MSU Rehearsal Draft for Village - Department of Theatretheatre.msu.edu/files/9714/9305/3884/WE_FOXES_5.2-MSU_PERUSAL.… · A southern Gothic musical thriller by RYAN SCOTT OLIVER

WE FOXES

A southern Gothic musical thriller by RYAN SCOTT OLIVER First in the Dogs Trilogy

Libretto

Draft 5.3 (2/26/17) Rehearsal Draft for Village MSU PERUSAL

CHARACTERS

MINISTER PAPER MAN JACK (MR. K.), aspiring novelist and tramp of late WILLA, an orphan-girl GEORGE, Willa’s brother CONDUCTOR ROBBED MAN COP VESTA QUIMBY, the Sheriff’s wife SHERIFF-CORONER QUIMBY RADIO OFC. HATLESS, a rookie officer OFC. WILKINS, an older officer WOMAN FROM THE DARK (AGATHA QUIMBY) LORAMAE, SADIE, DOTTIE, Vesta’s friends JANET BLOOM WALTER CARL MR. PARRIS DRUNK TRAMP SOBER TRAMP MR. MADDER CANDY BOY JOHN BRASS BARKER MAN EUGENE, a soldier MRS. SLAUGHTER, the Governor’s Wife SKEET, another tramp GOV. SLAUGHTER YOUNG TRAMP

Ensemble of HAVOC TOWN, TRAMPS, SOLDIERS, VESTA’S VICTIMS, GUESTS,

TIME & PLACE

Eight days in October, 1945

The Quimby Estate and other locations in the small town of Havoc, Missouri

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SCENES

ACT I

SCENE ONE: THE RAILWAY — LATE FRIDAY EVENING

SCENE TWO: THE RAILWAY — FOUR YEARS IN THE PAST

SCENE THREE: BACK IN THE PRESENT — QUIMBY ESTATE, REAR PATIO — FRIDAY EVENING

SCENE FOUR: HAVOC DOWNTOWN — SATURDAY MORNING

SCENE FIVE: QUIMBY ESTATE, VESTA’S OFFICE — THAT NIGHT

SCENE SIX: THE COUNTY EXPOSITION — SUNDAY

SCENE SEVEN: QUIMBY ESTATE, KITCHEN — MONDAY AFTERNOON

SCENE EIGHT: QUIMBY ESTATE, FRONT PORCH — FOLLOWING

SCENE NINE: QUIMBY ESTATE, CELLAR QUARTERS — FOLLOWING

SCENE TEN: THE RAILWAY — FOLLOWING

ACT II

SCENE ELEVEN: QUIMBY ESTATE, VARIOUS LOCATIONS — MONDAY EVENING

SCENE TWELVE: QUIMBY ESTATE, VARIOUS LOCATIONS — TUESDAY NIGHT

SCENE THIRTEEN: TWO KITCHENS — FOLLOWING / BACKWOODS — FOLLOWING

SCENE FOURTEEN: A JUNK CAR — THURSDAY DAWN

SCENE FIFTEEN: QUIMBY ESTATE, CELLAR QUARTERS — THURSDAY 3 P.M.

SCENE SIXTEEN: HOBO JUNGLE — THAT NIGHT

SCENE SEVENTEEN: QUIMBY ESTATE, CELLAR QUARTERS — FRIDAY AFTERNOON

SCENE EIGHTEEN: QUIMBY ESTATE, VARIOUS LOCATIONS — THE NIGHT OF THE FIRE

SCENE NINETEEN: THE RAILWAY — THE START

SCENE TWENTY: NOWHERESVILLE — LATER

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MAJOR MUSICAL NUMBERS

ACT ONE

The Reaper Reaps ................................ Jack K., Tramps The Road Everlasting .................................... Company Ol’ Missouri Evenin’ ........................ Radio, Willa, Vesta Sorrow Done ............................................... Willa Straw to Gold ...................................... Vesta, Willa A Good-Looking Girl ....................... Willa, Vesta, Company Ugly ..................................................... Quimby Scud ..................................................... Eugene Them Beasts .............................. Vesta, VESTA’S VICTIMS Map of Scars....................................... Willa, Eugene

ACT TWO There’s a Train A-Comin’ ................................ Company Ruination ................................................. Vesta City of Angels ........................................... Eugene Hobo Songs ................. Jack K., Willa, Eugene, Skeet, Tramps The Mad Dog .............................. Willa, VESTA’S VICTIMS Banquet Sequence ......................................... Company We Foxes ................................. Willa, Eugene, Company

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WE FOXES Draft 5.0 | p. 1 Oliver

WE FOXES

A southern Gothic musical thriller by Ryan Scott Oliver

First in the Dogs Trilogy

ACT I

SCENE ONE: THE SMALL TOWN OF HAVOC, MISSOURI — NIGHT — OCT. 1945 MUS. NO.: “THE REAPER REAPS”

(The congregation of HAVOC TOWN is illuminated in mourning.)

MINISTER Brothers and sisters, tonight we’ve lost two saints of Missouri: our Sheriff-Coroner and his wife, Vesta, are dead. Sheriff Quimby and his kin have kept our town safe from evil for more than a few generations ... and Vesta? Well, to know Vesta Quimby was to love her. Let’s pray. HAVOC TOWN (Hymn-like.) THE REAPER REAPS LIKE CORN FOR FALL. THE REAPER KEEPS DAYS FOR US ALL.

(Music and a train thunder forward.) PAPER MAN Minister, their girl? She murdered ‘em? MINISTER Yes. Now I’ve to look after their coffins. PAPER MAN Damn sinful, a girl killing the two people who adopted her as their own. DOTTIE Can we see ‘em, Reverend? MINISTER Not much left of them, I’m afraid. But rest assured they’ll get a right burial in Jefferson, like they deserve. (Then, addressing the distraught.) GOD BLESS THE SHERIFF, AND GOD BLESS THE SHERIFF’S WIFE! HAVOC TOWN GOD BLESS THE SHERIFF’S WIFE!

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(The MINISTER exits as behind the church, the sometime tramp JACK K. and THREE OTHER TRAMPS nail lids onto a pair of coffins.)

TRAMPS THE REAPER REAPED AND SPARED NO LIFE... JACK K. (To the sky.) Farewell, my sweet Willa. THE REAPER REAPED SHERIFF AND HIS WIFE. MINISTER These coffins are hardly shut tight! You tramps — fly in and out of town like it’s yours. A shit job like this gets half! JACK K. Is the lid on or ain’t it?!

(Train whistle blasts, deafening.) CONDUCTOR Last call for Jefferson! MINISTER Christ Jesus! Just load ‘em as they are!

(The TRAMPS serve as pallbearers to the train, passing MOURNERS.) LORAMAE I told Vesta she should have never adopted that girl. But you know Vesta — her heart is bigger than all of Missouri. Was. TRAMPS CARRYING COFFINS 2ND: HE SHUCKS THE WISE AND HE PLUCKS THE POOR. 1ST: HE STRIPS THE RICH, AND HE CUTS THE DUMB. JACK K. HIS SCYTHE IS FAIR, NO, HIS OLD CUTTER DON’T CARE WHERE IT IS THAT YOU COME FROM. ALL OH! THE REAPER DON’T CARE ABOUT YOUR NAME. (NO, SIR!) MAN REAPER GOIN’ GITCHA JEST THE SAME! (HE’S GONNA GITCHA JEST THE SAME) THE REAPER REAPS LIKE CORN FOR FALL. OH, REAPER KEEPS DAYS FOR US ALL. THE REAPER KEEPS DAYS FOR US ALL. THE REAPER KEEPS DAYS FOR US ALL ...

(HAVOC TOWN goes off, leaving only THE TRAMPS.) 1ST TRAMP Jack. Why are you laughing?!

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JACK K. (Opens a flask.) Ol’ reaper ... he’s a tricky devil. 2ND TRAMP Jack, you been around Havoc town too much. You know things nobody knows. So, is it true, what they say Willa done? JACK K. It’s true I been all around this country — some Mexico, too — and I tell you, somethin’s not right about this town ... Havoc just brings you back. As for those Quimbys, they’re dead all right. And our Willa, she is responsible. 2ND TRAMP No! JACK K. But what really happened here tonight ... you won’t read in tomorrow’s paper. See, y’ had t’ know Willa a way I did. Met her along this rail my first time in Havoc, well before “Vesta Quimby” took her in. By then, poor kid‘d lost almost everybody — her Ma, her Pa, plus two brothers. Ol’ Reaper got ‘er good. When I met Willa, it was just her and her eldest, George. 1ST TRAMP Tell it, Jack. JACK K. (Lights a cigarette.) TO REAPER, HAIL! AND WE GIVE THANKS. NOW I’LL TELL THE TALE OF WILLA FRANKS. It all began four year ago.

(Suddenly a sidecar opens as WILLA appears, an eager teenager.) WILLA

George!

SCENE TWO: THE RAILWAY — FOUR YEARS IN THE PAST MUS. NO.: THE ROAD EVERLASTING (The world turns warm and sweet as GEORGE, Willa’s 18-year-old brother, hops out of the train beside her. On the side of a boxcar the symbol “∞” has been scrawled in chalk. Nearby JACK K. draws “1941” on the train.)

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WILLA (CONT.)

George look! It’s our symbol. GEORGE “Never give up.” Means our people have been here, Willa. ON THE ROAD EVERLASTING, WE GO ON ‘N ON. TRAVEL BESIDE ME, AN’ I’LL GET YOU TO DAWN. TRAIN CONDUCTOR Belleville, Illinois. GEORGE C’mon!

(GEORGE and WILLA steal into the car.) GEORGE (CONT.) KENTUCKY, CAROLINA, TENNESSEE; OUR HOT SHOT ROLLS TO TOWN, AND YOU FOLLOW ME — WE TAKE WHAT WORK WE FIND — WILLA THEN LEAVE IT ALL BEHIND! GEORGE (CONT.) WOE-OH-OH WOE-OH-OH WOE-OH-OH! WOE-OH-OH — ! WE MAKE ADVENTURE AND SLEEP UNDER STARS! WE KEEP REAL CLEAN AND CALL THE WHOLE WORLD OURS. WE LIVE BY HOBO CODE, LOVIN’ LIFE OUT ON THE ROAD! THAT’S LIFE OUT ON THE ROAD! WOE-OH-OH! WOE-OH-OH!

(WILLA and GEORGE peel off the train into a “jungle” of TRAMPS.)

WILLA George, look what I stole! Five bucks! GEORGE (Grabs her, fierce.) Willa, we ain’t thieves! Y’ get money from someone, you earn it — that’s the code I taught you! “One for one.” Give what you get, and get what you give. Now you gonna give back that nickel-note, understand? WILLA

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I ain’t eaten in two days! Sometimes this life seems so hard. GEORGE Hard, yeah, but free. Look, you wanna go to a nun house, you go, but we — WILLA “We live like this ‘cuz we choose it.” (Hands back the five bucks, ugh.) GEORGE See them tramps? Good men and women, livin’ liberated with no roots ‘cept the ones they got with each other.

JACK K. That’s so, George. GEORGE Willa, this is Mr. K.; he’s a writer. JACK K. I’m tellin’ famous tales about folks like us. This road ... ah, it is a wonder!

GEORGE (CONT.) & WILLA JACK K. & TRAMPS ON THE ROAD EVERLASTING. OH, IT’S OUR CHOICE TO ROAM, OOH LIKE THOSE WALKED BEFORE US, OH, THE WORLD IS OUR HOME. THE WORLD IS OUR HOME. WHERE YOU ARE IS HOME! WHERE YOU ARE IS HOME!

(WILLA falls into his arms. A COP and the ROBBED MAN rush on.)

ROBBED MAN There, that girl!

(GEORGE grabs WILLA and they turn to run, but COPS surround.)

GEORGE It ain’t her took your damn money. ROBBED MAN Sure as hell. GEORGE But, I got it mister. COP All right, son. WILLA

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NAW, YOU CAN’T TAKE HIM, SIR, HE’S GOOD LIKE GOLD. YOU’RE RIGHT, I TOOK IT ‘CUZ THE NIGHT’S BEEN SO COLD? SIR, HAVE SOME KINDNESS YET — I’LL PAY IT TWICE IN SWEAT. ROBBED MAN I wouldn’t let you ‘round my house if you laid golden eggs. Lock this boy up. JACK K. Wait here now, he deserves a fair trial! COP (To GEORGE, cuffing him.) My advice, kid: enlist. Beats sittin’ in the lock doin’ jack, and hell, you might even make a piece. WILLA George? GEORGE That true, Mr. K.? If I go to war, I won’t go to jail? WILLA No! You can’t! GEORGE Willa, no jail for us Franks. Plus them boys that fight get respected, and I’d come home sooner ‘n nothin’ and — maybe I’d be some kind o’ hero? WILLA But you’re my hero now. GEORGE THERE’LL BE A NEW DAY SUN, Willa. WHERE WE GOT NO CONCERN. AND SOON, OUR SORROW DONE, WHEN WILLA GIRL, I RETURN. Now stay close with Mr. K. WILLA Can take care of myself. GEORGE My kid sister needs protection. WILLA George, what’ll I do without you?

(SOLDIERS march on, changing George’s clothes to military garb.)

GEORGE & SOLDIERS WILLA (CONT.)

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TAKE THE ROAD EVERLASTING, OUR ROAD EVERLASTING... MARCH THROUGH THAT UNKNOWN. MARCH THROUGH THAT UNKNOWN. I FIGHT BESIDE YOU I FIGHT BESIDE YOU, WHEN YOU FIGHT ALONE — YOU’RE NEVER ALONE, YOU’RE NEVER ALONE! (OHH) YOU’RE NEVER ALONE! GEORGE (CONT.) I’m comin’ back to get you! Promise! WILLA I know, George! I know!

(GEORGE is gone.) WILLA (CONT.)

THERE, MY HEART, GONE TO WAR. TILL WE MEET AGAIN. STOPPED, MY HEART, BRUISED AND SORE, WAITS TO BEAT TILL THEN. TILL THEN.

TRAIN CONDUCTOR

Havoc, Missouri. Havoc, here. (WILLA joins the TRAMPS, warming her hands. The train goes off. JACK K. goes to WILLA, who looks increasingly ill.)

JACK K. Willa, I been writing about you. Have a story the paper said they’d publish — it might bring you some help? WILLA I don’t feel good. JACK K. Just have to sweat this. WILLA You’re my guardian angel, Mr. K. (Alone, to the sky.) Reaperman, you’re comin’ to get me, ain’tcha? Well if you are, guess that’s just what is. THERE’S MANY A SOUL THAT FEARS HIS BLADE, AND MORE WHO COWER AND ASK HIM, “WHY?” REAPER CALLS, “YOU’RE BORN TO A CROPLAND OF CORN AND YOU’RE CUT WHEN YOU GROWED TOO HIGH, WE’RE GROWED BUT FOR TO DIE.

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(Coughs, slumping down.)

(JACK K. goes to a PAPER MAN.) JACK K. She’s got pneumonia; 13-years-old, and I don’t expect her to make it through winter. If there was a soul for God to save, it’s hers. PAPER MAN Well Jack, I don’t know ‘bout God comin’ a-savin’ her ... but there’s someone close who just might.

(Suddenly there is MRS. VESTA QUIMBY. Some days past thirty-five-years-old, and at first sight stands tall like a marble rendering of the Roman Goddess after which she is named. Vesta is flanked by PHOTOGRAPHERS, REPORTERS, and HER FRIENDS.)

VESTA Why, she’s the most beautiful thing I’ve ever seen. Willa? I’m Vesta Quimby. WILLA (Confused, feeble.) Mr. K.? VESTA Don’t be afraid, Willa; I’m here to help. MY DEAR, I’VE COME TO BRING YOU HOME WITH ME. I READ YOUR STORY, AND I HOPED I MIGHT BE THE ONE TO CHANGE YOUR LIFE? My husband, the Sheriff-Coroner and I want to adopt you. WILLA Adopt me? But George’s comin’ back ... VESTA You’re dying, Willa. WILLA Here is my people. Here’s where I belong. VESTA But ... you don’t want to die, do you? WILLA Oh, God — Oh, George — !

(WILLA faints into VESTA’s arms.)

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LORAMAE GOD BLESS THE SHERIFF’S WIFE! HAVOC TOWN GOD BLESS THE SHERIFF’S WIFE.

Transition to: the Quimby Estate. (The lavish house assembles as SHERIFF J. QUIMBY appears, older than Vesta and still handsome; really All-American.)

QUIMBY You did what!? I thought we was just gonna take care of her?! VESTA And we will — forever! Made your coffee how you like it: black and four sugars. QUIMBY Have you plumb lost your mind? VESTA No J., for once I’m seeing things clear. QUIMBY I see. Doctor says I ain’t got bullets in my gun, that what this is about? Cuz I can’t make a kid!? VESTA Husband, you’ve been heart-sore since the appointment — hell, you’ve hardly put the whiskey down. But no matter what, you’re always my #1. And I’ll always be #2.

(During the scene a finely prepared bedroom has been set and we find QUIMBY and VESTA outside the open bedroom door. WILLA lays in the bed, stirring, possibly hearing their conversation.)

QUIMBY Then what about workin’ on us for a bit? I miss you, V. We haven’t hit the sack in three months. VESTA I love you now as I ever did. I’m not getting younger! And with your re-election coming up, charity prints big in the paper — QUIMBY Fine, but V. something’s gotta change around here. VESTA Yes, oh yes, now come meet her!

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(VESTA enters the room, as QUIMBY follows, helpless.)

VESTA Willa? Willa ... ? WILLA Where am I? What the hell is goin’ on.

(WILLA realizes she is being restrained in the bed.)

VESTA Oh, let me just untie those! We thought you’d get spooked in the middle of the night and run off, haha! You’ve been sleeping three days straight. But doctor says you’re going to be just fine in a few weeks. Sheriff-Coroner Quimby here and I, we’ve adopted you. J., say hi to your new daughter! QUIMBY (Can’t even look at her, ugh.) She’s your dog, V.

(QUIMBY leaves.)

WILLA (Struggles out of bed.) Daughter? No, ma’am, I’m Ruth Franks’s daughter. See, my brother’s comin’ back — ‘n we’ve got plans ... our life’s on the road. VESTA A life’s in a house! WILLA Road life ain't like your life. For tramps, every day’s a workin’ holiday. Free as you please — only job is survivin’. And that's how it'll be every day for always when George gets back — like heaven in real time — VESTA Heaven? It sounds like poor man’s hell! WILLA I’m grateful you’ve taken me in, and I’ll earn my keep. VESTA Have sense, haha! Look at this fine room I’ve prepared for you, and oh, look at this dress I made, (Showing it hung up.)

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see how it shines? Ooh! WILLA George said rich folk weren’t to be trusted. I ain’t like you ... VESTA (Sits by her. Pets her.) But you could be. I could change you? See, you and me, we’re tied together now. DA DA DA DA DA, DA DA DA DA ... Did your mother sing lullabies to you? DA DA DA DA ... DA DA DA DA, DA DA DA DA ... DA DA DA DA DA. (Brings her close.) I promise I’m gonna take care of you, for as long as I live. WILLA I thank you to let me stay, but it’s just a roof for chores. One for one. VESTA “One for one?” Why, for what I have to offer you I expect nothing in return.

(WILLA turns away.)

VESTA (CONT.) Well won’t you at least call me “mother”? WILLA My mother is dead. VESTA (Beat, as a gear shifts in her.) I understand. Look at me, pluckin’ you out of the gutter and claimin’ you like you were my own property! WILLA Yeah it don’t feel great. VESTA Now, if it would make you feel square to repay my kindness with work, then that’s how it’ll be. You don’t have to take the dress I sewed you, it wasn’t that hard to make! We’ll set you up in the cellar, and you can clean, and tidy up, whatever makes you feel comfortable.

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WILLA But. VESTA Oh, I’m so transparent, haha! Well. If someday ... while you’re waitin’ for your brother, of course ... you and I get so friendly that you reason you want to call me “mother” ... then God will have blessed me. Sound good? WILLA Sounds okay I guess. VESTA (Warm, it’s gonna be fun!) Now. Would you like to come to church with me?

Transition to: Havoc Church in service, the Quimbys among them. HAVOC TOWN THANK THE LORD EVERLASTING, OH, KEEP FAITH AND GIVE PRAISE. THE WRETCH IN THE WILD, OH, SHALL KNOW BETTER DAYS, OH PRAISE — ! MINISTER This is the day the Lord has made! Our own Vesta and J. Quimby have once again demonstrated the charity Jesus requests of us all. Now on behalf of the elders, I present her to receive the sacrament of baptism! WILLA Baptism?! LORAMAE Oh Vesta, she’s precious!

MINISTER

Willa, come join me at the altar. WILLA Ma’am, what’s he talkin’ about? VESTA (Totally unconcerned, gentle.) Willa ... it’s just a little ceremony that’s real important to Sheriff and me. All you have to do is say “yes” a pocketful of times, and guess what you get? WILLA What do I get?

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VESTA (Looks up, pointing.) You get someone real powerful watching over you for always. WILLA You mean — God? VESTA And Jesus and all of the Angels. You have to say an awful lot of yeses though! WILLA (Considers, then whispers.) Will they look over George, too? VESTA (Whispers back, warm.) I think they might!

(VESTA leads WILLA to the altar, standing behind.) MINISTER Willa, do you renounce sin and the power of evil in your life and in the world? WILLA (Looks to Vesta, then.) Yes.

(WILLA is baptized as VESTA looks on, in love.) WILLA HAVOC TOWN THERE’S A ROAD EVERLASTING, I believe in Jesus Christ, his only Son, our Lord. IT’S SURE AS OUR STAR. who was conceived by the Holy Spirit and born of the virgin Mary. NOW GEORGE, He suffered under Pontius Pilate, was crucified, died, and was buried; he descended to hell. WON’TCHA COME BACK, The third day he rose again from the dead. He ascended to heaven ... VESTA WILLA, HE’LL COME BACK! ‘N WE’LL GO SO FAR — ! SO FAR! WE’LL GO SO FAR — ! WILLA (CONT.), VESTA, COMPANY TURNS, THE ROAD EVERLASTING, OH! AS THEM YEARS, THEY TRUDGE ON, NO ONE CAN GUIDE YOU, NO! (JUST GHOSTS BESIDE YOU) NOW GET YOU TO DAWN, VESTA (CONT.) THE REAPER REAPS, YET WE

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RAILWAY BABY, ALL PULL YOURSELF — PULL OURSELF — WE PULL OURSELF! TO DAWN. TO DAWN.

(Blackout.) SCENE THREE: PRESENT — QUIMBY ESTATE, REAR PATIO — FRIDAY EVENING

JACK K. Four years passed, and we won the war. But then about an ugly week ago, the seed of a whole different war was planted. It’s 1945 and there’s a new song playing on the radio.

MUS. NO.: “OL’ MISSOURI EVENIN’” (JACK K. chalks “1945” on a tree. The massive property fades into backwoods. JACK K. goes on writing: “Frid’y.” WILLA and VESTA are listening to the radio, playing Monopoly. WILLA wears a variation on what we saw her in four years ago, equally worn.) [NOTE: The chalk-scrawling is never noticed by other characters.]

VESTA (Rolls the dice.) ... six, seven, eight — no no no! WILLA Park Place with three o’ them hotels, Mrs., you’re bankrupt! Finally, I beat you! VESTA Only cuz I let you be the hat, and the hat always wins ... WILLA Or maybe it’s just my lucky day!

(WILLA gets up, too pleased, throws a rock at the maple tree and a seedpod falls to the ground. She eats the seeds.)

WILLA OL’ MISSOURI EVENIN’, WHEN THEM BUGS LIGHT UP THE SKY. VESTA THE MAPLE TASTES LIKE HEAVEN. AND YOU THINK, “Four years can fly.” Shit! AND YA SEND A PRAYER UP ABOVE SEND A PRAYER — ABOVE TO YOUR OL’ MISSOURI, OL’ MISSOURI, OL’ MISSOURI ... OL’ MISSOURI ...

VESTA (CONT.) Guess who’s got a letter from George?

RADIO OLD MISSOURI EVENING, WHEN THE CLOUDS GET FAT AND LOW. SOON THE STORM IS COMING, AND QUICKLY YOU MUST GO TO THE ARMS THAT YOU’RE DREAMING OF: YOUR OLD MISSOURI LOVE.

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WILLA Read it Mrs.! VESTA (Opening it.) Now it’s posted before we won, so this ought to be interesting! GEORGE (Appearing in moonglow.) “DEAR WILLA, I AM WELL AND I SURE HOPE YOU ARE WELL ALSO. IT IS NOT REAL GOOD FOR MAIL HERE BUT I DO TALK TO THE MOON EVERY NIGHT LIKE WE USED TO, AND I HOPE YOU DO, TOO. NOTHING SPECIAL TO REPORT FURTHER ON. I WILL BE HOME SOON. LOVE, GEORGE.” WILLA And? That’s it?! His letters are too short! I been listenin’ to the radio every night this week for word about George comin’ back, but the news man hasn’t said nothin’ for two weeks. VESTA Willa, I was thinking tomorrow we could look at dresses in town? You’re seventeen now, and you’ve been wearing that old thing every day since two Christmases ago. You’ve outgrown it and it smells! WILLA Mrs., you’ll never see me in a dress! VESTA You also said you’d only play Monopoly as the damn Scottie dog. People change — WILLA Oh, it’s just a game, Mrs. VESTA Life’s a game Willa, and I just want to help you win! Stop chewing your hair. WILLA But when George comes back, any day now, I won’t need help anymore. World ain’t all rich hats and poor dogs. VESTA So you say. (Beat.) Willa, are you happy here?

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WILLA Happy? I like workin’ and earnin’ my keep. And I like makin’ you happy! VESTA Sometimes it feels like you’ve just been making the best of a bad situation. Like you’re just day-counting till your brother’s back. WILLA It’d be nice to see George again, he’s the only family I’ve got. The way I feel, it’s a mess of love. VESTA But see, that’s how I feel about you.

(Clock chimes eleven.) VESTA (CONT.) Well, that’s me. Don’t stay up all night listenin’ to that radio again. WILLA I won’t. G’nite, Mrs.

(VESTA exits and after a moment, WILLA turns the radio on.) WILLA (CONT.)

Brother, it is taking you forever. I shouldn’t get impatient on account o’ it’s my fault you got sent away, but I do. Even bein’ the hat and beatin’ the Mrs. at Monopoly — I think I’d rather stay the dog and be a loser. I smile all the time now, brother, but I’m so bustin’ full o’ sorrow, I — ah!

WILLA (CONT.) 73rd? The 73rd!

LISTEN: MUS. NO. “SORROW DONE”

WILLA (CONT.) (Turns the radio off.) George, you son-of-a-bitch, ... you’re comin’ home! THEY GOT TOO MUCH HERE. RICH AS CAKE, GEORGE. I’M HOT TO TOUCH HERE,

RADIO You just heard “We Could Have a Life, Couldn’t We?” by Mercy Crane. It’s been two months since the Japanese surrender, our Missouri boys are comin’ home. Boys from the 71st, 72nd, and 73rd infantries have been discharged and make landfall tomorrow morning. Just in time, too, for the County Exposition. Now up, here’s the Daybreak Boys with their signature song. (Mandolin groove one the radio becomes Willa’s song.)

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NEED TO BREAK, GEORGE. NEED TO BREAK, GEORGE. NEED TO BREAK, GEORGE. SURE, BEEN A NICE GO. AIN’T NO DOUBT, GEORGE. BUT AT WHAT PRICE, THO? GET ME OUT, GEORGE. ‘CUZ I NEVER HEAR MY HEART, IT’S AN EMPTY SOUND. I NEVER HEAR MY HEART, NO, SINCE YOU AIN’T AROUND. I WAS SICK AND I WAS TIRED, HOPE WAS ALL BUT DROWNED — BUT COME TOMORROW SUN, THESE WON’T BE NO CONCERN. I’LL SEE MY SORROW DONE, WHEN FIN’LLY GEORGE, YOU RETURN.

I WANNA EAT GRAVE STEW, ‘N HITCH ON A FREIGHT, GEORGE. ROLL LIKE’M WAVES DO — AND OOH — OOH — OOH, I WANNA SKATE, GEORGE! I WANNA SKATE, GEORGE! ROLLERSKATE, GEORGE! I GOTTA GET FREE THEN. AND WHO CARES WHAT DANGER? I’LL ONLY BE “ME” THEN, INSTEAD OF THIS STRANGER. ‘CUZ I NEVER HEAR MY HEART, IT’S AN EMPTY SOUND. I NEVER HEAR MY HEART, NO, SINCE YOU AIN’T AROUND. GEORGE, I KEPT THE CODE YOU TAUGHT, ‘N TO THE ROAD, I’M BOUND. BUT COME TOMORROW SUN, THESE WON’T BE NO CONCERN. I’LL SEE MY SORROW DONE, WHEN FIN’LLY GEORGE, YOU RETURN. SOON, MY HEART BEATS ONCE MORE, NEVER COLD AGAIN. FREE MY HEART, FROM THE DRAWER — I CAN’T WAIT TILL THEN, TILL THEN! OH, WON’T YOU COME TOMORROW SUN!?

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‘N TAKE ALL MY CONCERN? I’LL SEE MY SORROW DONE, WHEN FIN’LLY GEORGE — I’M SO EXCITED! — FIN’LLY GEORGE, YOU RETURN FROM THE BATTLE WON, THEN, AT LAST GOODBYE TO THE PAST AND ALL THAT SORROW, MY SORROW DONE!

(Then, from the back wood, drunk voices. WILLA steals into —) Transition to: Cellar Quarters. (Willa’s meager bedroom doubles as laundry room, where an old, bony-looking furnace is prominently featured.) (Just outside the cellar quarters, SHERIFF-CORONER QUIMBY is hauled onstage, drunk, by OFCR. WILKINS, older, and the younger rookie HATLESS. The men try to be quiet, but WILLA listens through a small window in the dark.)

OFCR. HATLESS I tell you Wilkins, this is the last time I haul Sheriff’s ass home drunk. Feels sure the man’s tryin’ to get unelected! OFCR. WILKINS You hush up Dick Hatless, ol’ boy just needs a rest; lay him here and let’s get!

(THE OFFICERS drop him by the window and run off, as WILLA slouches, not to be seen. QUIMBY pulls himself, weak, to the window, peering in like a curious, tired steer. He sees something in the dark.)

QUIMBY Well hullo, you.

WILLA Uh. Hello Sheriff. Had too much to drink at your re-election fundraiser? QUIMBY Naw. Had too much to drink before the fundraiser. WILLA Oh. Bet the Mrs. woulda liked to go. QUIMBY Nah. Tonight was boys-only. WILLA Seems in politics, it’s mostly boys-only. QUIMBY

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V.’s contributions are more ... behind-the-scenes. I see you’ve got a guest. WILLA Guest? Hah, Sheriff you’re drunk. Just me in here. You better sleep. Me, too. QUIMBY O.K. Night, then.

(WILLA closes the drape and crawls into bed. Then ...) THE WOMAN FROM THE DARK Goodnight. SCENE FOUR: HAVOC DOWNTOWN — SATURDAY MORNING MUS. NO.: “VESTA ABOUT TOWN” (HAVOC is bustling as VESTA, in her Saturday best, carries a basket of red and blue flowers. WILLA dashes after with two long yellow flowers. JACK K. chalks “Sat” on a large shop window.)

WILLA Mrs., I reckoned all that red and blue could use some yellow. It’ll stick out pretty. VESTA (Hates it, but sweet.) God knows I love a stick-out. LORAMAE Vesta Vesta Vesta!

VESTA Hello, girls! Willa, stop chewing your hair. SADIE Vesta, this is my brand new best friend Dottie Smothers; she’s new to Missouri. Dottie, this is Vesta Quimby — DOTTIE OH, OF COURSE; YOU’RE THE SHERIFF’S WIFE! How d’ya do! VESTA How d’ya do. This is my daughter, Willa. WILLA I picked out them yellow fellers in the basket, but I don’t think the Mrs. likes them very much cuz it screws up her

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theme, so if you want ‘em, you could do us all a favor. VESTA (Off of Dottie’s confusion.) She’s adopted. DOTTIE I see! Well — thank you!

(A series of rather ordinary people accost VESTA.)

JANET BLOOM Vesta! Hello girls — don’t mean to interrupt but, the children were hoping you’d come to Sunday School this week? I told them you’d be busy — VESTA I can surely make the 10 o’ clock but the noon may be trickier. MR. PARRIS Vesta, my wife, the Mrs. Parris, just sprayed the last of that delicious scent you made. Tobacco and oakmoss, who’d have thought! DOTTIE You make perfumes? MR. PARRIS Mrs. Quimby is a regular alchemist!

(VESTA chats with MR. PARRIS.)

DOTTIE Vesta’s ever so popular! LORAMAE Bein’ wife to the Sheriff-Coroner is a real big job in a real small town! SHERIFF’S WON HIS TICKET THREE TIMES STRAIGHT. ‘N HIS DAD WAS SHERIFF BEFORE! SADIE VESTA AND SHERIFF, THEY TURNED THIS OLD SWAMPTOWN INTO A WHOLE LOT MORE. NOW WE’RE THE COUNTY SEAT — T’ THINK, A TOWN LIKE OURS! ROUND HERE THE QUIMBY CLAN ARE KINDA MOVIE STARS! LORAMAE AND THANKS TO SHERIFF,

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CRIME IN OUR TOWN STAYS LOW! (SO LOW!) WE’VE ONLY HAD FIVE MURDERS IN TEN WHOLE YEARS! DOTTIE (CONT.) THAT IS SO FEW MURDERS ... I KNOW! I KNOW!

(A PAPER MAN snaps a shot of the ladies.)

PAPER MAN VESTA, PHOTO FOR THE SUNDAY PAPER!

(The WOMEN pose for a photo, real close.)

DOTTIE Wait, one with Willa now! WILLA Oh I don’t take photos for the paper no more after Mrs. Durbles said I bring down their “inherent aesthetic value.” But I threw an apricot at her cat and I felt O.K. about it.

PAPER MAN Vesta, will you be joining Governor Slaughter and his wife at the Expo? VESTA The Quimbys will be there! Dottie, you’ll come with us, won’t you? DOTTIE To the Expo? With Vesta Quimby and her friends?! Oh my gosh it’s all happening! LORAMAE You’re one of the gang now, Dottie!

(DOTTIE and SADIE go off arm-in-arm, clucking.)

WILLA Can I get some candy at Mr. Madder’s? VESTA I do need to fix a box of chocolates. LORAMAE Willa, you won’t mind if I tag along will you? I know you love to eavesdrop on our conversations! WILLA

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Naw I don’t really care much what you have to say.

Transition to: Mr. Madder’s Candy Shop. (WILLA moves down the aisles while LORAMAE conspires at VESTA who is carefully curating a chocolates box. MR. MADDER and a CANDY BOY serve a few PATRONS.)

LORAMAE DOTTIE’S HUSBAND IS BIG IN OIL. BUT THAT’S A FACT I’M SURE YOU ALREADY KNEW. VESTA YOU LOOK TAKEN, LORAMAE. LORAMAE Well ... (Stuffing chocolates out of Vesta’s box into her mouth.) TODAY AT POST OFFICE, I HEARD SOME TALK ‘BOUT SOMEONE RUNNIN’ AGAINST SHERIFF. GUESS FOLKS AREN’T TOO HAPPY. VESTA WHO DOES MORE FOR THIS TOWN THAN I DO? WHY, EVEN JUST THIS YEAR WHO RUNS MORE CHARITIES? WHO RUNS MORE SOCIAL CLUBS? AND I CAN’T EVEN COUNT WHAT WE’VE CONTRIBUTED TO THE RELIEF — ! LORAMAE But you’re not runnin’ for Sheriff. J. is. (Mouth splattered with chocolate.) The Quimbys are lookin’ a little messy these days. All I’m saying is ... Things don’t change, and fast, your re-election’s sunk. VESTA Loramae, I can’t be bothered. After all, haven’t you heard? Governor Slaughter’s wife is holding her annual Orphan’s Banquet here in Havoc. And rumor is ... she’s looking for a local residence. LORAMAE Where did you hear that rumor? VESTA I didn’t hear it. I started it. LORAMAE Vesta Quimby. (Stuffs three chocolates in her mouth.)

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VESTA Mmhmm, and at said Orphan’s banquet, we’ll remind the people when the Quimbys move forward, Havoc moves forward! This town is sure for hell without us!

(Nearby, WILLA is bagging candy, when TWO TRAMPS slog in.)

DRUNK TRAMP SWEET GAL, YA SPARE A NICKEL FOR A POEM? WILLA THE HELL? YOU’RE DRUNK! AND THIS AIN’T NO PLACE TO ROAM. SOBER TRAMP RICH GIRL, YOU’RE TRAMP LIKE ME. JUST, THEY PLUCKED YOU OFF THE TREE. WILLA (Quiet.) Yeah, but tramps don’t beg. You want a nickel, you find some work. That’s code!

(The CANDY BOY advances at them with a broom.)

CANDY BOY Out you trash! (Waves the broom at them.) You too, girl!

(The CANDY BOY swats WILLA with the broom; she stumbles.) LORAMAE Jeremy, you just molested Willa Quimby! CANDY BOY (JEREMY) Lord, oh — looked like she was with ‘em! VESTA Sweetheart, are you all right? WILLA Fine enough without a broom in my gut! VESTA Ha! Simple misunderstanding, obviously. (To MR. MADDER.) Nothing a fresh bag of sour suckers couldn’t fix, right Mr. Madder? MR. MADDER Make it two, Mrs. Q. (Aside.) Vesta, my sincerest apologies; Jeremy —

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VESTA Oh, I’ve known his type before. MR. MADDER His ... type? VESTA Queer. Why, I knew a boy once, worked at a shop like this one, and late at night he’d go behind the store and let customers pay for their goods another way. Mr. Madder, you’ve never seen a boy drop to his knees faster at church. MR. MADDER Not Jeremy!

CANDY BOY (To WILLA, sucking a hard candy.) I find the older they get, the longer they last in your mouth!

MR. MADDER ... He’ll be gone by Monday. VESTA No, just keep him in the backroom. I’m sure he’d love it in the rear. HAH!

Transition to: the Town Square. (OFFICERS HATLESS and WILKINS are arresting the TWO TRAMPS.)

DRUNK TRAMP Can’t arrest me for reciting Dickinson! OFCR. HATLESS I can for public intoxication! WILLA Mrs., they weren’t doin’ any wrong!

(JOHN BRASS, a weathered gentleman and former hobo himself, steps out of the growing CROWD to OFCR. HATLESS.)

BRASS And where’s Sheriff Quimby?! Why I’ve never seen worse “public intoxication” in all my years on that everlasting road, than when I passed by him last night after his joke of a re-election fundraiser. VESTA MR. BRASS? BRASS

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Vesta. VESTA Yes, my husband is a little “bitten by the dog,” but it’s only because he was enjoying the company of the good men of Havoc, who appreciate that the Quimbys have turned this town upside down and for the better — BRASS Well these years, the Quimby law is cuffin’ innocent men while the guilty ones are nursing their hangovers! VESTA MR. BRASS, YOU HAVE AN UNPOPULAR OPINION. (Turns to walk away.) BRASS This public general is changin’ Vesta. That’s right. There’s a growin’ faction who think it’s time for a change in Havoc. Someone who hears the cry of the real, regular men of this town! VESTA MR. BRASS, WE ALWAYS HAVE AN EAR FOR THE COMMON MAN. BRASS Look at your estate. Your acreage is three times the size of the largest in Havoc. VESTA That was inherited by my husband. BRASS Which is why he has no ethic for hard work. These otherwise good men your husband’s officers seek to arrest are hoboes — the hardest working men in this country. I know, because I was once one of them. And though I’ve long given up the tramp life for Havoc roots, I have never lost sight of the hobo philosophy: “one for one.” Give what you get. VESTA I’m familiar with the phrase. BRASS Well, to see all that you have, from the bill of your Saturday hat to the heel of your walking shoe, all one has to look at

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to know the true extent of your generosity is your poor, poor daughter.

(The CROWD groans — a line’s been crossed, but he’s right.)

LORAMAE You leave Willa out of this! VESTA (Icy calm.) Speak your heart, Mr. Brass. BRASS I believe — I believe I have said all I need to say for today. VESTA Then. Perhaps you will accept an invitation to come to my home and talk this over with my husband? You’ll find the Sheriff-Coroner to be quite receptive to all your ideas — sobered up of course!

(The CROWD laughs; ah, everything’s fine!)

VESTA (CONT.) And speaking of sobering up — officers, let’s let these two off with a warning. “Slow to anger, abounding in love,” Psalms 103. Oh, I’m just so glad we live in a country where folks can talk to each other like folks! THANK YOU, MR. BRASS, THANK YOU! Have a blessed day everyone!

(VESTA takes WILLA’s arm with enough force she drops her candy.)

WILLA Mrs. — what did that man mean about me? VESTA Come on, Willa. And smile.

SCENE FIVE: QUIMBY ESTATE — THAT NIGHT MUS. NO.: BEFORE STRAW TO GOLD (Cellar quarters. WILLA is scrubbing one of the Sheriff’s shirts, listening to the radio.) WILLA

RADIO Tomorrow’s the great big day as the County Expo takes over town. Governor Slaughter and his wife are sure to attend to join other Missouri families for a great food, loads o’ fun, and maybe even a little frivolity. Folks sixteen and over can try their hand at Genial Bob’s Shooting Range, where the grand prize is one hundred dollars. And this year, Arlene’s Loop-de-loop returns, as well as Uncle Jim’s Cotton —

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One hundred dollars Jesus Christ.

(VESTA comes down the stairs holding fabric.)

WILLA (CONT.) How does Sheriff manage to get puke in the pocket, too? Mrs.? What’s wrong? VESTA Re-election’s two weeks away. No fooling that John Brass; folks are turning. WILLA Can’t you do somethin’? You got half the town under your hat. VESTA I’m just “the Sheriff’s Wife,” Willa. Take the Sheriff out of that and you’ll see what I’ll be. WILLA Well, you always think o’ somethin’. VESTA We need something beyond me. (Looks into her.) Willa ... what John Brass was tryin’ to say, is that sometimes, you make us look bad, like we aren’t takin’ care of you. WILLA You are takin’ care of me! You’re just lettin’ me be me.

(VESTA shows the fabric in her hand is the dress from years ago.) VESTA What if you let me dress you up? Bring you to the Expo tomorrow, and showed the town how I “reformed you” — that’s what they’ll say, everyone likes stories like that — it would bring good press, and maybe change some hearts. WILLA You really think if I put on some toehead dress, the Sheriff’s gonna get re-elected? That don’t make sense! VESTA You ever seen a magician do a trick? See when a magician gets up to somethin’ over here, the fool follows. (Waves her right hand to the side.) But the wise ones know that the real trick is happening in the other hand.

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(Snaps with her left hand. Confusion.) We need a little trick, Willa. WILLA You’re tryin’ to uh, what’s that word? Starts with an “M” — VESTA Magic! WILLA Manipulate, that’s it. Like a puppet man. VESTA Ha. Sometimes people do things ... so that they might make other people do things. And if the things they do benefit everybody ... is that wrong? WILLA Well, I s’pose if you’re not hurtin’ nobody and people are better off ... You really think me in a dress at the expo would make people do things? VESTA God yes! You don’t see yourself like I do. And you probably never will. WILLA Mrs., I’m road people, like John Brass — it’s in my blood. VESTA John Brass is a no-class tramp! But you ... you’re better than him. Because you can change it! One day a Scottie dog, the next, the hat! WILLA It’s not the same! VESTA It is, ‘cuz it happened to me! (Beat.) Yeah, I was road people once, too. It’s in my blood, same as yours. Oh ... somehow I’ve managed to keep this a secret, but ya see ... I was adopted, too.

MUS. NO.: “STRAW TO GOLD”

WILLA ... No shit ...

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VESTA I’m half-Indian. See my skin, it’s a little like leather from too much sun, but I cake on that powder and I pass all right. See, I’VE FOUND IT REAL USEFUL THAT MY HERITAGE IS MIXED. I WAS AN ORPHAN OF AN OSAGE INDIAN TRIBE. I WAS FIRST RAISED BY MY MOTHER — Who taught me survival.

THEN A PEDDLER — Who showed me the value of things. THEN AT LAST A PREACHER — Who showed me how to stand upright and command respect from my community! AND SOMEHOW, THEIR THREE METHODS SEEMED TO JIBE! SO NOW THEIR COMMON ANTHEM IS ONE I’M OFT-KNOWN TO DESCRIBE. “TURN STRAW TO GOLD,” THEY SANG. “BECOME ONE OF WORTH, FEMALE SO FINE, SHE’S FATED TO SHINE LIKE WET SHADOWS ON THE EARTH. “STRAW TO GOLD, HAVE WILL TO PURSUE. WITH LABOR AND TIME, SAVE STRENGTH FOR A CLIMB, AND GREATNESS WILL BE YOU.” (Handing her the dress.) COME, WILLA GIRL, DO SOMETHING BOLD?! IT’S ONLY ONE FOR ONE. ‘CUZ THIS LADY SON-OF-A-GUN COULD SEE YOUR STORY SPUN FROM STRAW TO GOLD! WILLA STRAW TO GOLD. WATER TO WINE! WATER TO WINE, METAL AND BRIGHT, AND BRIGHT. UNAFRAID OF A FIGHT YOUR FUTURE COULD BE MINE. THE FUTURE, FINE. LIKE STRAW TO GOLD! SOON WILLA, STRAW TO GOLD, STRAW TO GOLD ... WILLA (Snaps out of it, turning.) Why’s it always come back to dress-up?

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VESTA You think your brother’s comin’ to get you and your life will be all fine on the road, but Willa, your brother — ! Oh, dammit. Don’t you see — WILLA He’s comin’ tomorrow! Yes, radio told me. George is comin’ back this weekend, thought it might be today but tomorrow’s soon enough. The 73rd infantry, the one you always read letters from, IT’S COME AT LAST, AND GEORGE IS ON HIS WAY. And we’re gonna get on the road again and it’ll be like old times, but forever, heaven in real time — VESTA Do you know how ridiculous that sounds? If you had any skill left for the road, you’da been gone two days in. You’re normal now, with no skills, or money — WILLA Money? I know how to get some money. MRS., I HEAR AT THE EXPO, THERE’S A SHOOTIN’ GAME. THE WINNER GETS A HUNDRED CASH — AND YOU KNOW MY AIM! IF I COULD WIN THAT CASH, LIFE SURE WOULDN’T BE THE SAME ... VESTA OH. YOU GOT IT PLANNED. YOU’LL GO TO THE EXPO, AND YOU WON’T RETURN. (Gives up, starts up the stairs.) You should get your sleep; you got a big day tomorrow. WILLA Mrs., don’t be like that! Ugh ...

(VESTA is gone. Nothing to be done, WILLA looks at the dress.)

WILLA (CONT.) STRAW TO GOLD, WATER TO WINE ... (No. Lights the furnace and settles

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into bed.) SOON, MY HEART BEATS ONCE MORE NEVER COLD AGAIN —

(The furnace light goes out like a pathetic dying breath, fading the room to black save for moonlight beaming through. Mist rises. WILLA goes to re-ignite the furnace.)

WOMAN FROM THE DARK Can’t sleep either.

(WILLA stops. But no one is there. WILLA reasons.)

WILLA You’re a yellow dog, Willa.

(The furnace reignites, but as WILLA moves back, it dies out.)

WOMAN FROM THE DARK I’ll have my tea now. WILLA ... Mrs. ...?

(After too long, WILLA manages a step towards the voice, when suddenly the cold furnace bursts with fire sending WILLA grabbing Vesta’s fine dress and rushing upstairs.)

Transition to: Vesta’s Office (formerly Willa’s bedroom). (Outside the door, WILLA spies QUIMBY and VESTA fighting.)

VESTA Twelve years it took the Quimbys to build this place up from a shithole swamp and you’re gonna sink it in just twelve days! QUIMBY Things ain’t like they used to be. Need whiskey. VESTA That’s plain enough to me, husband, plain enough! You used to shave regular, used to be funny, used to dream with me! QUIMBY And you used to be my #2. Now it feels like you’re fightin’ for #1, and who cares what happens to me! Sometimes, I think of what we did — oh, what we did — VESTA Don’t you dare. The Quimbys don’t have regrets. J., things could be good again, if we can just get back on top.

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QUIMBY Why. VESTA (Comes close to him.) Don’t you like to be on top ... ? Guess I haven’t been too wifely lately ... (Grazes his crotch.) Do you need a little tug? That it? QUIMBY Would rather you see the ceiling. VESTA My eyes are always on the ceiling. (Kisses him.) Now, I’ve just got a little list — QUIMBY (Pulls away, disgusted.) Ugh. Just when you get the lights on, you blow the breaker.

(QUIMBY exits the room, revealing WILLA.)

QUIMBY (CONT.) Oof, your girl smells like shit.

(QUIMBY pushes past WILLA as VESTA collapses on the bed. WILLA, like a child, sits at her feet.)

WILLA I had a nightmare. VESTA At least you woke up from yours. WILLA Mrs., I’d like to change. I’d like to let you make me up like you wanted. $100 will be nice, sure, but George would like it if I — grew up a little. And that would help you, wouldn’t it? VESTA At this very moment, it’s the only thing that could save me. WILLA Then let’s put on a goddamned magic show, Mrs.

LISTEN: MUS. NO.: “A GOOD-LOOKING GIRL” VESTA

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Oh, I’m gonna bust! Now go wash up! And I mean, sparklin’! WILLA Like in the tub?! VESTA Without your clothes on!

(WILLA goes into the adjacent bathroom. VESTA tears through lady’s affects, searching for inspiration.)

VESTA A GOOD-LOOKING GIRL CAN’T COME OFF AS COMMON, no. A GOOD-LOOKING GIRL MUST STIR AND OFFEND.

(In the bathroom, WILLA removes her clothes, getting in the tub.)

WILLA THEY STRIP HER DOWN, THEY DRESS HER UP AND PAINT HER FACE — YET THAT’S JUST THE START OF IT, THAT AIN’T THE HEART OF IT —

(Water’s too cold.) SHIT ME!

(VESTA enters to the rescue, bathing WILLA.) WILLA (CONT.) A GOOD-LOOKIN’ GIRL GETS BUILT BY A MASTER. A GOOD-LOOKIN’ GIRL NEEDS PATIENCE AND TRIAL. VESTA THE TONGUES MUST WAG, THE HEADS MUST TURN AND EYES SHOULD STARE. IF THE WORK CAUSES STRESS THEN THE WORK’S A SUCCESS: SEE THE GOOD-LOOKING GIRL AT THE FAIR!

(VESTA holds a towel for WILLA, and when the girl leaves the tub, VESTA is in some kind of awe; the gentle scars of her body can’t detract from her stunning beauty.)

WILLA Oh no — what, Mrs.? VESTA Even more beautiful than I thought. (Plucks a bottle from the cabinet.) I made this perfume. Composed it, like music. (Applying the perfume gently to WILLA.) OH, THE TOP NOTE ...

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WILLA HONEY ... VANILLA ... DELICIOUS. LIKE DINNER ... VESTA “AMBERGRIS.” It’s whale shit. Floats up to the surface, but an artist like me transforms it.

TURNING, TWISTING, BLESSED RELEASE, BURNING, LISTING, NO FOOLIN’ AMBERGRIS ... Come here.

(In the bedroom, VESTA brings WILLA to a mirror, brushing her.)

WILLA Mrs., you’re awful good at fixin’ people. Oh, all you given me. You saved my life, and read me George’s letters, and wrote him! I don't think I'll ever be able to repay you. VESTA Not everything is “one for one.” Charity is a beautiful thing. WILLA Maybe, after George comes, I could visit? Some holiday. Thanksgiving, maybe. QUIMBY (From off, furious.) V.! That girl hidin’ the whiskey from me again?!

(QUIMBY enters, sees WILLA. Everything in his life turns to clarity in this moment, seeing this pure, beautiful girl as he never has before, and in one instant, he has purpose.)

QUIMBY (CONT.) Willa. You ... VESTA Say hello to our secret weapon, J. Quimby! QUIMBY Secret weapon? (Beat, self-conscious.)

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Yeah. Maybe you’re right, V. Cuttin’ back on the booze might do me some good. Need some water. VESTA There’s a tater casserole in the icebox —

(QUIMBY goes.)

WILLA That was the first time Sheriff’s ever looked me in the eyes. VESTA See? And I haven’t even dressed you yet. Oh this bracelet — look how it compliments your skin! WILLA Mother, that’s too much!

(THEY both realize what she’s said.) VESTA Not for you, Willa. Don’t you know I loved you the second I saw you? WILLA ... I love you, too.

VESTA Now. Some shadow on the eyes, I think.

EACH PAINT, EACH PIECE, SHREWDLY APPLIED. CHANGING THE SURFACE. WILLA CHANGING INSIDE. AND REELING FROM A FIRST TIME AND REELING FROM A FIRST TIME FEELING OF PRIDE. FEELING OF PRIDE.

(VESTA hands WILLA the dress.)

VESTA (CONT.) WILLA (CONT.) TONGUES WILL WAG TONGUES WILL WAG THE HEADS’LL TURN AND EYES WILL STARE. EYES WILL STARE! WILL THEM WONDERS NOT CEASE?

YOU’LL BE MY MASTERPIECE AND A GOOD-LOOKING GIRL — SOON A GOOD-LOOKING GIRL — NOW, TO THE FAIR! TO THE FAIR!

(The stage opens up and reveals —) SCENE SIX: THE COUNTY EXPOSITION — SUNDAY

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MUS. NO.: “A GOOD-LOOKING GIRL (CONT.)”

ENSEMBLE AHH, AHH, AHH!

(— a fairground complete with food stands, gaming, merchant shops, music and dancing. Suddenly the Quimby family trio appears, each one exquisitely dressed. Everybody watches!)

SADIE Look, it’s Willa! LORAMAE Willa?! DOTTIE A GOOD-LOOKING GIRL VESTA You look good, #1. PROVES BEAUTY IS SIMPLE. QUIMBY Thanks enough, #2. SADIE

A GOOD-LOOKING GIRL A GOOD-LOOKING GIRL REMINDS YOU TO GROOM. REMINDS YOU TO BLOOM.

MEN DO YOU SMELL PERFUME? (Cameras flash.)

PAPER MAN ANOTHER REPORTER GET THAT SHOT! NO, WILLA QUIMBY, LOOK! RIGHT HERE! LOOK! WILLA HERE! LORAMAE JUST WHEN MATTERS LOOKED WORST, O’ COURSE, VESTA REVERSED THE COURSE. VESTA THANK YOU. ALL A GOOD-LOOKING GIRL MEANS BABES TURN TO BEAUTIES. A GOOD-LOOKING GIRL IS HOPE FOR US ALL. A WORK OF ART, PREPARED FROM CRUDE AND CALLOW CLAY. SEE HER! LOOK THERE! MEN SHE’S A DREAM. WOMEN

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SHE’S A SIGHT. VESTA THINK WE MAY BE ALL RIGHT ... COMPANY SEE THE GOOD-LOOKING GIRL! YES, MY GOOD-LOOKING GIRL! QUIMBY SHE’S THE BEST-LOOKING GIRL — ALL AT THE VESTA Success.

(Family photo! QUIMBY maneuvers WILLA between them. Flashes!) ALL AT THE FAIR!

MUS. NO.: “THE FAIR SEQUENCE” (JACK K. scrawls “Sun” on the side of a stall.)

QUIMBY I’m meetin’ the boys. VESTA Forgetting something?

(VESTA shows a cheek to kiss, but QUIMBY just hands her cash.) LORAMAE Vesta, Jesus is real and you have got his telephone number. SADIE Willa, is that ambergris I smell?

(SADIE and DOTTIE fawn over WILLA as LORAMAE takes VESTA aside.) LORAMAE My dear, your little “rumor” about the Governor’s Wife and her orphan’s banquet has spread like a house fire. VESTA Bet your bottom. And after we get that banquet, we’ll grab Governor Slaughter’s endorsement for the Sheriff, and then the Quimbys will have cleaned this mess up. WILLA Mother, I’m ‘onna ... (Shooting) Pew pew pew.

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VESTA I pray you win, darling.

(WILLA walks toward the gun show and her bracelet falls off.) BOY IN A BASEBALL CAP (EUGENE)

‘Scuse me miss — dropped your bracelet! WILLA Thanks. BOY IN A BASEBALL CAP Yeah. Miss, might I say — you kinda favor Rita Hayworth. WILLA (Nods. Then going, to herself.) Oh, I could get used to this.

BARKER MAN Penny gets ya three shots! Hit all three, win the cash!

WILLA

Mr. Barker Man, mother’s got my change —

BOY IN A BASEBALL CAP (Puts a penny down.) PRETTY PENNY FOR THE PRETTY GIRL. WILLA MR. BASEBALL CAP? BOY IN A BASEBALL CAP That’s Eugene Q. Baseball Cap to you. WILLA Now, as a lady I will accept your offer, but as a — person of a certain code — it’ll be one for one. I win and you can keep half. EUGENE Well why not. WILLA Now first thing, Mr. Barker Man, I noticed the sight on this gun was off just a smidge left — now I’m not sayin’ that’s intentional, but let’s just say I have a carny relative who may have mentioned it’s a frequent accident at these here games. Now let’s not speak another word of it ‘n you just fix that for me.

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(Grudgingly, the BARKER does.) EUGENE PRETTY GIRL, WHAT’S YOUR NAME? WILLA I LIKE “PRETTY GIRL.” LET’S KEEP IT AT THAT.

(WILLA preps the gun. WILLA shoots: DING! DING! DING!)

BARKER Shit me, she won! WILLA Think I’m more Annie Oakley than Rita Hayworth, myself. I’ll get your half. EUGENE Pretty Girl, I would never dream of taking anything from you. Gosh, you earned it. WILLA I DON’T TAKE NO GIFTS. EUGENE And I don’t take things from girls whose names I don’t know. (Tries to tip his backward baseball cap, but looks stupid.)

(VESTA returns on the arm of an older woman.)

MRS. SLAUGHTER Just imagine the odds — to think you’d picked out the very same tilt-top table I’d come to Havoc to fetch! Tilt-top tables are my very favorite thing! And you, so generous to let me have it. Oh, Mrs. Quimby ... you’re giving me ideas!

VESTA What ideas am I giving you, Mrs. Slaughter, oh what ideas? MRS. SLAUGHTER I don’t know if you’ve heard this rumor — VESTA Hunh-uh!!! MRS. SLAUGHTER — well there’s talk that my annual Orphan’s Banquet will be held at a residence, and —

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VESTA Yes I will hold your banquet!

MRS. SLAUGHTER

You will? VESTA Of course, I have an orphan daughter. MRS. SLAUGHTER An orphan daughter! Why, orphans are my second favorite thing! VESTA And you see, this weekend was to be Willa’s “coming out party.” And since I was already going to have an orphan party, it makes sense that my party — should swallow your party! After all, I’m famous, you’re famous, and I have service for sixty.

(Shrieking.) Hey Willa!!!

(WILLA approaches with her prize money.)

VESTA (CONT.) Meet Mrs. Slaughter, the Governor’s Wife. (VESTA mouths “IMPORTANT” and points.) MRS. SLAUGHTER Child, what’s that you’ve got there? WILLA A PILE O’ GOLD! A WHOLE HUNDRED BUCKS! AIN’T HELD SO MUCH CASH — JUST LOOK AT THIS STASH! HERE’S TO LIVIN’ LIFE DELUXE! MRS. SLAUGHTER Why don’t you give your mother your prize money for safe-keeping?

WILLA Oh, uh, all right I guess. VESTA (Tucking it in her cleavage.) No place safer. MRS. SLAUGHTER Your girl is quite impressive, Vesta. Perhaps I’ll come Tuesday, for a perusal? VESTA

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Tuesday is fabulous! MRS. SLAUGHTER We’ll have to move quick if we’re to pull this off! Oh look — caramel balls! Balls are my third favorite thing!

(THEY go off. OFCR. HATLESS approaches WILLA.)

OFCR. HATLESS GOOD-LOOKIN’ GIRL, PARADIN’ SO FANCY. GOOD-LOOKIN’ GIRL, WHO AIN’T HAD THE BEST — YET! WILLA Ugh, go away Dick Hatless.

OFCR. HATLESS Now, why don’t you wanna do-si-do with old Dick? WILLA Ain’t much of a dancer. OFCR. HATLESS That’s all right, I can show ya — WILLA I meant you. OFCR. HATLESS Come on — that purdy dress? Looks like you’re at market for a boyfriend! And as meat goes, my daddy’s a judge so, my meat’s real prime. QUIMBY (Approaching.) Girl’s heard your song before, little Dick. OFCR. HATLESS J. — that’s a mighty fine en-sem-bluh you got on. Why, with that twinkle twinkle in your eye, I’d say you ‘n Mrs. Q was renewin’ your vows! QUIMBY Not that I gotta show my shit stains to anyone but your old daddy — but this ensemble ain’t for the Mrs. WILLA Then who’s it for, Sheriff? QUIMBY

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My re-election, that’s who. Now piss off, rookie. OFCR. HATLESS (Flicks his hat, going.) Course, J. Course.

QUIMBY Congrats on your prize. Real proud. WILLA Thank you, Sheriff. QUIMBY You seen the Freak show yet? You wanna go? I mean you don’t have to — WILLA Sheriff. You wanna spend time? With me? QUIMBY It might seem unlike me. Guess recently, I felt sorta like a new man! Besides, ain’t much like you to put on such a dress, but ... like a butterfly. WILLA Sure you just ain’t spooked to go alone?

(WILLA offers her arm, which QUIMBY takes.) Transition to: the Hall of Freaks. MUS. NO.: “UGLY” (The “hall” is a stable truck where horse stalls separate each exhibition, with an empty stall at the end. QUIMBY and WILLA enter; he’s bought her chicken. A YOUNG COUPLE makes cracks.)

WILLA This ain’t much of a show. QUIMBY What, you ain’t “skeered”? WILLA Sheriff, quit bein’ silly. You drunk? QUIMBY Not had a drop all day in fact. Haven’t you noticed? WILLA Nah, I don’t much track your movements. QUIMBY Well you hide the whiskey sometimes.

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WILLA Did Mrs. tell you that? She’s hidin’ it Sheriff, and takin’ you for a fool to boot. But it’s right you’re gettin’ sober. What brought the change? QUIMBY (Starts exploring.) Nothin’. Guess I didn’t have a reason to, till recent. Before, the hurt was so high, bein’ numb felt ... better. You lost people, you know what that’s about. WILLA Talkin’ about your first wife? Agatha? QUIMBY Funny to hear you say that name. Haven’t heard anyone speak it in too long. WILLA Mrs. don’t like you to talk about her? QUIMBY Something like that. She didn’t please V. WILLA Huh? I thought you met the Mrs. after your first wife passed? QUIMBY Naw. See, V.’s got a way o’ makin’ you sign the papers before you read the fine print. Like what she’s done you now. WILLA Papers? Sheriff ... ? QUIMBY SOME PEOPLE, THEY JUST UGLY. THEY’RE MEAN, ‘N DEEP INSIDE. THEY SPEND THEIR WHOLE LIFE UGLY, FINDIN’ WAYS TO MAKE IT HIDE.

THE THINGS THEY DO IS UGLY, FOLKS IS ONLY MEANS TO ENDS. THEY MAKE YOUR WORLD LOOK UGLY, UGLY LIFE, UGLY FRIENDS. IT’S NICE TO HOPE THAT EVERYBODY’S GOT SOME ... LIGHT IN ‘EM. BUT THERE’S JUST PEOPLE AIN’T GOT NOTHING RIGHT IN ‘EM. I THOUGHT THAT YOU WERE UGLY.

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NOW I CAN’T BELIEVE I DID. ‘CUZ NOW I SEE THE BEAUTY IN A FRAGILE LITTLE KID. AND I THINK OF THE UGLY THAT I’VE DONE AND I SEE IT WAS ME WHO’S BEEN THE UGLY ONE. IT’S TRUE. BUT I THINK I COULD BE BEAUTIFUL, WITH SOMEONE BEAUTIFUL LIKE YOU? I got you something. A gift.

(QUIMBY pulls from his belt an emerald cross on a chain.) QUIMBY My grandmother got it from her grandmother. It’s real antique. Want you to have it. (Tries to put it on her.) WILLA Sheriff, no. QUIMBY Don’t say anything, please. I’ll wait, tomorrow, or the next day, Christmas even! See Willa, I done things in the past, things I’m not proud of and when I saw you last night, I felt sure you were an angel sent to ... save me? (He’s close to her. Feverish.) And today, that pretty dress — you wore it for me, didn’t you? Willa ... I never thought of you as a daughter.

QUIMBY (CONT.) OH, I’VE SEEN ME AN ANGEL FROM THE SKY, HEAVEN SENT, ONLY MEANT TO SAVE ONE SUCH AS I — AND I WON’T GIVE UP, WILLA, TILL I’VE EARNED YOUR LOVE, WILLA — I WON’T GIVE UP — WON’T GIVE UP —

(QUIMBY kisses WILLA. She struggles, at last biting him and shoving him off; he bashes his head. WILLA escapes.) MUS. NO.: “JOHN BRASS” (WILLA rushes out into a crowd, where JOHN BRASS bellows!) JOHN BRASS

Havoc! You deserve a lawman who fights for the rest of us instead of holing up in his mansion, drunk as this life is short. And that is exactly why, Havoc, I, John Brass, am gonna run against damned Sheriff Quimby this November!

CROWD VARIOUSLY

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BRASS IS THE MAN WE NEED! THE EYES OF THE PEOPLE! (Cont.)

LORAMAE Guess Brass isn’t coming over for dinner. VESTA Goddammit.

(WILLA pushes out of the crowd.)

WILKINS Oh, Ms. Willa! WILLA Officer Wilkins! WILKINS Someone’s lookin’ fer ya. Soldier boy. WILLA Soldier? WILKINS Mhmm, from the 73rd infantry. Asked for you specific. Couldn’t find you, so’s I said he should try the house ‘bout noon tomorrow. You all right? Look peaked. WILLA Just excited, that’s all!

(WILLA leaves. On the other side of Brass’s crowd —) (The scene transitions —) SCENE SEVEN: QUIMBY ESTATE — CELLAR QUARTERS, THAT NIGHT MUS. NO.: “FURNACE #2” (WILLA sleeps, exhausted, with the furnace light on. In a familiar beat, the light goes out. WILLA does not wake. The cold vapor of the room rises about her.)

WOMAN FROM THE DARK What are you doin’ here? This is where I sleep.

(The WOMAN peers in, and for the first time we glimpse her: a lace shawl drapes her shoulders.)

WOMAN FROM THE DARK (CONT.) Oh, it’s you. I forgot you were here. Real cold down here, real cold.

(The WOMAN opens the furnace grate with a creak, stirring WILLA.)

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WOMAN FROM THE DARK (CONT.) She told you yet? Or did the letters come?

(WILLA sits up in bed. It’s a dream; why be scared?)

WOMAN FROM THE DARK (CONT.) I think he’s bringin’ ‘em. The soldier. He’s bringin’ all them letters. WILLA What letters. WOMAN FROM THE DARK Why. George’s letters. (She looks at Willa, tired.) I hope you’re gone soon. I could use some rest.

(As the WOMAN FROM THE DARK steps and her shawl falls, we see her grotesque fate: her head completely turned backwards, her body broken and bent. WILLA screams, and VESTA, in her evening gown, rushes in.)

VESTA You’re back! I thought you’d just left without a goodbye! Oh, you’re ice cold?! WILLA Mrs. — Mother. — I think I’ve got a ghost. VESTA (Beat, then sharp relief.) Haven’t you ever seen a spirit before? All kids see spirits! It’s the old folks who can’t. Guess the closer you get to becoming one, the harder it is to see them. WILLA You’ve seen spirits? VESTA Of course! Used to talk to my mother all the time when I needed advice. She was a very angry spirit though, so her solutions weren’t always practical. A spirit’s nothin’ to be afraid of, just a soul driftin’ free through our livin’ world. WILLA This one was tryin’ to tell me something.

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VESTA ... What was she tryin’ to tell you?

(QUIMBY shouts down —)

QUIMBY Willa back yet!? VESTA J., I told you not to come down here, after what you did to Willa. QUIMBY I told you I just took her to the show. VESTA Yes, and those freaks scared her so bad you nearly drove her outta this house. QUIMBY I made some stew for her. Bring her up! VESTA The only stew you need to be workin’ on is the one we’re in with John Brass!

QUIMBY You moved Gibraltar yesterday with all those photos o’ you and Willa in the papers. Brass’ll be forgotten by Tuesday. Now that girl needs her dinner!

VESTA You leave her alone! QUIMBY Me? You’re the one who treats her like a goddamned maid! In fact — Willa, you’re not doin’ my laundry, not no more! Tomorrow, V., you’re doin’ my shirts and starchin’ my collars! VESTA Collars? What’s gotten into you man!? QUIMBY Well don’t you want me to look spiffy for the town hall tomorrow afternoon!? It’s either YOU starch ‘em, or I’m not goin’! VESTA (Storming up the stairs.) You son-of-a-bitch! WILLA (CONT.) GEORGE, I JUST CAN’T HEAR MY HEART,

(WILLA, clutching her knees as the scene changes, to herself.) WILLA Noon tomorrow. Noon tomorrow. Noon tomorrow.

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IT’S AN EMPTY SOUND. NO, I CAN’T HEAR MY HEART, OH, SINCE YOU AIN’T AROUND. GEORGE, I’M SICK AND I AM TIRED, HOPE IS ALL BUT DROWNED — BUT NOW —

SCENE EIGHT: QUIMBY ESTATE, FRONT PORCH — FOLLOWING MUS. NO.: “TAKIN’ PICTURES, MR. BASEBALL CAP?”

WILLA (CONT.) IT’S COME: THE NOON DAY SUN. ‘N SOON, ALL MY CONCERN, AND ALL THE SORROW DONE, WILL END TODAY, WHEN YOU —

(WILLA waits on the steps as EUGENE approaches, taking a shot of the house, not seeing Willa.) WILLA (CONT.)

TAKIN’ PICTURES, MR. BASEBALL CAP? EUGENE HEY THERE, PRETTY GIRL. NAW, I’S JUST — UM — WILLA I WILL SAY I’M FLATTERED YA COME TO SEE ME, BUT I’M ‘SPECTIN’ ANOTHER, ANYTIME. EUGENE NAW YOU’RE JUST GRAVY, I’M HERE TO DROP OFF A DELIVERY. WHAT, YOU LIVE HERE, TOO? WILLA NOT AFTER TODAY. MY BROTHER’S COMIN’, MY BROTHER’S COMIN’ NOW TO GET ME AWAY. And just in time, too, ‘spectin’ my George any minute now. (Off his look.) Why you look so pale, Mr. Baseball Cap? EUGENE You didn’t tell me your name. You didn’t tell me your name. WILLA Willa Franks, but why you look so pale? You all right? Maybe you should come in.

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(EUGENE pulls off his baseball cap revealing shorn hair barely growing back.)

EUGENE Eugene Dennis, Ms. Willa. 73rd infantry. I just got in yesterday. Well, I looked for you all over the fair, but I didn’t think — a girl so grown could be ... I came, I came to give you —

(Pulls the sack to the floor.)

WILLA I don’t. I don’t understand. You aren’t — dressed like no soldier — EUGENE Took the uniform off soon as I could. WILLA He’s dead? EUGENE Well, yes miss. Didn’t — I thought you knew. I just came to give you — WILLA How did my brother die? EUGENE In the field. I was stationed on Saipan with George. We were thick like thieves, miss Willa, he — we were best of friends, all way through. WILLA SO HE AIN’T COMIN’? AIN’T MY BROTHER COMIN’ BACK? EUGENE I’m sorry, I was sure you knew. They sent a telegram — WILLA Didn’t get no telegram. What happened. EUGENE Miss, you don’t want to hear that. WILLA I do. I want to know.

LISTEN: MUS. NO.: “SCUD” (EUGENE settles, recalling the story.)

EUGENE OUR BOY, SCUD —

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THAT’S WHAT WE CALLED ‘IM — HAD THIS WAY OF SEEKING TROUBLE. HE MADE US STRONG. MY BOY, SCUD, HE THREW BACK WHISKEY, PUSHED US FORTH AND ON THE DOUBLE. HE SANG A SONG, WE MARCHED ALONG. HE’D SING, “WHY WILL YOU FIGHT? WHOSE IS THE FACE GETS YOU THROUGH THE NIGHT AND OUTTA THIS PLACE? WHY WILL YOU FIGHT? WHY WILL YOU FIGHT?” THAT DAY, SCUD WAS CLEARED BY RECON. WE TRACKED TRAILS AT EARLY DAWN SKY — BUT JAPS FILLED THE CAVE. US AND SCUD COULD FIND NO COVER. FIFTY MEN AGAINST THE BANZAI. WE SAW OUR GRAVE, SCUD’S VOICE WAS BRAVE, SCUD’S VOICE WAS BRAVE. “BROTHER, YOU GOT TO FIGHT! DON’T CLOSE YOUR EYES. KEEP YOUR BACK TO LIGHT AND MIND THE SKIES. BROTHERS, NOW WE FIGHT! BROTHERS, NOW WE FIGHT!”

(The world becomes a warzone.)

THEN THE CLAP FROM THE TREES AND THE SAND CRUMBLING IN — BOOM! THE EXPLOSION. TIME DIED.

METAL SHRAP, TEARING KNEES, SCREAMING CRIES, PIERCING SKIN — A GIGGLING BOY GOING MAD, HIS LAUGHTER STILL FILLS MY HEAD HEAD HEAD HEAD HEAD HEAD ALL THOSE FACES RED RED RED RED DEAD DEAD — ! I WOKE, DRAGGED THROUGH THE MUD ... TO A FOXHOLE, SAVED BY —

“MY GOD, SCUD. GONNA MAKE IT?” HE SAID,

“SHIT, WELL DON’T GO PRAYIN’.

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EUGENE, SO LONG. EUGENE, THE SONG ...?” AND I SANG WITH HIM, “FIGHT.” I CAN HEAR US SING.

“FIGHT,” HE SAID. AND ONE MORE THING:

“FIND MY SISTER. TELL HER FIGHT. FIGHT TOOTH AND NAIL. YOU’LL BE ALL RIGHT; FRANKS, THEY NEVER FAIL. CARRY ON MY FIGHT. CARRY ON MY FIGHT. CARRY ON OUR FIGHT.”

WILLA How come George never mentioned you in any of his letters? EUGENE Letters ...? George only sent you a couple, but then they kept getting brought back, “Return to Sender,” y’see? But he kept writin’ ‘em, figuring one might get through — I got ‘em all right here ... (Opening the sack.) I DIDN’T READ ‘EM. I KNEW THEY’D BE REAL IMPORTANT TO YOU. WILLA I don’t understand. There were letters. FROM GEORGE. EUGENE This here. This is your brother’s things. Keepsakes, his tags. (Removing a small case.) I thought you already knew, and these letters could only be comfort to you. WILLA You weren’t sorry yesterday. Looked like you were havin’ a gay ol’ time comin’ to report this to me. EUGENE Don’t be cruel, I didn’t know — ! WILLA Cruel?

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CRUEL.

(WILLA goes inside, into the —) SCENE NINE: QUIMBY ESTATE — KITCHEN, THEN CELLAR QUARTERS

WILLA (CONT.) Mother? Mother!

(WILLA sees the cellar door ajar and follows it down the steps into the dim black, where VESTA slumps center, inert.)

WILLA (CONT.) Mother, he’s dead. George, dead. It’s my fault, all my fault ... VESTA (Humming, peaceful.) MMM, MMM, MMM ... WILLA Why are you humming in the dark? Didn’t you hear me, George is dead? You said if I let them pour that holy water on me, it would protect George!

(WILLA tries the bulb, but it shorts. She goes to the furnace —)

WILLA (CONT.) A soldier came, I thought it was gonna be George, but it wasn’t. Said something about a telegram, and he gave me all these letters — (Sudden thought.) These letters? Mrs., stop that humming!

(The furnace glows the room its eerie yellow, VESTA amid a massacre of laundry. The Sheriff’s Expo shirt is clutched tightly in her hands. She brings it to her face, huffing it deeply.)

VESTA (CONT.) OH, THAT HEAD NOTE ... (Sniff. Sniff.) EARTHY — BALSAMIC — (Sniff. Sniff. Sniff.) OH, YES, THAT HEART NOTE — SAGE, SWEET — THE SCENT — ! Ambergris. MY GOOD-LOOKING GIRL!

(Reveals the emerald crux.) You know what this is? This here’s somethin’ real special to the Quimby family. Sheriff gave it to his first

VESTA MMM, MMM, MMM ... MMM, MMM, MMM ... MMM, MMM, MMM ...

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Mrs., Agatha. And the night he proposed, he gave it to me. Now, by this emerald crux I found in his pants ... looks like he wants to give it to you. And by the scent of your Amergris on his shirt collar ... smells like you accepted.

WILLA No, no, he came on, crazy — I pushed him off — ran out —!

VESTA STRAW TO GOLD — ? YOU FALSE LITTLE BITCH. DON’TCHA LOVE AMBERGRIS? GONNA GETCHU YOUR PIECE — AND LEAVE ME IN THE DITCH? I know what’s what now, I know what you planned, ‘cuz you’re — like me. (Grabbing the letters.) Looks like you got George’s letters. WILLA The ones you read me — were lies — ?!

VESTA “Return to sender.” WILLA You sent his letters back? VESTA I was just givin’ you hope. WILLA So you could keep me here!

(WILLA lunges at VESTA, who pushes her off with surprising strength — she holds the letters near the furnace —)

VESTA You stay back! Or I’ll torch ‘em. WILLA I ain’t afraid of you! You’re just a sorry old mare who wants to stay first prize at the big show, but you ain’t anymore. And I won’t be your ribbon, Mrs., I won’t be —

(WILLA she sees THE WOMAN FROM THE DARK.) WILLA (CONT.)

Oh God, oh God — VESTA

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You think you’ll send me out to pasture, my dear. You think you’ll move right in and replace me, like I replaced her before me. But see I didn’t just replace her. WILLA My letters — no — VESTA Wanna hear a story, Willa? It’s time you know the truth of what happened here. WILLA Those letters ... Mrs. ... they’re all I have left? Just give ‘em back ... VESTA Never told this before. My heart’s beating so fast. I’m glad it’s you though, my Willa. You wanna know about spirits — I’ve known so many. Made a few myself in fact, people who tried to keep me from getting my piece. NOW YOU’LL SEE ME. YOU’LL KNOW ME. OH ...

LISTEN: MUS. NO.: “THEM BEASTS” (The furnace light blows out, and in the darkness behind VESTA, a story comes alive as told by VESTA’S VICTIMS, Vesta’s many victims ... The familiar icy vapor gushes out from the floor boards, furious.)

VESTA’S VICTIMS HOO ...

(YOUNG VESTA, roughly clothed, kneels in shadows, looking off.)

VESTA MANY A YEAR AGO, AS I WALKED UP ‘N ROUND THESE STREETS, I’D AN EYE FIXED UPON A HOUSE, VESTA’S VICTIMS YES, AN EYE FIXED UPON A HOUSE. YES AN EYE FIXED UPON A HOUSE.

(MEN pass disinterested YOUNG VESTA; the YOUNG SHERIFF sees her.)

VESTA (CONT.) I WAS ADMIRED; THE MENFOLK LOST THEIR PRIDE. BUT JUST THE SHERIFF WOULD HAVE ME SATISFIED... VESTA’S VICTIMS EACH SUNDAY, I TEASED HIM, WHISP’RING: (HAH)

(To him, keeping distance.) “HEY, SHERIFF-CORONER,

THE WOMAN FROM THE DARK Run. Save yourself.

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HAVE YOU CONFESSED HOW YOU BRAG IN THE BRIG THATCHA BROACHED MY BREAST? WELL, YOU C’N LUST TILL YA BUST. YOU’RE A JACK-LEG STIFF; WHILE YOU’RE HITCH’ TO THAT WITCH, ALL YOU’LL DO IS SNIFF.”

WILLA

Agatha ... Oh, Jesus no ... (THE WOMAN FROM THE DARK is AGATHA QUIMBY, taking the YOUNG SHERIFF’S arm, pulling him away.)

VESTA A MARRIED TORMENT BEFORE A CHURCHYARD WALL. THOUGH I’D NOT BED HIM, I MADE THAT SHERIFF FALL.

VESTA & VESTA’S VICTIMS LIKE THE HAWK THAT MET THE MOUSE, CAW’N’ “IT’S COOL HERE ‘NEATH MY WING,” SHE WITH EYES THAT PUT ‘EM IN A TRANCE. FOR THEM BEASTS TH’AIN’T MUCH TO SAY, CALL IT PREDATOR AND PREY — AT THE FEAST, SOME NEVER STAND A CHANCE. Poor old Agatha Quimby. so sensitive from arthritis. Sheriff needed more than a common woman who just laid there.

(YOUNG VESTA dresses up, as SHE and the YOUNG SHERIFF conspire.)

VESTA (CONT.) SHERIFF WAS COOKED BY JUNE, ‘N HE SWORE HE’D DIVORCE HIS WIFE; BUT MY EYE PEERED UPON THE TOWN. VESTA’S VICTIMS “YOU AND I CAN’T AGITATE THE TOWN. I ... AGITATE THE TOWN. “I’M TOO RESPECTED; DIVORCE WON’T DO A LICK. SHE MUST BE GONE, LOVE. BUT HUSH, I’VE JUST THE TRICK.” THAT SUNDAY, AT NOONTIME, I CAME. WILLA You killed her! VESTA I did nothing! AGATHA QUIMBY ... But bring tea ... “DEAR MRS. QUIMBY, I HEARD TELL YOU’RE ILL? SO I’VE BROUGHT TEA FROM THE TAP OF A CHITTERWILL.

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AND IF MY BREW SETTLES YOU, I’LL BRING MORE EACH WEEK... BUT IT’S RARE; SO DON’T SHARE MY BRAND NEW TECHNIQUE.” MY TEA WORKED WONDERS. (AHH) SHE LOVED EACH NOON I’D CALL, NAÏVE THE BREW MADE (AHH) HER BRAIN A FOGGY PALL — SOON SHE SEEMED SENSELESS, (AHH) HER EYES GLASSED LIKE A DOLL — ! UNTIL SHE SPENT HER WHOLE DAY MUMBLING PRAYERS, TAKING TEA BETWEEN TITTERS AND GLARES, AND AT LAST AT THE TOP OF THOSE STAIRS, STAIRS SHE HAD HERSELF A FALL!

(AGATHA QUIMBY, devolved into madness, falls to the base of the stairs, inches from WILLA; the women look cuddled like lovers.) VESTA & VESTA’S VICTIMS

LIKE THAT HANG-TOOTHED CROCODILE WHEN SHE FERRIED THAT POOR FOX ‘CROSS THE STREAM THAT TARRIED HER ADVANCE, FOR US BEASTS, TH’AIN’T MUCH TO SAY, LIFE IS PREDATOR AND PREY. VESTA’S VICTIMS (CONT.) AT THE FEAST, SOME NEVER STAND A CHANCE. (HOO) AT THE FEAST, BE CAREFUL WHAT YOU DO OR A FEAST IS OR A FEAST WHAT WILL BECOME OF YOU. IS WHAT WILL BECOME OF OH, GOD. OH, GOD.

(The vapor and VESTA’S VICTIMS suck back, as the furnace pours out flame, leaving VESTA bearing down on WILLA.)

VESTA (CONT.) Give the Sheriff-Cor’ner even a sidelong glance and you’ll be ended like the Sheriff, and dead as ol’ Agatha Quimby.

(Stands with the letters, exhausted.) They sent a telegram ‘bout your brother being dead three month ago. I wanted to protect you, so I burned it. But now I think someone best protect you from me.

(VESTA tosses George’s unread letters into the fire, which swallows them up, subsequently extinguishing it. VESTA exits up the long stairs in silence. WILLA waits alone in the dark.) SCENE TEN: THE RAILWAY — FOLLOWING LISTEN: MUS. NO.: “MAP OF SCARS — PART ONE”

WILLA THE REAPER CAME — AND TOOK THEM ALL. AND NOW MY NAME IS LAST TO CALL.

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ALL THESE DAYS, I’VE WAITED FOR SALVATION. BUT THEM ANGELS DON’T COME, AND I’VE COME TO AN END — TOO LONG COMFORTED BY GRIEF, MY BEST-KNOWN FRIEND. I BEEN BLIND AND I BEEN VOICELESS, HAD NO MIND, CHOSE TO BE CHOICELESS. I THOUGHT PATIENCE LED TO GOOD. JUST A KID. DID THE BEST I COULD. BEATEN DOWN NOW, TIRED FROM STANDING STILL, THE ANGELS STILL DON’T COME. YET I START TO MEND, HERE AGAIN WITH GOOD OL’ GRIEF AT RAILROAD BEND. LAID TOO LONG WITH NO DESIRE, BURNED TO KINDLE OTHERS’ FIRE, AIN’T NEVER ASKED FOR MUCH — MY FIRST MISTAKE. IN LIFE YA KEEP JUST HALF YOUR TAKE. GOT NOTHING NOW BUT A BACK TO BREAK. A MAP OF SCARS LEADS FROM HOME, GRAVE BY GRAVE BY GRAVE. A MAP OF SCARS MARKS THE PLACE: HERE’S A SOUL TO SAVE.

(EUGENE is there.) MUS. NO.: “GOIN’ NORTH”

EUGENE Willa. WILLA Followed me? EUGENE I — couldn’t help it. Look I — WILLA I’m sorry for bein’ so hard. I know now what you meant. EUGENE Willa, I’m goin’ north. To Montana state, where I’m from. I think you should come with me. You could find work on the way. I’ll buy you a ticket. And you can pay me back, if that’s what y’ want. Y’SEE, SCUD — George — HE TOLD ME ALL ABOUT THE ROAD YOU WALKED ON, THAT ENDLESS ROAD. YOUR PEOPLE’S CODE. AND HE TOLD ME ‘BOUT ...

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THEM, WHO TOOK YOU IN. I’M SORRY, I AM, FOR ALL THAT’S BEEN. SORRY FOR YOUR FIGHT, YOUR ENDLESS FIGHT. (Tries for her hands.) WILLA I don’t need your sympathies. I just need the road. EUGENE THEN THE ROAD EVERLASTING. What? How ‘bout it? WE’LL GO FOR A WHILE. CHICAGO BY MORNING — IS THAT HALF A SMILE? George would like it. I would like it. ON THE ROAD EVERLASTING, ON THE ROAD EVERLASTING, OH, GET OUT AND GET GONE. GET OUT AND GET GONE. AND I’LL NEVER LOOK BACK, AND YOU’LL NEVER LOOK BACK, OH, WHEN I ROLL OUT TO DAWN — WHEN WE ROLL OUT TO DAWN — AND NOW, I SAY AND I’LL BE THERE I SAVE MY SOUL THE WHOLE DAMN TODAY. WAY. All right, Willa, let’s go! WILLA (CONT.) No. First I gotta get my $100 I left with the Mrs. We leave tomorrow night, on the 11:47 freight train out of here. Eugene — thank you!

(EUGENE nods, and rushes off. WILLA sees the bracelet on her wrist, takes it off. She hurls it far.) MUS. NO.: “MAP OF SCARS — PART TWO”

WILLA (CONT.) THIS VOICELESS GIRL HAS FOUND A TONGUE TO SPEAK. AND I SEE ANGELS ALL AROUND: BURIED LOVES I WILL KEEP. FROM MY ARMS, TAKE MY ILLUSIONS AND FLING ‘EM DEEP. I’LL BE DAMNED IF I SHOULD WALLOW. AIN’T NO LAMB. NO FLOCK TO FOLLOW.

BLOOD NOW BOILS IN MY VEINS AND MELTS THE ICE, STILL I SHIVER FROM THE POW’R TO PAY THE PRICE I’M SALVATION, I’M DELIV’RANCE, I AM SACRIFICE — THIS MAP OF SCARS GUIDES ME ON.

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MY FAM’LY SHOWS THE WAY. MY MAP OF SCARS SPELLS BY WOUNDS SAVE YOUR SOUL TODAY. I SAVE MY SOUL TODAY, TODAY, TODAY.

END OF ACT ONE

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ACT TWO

SCENE ELEVEN: THE START, THEN QUIMBY ESTATE, VARIOUS LOCATIONS — MONDAY EVENING MUS. NO.: “OPENING ACT II” (Back at the start with JACK K. and the TRAMPS.)

JACK K. 2 TRAMPS EACH MAN, HE SUPPOSE REAPER’S FAR AWAY. FAR AWAY … A SIGH of RELIEF, HE COULD LIVE FOR GOOD. THEN BEFORE HE KNOWS, THEN BEFORE HE KNOWS, REAPER’S CHOPPIN’ UP BLOWS REAPER’S CHOPPIN’ UP BLOWS AND HE’S SPLIT LIKE FIREWOOD. AND HE’S SPLIT LIKE FIREWOOD. THE REAPER LETS US HAVE A CLIMB BUT REAPER GETS US ALL IN TIME. May seem downright foolish Willa went back — but you gonna let $100 slide? Anyhow, life ought to be like writing ought to be: unplanned and without edits!

Back in the story, in Vesta’s office. (VESTA sits bespectacled, reconciling her finances. JACK K. chalks “Mon” on a wall.)

VESTA Hey, girl — ! WILLA Don’t talk; here for my $100. I’m goin’. VESTA Well of course you are. Of course you want your hundred dollars. And you shall have it my little coquette, if you can do me one more favor. See any moment, I’m expecting —

WILLA No. The games are finished. Oh, you think I’m some dumb shit hillbilly ‘cuz I talk like a boy and can’t write my name and you think I’m just another one of your things but I ain’t yours and I never have been. Well you listen here, ‘cuz I just got my ticket out. Uh-huh, tomorrow night that soldier and me are gettin’ the hell out of Havoc.

VESTA Now Willa, I am a fair, Christian woman —

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WILLA You ain’t no kind o’ Christian! VESTA Why? Just because I don’t believe in God, Jesus, or follow any of the commandments? To be fair, wasn’t crazy for my mother’s Injun gods, either. May not believe in much specific, but I got faith in people, I’ve devoted my life to their study, and that’s a kind of worship. WILLA Anyway. VESTA Well at least I am fair! You drew out my husband, I burned your letters — WILLA You lied about George, all that time! VESTA — ‘N now you come hollerin’ at me, the one who saved your life? After you refuse to do me one last favor? Well you just reminded me of all your debts. (Pulls WILLA’s $100 from her bosom.) WILLA I owe you nothing. VESTA YOU OWE ME EVERYTHING. THE BED. THE FOOD. THE GIFTS. WHY, EVEN THE VERY CLOTHES ON YOUR BACK.

(WILLA hurriedly disrobes Vesta’s borrowed clothes, dumps them.)

VESTA (CONT.) AND THE BRACELET? WILLA Tossed that piece o’ junk in the river. VESTA AW, I’D SAY THAT FINE GOLD PIECE IS WORTH ABOUT A HUNDRED BUCKS. WILLA We ain’t even. We ain’t even not at all.

(The doorbell, BZZZZZZZZZZZZZZ, from downstairs.)

VESTA

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(Stands, suddenly intense.) Now don’t you go tryin’ to have the last word, ‘cuz in this house I’m the only bitch who knows where to put the period.

(BZZZZZZZZZZZZZZZZ again from downstairs.)

VESTA (CONT.) Now I have to get that — WILLA IMPORTANT CALLER? WELL THEN, ALLOW ME TO GET THE DOOR. (All but naked, steals downstairs.) VESTA No no, you don’t understand — Willa! Put some clothes on — (Starts out after her —)

Out on the porch. (The door opens violently, revealing WILLA to —)

WILLA Mrs. Governor, hello there! So kind of you to drop by. Mother will only be a moment; she was just about to give me my afternoon shame hosing.

(WILLA is suddenly thrown from the doorframe.)

VESTA Mrs. Slaughter ha ha! How good of you to swing by for a perusal, ha ha! MRS. SLAUGHTER Vesta? What’s this about a ... hosing? VESTA Oh, she’s just being a handful! I mean, you can’t keep the clothes on her! Road children! They’d eat their own feces if you let them! But of course you mustn’t. MRS. SLAUGHTER Perhaps I’ll come back — VESTA No we’re just in the middle of a lesson!

MRS. SLAUGHTER I’ll return in two days. Good evening.

VESTA Ha! Okay! Have a blessed day!

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Back inside.

VESTA (CONT.) Who the hell do you think you are? WILLA I’M WILLA FRANKS, MRS. VESTA QUIMBY, AND GUESS WHAT? YOU WON’T HURT ME NO MORE.

(QUIMBY has entered. WILLA sees him, considers, flirts.) WILLA (CONT.) SHERIFF ...

(Goes into the cellar.)

QUIMBY She goin’ somewhere? VESTA Goin’? No, not goin’! Somethin’ to drink, husband? Picked up some whiskey. QUIMBY Why was she naked? VESTA Oh just ... her afternoon shame hosing. (Goes, super pissed.) QUIMBY (Shaken.) WILLA...

SCENE TWELVE: QUIMBY ESTATE, VARIOUS LOCATIONS — TUESDAY NIGHT LISTEN: MUS. NO.: “THERE’S A TRAIN A-COMIN’” (The office is being used as a dart room. QUIMBY, HATLESS and WILKINS are playing darts, soused; QUIMBY’s up. JACK K. chalks “Tues” on the door, goes.)

QUIMBY THERE’S A TRAIN A-COMIN’. GONNA QUAKE THE GROUND. THE ENGINE’S BURNIN’ UP NOW, SHAKIN’, BREAKIN’ TOWN. BEAR DOWN! BEAR DOWN! BUT AS FOR ME, I’M GONNA HUM, ‘CUZ I’LL BE DRIVIN’, I’LL BE DRIVIN’ THAT TRAIN TO COME. (Aims, hits the mark.) Ha!

OFCR. WILKINS Uuuuuuuuh what kind o’ train, J.? QUIMBY

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One that’s gonna blow through town and set some things right around here! OFCR. HATLESS That why you ain’t drinkin’ no more? QUIMBY Finally got a chance to reclaim my manhood, boys. Got someone to live for! OFCR. HATLESS J., you seein’ another woman? OFCR. WILKINS Another woman!? Who, who!?!

QUIMBY Boys — I’m in love. And Jesus, I’ve never felt more myself!

THERE’S A TRAIN A-COMIN’ AND IT STRAYS THE TRACK. OFCR. WILKINS PUSHIN’ OUT TO DIXIE! SWAYIN’, SPRAYIN’ BLACK. +OFCR. HATLESS STAND BACK! STAND BACK! STAND BACK! STAND BACK!

OL’ BOY, Y’ CAN HITCH A THUMB — ‘CUZ LOOK WHO’S DRIVIN’ ALL THREE LOOK WHO’S DRIVIN’ THAT TRAIN TO COME.

In the kitchen. (VESTA at the sink, eating pie, sedate. OFCR. HATLESS enters.)

VESTA Dick, piece o’ pie? OFCR. HATLESS YOUR MAN IS LOCO FOR SOME GIRL, THINK HIS BRAIN TOOK A LEAP. YOU’D BETTER TAKE STOCK, AND FIX HIM FAST OR YOU’LL BOTH BE IN A HEAP. He’s talkin’ crazy, about a train and, ha, Jesus Christ!! VESTA That girl is Willa. Dick, I need you to do me a favor. Sheriff doesn’t know this, but his prized pony has just gone off to hitch a train. OFCR. HATLESS Holy shit.

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VESTA (Hands him cash from her bosom.) So for $100, I want you to teach her a little red lesson. Beat her up like a school bully... and let her know I sentcha. She’s just left to catch the evening train north; don’t miss her now. OFCR. HATLESS ... Whatever you say, boss.

(Heads to the front door.)

VESTA But I want proof. (Alone.) THERE’S A TRAIN A-COMIN’ GOTTA SLOW IT FAST. THE TENDER WILL GO POPPIN’, BLOWIN’, GROWIN’ GASSED. A BLAST! A BLAST! AS FOR ME, I’LL WORRY SOME. TILL I’M SURVIVIN’, I’M SURVIVIN’ THAT TRAIN TO COME.

(The MEN stampede downstairs.)

QUIMBY Them fair guns is kid guns! ‘Course she won the 100 bucks! VESTA Where you drunk skunks off to so late? QUIMBY This sombitch is tryin’ me so we’re goin’ out back to shoot bottles. VESTA Shootin’ bottles!? It’s much too late to be shootin’ at bottles! The neighbors’ll call! OFCR. WILKINS Hope they don’t call the cops on us! (Laughter, hiccough.)

VESTA All right, well boys, let’s have a nice piece of blackberry pie the Mrs. made to soak up some of that liquor, all right. QUIMBY Fine, but — shootin’ after. VESTA

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(Caught by something out front.) Maybe. Hey, you boys hear that?

The streets, where JOHN BRASS leading a mob of marchers.

BRASS HAVOC, YOU SAY TONIGHT THIS IS NOT MERELY ANOTHER DISTRICT ELECTION. AS THE COUNTY SEAT, YOU SAY JOHN BRASS MARCHERS JOHN BRASS IS THE ONLY MAN IS ABLE TO ABLE TO BRING THIS COUNTY BRING US BACK TO ORDER! BACK!

BRASS (CONT.) VESTA THERE’S A TRAIN A-COMIN’ (Watching out the window.) THERE’S A TRAIN A-COMIN’, GONNA QUAKE THE GROUND.

GOTTA SLOW IT FAST. MARCHERS THE ENGINE’S BURNIN’ UP NOW, OOH, TENDER WILL GO POPPIN’, SHAKIN’, BREAKIN’ TOWN. SHAKIN’, BREAKIN’ TOWN SHAKIN’, BREAKIN’ BEAR DOWN! BEAR DOWN! DOWN! BEAR DOWN! BEAR DOWN! BEAR DOWN! HAVOC, NOW YOU BEAT YOUR DRUM!

I’LL WORRY SOME! NO ONE’S DRIVIN’ — ! NO ONE’S DRIVIN’ — !

WILLA MY TRAIN TO COME! MY TRAIN’S A-COMIN’ ...

In the backwood, 100 yards from the Quimby estate. (WILLA slogs with her sack. She hears something. At least, she thinks. She considers routes.)

OFCR. HATLESS (O.S.) Ssssssssssssssss WILLA Whatchu want. OFCR. HATLESS (O.S.) Ssssssssss ssssssalutations, Ms. Willa.

(HATLESS emerges from the dark.)

WILLA Whatchu want.

OFCR. HATLESS

Teach ya a lesson. WILLA

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Mrs. set y’up? Can’t get a hundred yards from her before she’s after me again. OFCR. HATLESS Naw, she just wants I should send y’off. Payin’ me 100 big ones to give you a message: “One for one, for the Governor’s Wife.” She really wants ya taught.

WILLA My smarts are all street. (Reveals a butcher’s knife.) So I’m gonna go. That way n’ straight on to the freight train that rolls by here every night. And don’t think about following me, I got an army man comin’ with. OFCR. HATLESS GOOD-LOOKIN’ GIRL, BE WARNED AND BE WARY. ‘CUZ, GOOD-LOOKIN’ GIRL YOU’VE CAUGHT SHERIFF’S EYE. HE’S GONNA MAKE YOU HIS, THAT LAZY, CRAZY BASTARD IS. HE WAS CALM LIKE A COW, BUT HE’S CHANGIN’, AND HOW, COME ON, GOOD-LOOKIN’ GIRL, YOU TAKE CARE.

(A train whistle blares in the distance, approaching.) WILLA Thanks for the warnin’. BUT THAT’S MY TRAIN.

(OFCR. HATLESS pulls a pistol.)

OFCR. HATLESS Ms. Willa. I wouldn’t like to use this but I will if I gotta. I only need a few drops of blood on a tear of your top clothes, and we’re done here. WILLA The only blood spillin’ tonight is yours, Little Dick.

OFCR. HATLESS Let’s be partners! (Points the gun at her, cocking it.)

(They stand off as the train comes closer. GUNSHOT. Yet it’s from off — what the hell? WILLA blitzes OFCR. HATLESS and they wrestle to the floor. The train thunders, underscoring the battle growing vicious.)

OFCR. HATLESS

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Let’s be done, girl! (Another GUNSHOT from off — it hits a tree.)

OFCR. HATLESS (CONT.) Who the hell is shootin’!?

(WILLA grabs her knife and stabs HATLESS in the thigh. Red.)

OFCR. HATLESS (CONT.) B, bitch —

(OFCR. HATLESS falls as WILLA grabs her sack and sprints off.) Various locations. (QUIMBY is firing shots into the back wood.)

VESTA J.! That’s enough damn shooting!

(WILLA finds EUGENE at the red maple tree.)

EUGENE Willa, you’re covered in blood! WILLA One of the Sheriff’s boys ... no time explainin’, we’ll miss the freighter! EUGENE Where’s the bastard?! WILLA I think I killed him. Now come on!

EUGENE Willa. Oh god, Willa!?

(WILLA pulls EUGENE, chasing tracks; BRASS and MARCHERS rally.) COMPANY THERE’S A TRAIN A-COMIN’, NOW THE SMOKE PILES HIGH. IT CUTS THE ROAD IN TWO WITH A CHOKIN’, BROKEN CRY. GOODBYE, GOODBYE TO THE WORLD THAT MUST SUCCUMB; NOW IT’S NEARIN’, ONLY THING WE’RE HEARIN’, IS THE TRAIN TO COME, TRAIN TO COME, TRAIN TO COME, TRAIN TO COME!

(Blackout.)

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SCENE THIRTEEN: TWO KITCHENS / THE BACKWOODS — FOLLOWING (LORAMAE, panicked, phones SADIE, sleepy. Evening robes.)

LORAMAE Sadie — SADIE Loramae it’s two in the morning — LORAMAE There’s police from Everett out in front of Vesta’s place! Somethin’s up! SADIE Police from Everett? Why not call J. and his boys? Why they got the boys from the town over involved? LORAMAE Exactly. Maybe something’s happened with J.? You hear all the shooting? SADIE John Brass called ‘em in I’m sure. He led that march right through town, got everyone real riled up! LORAMAE Sadie, you can see V.’s kitchen from your window. Look and see what’s goin’ on! SADIE What? Ugh, well — oh foot. LORAMAE Tell me what you see?! SADIE I’m lookin’! Nothin’! The lights are all off. It is two in the morning. LORAMAE Booooooo. The boys from Everett are gettin’ in their car. Drivin’ off. SADIE You know Vesta, she’s always takin’ care of things. LORAMAE Guess so. All right, go to sleep — SADIE Jesus Christ she just came out the back door, she’s lookin’ this way

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LORAMAE Hang up the phone hang up the phone hang up the phone — SADIE This call never happened —!

In the backwoods. (HATLESS, barely alive, pulls himself through the brush, gun in hand. VESTA appears with a mug of coffee.)

VESTA Dear ol’ Dick, what have you done? OFCR. HATLESS Some fool was shootin’ through the trees! VESTA That was the Sheriff, shootin’ bottles. OFCR. HATLESS He is a stupid man! VESTA Now, we got a rich man’s son bleedin’ out on our property. Try holdin’ an Orphan’s Banquet after that headline! OFCR. HATLESS Need some medical help, V. VESTA (Takes a long swig of coffee.) Course you do. My girl get away? OFCR. HATLESS Went off with some soldier man. VESTA With Willa gone, folks’ll start to worry ... oughtta pull some attention back from Brass and his march. OFCR. HATLESS You got a knack for makin’ things — turn out like you design ‘em ... (Sits up, setting the gun aside.)

VESTA That’s true. OFCR. HATLESS Think she cut a vein ... Oof’m sleepy ... VESTA

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We’ll get this mess all covered up, don’t you worry. We’ll just say you and Willa were hot on each other tonight and decided to take a stroll. And someone, some kid was doin’ target practice. And he shot you. OFCR. HATLESS I got stabbed.

(VESTA takes the gun and shoots him in the back. HATLESS dies.)

VESTA Nope. You got shot.

(VESTA drags him off.) SCENE FOURTEEN: A JUNK CAR — THURSDAY DAWN MUS. NO.: “TRAIN CAR #1” (WILLA, EUGENE, and TWO OTHER TRAMPS are crammed atop stacked boxes of canned vegetables. Everyone is asleep but for a restless EUGENE. Already scrawled on the wall is “Thurs.”)

EUGENE Willa, I can’t sleep. ... Hey? GOOD-LOOKING GIRL, YOU’RE SLEEPING TOO PEACEFUL. GOOD-LOOKING GIRL ... OH, COULD YOU BE MINE? I’M NOT BRIGHT, BUT I WOULD SURELY LOVE YOU RIGHT. GOT MY BRAIN IN A STEW OF A DREAM TO MAKE TRUE WITH THE GOOD-LOOKING GIRL FROM THE FAIR ...

(EUGENE’s about to photograph her when WILLA has a night terror.)

WILLA ... got no reason no more, Dick Hatless ... Let me go, let me go ... EUGENE Willa, wake up, wake up.

(WILLA does, but recoils from EUGENE, confused.)

EUGENE (CONT.) We’re on a train, headin’ north. You had a nightmare. WILLA I think I killed that man. EUGENE Don’t think of that right now.

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WILLA It’s all I can think about! EUGENE Think of the future, how good it’ll be now. WILLA Eugene, there ain’t no future, not for me. There’s days ahead, sure, years even. But I ain’t got no plan, ain’t got no money, ain’t got —

(EUGENE takes her hand, holds it a moment. WILLA pulls it away.)

WILLA (CONT.) And what I have got might get taken away any moment.

EUGENE Not if you don’t want it to. See, I’ve been getting ideas. WILLA What sort of ideas.

LISTEN: MUS. NO.: “CITY OF ANGELS”

EUGENE About where I wanna go! And what I wanna do, opening a studio with my camera.

(Scoots closer to WILLA, real cute.) I GOT THIS PICTURE IN MY HEAD OF A PHOTO STUDIO, CALIFORN-I-AY, CALIFORN-I-AY. I’LL HAVE TO SAVE UP LOTS O’ BREAD, BUT SOON I’LL DOUBLE BACK MY DOUGH AND ON THAT DAY, ON THAT DAY I’LL WATCH MY SHOTS DEVELOP AND I’LL SEE DREAMS TAKING SHAPE. IT’S TIME MY LUCK WAS CHANGIN’, WILLA — DAY’S COME FOR AN ESCAPE TO THE CITY OF ANGELS. WILLA Los Angeles? EUGENE Yeah! But it gets even better! AND STILL THAT PICTURE IN MY HEAD HAS A LADY WELL IN VIEW — KEEPS A CAP ON STRAIGHT, MY CAP ON STRAIGHT.

AND SHE CAN HELP, OR ELSE INSTEAD

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WELL, I DON’T CARE WHAT SHE’LL PURSUE, LONG AS IT’S GREAT. AND I CAN’T WAIT, TO WATCH A LIFE DEVELOP, AND TO SEE DREAMS TAKING FORM. IT’S TIME YOUR LUCK WAS CHANGIN’ WILLA DAY’S COME FOR SOMEWHERE WARM, LIKE THE CITY OF ANGELS. LOOK, AN ANGEL!

(EUGENE takes her picture. WILLA hates / loves it.) EUGENE (CONT.) LOOK! AN ANGEL!

I’LL BRING AN ANGEL, MY OWN ANGEL, THE BRIGHTEST ANGEL THEY’VE EVER SEEN! AND WE’LL WATCH OUR WORLD DEVELOP, AND WE’LL SEE DREAMS COME TO FRAME. TODAY OUR LUCK GETS CHANGIN’, WILLA NO MORE SORROW, NO MORE SHAME, MY ANGEL. BE MY ANGEL? AND YOU WON’T EVER HAVE TO ROAM. SO MY ANGEL, OH MY ANGEL, LET ME BRING YOU HOME. WILLA Eugene. You think you know me ‘cuz you knew George. But if you did you’d know folks like us don’t put down roots. EUGENE But you need roots, and a man like me — WILLA I don’t need no man. I need a friend. EUGENE I’m sorry. All I’m saying is, you keep goin’ everywhere, you’ll end up nowhere. WILLA Maybe Nowheresville is where I wanna be. EUGENE If that’s so. Then let me go nowhere with you.

MUS. NO.: “TRAIN #2” (One of the TRAMPS wakes; sees WILLA.) JACK K.

(Lighting a joint.) HEY PRETTY HOBO-GAL, I KNOW YOUR FACE.

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WILLA Mr. K.! JACK K. HOT DOG, MY WILLA! GOD IS FRIGHTFUL WITH GRACE. TRAMP LIFE AIN’T MUCH RELIEF ... (Re: her bloody clothes.) LOOKS LIKE YA HAD YOUR SHARE O’ GRIEF. WILLA Eugene, this is Mr. K. When George left, he was my Guardian Angel. Still is. JACK K. Hey Skeet — put away that damn radio! We got Willa Franks, here! SKEET, THE OTHER HOBO All right. WILLA You still writing, Mr. K.? JACK K. Always writin’! You and your rube lookin’ for a jungle? EUGENE A jungle? Rube!? WILLA Yeah, we sure are! JACK K. All right then little miss. WE’LL FILL YOUR GUT TIP-TOP, AND —

(An officer barges in. TRAMPS we couldn’t see before leap up.) JACK K. (CONT.)

WELL, LOOKS LIKE HERE’S OUR STOP!

(They slide the car door open and leap out.) SCENE FIFTEEN: QUIMBY ESTATE, CELLAR QUARTERS — WEDNESDAY NOON MUS. NO.: “AMBERGRIS AGAIN” (JACK K. draws “Wed” on the stairs, goes. QUIMBY drags HATLESS’s corpse to a floor closet and VESTA kneels close by.)

QUIMBY (Roaring.) Ain’t comin’ back?!

VESTA

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(Pushes Hatless into the hole.) I figured one step at a time! J., think straight! Think of what you’ve done, how you killed poor Dick Hatless, shootin’ bottles like a fool! Ugh, he reeks! QUIMBY It was an accident! VESTA (Pours perfume bottles into the trap.) No one will believe that, dear. It’s already far-fetched that I found him nightwalking! QUIMBY Yeah, that is far-fetched. What were you really doing out there? VESTA Focus, J.! Willa bein’ gone is a good, good thing. I put off those police from Ev’rett for now, but everybody’s getting black eyes for us! Look at me! We got enemies. QUIMBY No no we got to find her, is what! VESTA You fool, that girl was on her way out the day she climbed those front steps! Can’t you see with her gone, things can go back to normal? QUIMBY Normal? Normal!? You think anything about this is normal? It’s all lost V.! It’s lost. I just wanna go away again ... VESTA J., look, I made you a grilled cheese. And see, whiskey! Ooh ... (Dips the sandwich into a tumbler.) Don’t that look good? QUIMBY While I was haulin’ in a dead body, you were flippin’ a grilled cheese!? VESTA What else is a wife for!? Husband, you’re right, town’s lost. We’ve done all we can for these small-town fuckheads. But think of what we could do for a whole state of fuckheads?

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QUIMBY What? VESTA Yes, we got the governor’s wife comin’ back to see the house at sun-up. That’s when we get the governor to come, too. And when they get their hat and coat, J. Quimby, we are gonna go with ‘em, right back to Jefferson! QUIMBY (Ate the sandwich like an animal, downed the whiskey.) No. Gawd no ... I’M TIRED O’ PLAYIN’ PUPPET. AIN’T NO HOPE FOR THIS CAMPAIGN. NO HOPE AND NO DESIRE TO SUFFER FOR YOUR GAIN. THERE’S ONE THING I WANT, AND SHE’S THE ONE. SO I’LL GO HIGH AND LOW, AND FIND OUT WHERE SHE’S RUN. YOU SEE? CUZ THOUGH I ONCE FOUND YOU BEAUTIFUL, SHE’S ALL THE BEAUTY NOW, FOR ME.

That’s right, V. The only thing keepin’ me from pulling my eyes outta their sockets walked out the back door. You’ve been poisoning me all these years, turnin’ me dark-sided and cruel, like you. But Willa could bring me back to good. Now step aside, devil! (Throws the flask, brushing past.)

LISTEN: MUS. NO.: “RUINATION”

VESTA BUT IF YOU GO NOW, YOU’D DO ME WRONG. AND DEAR YOU KNOW HOW I’M NOT VERY STRONG ... YES, YOU COULD RUIN ME IF YOU WISH, YOU COULD RUIN ME. IF YOU DIVORCE ME, THOUGH, YOU’D NEVER LAST. AND DEAR YOU’D FORCE ME, OH, (Gestures to Hatless’s corpse.) TO DIG UP THE PAST. SEE, I COULD RUIN YOU IF I CHOOSE, I COULD RUIN YOU IF I CHOOSE. YET IF I RUIN YOU, WE BOTH LOSE. I’D HATE TO RUIN YOU. DON’T MAKE ME RUIN YOU.

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(QUIMBY turns away down the stairs, and VESTA follows after.)

OUR ILK TIES THE TETHER, NEVER MEANT TO SUFFER PAINS. IN SILK OR IN LEATHER, WE’RE THE ONES WHO LOCK THE CHAINS. YOU WANT THE GIRL AND I WANT YOUR STATION. LET US NOT SPEAK OF THIS BLEAK “A” OR “B.” YOU WANT THE GIRL, SO I’LL FIND HER LOCATION. LET ME PROPOSE OPTION “C.” JUST LET ME FIND HER AND TAKE HER, NO ONE WILL CARE. THEN WE CAN BIND HER AND BREAK HER, AND LOCK HER ‘NEATH THE STAIR.

THEN! YOU CAN RUIN HER EV’RY NIGHT. YOU CAN RUIN HER EV’RY NIGHT. YES, YOU CAN RUIN HER, ALL RIGHT?

YES, YOU CAN RUIN HER DEAR, ALL RIGHT? WE CAN RUIN HER, DEAR, ALL RIGHT? WE CAN RUIN HER, DEAR, ALL RIGHT? WE CAN RUIN HER. ALL RIGHT? ALL OF THE ECSTASY FOLKS LIKE US CAN AFFORD. NO RUINATION, JUST REWARD.

(VESTA wraps her arms around QUIMBY, who is violently shaking.)

QUIMBY I — I don’t want to hurt her — VESTA Shhhh, I know. Come on #1, let’s us just be one big happy family ... forever?

(Blackout.) SCENE SIXTEEN: HOBO JUNGLE — THAT NIGHT (In the dark, the tramp SKEET listens to the radio.)

RADIO An alert to the counties of Madison, Iron, Jefferson and St. Francois: Missouri deputies are searching for the daughter of Sheriff-Coroner James Harris Quimby, allegedly kidnapped from her home by a sex-crazed soldier-gone-mad. The two are likely traveling by train and may be camping out. A reward is being offered to anyone who can help ...

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(SKEET eyes WILLA and EUGENE as the radio fades off. TRAMPS hole up before an old school bus, years unused; one arrives with stew. A fire has been set as JACK K. sings a cappella.) MUS. NO.: “MY LORD, THEY’LL BURY ME DOWN RALEIGH WAY”

JACK K. MY LORD, THEY’LL BURY ME DOWN RALEIGH WAY. OR IN A BARN O’ BRICK, ‘NEATH BALES O’ HAY. BUT WHEN THAT BRASS BELL BLOW, TO JESUS I WILL GO, ALL TRAMPS GO.

(JACK K. sits beside WILLA and EUGENE, eating and passing a flask.)

JACK K. It ain’t dining at the ritz but you can’t tell me the grunt rations was any better. EUGENE How’d you know I fought? JACK K. Your eyes. You got the look. I was in the marines once. Couldn’t stand it eight days before I got on the sick list. Think the army’s like school: for fish! WILLA Sometimes I wish I had more schoolin’. JACK K. Willa, you oughtta know they said on the radio two kids matchin’ your description were on the loose and they was offerin’ a reward for your return. WILLA Well we can trust you, can’t we Mr. K.? JACK K. Of course, we’re family, Willa. But the code ain’t what it used to be ... plenty of drifters don’t follow it at all. You be careful now. A TRAMP Jack, I’m takin’ my radio into town; you betta sing them a song. JACK K. Pardon me, I am summoned to entertain! (Goes to them.)

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EUGENE (Removing a red book from his bag.) Willa, I wanna show you something. George gave me this red book, said in the darkest dark, it would be a light for me. WILLA I can’t read. EUGENE Then maybe you’ll learn. WILLA (Takes the book.) Thank you. EUGENE That Mr. K.’s a real crack-up. WILLA Reminds me of my daddy. EUGENE George always talked nice and bright about your pop. But wouldn’t say too much about your ma. How’d she pass? WILLA Um. She —. She had —. (It’s hard.)

MUS. NO.: “SALLOW’S SONG”

EUGENE Never mind. WILLA JACK K. ALL YOUR DAYS, WAITIN’ FOR SALVATION. The day my mama died ... SAY, “AN ANGEL GON’ COME.” She'd got sick after she lost my sister ... THERE AT THE END, So papa took her to the clinic in town. IN COMFORT AND GRIEF, YOU FIND A FRIEND. (OOH) WILLA (CONT.) It was just a little flu but the doctors wouldn’t give my daddy no medicine ‘cuz we had no money? If we’d just been richer, if we’d just been — The day she left she said, WILLA’S MOTHER (Appears in fireglow.)

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“Bye Willa.” Sos I just said, “Bye mama,” ‘cuz I didn’t know? Next time I saw her I was puttin’ dirt on ‘er. (She looks into his eyes.) AND THAT WAS THAT.

I’m so broken. I could never be as kind and as good as you. As you are to me. SEE, MY HEART LEFT FOR WAR. AND I’M ALL TO BLAME. COLD, MY HEART, WAITING FOR ONE TO HEAL THIS SHAME? AND THEN YOU CAME. EUGENE I been scared my whole life. Scared o’ people. Scared o’ time. Hell I cried like a pussycat when I heard I’d been drafted. But you’ve shown me something to find courage I never knew I had. A MAP OF SCARS LED ME HERE, DAY BY DAY BY DAY. MY MAP OF SCARS ENDS IN YOU. ASK ME. I WILL STAY.

(WILLA kisses him.)

WILLA, EUGENE, JACK K. THE MAP OF SCARS STARTS TO HEAL, THIS LOVE CAN MAKE IT SO. WITH THE TRAMPS THE MAP OF SCARS WILL REVEAL HOW ONE LOVE CAN GROW. NOW, ONE LOVE WILL GROW.

MUS. NO.: “DAMNED RADIO”

WILLA I wanna go with you to L.A. EUGENE You don’t need a man, Willa. WILLA No. But I need you. EUGENE (Kisses her.) IT’S TIME OUR LUCK WAS CHANGIN’, WILLA WILLA

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NO MORE SORROW, NO MORE SHAME! AND ALL MY SORROW DONE!

(Gunshots, and the TRAMPS scatter. QUIMBY and OFCR. WILKINS appear, grabbing EUGENE and cuffing him.)

EUGENE You can’t take her!

(OFCR. WILKINS knocks EUGENE unconscious. VESTA walks on in a coat and hat, removes her gloves.)

WILLA Eugene! VESTA So much for “your people.” A good-for-nothin’ tramp sold you out! JACK K. Skeet and his damned radio!

VESTA Willa, you’re invited to attend a party tomorrow. In fact, your presence is firmly requested as the guest of honor. WILLA I ain’t goin’ nowhere with you! QUIMBY Please. Please.

VESTA Well, soldier-boy is goin’ back to town with us. So, I guess you can ... scamper off and we’ll chase you — after we dump his body of course — or you can just get in the car? Which you like better?

SCENE SEVENTEEN: VARIOUS LOCATIONS — FRIDAY AFTERNOON

DOTTIE (Appearing with a Tupperware.) I just wanted to say how sorry I am about what’s happened to Willa. To go through an experience like that, and then to lose your mind. Well, it’s just good you’re keeping her safe inside. See you tomorrow night for the banquet.

Quimby Estate — The cellar. (WILLA is chained to the furnace pipe. Cold, she reaches to light the pyre, blowing ashes of George’s letters into the room.)

WILLA

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AND WE’LL WATCH OUR WORLD DEVELOP, AND WE’LL SEE DREAMS COME TO FRAME. TODAY OUR LUCK GETS CHANGIN’ ... WILLA ...

(Amidst the ashes appears GEORGE’s spirit. WILLA feels his presense without looking at him.)

WILLA (CONT.) George.

GEORGE Yeah, Willa. WILLA What happens when we die. GEORGE We die. WILLA ... How is it? GEORGE Not s’ bad. Livin’s just more fun. WILLA She’s so strong, George. She’s got power in places folks can’t even see. And she’s so smart. Me, I’m just a dumbshit hillbilly. No. Worse, I’m just a dog. GEORGE Ev’ry dog in a house gets put down some time or other. So you gonna get put down? WILLA No, George, but — GEORGE Then you got some changin’ to do. WILLA But how can I fight her?! GEORGE You don’t fight her. Fight between a dog and a crocodile ain’t no more fair than a one between a dog and a rat. So now’s a time to get clever. To get smart. To get away. ‘Cuz it’s better to be a fox in a hole, than a dog in a house. Now are we dogs or are we foxes?

(The door opens and it’s VESTA with soup. GEORGE fades away.)

VESTA

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Afternoon, et cetera. WILLA Did you kill Eugene? VESTA Now, we are law-abidin’ folks, Willa. He got ornery, so he’s black and blue, but — I think he’ll walk. My, it’s real tough luck lovin’ you, isn’t it? Seems like everyone you get close to ... ends up in a real bad way. Your family, your poor brother, your soldier boy — why, even Dick Hatless over there. WILLA I was protecting myself. VESTA Well don’t worry; Sheriff and I took care of the body. WILLA Once this party tonight is done, you’ll have me dead. VESTA You’ve got it all wrong. See, you’ve been quite a resource of late now ev’ryone thinks my poor little daughter has gone crazy? Broken to loony little pieces over bein’ kidnapped ‘n all? WILLA Gee that’s funny, ‘cuz I never been more right-minded. VESTA Willa you listen. Things’ve changed. Mrs. Slaughter has convinced her husband to attend tonight’s party. WILLA The Governor? How’d you manage that? Oh, why even ask. VESTA You managed it. Only thing better than you gettin’ lost was you gettin’ found. It’s a “Welcome Back Willa” party now. News was crawlin’ out of the state, and everyone got real interested. It’s a big deal and now this could be my chance! WILLA What’s in the other hand, Mrs.

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(AGATHA QUIMBY appears, curious. WILLA watches her.) VESTA You just gotta play your part, be my little crazy, and guess what? We’ll be gone. No more Sheriff, no more this, hell you and your beau can even make a go, everybody wins! All you have to do is play a little part. WILLA You want me to be crazy. VESTA This wood wasn’t grown for tough bitches like us, Willa. Us girls gotta stick together, and get the hell out. Okay? WILLA ... All right. VESTA Good. I’ll come back for you at first-dark. Oh — and in case you think of trying something funny ... (Pulls a bottle from her bosom.) This here is pure nicotine. One drop will make you real sick. Three drops, that’ll kill ya, and no one will know a thing. If I were you, I’d keep myself real indispensible.

(VESTA’s gone, and she locks the door behind her. WILLA stares at the door, as AGATHA remains by, excitement in her eyes.) LISTEN: MUS. NO.: “THE MAD DOG”

WILLA Y’ BEAT ME DOWN WHEN I WAS BROKEN. YOU SPIT OUT LIES WHEN LOVE WAS SPOKEN. AND THEN YOU TOOK THE ONLY TOKEN I HELD NEAR.

(Thump! from the below the floor. WILLA and AGATHA turn to the mattress. Thump! As WILLA goes to it, pushing it aside —)

WILLA (CONT.) BUT AIN’T THAT YOU? YOU’RE JUST A BULLY. NOW, I SEE TRUE, ‘N KNOW YA FULLY, YA GOT TO STOP, AND I’M THE ONLY ONE, THAT’S CLEAR ...

(WILLA finds the trapdoor and opens it; flies, and the stench of a fresh corpse, waft upward. WILLA reaches in, finding Hatless.)

WILLA (CONT.) THE MAD DOG KICKS ASLEEP.

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THE MAD DOG TICKS ASLEEP. SHE ACHES. SHE ACHES. THE MAD DOG RUNS IN PLACE. THE MAD DOG DREAMS A RACE — SHE WAKES. SHE WAKES — Get clever. Get smart. GET AWAY. AH!

(The hand stirs, and out slogs HATLESS, a bullet in his back.)

WILLA (CONT.) NOW THATCHA USED MY LIFE T’ SCATTER, AIN’T GOT A THING FOR YOU TO SHATTER. YOU WANT ME MADDER THAN A HATTER? SO I’LL BE. AGATHA SO YOU’LL BE. I’LL PLAY MY PART, I’LL BE YOUR FREAK SHOW. I’VE LEARNED THE ART, YOUR LITTLE MEEK SHOW. LITTLE MEEK SHOW. AN ACT MISSOURI’S BOUND TO CALL A SIGHT TO SEE. MANY UNSEEN VOICES WE SEE. WILLA AGATHA THE MAD DOG GROANS AT DARK. GROANS AT DARK... THE MAD DOG MOANS HER BARK. HER BRAIN, IT SPOILS. HER BRAIN, IT SPOILS. HATLESS THE MAD DOG GNASHES TEETH, SHE FOAMS ‘N UNDERNEATH,

AGATHA & HATLESS HER CHAIN HER CHAIN, THE MAD DOG, THE MAD DOG. UNCOILS. UNCOILS, THE MAD DOG. THE MAD DOG.

(VESTA re-enters, descending the steps, unaware of the SPIRITS.)

WILLA MY BREATH IS QUICK, AND GETTING QUICKER. MY HAIR IS COARSE, AND GETTING THICKER. IS THIS A CHANGE, OR JUST A FLICKER OF THE LIGHT?

VESTA

Why you so quiet?

WILLA I’M OVERWHELMED BY ALL MY SENSES ... VESTA

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Answer me, girl! WILLA CAN’T HEAR MY THOUGHTS, ‘N MY PRETENSES FADE TO FIGHT OR FLIGHT. VESTA (Hands her the dress.) Silent treatment, I see.

(WILLA shows her chained hand, as numerous VICTIMS appear.) VESTA (CONT.) Guess ya can’t put yourself together with your leash on.

(Unlocks the chain.)

WILLA & V.’S VICTIMS NOW I’M CHANGING SHAPE BELOW AN EMPTY MOON.

VESTA Be ready in half-an-hour. (Goes.) WILLA V.’S VICTIMS NOW I’M CHANGING, NOW I’M CHANGING, YET IT WILL BE OVER SOON. YET IT WILL BE OVER SOON. IT WILL ALL BE OVER SOON. WHEN

THE MAD DOG STRIKES AT LAST THE MAD DOG STRIKES AT LAST SHE LEAPS, THE POUNCE TOO FAST. SHE LEAPS, THE POUNCE TOO FAST. HER PREY, HER PREY, THE MAD DOG, THE MAD DOG. A FEAST. A FEAST, THE MAD DOG. THE MAD DOG. THE MAD DOG TEARS APART THE MAD DOG TEARS APART SHE’S LOST HER MIND AND HEART — SHE’S LOST HER MIND AND HEART — A BEAST. THE MAD DOG, THE MAD DOG. A BEAST. THE MAD DOG. THE MAD DOG. WILLA (CONT.) (Considers the dress.) BUT NOW THE DOG GROWS STILL. THE MAD DOG STAYS HER WILL, SHE CRIES. CRIES. THE MAD DOG LIES IN WAIT. SHE LIES, LIES. VESTA’S VICTIMS (HUM.)

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(Quick transition to —) SCENE EIGHTEEN: THE ORPHAN’S BANQUET QUIMBY ESTATE, VARIOUS LOCATIONS — THE NIGHT OF THE FIRE On the rear patio. (The party in full swing. LORAMAE, SADIE and DOTTIE sing on a makeshift stage. Dancing!) MUS. NO.: “BANQUET PART 1 — GONNA GITCHA BACK”

LORAMAE, SADIE, & DOTTIE (Á la the Andrews Sisters.) L: I’M GONNA GITCHA BACK! THERE AIN’T NO “ME” WITHOUT “YOU.” S: I’M GONNA GITCHA BACK, IF IT’S THE LAST THING I DO! D: YOU BROKE ME APART, MAN, YOU SPLIT ME IN HALF! YOU LEFT MY PIECES ON THE FLOOR ALL: WITH A TWISTED LITTLE LAUGH. ‘N SO, I GOTTA GITCHA BACK, I RECKON THIS TIME YOU’LL STAY. NOW, I’VE PLANNED MY ATTACK — OH, WON’T OUR LIFE BE GRAND ONCE I’VE GOT YOU BY THE HAND. I’M GONNA GITCHA! I’M GONNA GITCHA BACK!

(VESTA emerges and beelines for MRS. SLAUGHTER. The unamused GOV. SLAUGHTER stands with an empty cocktail glass.)

VESTA <<Bon soir!>> Do you like the tiki torches? I thought they were a nice touch! MRS. SLAUGHTER I adore the tiki torches! And already we’ve raised nearly six thousand dollars! That’s quite a lot. GOV. SLAUGHTER Eh. It’s a sidewalk.

(GOV. SLAUGHTER snags a cocktail from a passing waiter.)

MRS. SLAUGHTER Bruce, tonight’s a “no-drinking” night. VESTA Perhaps I could fix the Governor my famous Ruby Fizz, gin-free! GOV. SLAUGHTER

V.’S FRIENDS DOO DOO DOO DOO DOO (cont. under)

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Throw a coupla aspirin in there, would you, bitch of a headache. MRS. SLAUGHTER Now, Vesta — you’re sure our Guest of Honor is ... all right?

GOV. SLAUGHTER Yeah, how crazy is she exactly? VESTA Crazy, ha ha ha, no, she’s fine. In fact — I’ll go fetch her! (Goes.) LORAMAE, SADIE, & DOTTIE ‘N SO, I’M GONNA GITCHA BACK, I RECKON THIS TIME YOU WILL STAY. NOW, I’VE PLANNED MY ATTACK — I’M PLANNIN’ MY ATTACK! OH, WON’T OUR LIFE BE NICE AFTER YOU HAVE PAID THE PRICE? I’M GONNA GITCHA, GITCHA, GITCHA, GONNA GITCHA BACK!

MUS. NO.: “BANQUET PART 2 — SLOW DANCE”

(VESTA presents WILLA, crazy. The party quiets, focusing.)

MRS. SLAUGHTER Willa, we’re so glad you could come to the party. VESTA Music, please!

(VESTA seats Willa with MRS. SLAUGHTER, then to QUIMBY.)

VESTA (CONT.) Keep those eyes bright, #1. QUIMBY Willa looks sad. VESTA No, she’s excited. Ain’t you excited? QUIMBY Willa.

JOHN BRASS Sheriff, Mrs. Quimby! It’s a week of congratulations to you both. VESTA Oh John, so much could happen!

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JOHN BRASS I know, I’m counting on it.

(WILLA and MRS. SLAUGHTER sit.)

MRS. SLAUGHTER I bet you hope the party ends soon, huh? WILLA Soon? (Stares off.) Soon.

(The band plays romantic. WILLA sees QUIMBY staring, locks eyes.)

MRS. SLAUGHTER Aw Sheriff, the way you look at your girl! Wouldn’t you like a little father-daughter dance?

(QUIMBY balks, ashamed, but WILLA stands, walking into his arms.)

WILLA I’ve been waiting for this.

(MRS. SLAUGHTER watches, pleased. VESTA and GOV. SLAUGHTER.)

GOV. SLAUGHTER This “Ruby Fizz” is all gin. VESTA Two shots. And I caught you stealing a three-four from your breast pocket flask — and once you’re done with that, we’ll get ya a five-six-seven-eight. GOV. SLAUGHTER Ha, you sound like you wanna dance.

(THEY do.)

VESTA Oh, Governor Slaughter, I heard you were a marvelous dancer! In fact, two of your mistresses — Marlene Evans and a Gertrude Rosenbloom — said they learned the mambo from you! Oh, don’t stop ... GOV. SLAUGHTER What do you want? If it’s an endorsement, John Brass has already got my ear. VESTA Give it all to Brass. The Quimbys are looking to move on. I’m sure you could find some nothing position for the

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Sheriff in Jefferson, and perhaps even I could be near to fill your cup from time to time. Whaddya say, Chief?

(WILLA rests her head on QUIMBY’s chest as they dance. MRS. SLAUGHTER returns to her husband.) GOV. SLAUGHTER

Becky! Your friend Vesta and I were just chatting about her husband’s future. MRS. SLAUGHTER Ooh, I love the future! VESTA Yes, your husband mentioned a cabinet position soon to come available. GOV. SLAUGHTER Cabinet? VESTA Gertrude? MRS. SLAUGHTER I’m sorry? GOV. SLAUGHTER Yes, a cabinet position. VESTA And an assistant spot for me! To start. MRS. SLAUGHTER Assistant? Oh, of course, someone to manage all of his affairs! VESTA Exactly.

(GOV. SLAUGHTER downs his drink. The clock chimes eight. VESTA picks up a glass and clinks it.)

VESTA (CONT.) Attention, attention, everyone!

MRS. SLAUGHTER Thank you Vesta. And what a lovely home, and even lovelier party you and the Sheriff have thrown for us.

(EVERYONE applauds. The following events occur simultaneously.) MUS. NO.: “BANQUET PART 3 — VISIONS”

MRS. SLAUGHTER (CONT.)

(WILLA is spontaneously startled by something in the distance. She sits up right suddenly, pushes her chair back, stands. Clutches the tea cup. She begins to move toward what is quickly becoming clear as an hallucination. She gasps, whimpers. Drops the tea cup. Shudders.)

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“Tonight, as we do every year, we come together to consider those who are not as fortunate as we to be blessed with a life’s worth of a mother and a father. No matter the cause or circumstance of orphanhood, our Lord has selected these brave young soldiers to shoulder the burden of those above them. For we must see that our joys are their miseries. And how can it be so, in this, a new era of freedom and of international liberty? How can the orphan remain underfoot when, they above all deserve reparations?” ... Willa? VESTA Darling, let’s sit down. (To the crowd, calming.) She’s all right! WILLA (Suddenly direct to VESTA.) DEAR MRS. QUIMBY. VESTA I HEARD TELL YOU’RE ILL? Ill? SO I’VE BROUGHT TEA FROM THE TAP OF THE CHITTERWILL.

Chitterwill? My goodness, her fever!

MY TEA WORKS WONDERS, SHE LOVED EACH NOON I’D CALL.

J., darling — Get involved?

SOON SHE SEEMED SENSELESS, HER EYES GLASSED LIKE A DOLL. We’re going inside now! UNTIL AT LAST AT THE TOP OF THE STAIRS SHE HAD HERSELF A FALL! Agatha Quimby! I see you, you poor fool! (Screams, then, pointing at VESTA.) OH, THAT FANG-TOOTHED CROCODILE — ! THAT POOR FOX — !

Vesta and Willa, in the cellar.

VESTA I dunno what you’re at but it’s the last thing you’ll do, I promise you!

(WILLA lunges at VESTA, and they wrestle, WILLA clawing at her hair like an animal. It’s over fast.)

VESTA (CONT.)

(MRS. SLAUGHTER starts for Willa, but VESTA seizes WILLA by the arm and drags her away.) GOV. SLAUGHTER What’s she going on about? Agatha? SADIE It’s the Sheriff’s first wife.

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You stop this!! No, not here and not now — not while there’s a party still goin’! (Matting her tousled hair into place.) Where’s the pin? Oh, I’ve got apologies to make. I’ll come down tonight and you and I will settle this right. (Touches her face scratch.) You think that’ll scar?

(Nothing. VESTA rushes up, locking behind her. WILLA reveals from her mouth VESTA’s silver bobby pin, and from her hand, the bottle of Nicotine.)

WILLA Woof.

(WILLA pockets the bottle and twists the hairpin. She shoves the mattress over, pulls up the trapdoor.) On the rear patio.

SADIE Did Willa just say that Vesta — LORAMAE No, Vesta is not a murderer. She’s just eccentric. (Suddenly —) Though sometimes, when I’m around Vesta, I feel a little as though, I dunno — SADIE — Your thoughts are not your own — ? LORAMAE — Like everything you do is predetermined? SADIE AND LORAMAE ... I thought it was just me!

(OFCR. WILKINS joins the party, rushing to QUIMBY.) DOTTIE

Officer Wilk –

QUIMBY Why aren’t you at the station?

WILKINS ‘Cuz J. — he’s gone, boy’s gone! QUIMBY How the shit did that happen? WILKINS

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See I, I, was guardin’ him, and, oh, he lit his damned clothes afire! Was gonna set the whole place up, so, so’s I had to open up, and — he got out! QUIMBY (Hits them with his hat.) Idiot! I reckon he’s on his way to have some shrimp cocktail and champagne. You shoot him on sight! The perimeter, now.

(WILKINS moves off to the back wood. VESTA re-enters.)

VESTA Becky, she’s much calmer now, thanks to your quick thinking! People must be — MRS. SLAUGHTER Vesta, stop. You and I did seem very alike. But now I see that we are in fact, very different. VESTA We are? MRS. SLAUGHTER I may seem all feathers, but that’s because, unlike you, my bullshit is harder to see through. And whatever these skeletons are in your closet — I don’t want to know! QUIMBY V. VESTA Not now, dear. Becky, your husband — MRS. SLAUGHTER Vesta, deal with your family, Jesus! QUIMBY That soldier boy got loose; need my gun. VESTA It’s in the shed. But check the bullets ‘cuz you may have used ‘em all up shootin’ at bottles the other night!

(QUIMBY goes. Variously, VESTA is hounded by GUESTS.) LORAMAE ARE YOU ALL RIGHT?

DOTTIE VESTA! GUEST #1 MRS. QUIMBY, A WORD?

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VESTA Yes, I’m fine. SADIE WE’RE OUT OF GIN? Yes, it’s time for pie. GUEST #1 MRS. QUIMBY! SADIE WE’RE OUT OF GIN! LORAMAE VESTA, THE GOVERNOR? GUEST #2 V.? GUEST #3 V.? DOTTIE (To Dottie.) Go get the pie. V.? GUEST #4 VESTA? MANY VESTA. GUEST #2 MRS. QUIMBY? GUEST #4 DOTTIE MRS. QUIMBY? PARDON ME, VESTA. GUEST #1 LORAMAE MRS. Q! DARLING, IT’S URGENT. SADIE WE’RE OUT OF GIN! The pie! GUEST #2 VESTA, MY DEAR. SADIE VESTA, THE GIN! (The SLAUGHTERS emerge with coats.) THE SLAUGHTERS MRS. QUIMBY, GOODBYE! DOTTIE GUESTS VESTA. GOODBYE! LORAMAE & SADIE MALE GUESTS VESTA! VESTA! VESTA!

VESTA (CONT.) (Exploding.) No one is leaving until they have a piece of my delicious fucking pie!!!!!!

(SADIE screams from inside the house. GUESTS part to reveal WILLA in the kitchen doorway, caked in blood and dirt.)

WILLA Mother. I found Mr. Hatless. SADIE There’s a dead man on the kitchen floor!!

MUS. NO.: “BANQUET PART 4 — CHAOS”

GUESTS

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(Horror.) AH! AH!

(Chaos. The welter of GUESTS explode into the backwoods, like small forest creatures running for their lives. VESTA and WILLA lock eyes, calm. QUIMBY comes from the shed, passing VESTA.)

QUIMBY What’s the parade?!

(VESTA grabs the pie knife. She moves toward WILLA.)

VESTA It’s done now! It’s all off! Your girl, dragged up ole Hatless and — (Stars to cry.) Ruined my party!! (Suddenly focused.) She’s gonna see us ruined, can’t you see that now? WILLA Sheriff! What I’ve done ... I’ve done for you. Don’t you know the Mrs. sent me away, then employed Mr. Hatless after, to kill me, SO’S YOU C’N BE HERS ALONE! QUIMBY What!? WILLA She told me I killed him, but he had a bullet in his back and she done the deed. QUIMBY V. you told me... I —

VESTA J.! SHE WANTS TO RUIN US, CAN’T YOU SEE? SHE MEANS TO RUIN US —

QUIMBY Quiet!

(WILLA reveals the bottle of Nicotine.)

WILLA (CONT.) THAT WOMAN’S PLANS ARE UGLY. SHE’D POISON YOU WITH THIS? Nicotine. VESTA Don’t listen to her, fool man! WILLA IT MAKES YOUR INSIDES UGLY,

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AND IT KILLS QUICK AS A KISS. VESTA Lies. WILLA She was gonna use it on you this very night, but I stole it to save you.

(QUIMBY takes the perfume bottle of Nicotine. He opens the cap, smells it.)

QUIMBY Funny. This perfume ain’t got no scent. VESTA It’s a tonic. For headaches. Don’t you see she’s usin’ you, and while you and I are quarrelin’ she’s gonna get loose?

(QUIMBY looks to WILLA and pulls a set of cuffs.) QUIMBY

THE LADY’S GOT A POINT. WILLA I’m here, as long as you’ll protect me. QUIMBY YOU SURE YOU AIN’T FOOLIN’ ME? WILLA NEVER, SHERIFF.

(WILLA cuffs herself to the door.)

VESTA Good, now we can talk like married —

QUIMBY Tonic, you say. You know what, dear? Heh. I’ve got me a headache. I’ll just — have a swig n’ ... feel better ‘n no time. How long you think it’ll take? VESTA Oh. Real fast, J.

(QUIMBY brings the bottle to his lips. Stops. HE splashes it at VESTA, who brings her arms up covering her eyes.)

QUIMBY Tonic, you say? (Splashes her again.) Tonic? (Again.) Why you coverin’ your eyes?

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VESTA You’re gettin’ it all over my dress is all!

QUIMBY That true? ‘Bout Dick Hatless? VESTA Who cares!? Sure, it’s true! But focus, this is about us! I’m your #2, remember? QUIMBY Ya know what, V., it’s awful hard to tell when you’re bein’ SIN-cere and when yer just bein’ YERSELF.

VESTA Enough, old man! What do you want? I can give it to you, I can make it — QUIMBY (Thrusts the bottle forward.) Want you to have a swig, dear. VESTA J. You turnin’ on your wife? QUIMBY You ain’t been a wife to me since the night we hitched. Now drink up, dear. (Firmly.) Drink it!

VESTA I ain’t got a headache!

(QUIMBY whips his pistol out, points it at her head.)

QUIMBY Well, you’re about to!!! VESTA (Tosses the knife.) It’s poison. QUIMBY So you were gonna let me drink it? VESTA No. QUIMBY But you were, see. VESTA It was for Willa, damnit!!

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QUIMBY (Pushing it close to her.) THERE’S A TRAIN A-COMIN’, AND IT’S LONG PAST DUE. THIS UGLY LIFE IS OVER, NOW I START MY LIFE BRAND NEW. GOODBYE, V., GOODBYE. BACK TO HELL, WHERE YOU CAME FROM — (Cocks the gun.) Now you mutt bitch. Drink it.

VESTA You won’t shoot me. QUIMBY But I would.

(QUIMBY pulls the trigger — and the gun is empty.)

VESTA I told you to put more bullets in the gun you lazy son-of-a-bitch.

(With a beastly cry, VESTA plugs her thumbnails into QUIMBY’s eyes. QUIMBY drops the gun, strangling her. QUIMBY and VESTA wrestle across the patio floor, until VESTA finds the pie knife. She stabs QUIMBY, who relaxes atop her, dead. EUGENE rushes on, limping badly, his face black and swollen.)

WILLA Eugene, you blessed fool! EUGENE Came as soon as I could!

MUS. NO.: “BANQUET PART 5 — FIRESTARTER”

VESTA LIKE STRAW TO GOLD ... WATER TO WINE ... I saved you ... and you ruined me ... (She takes the Sheriff’s gun, opens the chamber and finds a bullet.) Not so empty. WILLA Mrs., let’s leave it here. STOP THIS, AND WE’LL TEAR OUT. ‘N YOU C’N BLAME THIS ALL ON ME, SAY I KILLED THEM ONE AND ALL. EV’RYBODY, ONE AND ALL. LET US GET RUNNIN’ ...

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VESTA And me? Vesta Quimby, the widow? No, no ... black just ain’t my color. (Drawing the gun again, quick.) Oh, Willa, we’re just animals fighting for bones! WILLA No, not animals. EUGENE Animals ain’t evil. WILLA Not evil neither. And not good. Just human. VESTA No. That ain’t how this is gonna go.

WILLA Mrs., you got eyes on the side of your head, and you’re not seein’ straight! You’re all covered in that nicotine. And even a dumbshit hillbilly knows nicotine is a real firecatcher. EUGENE (Lighting a match.) Dozen more where this came from. You shoot her, and you’ll blow brighter than the fourth of July. (Blows the match out.)

(The Tiki torches extinguish — darkness. Cold blue light illuminates AGATHA QUIMBY and VESTA’S VICTIMS around Vesta in ritual.)

VESTA’S VICTIMS HAH ... VESTA

(Sees Agatha. Some new clarity.) Oh, Agatha, you comin’ to reap?

(AGATHA advances slowly around VESTA, who panics about.) VESTA (CONT.) You stay back! VESTA’S VICTIMS NOW I’M CHANGING SHAPE BELOW AN EMPTY MOON VESTA Not me, Agatha; you couldn’t take me then and you won’t take me now.

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EUGENE Willa, what’s happenin’? VESTA’S VICTIMS NOW I’M CHANGING, YET IT WILL BE OVER SOON AGATHA IT WILL ALL BE OVER SOON VESTA Oh Jesus!

(AGATHA and VESTA stand off across stage as QUIMBY appears.)

QUIMBY V. Ain’t you tired yet? VESTA Stay back! I will count to, to three! WILLA Mrs.! QUIMBY It’s warm here, like a summer that never ends. There ain’t no whiskey, or pies, or Governors, and everyone’s heart is so quiet. VESTA One! QUIMBY So bright here, bright and hot. VESTA Two, godammit, two!! WILLA Let us go, Mrs.! VESTA Three!!!!

(VESTA fires, the bullet hitting EUGENE, as AGATHA reaches out a hand towards a Tiki torch, which reignites. With a flick of her wrist, it falls over, setting ablaze a line of fire straight at Vesta. VESTA QUIMBY howls, engulfed in flames. The Quimby Estate lights up.) SCENE NINETEEN: THE BEGINNING MUS. NO.: “CLEARING” (JACK K. and THE TRAMPS watch as the train from the top of the play roars off. JACK K. finishes his flask.)

JACK K.

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THE REAPER’S PLAN NEVER CAN BE CHANGED. BUT REAPER MAN SEES IT REARRANGED. 1ST TRAMP Jack, what happened to Willa? JACK K. A body ought to figure she burned up in that house, along with her soldier boy. 1ST TRAMP To think, those Quimbys’ll have a right burial in Jefferson, like heroes. 2ND TRAMP Life ain’t just, Jack. JACK K. (Lights a cigarette.) It don’t seem that way. But if not here ... then in the After, we get what our story’s earned. And our Willa ... she’ll get what she deserves. As for us, we’ll only get half for the shit job we did nailing those lids tight. 1ST TRAMP Jack K., the Quimbys ain’t in those coffins, are they? JACK K. They sure ain’t. Farewell, my Willa — you’ll be my greatest tale.

(JACK K. puts the cigarette out as VESTA’S VICTIMS exit past, free of their imprisonment in the Quimby house ...)

JACK K. (Steps forward, away.) SO REAPER REAP, WHEN COMES MY DAY. BUT NOW, REAPER SLEEP — VESTA’S VICTIMS AND KEEP AWAY ...

SCENE TWENTY: NOWHERESVILLE — EPILOGUE LISTEN: MUS. NO.: “WE FOXES” (Light rises. Something stirs from within one of the coffins and with the squeal of bending nails, WILLA emerges. She pulls over to the other coffin and opens it: EUGENE with his arm in a sling. They are black with soot, hardly recognizable as human.)

WILLA THE DOG HAD RUN AWAY, FADING HER TEETH ON CHAIN ‘N ROPE. FIGHTING LIFE FOR EV’RY DAY,

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LIVING BY THE HAIR OF HOPE. THE DOG FOUND FREEDOM HARD. FAMINE ‘N PAIN. THE CHASE, THE FEAR. COMFORT NOW WAS NEWLY BARRED, THE WAY AHEAD WAS NEVER CLEAR. YET INSIDE SHE SAID, “IT’S RIGHT.” SHE CAUGHT THE SUN AND CHEERED THE LIGHT, HER DOGHEAD LAUGHED AND HER MOUTH TURNED SLIGHT —

(WILLA gasps, slight. Behind WILLA, her MOTHER softly illuminates, singing to her.)

WILLA’S MOTHER & WILLA (CONT.) WAKE, MY HEART, REST NO MORE. BEAT YOUR BEAT, AGAIN.

EUGENE Willa? Don’t cry. WILLA She’s dead. EUGENE It had to be. WILLA No. My mama. She’s dead. EUGENE Willa girl.

(As WILLA speaks, the apparitions of GEORGE, WILLA’S FATHER, and her TWO YOUNG BROTHERS join her MOTHER.)

WILLA (Takes his hand.) Oh, just. I miss her. And I miss my daddy. And my little brothers ... (Kisses his hand.) And I miss ol’ George. But. That’s just what is. EUGENE Don’t be sad, Willa. WILLA No, no. I’m not sad. Happy. EUGENE Why?

WILLA ‘Cuz I can hear it.

WILLA’S FAMILY (HUM) ... (HUM)... BEAT YOUR BEAT ... BEAT YOUR BEAT ... (cont.) MSU P

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EUGENE What? WILLA I can hear it. I can hear my heart.

(Gradually the junk car becomes a passenger car. EUGENE and WILLA are cleaned and their clothes changed.)

WILLA & EUGENE (CONT.) THE DOG NO MORE A DOG, NO MORE TO TOIL BY HUMAN CLOCKS. NOW THE BEAST WHO CRAWLED THROUGH FOG HAD COME OUT LOOKING MORE A FOX. “YES,” SHE SAID, “NOW I BEGIN. THE PAST IS DEAD, ABSOLVED THE SIN, THE HEAVENS SMILE, WE FOXES GRIN —”

COMPANY WAKE, MY HEART! WAKE, MY HEART! REST NO MORE. BEAT YOUR BEAT AGAIN, BEAT YOUR BEAT AGAIN. BEAT YOUR BEAT, AHH.

Transition to: Nowheresville. (The train stops. WILLA and EUGENE step off into a crowd, the former reading the red book. A YOUNG TRAMP follows them.)

WILLA Eugene — what’s this word? EUGENE “Sjazda.” It’s Polish, so it’s spelled funny. YOUNG TRAMP Ms.! You dropped your pocket book! WILLA Oh. Why thank you. Here, take this. (Offering a $5 bill.) YOUNG TRAMP Five dollars!? I can’t take that. WILLA One for one.

(The TRAMP BOY reluctantly takes the bill. WILLA and EUGENE blend into the crowd and it is harder to find them.)

EUGENE Come along now, Mrs. Harvey. WILLA Mr. Harvey.

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WILLA & EUGENE

THE FOX LIVES ON THE RUN, LIVING A LIFE IN HALLOWED HOLES. FOXES HEAR THEIR STORY SPUN, AND IN OUR MOUTHS WE CLUTCH OUR SOULS. ALL COMPANY WILLA & EUGENE WAKE UP, HEART IN OUR MOUTHS WE CLUTCH OUR SOULS. REST NO MORE. BEAT YOUR BEAT, AGAIN. WAKE UP, HEART IN OUR MOUTHS WE CLUTCH OUR SOULS. REST NO MORE. BEAT YOUR BEAT, AGAIN.

(As WILLA and EUGENE disperse into the crowd, many SOULS intermingle with the living, unnoticed. Somewhere in the darkness, we hear VESTA’S voice, at last freed of herself.)

ALL COMPANY WAKE UP, HEART, REST NO MORE. BEAT YOUR BEAT AGAIN. WAKE UP, HEART, REST NO MORE. BEAT YOUR BEAT AGAIN. HOO, HOO, HOO, HOO, HOO, HOO, HOO, HOO, HOO, HOO, HOO, HOO ...(etc.)

(WILLA and EUGENE have disappeared. The light grows intense and bright. Then black.)

END OF ACT TWO END OF PLAY

WILLA & VESTA (CPT.) OH MY, OH MY SOUL. OH MY, OH MY SOUL. OH MY, OH MY SOUL ... OH MY, OH MY SOUL ... OH MY, OH MY ... OH MY, OH MY ...

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Documents

MSU Rehearsal Draft for Village - Department of Theatretheatre.msu.edu/files/9714/9305/3884/WE_FOXES_5.2-MSU_PERUSAL.… · A southern Gothic musical thriller by RYAN SCOTT OLIVER