC at his heels.
FLINT (to BETSY)
I see you spoiled your favorite pinafore my pretty one.
BETSY
Rebecca told me not to say nothing.
FLINT
Is that so?
BETSY
He was bad and she protects him.
FLINT
I appreciate your report.
He kisses his finger and touches her forehead. She winces, then recovers with a big smile as if to say ‘oh, that funny ol’ Judge…’ He pats her fanny and laughs – his big Paul Bunyan laugh.
FLINT
My flock. Let us return to the business at hand.
ALL
AMEN.
The congas throb in earnest. The MEMBERS begin chanting and go back to work.
FLINT
He pleases you, Rebecca?
REBECCA
Not in the least.
She takes off her sunglasses and shakes out her hair. A beam of sunlight, streaming through the trees, falls directly on her face. FLINT gazes at her.
BETSY (tugging at his sleeve)
Psst! Reverend. We gotta talk. In private.
FLINT continues staring at REBECCA.
BETSY
He climbed the Rope. He was Playing!
Holding up the notepad.
Everything!
SCENE 5
MOUNTAINTOP CLEARING – EVENING
On one side of the clearing is a cliff that falls away into the hills and valleys of Vermont. In the center is a round ROCK (‘doubling’ as the WHIPPING POST in the TOWN SQUARE), the size of an armchair. Beyond the rock is ROSE’S CABIN (‘doubling’ as the MEETING HOUSE).
We hear BRIAN running as fast as he can. We hear his heartbeat pumping furiously.
Suddenly he breaks out of the woods and collapses on the ground.
ENTER
BRIAN
I can’t believe it. Up to my dirty tricks. Same story, different faces.
ENTER
ISAAC at the edge of the clearing the woods. He is signalling frantically, both arms flailing.
ISAAC
Psst! There’s a witch up there, I swear!
BRIAN
Huh? Oh it’s you, kid. Look…I’ll be fine. I will. You run along.
ISAAC
But…
BRIAN raises one weary hand (the bandages are nearly gone). ISAAC nods slowly – under the spell. He turns and runs downhill.
MUSIC: “I LOVE MYSELF”
BRIAN stands and walks to ROSE’s cabin – CUT AWAY to reveal:
an interior wonderfully lit and decorated – Japanese lanterns, candles, neon-sculpture, Christmas lights – a blinding effect. There is one bed, one bureau, one rug, one table, and a lot of bizarre junk – statuary, mirrors, Egyptian artifacts, etc.
and ROSE made up like a Geisha. It is not a perfect job. She’s wearing an absurd, over-sized, black-lacquered wig and headdress. She is dancing with a pretty SAMURAI BOY outfitted in full battle armor.
A lot of wild light floods out of a single window next to the front door. The light is composed of many colors and refractions. In fact, the entire cabin appears to be trembling, ever so slightly, with light and vibration.
He creeps up and looks in the window. The light on his face is dazzling.
(Note: ROSE is harmonizing with the SAMURAI BOY, but the voice coming out of his mouth is hers.)
ROSE & SAMURAI BOY
I LEARNED A SECRET
ABOUT THE DARK NIGHT
OF THE SOUL
WHEN I’M SCARED
AND FEELING LONELY
I LOOK IN THE MIRROR
AND KNOW
They foxtrot. They tango. She is wearing precariously high heels that wobble a lot, but she is having a terrific time.
ROSE & SAMURAI BOY
I SAID HEY! HEY!
I LOVE MYSELF
I LOVE MYSELF
HA! HA!
I LOVE MYSELF
I LOVE MYSELF
The lids of teapots and coo-coo clocks bang and pop in time with the music.
ROSE & SAMURAI BOY
HEY! HEY!
I LOVE MYSELF
I LOVE MYSELF
HA! HA!
I LOVE MYSELF
I LOVE MYSELF
OOOO!
ROSE laughs uproariously. She clasps her hands under her breasts, like an opera singer. She catches the BOY and bands him back over arm just like Fred and Ginger.
BRIAN looks in the window. He joins in the song from outside.
ROSE, BRIAN & SAMURAI BOY
THE SUN MAKES HEAVEN
THE MOON BRINGS RAIN
WHEN MY EYES ARE
WIDE OPEN
I FEEL NO PAIN
I SAY HEY! HEY!
(Note: While ROSE & SAMURAI BOY sing – I love myself, I love myself, BRIAN sings – ‘I hate myself, I hate myself’.)
ROSE & SAMURAI BOY
I LOVE MYSELF
I LOVE MYSELF
HA! HA!
I LOVE MYSELF
I LOVE MYSELF
HEY! HEY!
I LOVE MYSELF
I LOVE MYSELF
HA! HA!
I LOVE MYSELF
OOOO!
ROSE and the BOY leap and prance. Suddenly there’s a loud knock on the door. ROSE snaps her fingers and the music stops – all motion freezes.
BRIAN knocks again.
BRIAN
You finished up in there?
(rattling the latch)
BRIAN
Open the door, damn it!
Suddenly the door glides open on a creaking hinge. ROSE and the BOY are kissing passionately, three feet off the ground.
ROSE (schmooch muffled)
I love myself…I…Hey! Who?
The two of them hover in mid-air like characters in a Roadrunner cartoon. They fall. The wig flies off. We recognize ROSE’S bright fake-red hair. A string of Japanese lanterns tumbles on top of them.
ROSE gets up and dusts off her behind. The BOY, ashamed, averts his eyes. BRIAN steps into the cabin, closes the door and leans against it.
BRIAN
Hey Red. Is that you in the Geisha getup?
ROSE (mimicking him)
Hey Re-ed? Is that youuu? Of course it’s me, you idiot! Who’d you think it was? Lucille Bawwwwl?
She jabs him in the solar plexus with her forefinger.
ROSE
Nice finger-painting party for sweetie-poo, huh?
BRIAN
I don’t want to talk about it.
ROSE (slyly)
Shall I turn you into something? Like the old days? A bear? A goose?
(lewdly)
A girl?
BRIAN
Don’t start in on me, Red. I’m not in the mood.
She slaps him across the face.
ROSE
Get over yourself.
(tearing off her costume, reveling in her mood)
It makes me sick! It’s all about you. Like the whole planet should open up its legs.
She glowers at him, storming about, setting things right. She snaps her fingers absent-mindedly. (She does this a lot.)
SNAP! The SAMYURAI BOY hops into an open steamer trunk at the foot of her bed, pulls the lid shut and disappears. SNAP! The lanterns blink off. SNAP! All the lights go out except for one kerosene lamp on the table.
BRIAN
Tell you the truth, I feel like I’m running outa time. Or time’s running out on me.
ROSE sits on her bed.
ROSE
Tell us all about it.
BRIAN
I just don’t get it… It’s not that I don’t have a life. I do. I have a bike. I’m ok lookin’. I get girlfriends. I even sort of appreciate the whole wild ride. But I’m not right…
(pointing to his heart)
…in here.
ROSE
Like we didn’t see that coming.
BRIAN
You gotta fix me, Red. You’re the only one. If I don’t get a handle on this…Voo Doo you gave me…
ROSE
It ain’t Voo Doo, girlfriend.
BRIAN grabs ROSE by her upper arms.
BRIAN
All it’s done for me is hurt people. People I care about, people I even sometimes…
ROSE hugs him. He looks in her eyes.
ROSE
Love?
BRIAN
All I really wanna do is be with somebody and be myself without scaring the heart out of everybody. The worst part isn’t that I can’t control myself, but that I don’t. Soon as I come up here I meet this Kingdom something or other…
ROSE
Piece of work, ain’t they?
BRIAN
…group of use-t-bes and guess what? It starts all over: the manipulation, the showing-off, the whole pathetic parade.
ROSE snaps her fingers and freezes BRIAN in mid-sentence.
ROSE
I got just the ticket.
She overturns lamps, books, dishes. She rips her bed apart. She knocks over a side table. SNAP! She lunges for a pot of geraniums. She grabs the flowers by the stems and smashes the pot on the floor. It shatters. She scratches at the dirt impatiently.
ROSE
Where did I put the damn thing?
ENTER
TUBBS (singing sarcastically)
I looove myself
I loooooove myself…
ROSE
Tubbs! My God. I gave it to Tubbs!
TUBBS
Rosaleee?
ROSE
What was I thinking?
TUBBS (at the door)
Are you decent in there you old curled-up piece of liver?
ROSE is flapping her arms hysterically.
TUBBS (lasciviously)
You got that teenager in there with you, Red?
The latch rattles. ROSE is still flapping about, trying to ‘do magic’.
Finally, with a SNAP! she ‘invisiblizes’ herself – ‘becoming’ the chubby pink teapot on the table. She holds it in front of her like a silly piece of camouflage. But it works. Neither TUBBS nor BRIAN can see her.
BRIAN, unfreezing, with exaggerated grace, opens the door.
TUBBS careens into the room and crashing into the table. He recovers his dignity and takes a suspicious squint at the teapot.
TUBBS
They says you a witch. My goatee! ‘S ‘bout as big a load o’ horse pie ‘s you can buy! Lucy In The Sky!
TUBBS (belching)
You’re Brian, ain’t ya? The summer kid. Figured it out all by myself.
TUBBS grabs BRIAN affectionately by the hair and gives him a yank.
TUBBS
You ain’t no fairy, are ya?
BRIAN
Wouldn’t you like to know.
TUBBS squints at BRIAN, shrugs and searches his pockets for a bottle of whiskey.
TUBBS produces a half-filled pint of Wild Turkey.
TUBBS
How’s about a toast t’ ol’ Rosalee?
BRIAN
Be my guest.
TUBBS takes a long draught and wipes his mouth on his sleeve.
TUBBS
Things ain’t been the same round here since my affectionate schwan, decided to close me out. Frittered the Sugarbush off to that Bible-pounding fakir n’ them dead again Christians. Wouldn’t ya know it, fust time I make a money deal, it land me in the toilet!
He smacks the bottle on the table and slips a brown paper package out of his jacket. He pets it covetously.
BRIAN
What you got there, pal? Dead rat?
TUBBS
She told me to give it to ya. Didn’t trust herself with it. So I keppit safe, away from them clam diggers.
TUBBS jumps up and whirls around.
TUBBS
Gotcha!
ROSE-as-teapot scoots across the table like a hockey puck, knocking the Wild Turkey to the floor, startling TUBBS.
The package pops into the air, but he catches it before it hits the floor.
TUBBS
Woman’s a virus.
Crouching, he tries to salvage the booze, which has spilled all over the floor.
TUBBS
C’mon kid. Hep me.
TUBBS slips a plastic straw out of a pocket and siphons the puddle into his mouth. He holds the package out to BRIAN.
TUBBS (slurping)
Open up.
BRIAN takes the package reverently. He looks at the teapot.
TUBBS
What are you waiting for?
BRIAN
I just wasn’t sure if this was the ideal time. I mean I’d like to, Mr. Tubbs. I would. But if I did, right away, your affectionate swan might show up and be a big pain in the neck.
TUBBS
Lookit here. I ain’t stupid. You jes want to hog it for yoursef. Now you open up and let me in on it. I hid out for months without so much as a squint.
BRIAN turns his back and loosens the string bindings. The paper falls off easily. TUBBS sidles up behind him and peers over his shoulder.
BRIAN unwraps a beautiful, golden harmonica.
The sound of a million crickets swells outside.
BRIAN
Must be as old as God.
TUBBS
That ol’ mouth organ?
BRIAN reads an inscription.
BRIAN
“FOR THE PURE OF HEART.”
TUBBS
What’s that supposed t’ mean?
BRIAN
It means I won’t be playing it.
TUBBS
Sword in the stone! Play that bone! Play ‘Moon River’. Play ‘White Rabbit’.
A focused jet of steam, like a ray gun blast, shoots out of the teapot. It strikes TUBBS on the back of his head and freezes his arms and body, stiff as a statue, in a whoop-it-up position.
ROSE ‘reappears’ – a genii out of a bottle.
ROSE
‘White Rabbit’?!
BRIAN struggles with the harp, trying to play. He produces a pathetic little toot.
ROSE
Do you understand what it says?
BRIAN
Does it look like I do?
ROSE
It’s a cinch. To be pure of heart means you have to do for others.
The chirruping of crickets swells up.
ROSE
You can’t just go ahead and expect everything to fall into place. And you can’t love anybody proper until you learn to see the world through their eyes. It’s not about you, Brian. It’s about them. About knowing what they lost. That’s what makes them same as you. And you don’t know it yet, but you got a heart that can ‘see’. Just stand there, kid, in the Light, before their souls and open your eyes… Your heart’s been one-sided. That’s why you messed with that day care chick.
BRIAN
You’re sure about this?
She nods at the harmonica.
ROSE
This will help. I invented it. Play it. Make it sing. Go on.
BRIAN
I can’t.
ROSE
You’re just scared. Take a breath. Let the thing play itself. You do that; you’ll do right by everybody.
ROSE’S fingers are crossed behind her back.
BRIAN
Why does everything have to be so complicated?
She shrugs. He tries. The sound is horrible.
ROSE
Don’t give up, dearie. Not now.
He tries again – a couple of false notes. His hands are trembling.
MUSIC: “I WANT TO BE LOVED”
All the lanterns and Christmas lights and candles simultaneously blink on. BRIAN steps past the still-frozen TUBBS, out the door and into the clearing.
BRIAN
I REACH FOR STARS
I HOLD ‘EM DOWN
I PAINT THE FOREST
FLY AROUND
WHERE NOBODY GOES
AND NOBODY KNOWS
I GOT THE MAGIC
IN MY HAND
I’M MAKING SILVER
OUTA SAND
I’M A HUNDRED YEARS OLD
GOT A HOLE IN MY SOLE
AND WHEN THE NIGHT
COMES POURING DOWN
I RIDE MY EAGLE INTO TOWN
OH I JUST STARE
I DON’T BELONG THERE
Again he tries to play. He’s still in awe of it, but less afraid.
BRIAN
I’M STILL A BOY
I’M CHASING YOU
I HAVE A DREAM
I’M GOING TO
BEWARE OF MY LOVE
WHAT I AM MADE OF
YOU THINK OF ME AS
JUST A KID
CAN’T HEAR THE VOICES
IN MY HEAD
OH WHAT HAVE I DONE?
I AM SCARED OF THE SUN
I WANT I WANT I WANT I WANT
TO BE LOVED
He begins to play quite beautifully. ROSE, coming into the clearing, becomes visibly younger.
TUBBS, unfrozen, appears beside her as a handsome young man, a vintage Woodstock hippie. He and ROSE beam at one another. They waltz together as fireflies blink around them.
When BRIAN stops playing, ROSE and TUBBS return to their present age and appearance. TUBBS freezes back to his his original wild position.
BRIAN
CAN YOU BELIEVE
I WANT TO CHANGE
I’M GONNA LEAVE
THIS MOUNTAIN RANGE
I GOT YOU INSIDE
YOUR FACE IS ALL BRIGHT
CUZ ALL I REALLY WANNA DO
IS SPEND ONE HUMAN NIGHT
WITH YOU
WITH MY DARKNESS BEHIND
I WILL TRY TO BE KIND
I WANT I WANT I WANT
TO BE LOVED
He plays the harp once more. This time it’s perfect.
ROSE
Not bad. Not bad at all.
(sighs)
I need a nap, dearie. You had your first lesson, on the house.
ROSE pats the frozen TUBBS on the head, smiles, steps into her cabin, closes the door, snaps her fingers and puts out all the lights. TUBBS comes to. He shivers and is disoriented.
TUBBS
Tubbs like rubber. Rub a dub dub dub.
BRIAN pockets the harmonica. TUBBS squats and farts.
TUBBS
One for the Gipper!
SCENE 6
TOWN SQUARE – EVENING
int. meeting house (CUT AWAY)
A simple room with pine benches and bare, whitewashed walls. Above a plain altar is a Crucifix. The Christ figure is entwined with roses. The altar is covered with them. The effect is disturbing, as if the roses were blood.
The MEMBERS sit patiently. FLINT stands behind the dais, perspiring. He pats his face with a red silk handkerchief.
MUSIC: “HEAVEN N HELL”
FLINT
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
FLINT
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?
FLINT
GET DOWN ON YOUR KNEES
SING YOUR HEART OUT
TRUTH WILL SET YOU FREE
LET THEM ME HEAR YOU SHOUT IT
SHIRRONDA
I WENT DOWN TO THE BARN
THE HAY WAS SWEET AND WARM
I LAY DOWN IN THE HAY
AND I SHUT THE DOOR
REBECCA seems distracted. ISAAC, sitting beside her, looks at her warily as he wails on his harp.
SHIRRONDA
A BOY HE SIT BESIDE ME
AND HE PLAY WITH MY DRESS
SHIRRONDA & REBECCA
(Note: REBECCA is remote, marking the song, not her lively self)
I CLOSE BOTH MY EYES
AND HE DID THE REST
As REBECCA sings, FLINT watches her. ISAAC tugs at her sleeve. She snaps out of it.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
FLINT
GET DOWN ON YOUR KNEES
SING YOUR HEART OUT
TRUTH MAKE YOU FREE
LET ME HEAR YOU SHOUT IT
TOMMY
MY DADDY LOST HIS MONEY
IN A CARD GAME COME HOME DRINKIN’
I GET SO MAD I LOSE MY HEAD
I GUESS I WASN’T THINKING
I BUST MY DADDY IN THE FACE
POOR MAMA SHE WAS SCREAMING
TELL ME AM I CRAZY, LORD
WHAT IS THIS PAIN I’M FEELIN’?
REBECCA stands up suddenly, out of the blue. ISAAC yanks her back down.
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?
ALL (except FLINT)
HEAVEN
OH OH OH HEAVEN…etc.
FLINT
So today let us all praise the brothers and sisters who have come forward in humility, to share their sins and ask forgiveness. This is a small, clean, new world we have built – all the way up here in the country. A good world. A free world. Safe from the scourges of the city life. Save from the sabotage of the streets.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
FLINT
So my friends, my beloved, we have left all that behind. And today, today, here before God…
MARIE
KEPT MY LITTLE GIRL AT HOME
I NEVER GAVE HER NUTHIN’
SHE NEVER SEEN A MOVIE
OR A DANCE OR CATCH A BOYFRIEND
YESTERDAY SHE RUN OFF
GET A BUS TO CINCINATTI
LOST HER OUTA JEALOUSY
I HATE HOW SHE’S SO PRETTY
ALL
HEAVEN
OH OH OH HEAVEN…etc.
Over the music we hear a solo harmonica. So does REBECCA. It’s not being played by anyone in the Meeting House. No one but REBECCA can hear it.
FLINT
My friends. Do not be disturbed in your regard for truth. When what you disclose is the heart of the matter, the heat of the moment, the height of perfection.
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?
ETC…
While FLINT speaks, REBECCA stands. ISAAC tries to stop her. What she is doing is dangerous. No one ever leaves Meeting. But she is going to walk out, no matter what.
FLINT, in ecstasy, fails to notice.
FLINT
And it is here, here that we rise above the temptation of the flesh, the preoccupation with passion. Rise above and choose…
ISAAC (loud whisper)
No Rebecca! Don’t do this! Come back here!
She stumbles. She is in a trance. She bumps into a wall. She falters against a pew. ISAAC runs after her. He tosses his harp to EMMANUEL who catches it and plays, keeping things going.
FLINT
…in our Righteousness, in our Godliness, in the discipline of action and the action of discipline, choose God, choose Jesus, choose the Kingdom and the Glory and Heaven down here on earth! Etc…
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?
REBECCA, feeling her way, steps out the door of the Meeting House. ISAAC, rushing around in front of her, tries to push her back inside.
REBECCA
Can you hear it?
ISAAC
Hear what?
The alien harmonica stops.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
OH OH OH HEAVEN…
REBECCA
It stopped.
ISAAC cocks his head. He takes her hand.
ISAAC
You’re creepin’ me out.
She shakes her head.
ISAAC
C’mere.
He takes her hands. They dance awkwardly in a slow circle. FLINT shadow falls across the door of the Meeting House.
FLINT
Rebecca?
She turns.
BLACKOUT
SCENE 7
IN DARKNESS
BRIAN
How about you and I pay a visit to the ‘brotherhood’ tonight? I won’t make trouble. I promise.
TUBBS
Young man…
(lighting a match and illuminating their faces)
…what you need is trouble. That where it at!
(muted shout)
Hey, fanatical biblicals – on your knees!
(stage whisper)
SHOVE IT UP YOUR OL’ STOVEPIPE!!!
TUBBS lights a pipe. He inhales and passes it to BRIAN. They look at each other in that intimate weed way.
BRIAN
I think I’m beginning to…
(sucking it in, talking through a held breath)
…like somebody.
TUBBS
She’s…
(coughing fit)
…accounted for.
BRIAN is stoned.
BRIAN
Explain.
TUBBS (exhaling)
Wrap your balls around this:
(coughing)
…Big Daddy and her man is…
(sneezing)
…the same person. Can you handle that?
BRIAN
Get outa town.
TUBBS
It get worse. Her Daddy is…
TUBBS sucks in another big hit, holding it in.
He is about to speak when he suddenly puts a finger to his lips. He and BRIAN warily turn their heads and look behind them.
Just above and to one side of the tree is a Marker. Its sudden appearance makes it seem as though it had followed them there and that it had been listening to their conversation.
SCENE 8
TOWN SQUARE – NIGHT
A bonfire illuminates the Square, reflecting light on the MEMBERS as they mill about.
MARIE, age 55, fat and pretty, is playing acoustic guitar with SHIRRONDA. They take it seriously. Some MEMBERS nearby dance eurythmically.
A crowd of kids watch ISAAC dance. REBECCA is braiding BETSY’S hair. EMMANUEL, elderly, is with an older group. He is playing harmonica in compliment to MARIE and SHIRRONDA.
ENTER
BRIAN and TUBBS stumbling into the glow of the bonfire, giggling.
ISAAC
Hey guys!
He scurries over to a secret place underneath the front porch of the Kingdom House and pulls out a paper bag. He looks inside, looks up and winks at TUBBS. BETSY takes notice.
ISSAC skips over towards TUBBS and bumps into FLINT. The package is knocked out of his hands. ISAAC picks it up and hides it behind his back. FLINT, watching BRIAN, misses the whole thing.
ISAAC
Sorry sir. Go with God.
FLINT
Amen, little brother.
ISAAC jumps into TUBBS’S arms, happy to see him.
ISAAC (whispering)
You chill?
Hands him the bag.
TUBBS
What a considerate young man. Yes, yes, yes.
He reaches into the bag, uncorks the bottle and takes a long obvious swig.
BETSY, extricated from REBECCA, has stationed herself on the porch of the Candy Store. Seeing the exchange, she sits down with a thump, mouth agape.
BRIAN is way stoned and unabashedly staring at REBECCA.
SHIRRONDA
Say Judge…
FLINT
Yes?
SHIRRONDA
Could you perhaps perform some of your old-fashioned ballroom dancing?
FLINT
Why sister Shirronda, I haven’t danced in years.
SHIRRONDA
Yes sir. Last harvest. Remember?
The MEMBERS quiet down, picking up on the conversation. FLINT enjoys the ritual.
FLINT (coyly)
I shall need a partner.
BRIAN plays the lead melody to “TALK TO ME” on his harp. REBECCA cocks her head. BRIAN pockets the harmonica. ISAAC runs over and takes REBECCA’S hand.
ISAAC
Rebecca! You dance! You do it!
REBECCA
Don’t be silly.
ISAAC
You can! I seen you!
MARIE
Oh please, Rebecca honey? It would be lovely.
EMMANUEL
It would be a joy.
TOMMY
You all make me sick.
TUBBS takes a belt out of the bagged bottle.
TUBBS
I’d agree with that.
Encouraged by all, REBECCA stands and ISAAC leads her to the center of the gathering circle. He presents her, bowing, to the JUDGE.
ISAAC
Here she is, sir.
BETSY makes a face. FLINT bows deeply. At first, without music, they dance. REBECCA moves awkwardly, but not without appeal.
EMMANUEL
She may not be able to see, but the Good Lord gave her courage.
MUSIC: “TALK TO ME”
As FLINT and REBECCA begin dance we notice that for FLINT something a bit more erotic than ballroom dancing is going on. REBECCA is simply having fun.
Her face is turned towards BRIAN as if she can ‘see’ him. She is dancing with FLINT, but she is looking at BRIAN.
REBECCA
I’M RIGHT HERE
AND I CAN’T STOP
LOOKING AT YOU
FLINT
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM
MEMBERS
TALK TO ME…ETC.
REBECCA (to BRIAN)
WHY DON’T YOU TALK TO ME?
BRIAN
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM
BRIAN moves closer, to cut in. He hesitates.
REBECCA (to FLINT)
WHY DON’T YOU TALK TO ME?
BRIAN
ALL I WANNA DO IS ASK YOU
REBECCA
IF YOU FEEL THE SAME AS I DO
FLINT disengages from REBECCA. No one is dancing with anybody, although it is clear who wants to be with whom. TUBBS taps ISAAC’S shoulder. He bows. They do a do-si-do, high five. They mouth the lyrics and laugh.
REBECCA
I’M RIGHT HERE
AND I CAN’T STOP LOOKIN’ AT YOU
BRIAN
I JUST WANNA DANCE
BRIAN catches her hand – instant electricity. Her smile lights up the place.
FLINT (odd man out)
I’M RIGHT HERE
AND I CAN’T STOP LOOKING AT YOU
REBECCA
I JUST WANNA DANCE
It is as if she can actually see. Her dancing improves vastly over her turn with FLINT. She and BRIAN move together marvellously, as one. BRIAN never takes his eyes off her. They are beautiful to watch.
BRIAN
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM
REBECCA
WHY DON’T YOU TALK TO ME?
MEMBERS
TALK TO ME…ETC.
FLINT
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM
REBECCA
WHY DON’T YOU TALK TO ME?
BRIAN
ALL I WANNA DO IS ASK YOU
IF YOU FEEL THE SAME AS I DO
The MEMBERS get into it.
TUBBS
Hey, little Poncho, more ginseng for th’ old bagpipe, whadda say?
ISAAC crawls back under the Kingdom House. BETSY takes note.
BRIAN, REBECCA, FLINT (with TUBBS and ISAAC)
COME A LITTLE CLOSER BABY
SO I DON’T HAVE TO SAY IT
COME A LITTLE CLOSER BABY
SO I DON’T HAVE TO SAY IT
BRIAN takes REBECCA’S hand and guides her away from FLINT.
BRIAN
I’M RIGHT HERE
REBECCA
I’M RIGHT HERE WITH YOU
BRIAN
WITH YOU
Delicately, tremulously, they dance. The MEMBERS watch. FLINT stalks around the circle, arms behind his back. SHIRRONDA offers to dance with him. He rejects her.
REBECCA
I’M RIGHT HERE
BRIAN
RIGHT HERE
REBECCA
AND I CAN’T STOP
FLINT
I JUST WANNA DANCE
BRIAN
CAN’T STOP
REBECCA
LOOKING AT YOU
FLINT
I’M RIGHT HERE
BRIAN
I’M RIGHT HERE
FLINT
AND I CAN’T STOP LOOKING AT YOU
BRIAN
AND I CAN’T STOP, I CAN’T STOP LOOKING AT YOU
REBECCA
I JUST WANNA DANCE
FLINT stands by himself, left out, embarrassed and upset.
BRIAN
I WANT YOU TALKIN’ TO ME
DON’T WANT YOU LOOKIN’ AT HIM
REBECCA
WHY DON’T YOU TALK TO ME?
FLINT moves off the ‘dance floor’ and joins BETSY on the porch of the Kingdom House.
FLINT
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM
REBECCA
WHAT DON’T YOU TALK TO ME?
BRIAN lets REBECCA go, drifts back towards TUBBS, yet remains ‘connected’ to her.
BRIAN
ALL I WANNA DO IS ASK YOU
IF YOU FEEL THE SAME AS I DO
FLINT approaches the iron triangle at the far end of the Kingdom House porch.
REBECCA
I JUST WANNA DANCE
FLINT (to BETSY)
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM
REBECCA
I JUST WANNA DANCE
BRIAN
I WANT YA TALKING TO ME
REBECCA
I JUST WANNA DANCE…
REBECCA’S connection with BRIAN is unbroken still until FLINT, using his cane, rings the triangle violently.
FLINT
Formation! Line formation!
REBECCA
I’m sorry, Brian. I think you should go now.
BRIAN
Why? What’s going on?
Two lines form, equal MEMBERS to a side, with an opening at the far end that leads to the platform with the whipping post. FLINT jumps up on it in a rage.
TUBBS
Get me outa here! Brian!
ISAAC pushes an old wheelbarrow up behind TUBBS. TUBBS falls down in it, too drunk, stoned and upset to stand up.
FLINT
Brethren, you and I know that from time to time the Path to the Spirit is blocked when a sister or a brother take issue with the Rules.
MEMBERS
AMEN.
The congas begin.
FLINT
And how does one return the Lamb unto the Fold?
MEMBERS
WITH PRAYER.
FLINT
With prayer and forgiveness. Quite true.
MEMBERS
PRAISE THE LORD.
The bass line to “CITY GOT A BROKEN HEART” is added to the congas.
TUBBS
Haul my overalls outa here, Brian and be quick about it!
BRIAN ignores him, transfixed.
FLINT
And who gives prayer?
MEMBERS
THE TRUE KINGDOM.
FLINT
And if the Devil is stubborn, and persists in the body?
TUBBS hides his eyes.
TUBBS
I can’t stand it no more. Brian. Please! He means business! Wheel me out!
BRIAN can’t move.
FLINT
In the bright fire of pain.
MEMBERS
IN THE CENTER OF PAIN.
FLINT
We strike!
FLINT smacks his cane against his palm. The MEMBERS being to chant the background vocals to “CITY GOT A BROKEN HEART” – AY OH, AY OH, AY OH, AY OH, AY OH…etc.
They do not watch as FLINT prepares. Instead they mimic his movement in unison.
FLINT
In compassion we strike!
MEMBERS
IN COMPASSION.
FLINT
That the Path may be cleared, and the Devil driven out!
MEMBERS
PRAISE GOD.
Silence. Music and voices come to a complete halt.
FLINT
Come forward, little sister.
BETSY leaves her place in line and walks triumphantly up to the platform.
FLINT
Name for us Sin and Sinner.
BETSY
Sin of Lying. Sin of Vice. Twice hidden.
FLINT
In who’s heart lives these Devils?
BETSY marches sternly from one end of the line to the other. ISAAC is last, next to REBECCA. BETSY seizes his hand with a hard jerk.
ISAAC
No!
FLINT
Come forward, little brother.
ISAAC
I been good, honest!
BETSY point to TUBBS.
BETSY
You gave him booze and you knows it. I seen you!
ISAAC
No sir! It was soda I brung him!
BETSY runs to a spot in the middle of the square and picks up a paper bag. She pulls out a bottle.
BETSY
You’re so obviously lying!
ISAAC
I ain’t never lied in my whole life.
FLINT
You climbed the Big Tree.
ISAAC
The Rope was down.
FLINT
Did you climb it?
ISAAC (meekly)
Yes.
FLINT
And did you bring whiskey to that man?
ISAAC
No!
FLINT
Do you take responsibility!
ISAAC (fearfully)
Yes sir.
The MEMBERS murmur and whisper.
FLINT
And the Devil lives in you heart?
ISAAC
I guess.
FLINT
Come to me.
ISAAC is trembling. BRIAN is confused, wanting to do something but not knowing what. TUBBS is covering his eyes.
The MEMBERS shut their eyes and bow their heads.
MEMBERS (acappella)
AY OH, AY OH, AY OH, AY OH, AY OH…etc
ISAAC approaches the platform and climbs the steps. FLINT lashes his wrists to the post with the black leather thongs.
The MEMBERS close in. ISAAC cannot be seen. FLINT towers above them all. The chanting stops. FLINT raises his cane.
FLINT
In the name of the Father.
ISAAC
In the name of the Father.
FLINT brings the cane down sharply. ISAAC cries out. BRIAN’S arms shoot rigidly into the air. His mouth opens. FLINT raises his cane again.
FLINT
In the name of the Son.
ISAAC (barely audible)
In the name of…
FLINT brings the cane down a second time. ISAAC makes no sound. He has passed out.
BRIAN’S fingers splay. A fierce wind whips though the square, blowing up scarves, skirts, leaves, hair, etc. FLINT raises his cane for the third time.
FLINT
In the Name of the Holy…
He is interrupted by a deafening thunderclap, followed by a bolt of lightening. His arm-with-cane remains upraised, stiff overhead. He cannot move it. The MEMBERS also have their arms lifted, in parallel.
BRIAN’S arms quiver as FLINT’S arm bends backwards, grotesquely. He is screaming, but all we can hear is thunder and wind. The MEMBERS are left alone, unhurt, but everyone remains immobilized, freeze framing the patterns of skirts, hair, leaves, etc.
An OWL lands on the WIDOW’S WALK (a railed, rooftop landing on top of the Kingdom House for the purpose of observing approaching strangers). The OWL flaps his wings and, in a puff of smoke, transforms into ROSE.
A bolt of lightening leaps from her hands and strikes the ground in front of BRIAN, breaking the spell. ROSE disappears in a burst of white light. BRIAN collapses backwards on top of TUBBS.
FLINT, his pain increasing his rage, continues beating ISAAC mercilessly. REBECCA feels her way over to them.
REBECCA
Father, stop!
FLINT continues. He is obsessed.
REBECCA
You’re killing him!
FLINT’S arm drops. He gives the cane to BETSY who wipes the blood off on her dress. FLINT smiles weirdly, as if after sex.
FLINT
Yes, daughter?
BRIAN (to TUBBS)
So it’s true, everything you said.
TUBBS
‘A Perfect and Holy Vision of the Putrid.’
REBECCA falls to her knees.
REBECCA
I respect your wisdom, my Father-In-Heaven, and your courage in bringing us the Punishment. Have mercy upon us.
FLINT
Have mercy upon us all.
MEMBERS
AMEN.
BRIAN looks to the Widow’s Watch, shaking his head, backing up. He EXITS, into the forest.
TUBBS watches FLINT and BETSY walk right over the trap he set earlier, but nothing happens to them. They do not fall in. BETSY jumps into FLINT’S arms.
BETSY
I love you, Judge.
He bounces her. The surface of the trap gives way, but only a little. They walk safely inside the Kingdom House.
The MEMBERS disperse. REBECCA carries ISAAC into the Kingdom house. He is unconscious. TOMMY is leading her.
TUBBS, weak from horror, whiskey and pot, climbs out of the wheelbarrow and tests the trap. He jumps up and down on it cautiously. Then hard. It collapses. He falls through.
BLACKOUT
SCENE 9
SUGANBUSH – NIGHT
Under ISAAC’S Big Tree is a white linen table setting, a WAITER with a donkey’s head, a STRING QUARTET, flowers and wine.
The QUARTET plays an instrumental arrangement of “I WANT TO BE LOVED”.
A single candle is lit at the center of the table and a lavender tube of light shimmers upward into the night sky.
ROSE is seated at the table. She is part human, part earth. The roots of trees and plants circle her forearms and waist like living belts and bracelets. Moss covers her body. Dewdrops glimmer like a diamond crown on her head.
BRIAN appears. He has been running hard. He is exhausted and collapses face down on the forest floor. ROSE, non-plussed, takes a sip of wine.
ROSE
Why hello.
BRIAN
Go ahead. Blame me. I did everything I swore I wouldn’t do.
ROSE (compliments to the waiter)
Delicious.
BRIAN
You saw what he was doing. It was out of the Dark Ages.
ROSE
My hero.
BRIAN
That kid hadn’t done anything. He’s just a boy.
ROSE
Judge, jury, prosecutor, executioner.
BRIAN
Why did you stop me? To save him? That sick fuck?
ROSE
Have some dinner, dear. You must be exhausted.
ROSE pats her mouth with a napkin.
ROSE
Isn’t the music lovely?
BRIAN
You promised to walk me through this.
ROSE (hissing rage)
You never listen, do you? You always have to have it your way. What makes you think you have a monopoly on the truth? You jam your juvenile, arrogant, egotistical emotions right down everyone’s throat!
(sarcastically)
Brian the Great. Brian the Saviour. Brian the All-Powerful.
BRIAN
I love her.
ROSE
Oh? Like Sarah? She does look like Sarah.
BRIAN
That’s a coincidence.
ROSE
It’s a pattern.
BRIAN
This is different.
ROSE
Another sacrifice? Another victim? Nothing different about it.
BRIAN
I love her. I know it. It is different this time, I swear. How can she be with that that perverted man?
ROSE, disappearing her ensemble with a simple wave, grabs him by the scruff of the neck.
ROSE
Cut the crap, Brian. You’re as demented as he is and you know it. And he knows it. That’s why he’s flipping out. What you don’t know is that if you ever pull a stunt like that again, without consulting me, you will lose everything – do you understand? And it will take all I’ve got to stop you. I have my good days, but I’m telling you now, flat out, there’s not a whole lot left.
BRIAN
What are you saying?
ROSE (dead serious)
Read my lips, white boy. You can’t use magic to control Rebecca. You can’t use magic to mess with her old man. If you do it will backfire. Now tell me again, for real. Do you want that girl?
BRIAN looks straight into her eyes with his whole heart.
ROSE
Then you’re going to have to sweat this one out. You can’t seduce her. You can’t kiss her. Not even once. Not even so much as a brush of the lips. Not even the thought of it.
He looks away.
ROSE
You will not kiss Rebecca!
BRIAN
And if I do?
ROSE
She will die.
BRIAN
You’re joking.
ROSE (with compassion)
The only way to win her heart is to help her see who that man really is and what he is trying to do. She has to see it for herself.
BRIAN
But it’s so obvious.
ROSE
Not to Rebecca. Not to any of them. They’re as lost and broken hearted as you are. He’s all they’ve got. And I’m all you’ve got.
BRIAN
Then how?
ROSE
We’ll set a trap. One he can’t wriggle out of.
(whispering in his ear)
We’ll use the trees. We’ll get to him through the trees!
ROSE rolls her eyes with delight.
ROSE
I’m a genius!
(whispering)
But you have to give me your word on that other thing.
BRIAN
(whispering)
Okay. I swear. But why are we whispering?
ROSE (whispering)
We’re not.
(loudly)
Never mind about that.
(whispering again)
Here’s what we’ll do.
She places her hand on his forehead.
ROSE
Far from the Light…
BRIAN places his hand on top of hers, smiling in remembrance.
BRIAN
…far from the Sound.
TOGETHER
…fox in the night chasing the hound.
They transform into FOXES. One has a Mohawk of bright red hair. The other is younger, friskier. They sniff and bark and shoot off into the brush.
SCENE 10
TOWN SQUARE – DAY
LIGHTS UP ON
int. flint’s office (CUT AWAY IN KINGDOM HOUSE)
The room is small and uncluttered. His hat hangs on one wall. His desk is set up in front of his window so that, when working, his back is up against the window. His arm is in a sling.
Outside the window is an alley with the wall of the Kingdom House on one side and the wall of the Candy Store on the other. At the end of the alley is the Town Square. TOMMY is filling up TUBB’S hole with dirt.
FLINT is on the phone.
FLINT
Why yes. I think you’ll find our books in order. We are a non-profit as of course you are well aware. Faith based as they say in Washington.
(grimacing)
Oh really? When might you be coming up?
(beat)
Yes. Naturally. More than welcome. Just give us a ring.
(beat)
And to you as well.
He hangs up, redials.
FLINT
Mr. Carson? Judge Flint here.
(beat)
Un huh. That property you’d mentioned to me? We might be interested in a move.
(beat)
Yes. Sooner than we’d initially thought. You know I’ve always been fond of Pittsfield. My paternal grandfather grew up there, you know.
(beat)
Excuse me?
TUBBS appears in the alley. He is travelling back and forth between the Kingdom House and the Candy Store. Each trip he carries a new object. First a ladder, then a box of tools, a saw, etc.
FLINT swivelling in his chair, sees TUBBS for the first time.
FLINT
I see. Yes. That sounds terrific. Give us a few days to think this all through.
(beat)
Uh huh.
TUBBS is struggling with a sack of cement. Halfway between the two buildings he decides to shift the sack from one shoulder to another.
FLINT
One never knows, does one, when life begins to turn that unexpected corner and blows up…
TUBBS farts.
FLINT
(grossed out)
…in your face, so to speak. Could you hold on a second?
He puts his hand on the receiver.
TUBBS is on top of the ladder, which he has leaned against the side of the Kingdom House. He is banging away at the drainpipe. He hits his thumb with the hammer.
TUBBS
Shostokovitch!
The drainpipe falls, hits him in the head. He drops the hammer. Rubs his head. Looks around. Decides to urinate. The stream splashes the wall of the Kingdom House.
FLINT
Mother of God.
(back on the phone)
Mr. Carson?
(beat)
Never mind. It’s not important. The point is, sir, with perhaps a few more of the…ah…details pencilled in we can make a judgement in a matter of days.
A fly buzzes around FLINT’S head. He grabs it with his sore arm. Winces. He examines it.
FLINT
Yes. Please forward those figures right away.
(pinching it to death)
Thank you.
He flicks the insect like a spit ball. Hangs up the phone.
LIGHTS DOWN ON FLINT’S OFFICE
LIGHTS UP ON
CANDY STORE (CUT AWAY) – DAY
Tall glass jars sit on rough pine shelves and counters. They’re filled with cans of maple syrup, maple sugar candy and baked goods. Fluffy white curtains decorate the windows. An old fashioned cash register is set up on a stool.
The Town Square is empty. A FOX is sneaking around the corner of the building. BETSY appears, walking across the lawn. She sees the FOX.
She picks up a rock and throws it, hitting the fox in the ass.
BETSY
Gotcha!
She skips away.
ENTER REBECCA
A bell jiggles as the door opens. She knows the place well enough to move around unaided.
REBECCA
Isaac? You in here?
No reply.
ENTER
TOMMY.
TOMMY
Sister!? You gotta come quick. It’s Isaac. He’s hid out under the Sugarhouse!
REBECCA
You sure about this?
TOMMY
If the Judge finds out he’ll get beat on all over again.
(beat)
He’ll come out for you.
REBECCA (holding out her hand)
Hurry!
TOMMY leads her out the door.
ENTER
BRIAN, rubbing his rear-end.
He checks out the store, lifting the top of one jar, sniffing a pie, trying a dance step, laughing.
BRIAN (acapella)
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKIN’ AT HIM…
He sticks his finger in a cherry pie, pulls it out, brings it to his nose and, about to lick it clean, stops.
ENTER
BETSY, pushing the squeaky screen door open with one hand.
BRIAN
Caught me with my pants down.
BETSY
Like I care. What are you doing here anyways?
BRIAN licks his finger clean.
BRIAN
Just down for the day. Checking things out.
BETSY
You gonna be around long?
BRIAN
As long as it takes.
BETSY
As long as what takes?
BRIAN
Sorry. Guess I was just being smart.
BETSY
That won’t do any good with me. I’m not stupid. I got Permission.
BRIAN
To do what?
BETSY
I get to tell if kids are bad.
BRIAN
That must hurt a lot.
BETSY
No sir. It makes me feel big.
BRIAN
I mean it must get lonely, being the one to rat on people.
BETSY
I like it very much, thank you. It’s God’s work.
BRIAN
Maybe you can help me.
BETSY
I won’t help you with anything.
BRIAN
What is this Kingdom of yours up to anyhow? I mean for real. What good does it do?
BETSY (self-righteously)
We follow the Path. We follow Sweet Jesus. We…
BRIAN
Beat up on kids?
BETSY
It’s not what you think. A lot of folks up here’d be in big trouble somewheres else. The Reverend keeps ‘em in line.
TOMMY (off-stage)
Hey, who left the door open?
ENTER
TOMMY, REBECCA and ISAAC. ISAAC looks weak. He walks painstakingly. He brightens when he sees BRIAN.
BETSY
He’s criticizing us and he’s eating your candy.
ISAAC
I bet.
BRIAN
She’s right.
REBECCA
Do you always take what’s not yours?
BRIAN
Never…always.
ISAAC
Don’t worry about it.
BETSY
You better start worrying about your ass.
TOMMY
Leave him alone. Back home a kid like you’d get it the neck.
ISAAC (whispering simultaneously when TOMMY speaks)
She said ‘ass’.
BETSY
We’ll we’re not back home, are we? We’re here and I got Permission.
ISAAC
You think you’re so big.
REBECCA
Will you all please cut the crap!
BETSY gasps, covering her ears. Instant silence. REBECCA can’t believe her own ears.
ISAAC (whispering to TOMMY)
She said ‘s…h…i…t’.
TOMMY rolls his eyes.
BETSY
I thought you were the nice girl around here.
BRIAN
Hey, how about me buying you some candy?
ISAAC
Dude!
MUSIC: “THERE’S A REASON FOR IT”
REBECCA (still upset)
After a beating nobody gets sweets. We must suffer Punishment together.
BRIAN
Including me?
TOMMY
Nah. You get whatever you want.
BETSY
You’re not one of us.
BRIAN
I might want to be.
BETSY
Like that’s gonna happen.
BRIAN
And if I get you some candy?
REBECCA
That wouldn’t be right. Whose side do you think I’m on anyway?
BRIAN
I wasn’t asking you to choose. Just to have some fun.
BETSY
We ain’t supposed to have fun.
He rubs his hands together. He hops on one foot, claps once and digs into his pockets. He produces a huge piece of maple sugar candy.
TOMMY
No way.
BETSY (crossing herself)
I smell a rat.
ISAAC
Sweet.
BRIAN
See what you got.
REBECCA
What are you guys up to?
BETSY
That’s what I’d like to know.
TOMMY and ISAAC check their pockets.
TOMMY & ISAAC
Nuthin’.
BRIAN
You just gotta learn how.
(to REBECCA)
I’m just gonna teach ‘em some old-fashioned parlour tricks.
BRIAN spins on his heels, snaps his fingers, hops on one foot and claps. He reaches into his pocket and produces a giant piece of candy.
ISAAC
Lemme at it!
He and BRIAN spin together on their heels, snap their fingers, hop on one foot and clap.
He pulls a fat piece of candy out of his pockets. TOMMY does the same. Same result.
ISAAC
You the bomb!
BRIAN
THERE’S A REASON FOR IT
OH OH OH
THERE’S AN ANSWER
ALL
WOAH OH OH YEAH AH AH
THERE’S A REASON FOR IT
OH OH OH
THERE’S AN ANSWER
WOAH OH OH YEAH AH AH
They dance the Magic Candy Dance. BETSY does not participate. She is furious.
ALL (taking turns)
TAKE A LEFT
TAKE A LEFT
TAKE A RIGHT
TAKE A RIGHT TURN
DO THE BACKSTROKE
DO DO DO DO
WHAT DID YA LEARN?
BETSY
This is disgusting.
ALL
TAKE A LEFT
TAKE A LEFT
TAKE A RIGHT
TAKE A RIGHT TURN
DO THE BACKSTROKE
DO DO DO DO
ISAAC
WHAT DID YOU LEARN? YA YA YA…
BETSY
This is witch stuff.
REBECCA
Don’t be so harsh, Betsy. It’s just sleight-of-hand, is it not?
BETSY
You’re a swell judge of that.
She leaves, banging the door behind her.
BRIAN
Let her go. I mean no harm. No harm will come.
TOMMY & ISAAC
Do it again!
They repeat the whole business.
ALL
THERE’S A REASON FOR IT
OH OH OH
THERE’S AN ANSWER
WOAH OH OH YEAH AH AH
THERE’S A REASON FOR IT
OH OH OH
THERE’S AN ANSWER
WOAH OH OH YEAH AH AH
TAKE A LEFT
TAKE A LEFT
TAKE A RIGHT
TAKE A RIGHT TURN
DO THE BACKSTROKE
DO DO DO DO
BRIAN
WHAT DID YOU LEARN?
ALL
TAKE A LEFT
TAKE A LEFT
TAKE A RIGHT
TAKE A RIGHT TURN
DO THE BACKSTROKE
DO DO DO DO
REBECCA
What did you learn?
Their dance and voices show a new side to them, as if for the first time their ‘power’ derives not from the Kingdom, or from JUDGE FLINT, but from themselves.
ALL
COMES FROM YOU
COMES FROM ME
COMES FROM YOU
COMES FROM ME…ETC.
ISAAC
AND IT COMES FROM ME
All clap and stomp as BRIAN and ISAAC take out their harmonicas and jam. ISAAC’S instrument is a beat-up old thing, but he’s a pro. BRIAN, still the novice, plays awkwardly and then, inspired by ISAAC, quite well. REBECCA and TOMMY dance.
At the window, ROSE peeks in. BRIAN sees her. She makes a ‘dude, you rock’ fist, nods, disappears.
All comes to a crashing halt:
ENTER
FLINT, banging through the door. BETSY is right behind him. FLINT has his arm in a sling.
FLINT
What’s going on around here?
BRIAN
Hey Judge, hurt yourself?
FLINT
Morning to you.
(sweetly)
Isaac? Rebecca? What are these pernicious rumors I hear about the Sugarhouse? No one is allowed down there except for me. That’s the Rule, is it not? Have we forgotten?
REBECCA
I found Isaac asleep here…in the store this morning.
FLINT
You don’t say.
BETSY
Who cares about that? Nobody in their right mind goes down there. What about the candy!
FLINT (to REBECCA)
Were we being generous again, my dear?
REBECCA
The store is exactly as I left it.
She ‘looks’ at BRIAN.
BRIAN
God’s truth.
BETSY
That’s a flat out lie!
BRIAN
Just check it out, Mr. Flint. I for one, don’t eat sugar. Bad for the arteries.
TOMMY hangs his head. BETSY singles him out. He’s petrified.
BETSY
Look in his pockets! It’s in there, I swear.
TOMMY backs up.
TOMMY
Nuh uh.
FLINT smacks his cane on the floor.
FLINT
Don’t you dick around with me, boy.
TOMMY puts his hands over his head. FLINT, raising his cane with his good arm, moves in for the kill.
REBECCA
Honestly, father, there’s nothing…
FLINT (turning on her)
You will not contradict me!
REBECCA (bows her head)
I’m sorry.
BRIAN snaps his fingers twice. Clicks his heels.
FLINT (to tommy, holding out an open palm)
Let’s have it.
TOMMY
I ah…
(perplexed)
…don’t have nothin’, sir.
ISAAC searches himself.
ISAAC
Me neither.
REBECCA is stupefied.
BRIAN
Perhaps little sister is making the whole thing up.
BETSY
You think so, huh? I’d like to get you in court.
FLINT
Little sister does not lie. She has Permission.
MEMBERS (outside, distant chanting)
AY OH, AY OH, AY OH, AY OH…etc.
BETSY’S eyes pop open. She looks down at her hands and opens them to discover two big chunks of candy. She quickly hides them behind her back.
BETSY
I don’t get it.
BETSY stares at BRIAN, horrified.
BETSY
Oh my God!
ISAAC
She got it! She got th’ goods!
BETSY hurls the evidence on the floor, turns and runs out of the store. FLINT follows.
FLINT
We’ll get to the bottom of this.
He stops, turns, takes them in, sensing a wrongdoing.
FLINT
I promise.
EXITS.
TOMMY (sing song)
She’s gonna get it.
The triangle is rung.
BRIAN
Not again?
REBECCA
He’s over-reacting. Everyone is over-reacting.
TOMMY
We better get a move on.
BRIAN
I don’t understand you people. You punish kids for being kids?
REBECCA
It’s not how it looks. It’s hard to explain.
BRIAN
Try me.
They look at each other.
ALL (sadly)
We follow the Path. We follow Sweet Jesus. We follow the Lord. We live in a…
BRIAN
…sick place.
REBECCA
There are people here who were dying, literally dying, on the street. My father took them in. He gave them something to believe in. He set limits. He forgave. He comforted.
BRIAN
Trying to give you guys a clean shot. OK. But now Betsy’s in the doghouse.
REBECCA
He’s not perfect. None of us are.
BRIAN
I’ll make this up to you. All of you. Can ya come up the mountain later?
ISAAC
For sure…
REBECCA
Of course not.
(SIMULTANEOUSLY with ISAAC)
We are in Punishment.
She holds out her hand. TOMMY takes it and leads her out the door.
BRIAN
You remember, Iz? Where the rock is?
ISAAC winks. BRIAN calls after REBECCA.
BRIAN
At the first star.
REBECCA (outside)
Don’t be late, little brother.
ISAAC
I’ll run her up there to ya somehow.
BRIAN touches ISAAC’S shoulder.
ISAAC
Ow!
BRIAN
Pretty sore, huh?
ISAAC
Duh.
BRIAN
He’s got something on you, doesn’t he?
ISAAC
Who?
BRIAN
Flint. He’s put some kinda scare into all of you.
ISAAC shakes his head sadly.
BRIAN
Tell me about it.
ISAAC
I gotta go.
OFFSTAGE we hear the drum roll, AY OH AY OH…etc – the set up for the whipping post.
ISAAC
I ain’t supposed to say nothin’. I ain’t no traitor.
BRIAN
Let me paint you a picture.
BRIAN places his hand on ISAAC’S forehead. ISAAC backs away.
ISAAC
Cut it out!
BRIAN
Trick I learned a long time ago. When I was your age.
BRIAN takes out his harp and plays. The simple melody brings a reluctant smile to ISAAC’S face.
BRIAN moves his free hand above ISAAC’S head, as if he is the puppeteer and ISAAC the marionette. He pockets the harmonica.
OFFSTAGE the whipping ritual is muted. BETSY’S first scream is all the more frightening for being distant as BRIAN’S magic takes hold.
BRIAN
This is between us.
ISAAC
This is gay.
BRIAN places his forehead on ISAAC’S.
BRIAN
Like water into a glass.
ISAAC
Like lies into a lie detector.
(getting into it)
Okay, boss, I give up. Make it so.
TABLEAU or FILM PROJECTION:
The sound of a million crickets.
A flickering, stroboscopic, grainy, black and white ‘docmentary’ of what ISAAC remembers is acted out against the whitewashed wall of the candy store.
int. room – night
Through boarded-up windows we hear the hive of activity outside: A police captain shouting orders on an electric megaphone, the hubbub of a gathering crowd, etc. Searchlights penetrate the cracks in the windows and stab light into the room.
REBECCA is climbing down a homemade ladder through a trap door and into a dark tunnel. ISAAC stands above her.
In the room, faintly illuminated by the filtered light, is a small group of men, women and children tied to chairs. They are fervently praying.
BETSY, prompted by FLINT, is wrapping duct tape around their arms and legs. Plastic explosives are strapped to their bodies.
FLINT (in a hurry)
You are the Chosen. You are the Ones Who Came Before us. You are the Saviours and the Sacrifice. It is you who enter the Kingdom of Heaven. You are blessed and our blessings go with you tonight and always – the Best, the Bravest and the Sure.
A little GIRL is holding a doll. She is crying.
BETSY throws her arms around AN OLDER WOMAN strapped to a chair. FLINT pulls her off. They follows REBECCA down the ladder into the tunnel, dragging ISAAC along behind her.
FLINT makes the Sign of the Cross on the OLDER WOMAN’S forehead with his thumb and dives down the ladder, pulling the trap door shut after him.
A teargas grenade lands on the floor. MEMBERS of a SWAT TEAM crash through the door. The little GIRL cries hysterically.
The TABLEAU ‘explodes’. The ACTORS vanish.
BRIAN
He made you do that?
ISAAC (near tears)
It’s okay. I’m okay.
BRIAN
But why?!
ISAAC
We had t’ get outa town in a hurry. The pigs was catchin’ up to us and those guys was bait. They wanted t’ be found dead. No fingerprints. They had do it and they wanted to do it. Plus, they get t’ go t’ Heaven.
BRIAN
Says who?
ISAAC points outside.