VIOLET Libretto Vocal Book by Musik und Bühne

Bass I B R E T T O

O C A L

O O K

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Music and Lyrics by Dolly

Parton

Book by Patricia Resnick Music by Book and Lyrics by

on the 20th Century Fox Picture JeanineBased Tesori Brian Crawley

Originally produced on Broadway by Robert Greenblatt, April 2009 Based on The Ugliest Pilgrim by Doris Betts NOTICE: DO NOT DEFACE! Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOTICE: DO NOT DEFACE!

Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.

NOT FOR SALE NOT FOR SALE

This book is rented for the period specified in your contract. It remains the property of: This book is rented for the period specified in your contract. It remains the property of:

PLEASE RETURN ALL MATERIALS TO: PLEASE RETURN ALL MATERIALS TO:

421 West 54th Street New York, NY 10019 (212) 541-4684 (212) 541-4684 421 West 54th Street

MTI MUSIC LIBRARY MTI MUSIC LIBRARY 31A INDUSTRIAL PARK ROAD 31A INDUSTRIAL PARK ROAD NEW HARTFORD, CT 06057 NEW HARTFORD, CT 06057

New York, NY 10019

In accordance with the terms and conditions specified in your performance license, all music, lyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material. Any changes shall constitute a willful infringement of said copyright and will subject you to all the criminal penalties and civil liabilities under the United States Copyright Act. This book may not be duplicated and must be returned at the conclusion of your production. This Play is the property of its Authors. Remember, you have rented these materials and been granted a performance license. You may not duplicate any portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission and posting on the Internet, or use them for performances other than those specified in your license agreement.

Federal Copyright Law specifically prohibits the public performance of the enclosed material without a performance license. MTI's delivery of the enclosed material does not authorize you or your group to perform the enclosed show(s) in any manner whatsoever. For example, it does not matter whether your audience pays for their tickets or not; it does not matter if your group is a school or not. The law requires you to obtain a license prior to performing the enclosed material.

For further information regarding the severity of the punishments for willful infringement of copyright, please visit www.copyright.gov.

MUSIC THEATRE INTERNATIONAL

M USIC T HEATRE I NTERNATIONAL

421 West 54th Street New York NY 10019 (212) 541-4684 www.MTIShows.com

C H A R AC T E R S

(to be played by 5 women, 6 men)

VIOLET .......................................................................Late 20s, mezzo (belt)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FLICK, a soldier.........................................................Late 20s, baritone MONTY, a soldier .....................................................Mid 20s, tenor

YOUNG VI .................................................................Early teens, mezzo soprano FATHER ......................................................................Late 30s, baritone OLD LADY, HOTEL HOOKER...............................Older Woman

PREACHER, RADIO SINGER, BUS DRIVER 1, BUS DRIVER 4 ..............................Mid 30s, tenor

VIRGIL, BILLY DEAN, BUS DRIVER 2, RADIO SINGER, BUS PASSENGER ......................Early 20s, tenor MUSIC HALL SINGER, BUS PASSENGER ..........Mid 30s

LULA BUFFINGTON, ALMETA, BUS PASSENGER......................................................Older woman

LEROY EVANS, RADIO SOLOIST, BUS DRIVER 3, BUS PASSENGER.........................Older man

— iii —

MUSICAL NUMBERS

Water In The Well ..........................................................................................1

On My Way......................................................................................................4

2. 4. 5.

Surprised .........................................................................................................2 M & M’s ...........................................................................................................8

Luck of the Draw ..........................................................................................12

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

5a. M & M’s Transition I .....................................................................................18 6.

Question ‘n Answer ......................................................................................21

6a. Preacher Hymn I ...........................................................................................22 6b. M & M’s Transition II ...................................................................................23 7.

All To Pieces ..................................................................................................27

Let It Sing ......................................................................................................38

Anyone Would Do.........................................................................................41

7a. Organ Underscore / Preacher Hymn II .......................................................31

8a. M & M’s Transition III ..................................................................................39

10. Who’ll Be The One (If Not Me) ....................................................................42 11. Last Time I Came To Memphis .....................................................................45

12. Transition To Trio / Lonely Stranger ...........................................................47 13. Lay Down Your Head ...................................................................................53

14. Anyone Would Do (Reprise) ........................................................................54 15. M & M’s Transition IV ..................................................................................55 16. Hard To Say Goodbye ...................................................................................57

17. Promise Me, Violet ........................................................................................60

18. Raise Me Up ..................................................................................................63 19. Down The Mountain .....................................................................................71 20. In The Chapel ................................................................................................73

21. Raise Me Up (Reprise) ..................................................................................75

22. Look At Me ....................................................................................................77 22a. You Know What I Think? .............................................................................80 23. That’s What I Could Do ................................................................................80

24. Segue From “That’s What I Could Do” .......................................................81 25. Intro To “Surprised (Reprise)” .....................................................................82

26. Surprised (Reprise) .......................................................................................82

27. M & M’s (Reprise) .........................................................................................83 29. Promise Me (Reprise)....................................................................................86

30. Bring Me To Light .........................................................................................88

31. Bows: Let It Sing ...........................................................................................90

— iv —

I O L E T

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

The story begins on a sleepy street in a small town in the Blue Ridge Mountains of North Carolina. Perhaps the only sounds to be heard at first are a breeze in the trees, a creaking window shutter, a lazy dog sniffing up trouble. Violet is waiting for a Greyhound bus. She looks to one side and Young Vi appears there, about 13, singing a folk song without a care in the world. A slash (/) marks the moment of an interruption; both characters keep talking after one.

— 1 —

#1—Water In The Well

YOUNG VI

MAMA, WHY’S A MAN HAVE EYES? IF I TELL YOU, DON’T YOU TELL—

SO HE CAN TRY YOU ON FOR SIZE

THERE’S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL

VIOLET

A BATTERED NOSE, A PIMPLED CHIN— UNEVEN EYES TO TAKE IT IN

YOUNG VI

MAMA, WHY’S A MAN HAVE HANDS? IF I TELL YOU, DON’T YOU TELL—

GO ASK YOUR BEAU, HE UNDERSTANDS THERE’S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL

VIOLET

I HAVE TO START THE PREACHER ON THE SCAR

THAT CUTS A RAINBOW CLEAR ACROSS MY CHEEK

YOUNG VI

THERE’S HONEY IN THE BUSHES, LORD

AND WATER IN THE…

Leroy Evans enters dragging a leash.

Roscoe!

LEROY EVANS

Violet startles. Leroy fishes something out of his pocket.

Leroy’s got a hambone with your name on it.

Wipes it on his pant leg, sees Violet.

You going someplace, Violet?

— 2 —

I O L E T

#2—Surprised Violet turns to glower at the man; he avoids eye contact. Perhaps, as Violet turns, a shaft of sunlight cuts across her face. Young Vi has disappeared. Instead of answering the man, Violet looks at her luggage and sings sarcastically:

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

IS THIS A SUITCASE—IS IT MINE?

AM I WAITIN’ BY THE CANDY STAND,

BENEATH THE GREYHOUND STATION SIGN? HAVE I GOT A TICKET IN MY HAND? STUPID.

THE PEOPLE OF SPRUCE PINE ARE STUPID. LORD, I’LL CALL THE WHOLE TRIP OFF

IF LEROY EVANS LOOKS ME IN THE FACE NOPE, I WIN, HE’S TERRORIZED

THIS TOWN IS A SUPERSTITIOUS PLACE—

Points at the Leroy Evans’ disappearing form.

NEXT WEEK, WON’T THEY BE SURPRISED

The bus has pulled in by now; Violet and a recently arrived old lady queue up.

BUS DRIVER

Get your tickets ready. This is the Memphis bus, by way of Johnson City, Kingsport, Knoxville, Nashville, and a buncha towns no bigger’n this one. Tickets, please.

The driver squints at Violet. As she hands him her ticket, she drops a book, so the old lady behind her helpfully picks it up. The old lady is on Violet’s good side.

OLD LADY

“The Baltimore Catechism.” A Catholic, in these parts? No ma’am.

VIOLET

OLD LADY

How you read it I don’t know, with the margins so full of writing!

Violet snatches the book away.

It was my Mama’s.

VIOLET

Move along, m…

I O L E T

— 3 —

BUS DRIVER

The driver sees the scar and says, involuntarily:

Oooh. Miss.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

She reads his name from the tag over his breastpocket, or from the card at the front of the bus.

VIOLET

“MR. WALLACE WEATHERMAN”

GIVE MY SCAR ANOTHER NOSY LOOK IN A WEEK, YOU’LL BE SURPRISED—

GOT MY HEALIN’ PLANNED OUT IN MY BOOK NEXT WEEK, I’LL COME BACK DISGUISED

He thinks well of himself, I can tell that. But what does he have, really? LIPS? THIN. CHEEKS? FLAT.

I SURE DON’T WANT MINE LIKE THAT. NOSE? BENT. EARS? RUNTS.

GOT FOUR EYES AND HE CAN’T SEE ONCE. NOTHING IN HIS FACE FOR ME

HIS HAIR THOUGH—IS IT CHEROKEE? IT’S BLACK ENOUGH TO BE

I WANT MY OWN AS SOFT AS A BREEZE— AND ALSO CURLIER PLEASE

Violet exchanges a look with a black soldier, Flick, she has noticed sneaking a drink.

OLD LADY

Do you mind if I sit here, dear? I like to be up front, so’s I can see out the front winders. Otherwise I get dizzy, looking off to the side…

VIOLET

ONCE I BET HER EYES WERE GREEN

WONDER HOW THOSE EYES WOULD LOOK ON ME

FUNNY, IF SHE RECOGNIZED

FINDERS KEEPERS, LADY, WAIT AND SEE

NEXT WEEK, WON’T YOU BE SURPRISED

Praise God, it is started. September 4th, 1964.

— 4 —

I O L E T

(VIOLET)

MAMA, YOUR BOOK SAYS ‘IT’S BLESSED TO PITY’

MAMA, JUST LOOK, I’M A LONG WAYS FROM PRETTY BE AN ANGEL MAMA, HELP TO SAVE ME

MAKE THE LORD RESTORE THE FACE YOU GAVE ME—

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

AND I WILL PRAISE HIS GRACE, RAIN OR SHINE

WHEN YOU SEE A BRAND-NEW FACE WHEN YOU SEE A BRAND-NEW FACE

WHEN YOU SEE A BRAND-NEW FACE— AND IT’S MINE—

WON’T YOU BE SURPRISED WON’T YOU BE SURPRISED WON’T YOU BE SURPRISED WON’T YOU BE SURP…

You going far?

Tulsa Oklahoma.

OLD LADY VIOLET

OLD LADY

I never been there. I hear the trees give out.

She sees the scar. These early reactions to Violet’s scar are vital to the audience’s understanding.

Oh! My goodness.

VIOLET

That’s just why I’m going. Get this scar healed once and for all.

Course my mailman Vincent Finzer was born with a cleft palate, and he couldn’t be any sweeter!

IC N

OLD LADY VIOLET

I wasn’t born with this scar. It took an axe blade to split my face in two.

#3—On My Way

OLD LADY

Well I’m going to Nashville. The country-music capital of the world? My son lives there and works in the cellophane plant.

— 5 —

I O L E T

(OLD LADY)

(Pauses.)

He’s got three little boys not old enough to be in school yet. I don’t know how I feel about a house full of children.

VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

It’s hot in here.

The old lady seems a little upset; at Violet, or her own life?

OLD LADY

I had eight children myself. Stevie, the youngest, I lost him to Korea. Harvey’s the only other boy. The girls, of course, are scattered to the winds, they made such beautiful brides…sorry, dear. I hope you have a nice visit.

VIOLET

OLD LADY

It’s not a visit. I maybe will move. I tell you what though, and I know you won’t think well of me for it, but I am right tired of children.

The old lady settles back to her private worries; she and the other passengers begin humming. LOOK AT HER SKIN—

VIOLET

CHINA-WHITE, TISSUE-THIN

LOOK HOW THE LIGHT

CUTS CLEAR TO THE BONE

GIVES HER SKIN SUCH A TONE— I’D TAKE IT ANY DAY

PRAISE GOD FOR EVERYONE I MEET WHILE I, I AM ON MY WAY MY FACE IS MEAN

VIOLET

OLD LADY

EIGHTY YEARS’

MIGHT SCRUB IT CLEAN

MIGHT SCRUB IT CLEAN,

WORTH OF TEARS

AS HERS, AND AS STRONG

WORTH OF TEARS …AND STRONG

— 6 —

I O L E T

VIOLET

BUT JESUS, DON’T WAIT SO LONG TO MAKE MY FACE OKAY

ALL

AT LAST, THE NORTH CAROLINA BORDER!

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

AND I, AND I, AND I, AND I

VIOLET

AND I…I AM ON MY WAY.

ALL

BEFORE ANOTHER SUNRISE WAKES ME BEFORE ANOTHER NIGHT IS GONE

I’LL FIND OUT WHERE THIS HIGHWAY TAKES ME YOU KNOW I GOT TO TRAVEL ON

LEFT MY TROUBLES ALL BEHIND ME

ECHO

ALL

BACK THERE WHEN I CLIMBED ON BOARD

CLIMBED ON BOARD

IT’S WIDE, BUT NOT TOO WIDE TO FORD

…IT’S WIDE

JORDAN RIVER’S WHERE YOU’LL FIND ME

BUT NOT TOO WIDE TO FORD

VIOLET

AND AS I’M GOIN’ ALONG

YOUNG VI

AND AS I’M GOIN’ ALONG

I CARRY WITH ME

PROMISES THAT CAN’T GO WRONG

FIRST THING I’LL DO,

VIOLET

AS I TRAVEL ON MY WAY

BUS DRIVER

READY OR NOT,

GREASY, MESSY

MAKING NOISE

BARBECUE

BEST I’VE HAD

PROMISES THAT CAN’T GO WRONG

FLICK

OLD LADY

GO TO SAL’S BARBECUE

FLICK

ALL THOSE BOYS,

CAN’T BE SO BAD

GRUBBY HANDS

POST I’VE HAD;

DIRTY TOYS

NO MATTER WHAT

ALL

VIOLET

NOT THE WORST

RED HAIR’S A THOUGHT

NOT SO BAD

NOT LIKE MINE—

REALLY FINE—

BUS DRIVER

I’LL HAVE ME SOME PIE

— 7 —

I O L E T

FLICK

OLD LADY NO BETTER THAN SQUIRRELS

VIOLET / YOUNG VI

IT’S BOUND TO BE DRY

A HEAD FULL OF CURLS

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Violet looks at the cover of a magazine she has brought along; young Vi echoes the action.

VIOLET / YOUNG VI

LIKE JUDY HOLLIDAY

BUS DRIVER

WAVE GOODBYE FOLKS, TO CAROLINA!

OLD LADY

HIS WIFE THINKS I’M A DRAGONFLY, LORD YOU’VE GOT TO HELP ME FIND MY WAY

FLICK

TOO BAD WE DON’T SEE EYE-TO-EYE, LORD WE COULD PASS THE TIME OF DAY

OLD LADY / FLICK

AND AS I’M GOIN’ ALONG I CARRY WITH ME

OLD LADY / FLICK / VIOLET

PROMISES THAT CAN’T GO WRONG

VIOLET

AS I TRAVEL ON

AS I TRAVEL ON MY WAY

GROUP 1

LEFT MY TROUBLES ALL BEHIND ME

BACK THERE WHEN I CLIMBED ON BOARD

JORDAN RIVER’S WHERE YOU’LL FIND ME IT’S WIDE, BUT NOT TOO WIDE TO FORD AND AS I’M

VIOLET

GOING ALONG

YOUNG VI

AS I TRAVEL ON

AS I TRAVEL ON MY WAY

GROUP 2

LEFT MY TROUBLES ALL BEHIND ME BACK THERE WHEN I CLIMBED ON, CLIMBED ON BOARD

JORDAN RIVER’S WHERE YOU’LL FIND ME IT’S WIDE, BUT NOT TOO WIDE TO FORD

ALL

AND AS I GO, AND AS I GO AND AS I GO, AND AS I GO

— 8 —

I O L E T

ALL

I CARRY WITH ME

VIOLET

PROMISES THAT CAN’T GO WRONG

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET / YOUNG VI

AS I TRAVEL ON

AS I TRAVEL ON… ON…

ALL

ON… ON… ON… ON… MY WAY

#4—M & M’s

(Self-righteous.)

BUS DRIVER

Kingsport, Tennessee. Twenty minute rest stop. Anybody not back on the bus in 20 minutes won’t be going on to Memphis; not today.

The company sings as they pile off the bus into the Kingsport station.

COMPANY

M ‘n Ms, GOOD ‘n PLENTY

STRETCH YOUR LEGS AND GRAB SOME COKES HAVE A TOOTSIE ROLL, OR TWENTY GET ANOTHER PACK OF SMOKES APPLE COBBLER, A LA MODE

CUPPA COFFEE FOR THE ROAD?

I’LL HAVE SOME COFFEE FOR THE ROAD

The old lady speaks to Violet as they make their way.

OLD LADY

Are you going to get something at the grill? I guess so.

VIOLET

OLD LADY

Save me a place then, at a nice table. I have to go to the ladies first.

Violet, not at all sure she’s up for that, takes a seat at the grill, not a table. Flick, the soldier from the bus, is seated beside her, and beside him is Monty, a paratrooper we haven’t seen before. Flick shuffles cards as they talk. A waiter gives Flick the evil eye, which the soldier ignores.

You’re at Fort Smith? Yup!

I O L E T

— 9 —

FLICK MONTY FLICK

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

‘Swhere I’m headed. / Wondered where you got to after basic. Tuna-fish sandwich.

VIOLET

WAITER

Two things. One is, all we got is chicken. Wow! That is some scar. Wanna see mine? What was two?

VIOLET FLICK

Don’t know why they got you training kids to jump outa airplanes. You should take one of our booths.

WAITER MONTY

Same reason they had me put in for Special Forces. Cuz I’m fearless.

WAITER

Problem with putting a nigger in uniform is, he comes to think he’s just as good as anybody else.

Flick stiffens; Monty glowers at the waiter.

You mean him?

VIOLET

(Pause.)

What if I told you we was traveling together.

FLICK turns around in his seat, and looks Violet full in the face. SHE snaps:

Don’t think that means anything, mister.

FLICK shrugs and turns back around.

I know what that must be like for you people is all.

MONTY

Last year, he coulda been thrown in jail for sittin’ here. But you know what that’s like.

— 10 —

I O L E T

Flick stands up and grabs his duffel. The old lady returns and sees Violet has not saved her a spot.

VIOLET

Do you?

FLICK

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Come on, Monty. Let’s grab a table, leave these folks to themselves.

MONTY

Problem with putting a waiter in an apron is, he starts to think he’s cute.

Monty slugs his beer, then slaps down the empty bottle on the counter, in imitation of the pissy waiter. He follows Flick to a table in the back. Violet follows too.

FLICK

Lady, what is it you want?

VIOLET

To play. Long as it’s a legal deal. I get mad if I’m cheated.

FLICK

And mean when you’re mad.

(Laughs.)

I’m Grady Fliggins and they call me Flick.

Flick leans over with mock formality to shake her hand. She cuts the deck he offers against a possibly stacked shuffle, pulling out a center third and restacking the deck 3 times. Flick grins.

VIOLET

And I’m Violet Karl. Spruce Pine.

Monty Harrill. From near to Raleigh.

MONTY VIOLET

Why don’t we play straight draw poker. Violet Karl. Papa.

FATHER

YOUNG VI FATHER

You took the garbage to the compost pile without being asked. Which I appreciated.

SHE doesn’t look at him.

I O L E T

— 11 —

(FATHER)

Now, customarily, report cards are to be reviewed by a parent before they’re torn in two and thrown away.

She might not look at him, but she does shift; she was listening.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

My God Violet. You’re failing math. At your school? That ain’t easy. You’re the one who makes me go.

YOUNG VI FATHER

Because you need to. They shortchange you at the store every time I send you.

She doesn’t answer him.

You’re smarter than most of your teachers. Exactly.

YOUNG VI FATHER

So I’m trying to understand. What could be so hard about arithmetic.

YOUNG VI

The teacher makes us do our figures on the board. So.

FATHER

YOUNG VI

So I have to walk past a row of boys to get to it. Oh.

FATHER

The father doesn’t have to vocalize the “oh”; he ought to take a beat to find the next words though.

Gimme that money you got saved from picking galax.

YOUNG VI

No Papa, that’s my money! I earned it!

FATHER

It’s my money you keep losing at the store. We’re gonna play some draw poker. It’ll learn you to add and subtract. And poker’ll give you something to do with the boys, when the time comes for that. So, what’s gonna win.

She shows no interest in this.

— 12 —

I O L E T

(FATHER)

You got your royal flush, then your straight flush, your 4-of-a-kind; a full house, a flush, a straight, then 3-of-a-kind; two pair, one pair, and high card least of all. Which never hardly wins the pot. Not when there’s more’n two playin’.

YOUNG VI

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

What’s the pot?

#5—Luck of the Draw

FATHER

We’ll get there.

FIRST YOU SET THE ANTE, SAY A PENNY,

THEN BEFORE THE DEAL’S BEGUN

WE BOTH ANTE UP OUR PENNIES—

He reaches for her money, and she prepares to be upset. NOT TOO MANY, JUST THE ONE

LET’S SEE WHAT YOUR CARDS ARE-

He spreads her cards face up on the table. ALL YOU GOT’S A

PAIR OF QUEENS AND NOTHING MORE

ONCE YOU BET, YOU GET TO DRAW SOME— THAT’S WHAT LOTSA QUEENS ARE FOR

She doesn’t answer, so he does her voice for her, a little squeakier than it really is. A PENNY?

YOUNG VI (Imitation) FATHER

THAT’S A PAIR ‘A QUEENS

He continues to imitate her voice. A NICKEL?

YOUNG VI (Imitation) FATHER

THERE’S THE BET I SAW

I O L E T

— 13 —

He takes her nickel, which bugs her, then throws one of his own into the pot. During the chorus, when it is time for them to draw their cards, he flips hers over as he deals them.

(FATHER)

I’LL SEE YOU. NOW FATE INTERVENES—

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW

I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW A NICKEL IS IN THIS CASE WHAT YOU SHOULD BET

He throws in a nickel of hers, a nickel of his, shows his cards. IT’S A GOOD BET, BUT I WIN

YOUNG VI

Papa!

As if it’s obvious:

FATHER

Three-of-a kind. And 3-of-a-kind beats 2 pair. Now how much did I win from you?

YOUNG VI

Eleven cents!

He shuffles as he talks.

And 3.29 minus 11 cents is what?

She catches on, is annoyed.

Three dollars 18 cents.

FATHER

YOUNG VI FATHER

First step in teaching anything is to get your student’s attention.

Takes a penny of hers, and one of his own for the ante; then deals another hand, hers face up. LOOKY WHAT YA GOT HERE: SIX AND SEVEN,

THEN A NINE AND TEN, NO EIGHT

— 14 —

I O L E T

(FATHER)

WHAT YOU DO IS DITCH THIS FOUR AND PRAY TO HEAVEN FOR A STRAIGHT FIRST YOU GOT TO BET THOUGH,

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MAYBE TWO BITS,

WHICH I RAISE YOU BY A DIME

“Two bits” is a quarter. He puts in her quarter, his own 35 cents, then one of her dimes into the pot. SEE I’M FORCING YOU TO MATCH ME BY A FEW BITS AT A TIME I’M WINNING?

YOUNG VI FATHER

WELL, A STRAIGHT CAN WIN BUT WILL IT?

YOUNG VI FATHER

THERE’S A FAMOUS SAW

SAYS YOU CAN’T WIN UNLESS YOU’RE IN— SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW

I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW

YOUNG VI

LET’S STOP THIS GAME RIGHT NOW, I’VE PUT ENOUGH IN

FATHER

I WAS BLUFFIN’, BUT I WIN

He pulls in the money from the pot.

Papa!

YOUNG VI FATHER

Straight beats two pair. But you folded.

— 15 —

I O L E T

YOUNG VI

I don’t even know the hands!

FATHER

Violet!

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

It seems to him as if she hasn’t been listening, so HE unhelpfully lists the hands again.

YOU GOT YOUR ROYAL FLUSH, YOUR STRAIGHT FLUSH, YOUR 4-OF-A-KIND A FULL HOUSE, A FLUSH, ‘N A STRAIGHT, ‘N A 3-OF-A-KIND TWO PAIR, ONE PAIR, AND NO PAIR AT ALL

BUT HIGH CARDS NEVER WON A POT, THAT I CAN RECALL

YOUNG VI

What’s the pot?

It’s what you ante into.

FATHER

FATHER & FLICK

Now how much did I win from you?

Flick, Monty, and Violet have also been playing; now their games overlap.

YOUNG VI

MONTY

Thirty-six cents!

Gimme a break. This is s’posed to be a friendly game, not a killing.

The father shuffles as he talks.

And 3.18 minus 36 cents is what?

FATHER

YOUNG VI

Gimme the cards. I’m dealing this one!

She takes the deck, and deals out their hands, her own hand face down now.

FATHER

YOU DON’T KNOW THE GAME YET

YOUNG VI

I CAN PLAY IT

FIRST I DRAW A CARD OR TWO, THEN I GIVE YOU ALL MY MONEY

FLICK

THAT’S THE WAY IT’S PLAYED, BROTHER

MONTY

FLICK’S GONNA WIN, CLEAN US OUT

TAKE ALL OUR CHANGE

FATHER / FLICK

HATE TO SAY IT, BUT IT’S TRUE

— 16 —

I O L E T

FATHER / MONTY

GUESS I’LL OPEN WITH A NICKEL

YOUNG VI

I WILL SEE THAT,

AND I’LL RAISE YOU STRAIGHT AWAY

VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I’LL RAISE YOU STRAIGHT AWAY

Young Vi pushes an indiscriminate amount of her money into the pot.

FLICK

YOUNG VI

YOU GOT SOME GUTS

TAKIN’ CANDY FROM A BABY …SEE YA

FATHER

GUESS I’LL SEE YA

MEN

WHO TAUGHT YOU TO PLAY?

FATHER

TWO CARDS

YOUNG VI

I GUESS YOU GO FIRST? THAT’S RIGHT, KID

FATHER

YOUNG VI

AT YOUR SERVICE, ‘PA’

She deals him two cards, then one to herself

NOW MY CARD—HOPE MY LUCK’S REVERSED

YOUNG VI / VIOLET

SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW

I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW BAH BAH DAH BAH

You got to bet to win.

The men hum.

ALL

MONTY

— 17 —

I O L E T

YOUNG VI / VIOLET

DEE DEE DEE DEE—DIME

Each throws a dime into their respective pots.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

SEE YA

FATHER & MONTY

SEE, AND RAISE

WHOSE PLAY IS IT? YOU WATCH OUT! MUST BE HERS.

WHATCHA GET?

FLICK

MONTY

YOUNG VI FLICK

FATHER

ALL (Round)

SOME SAY THINGS HAPPEN BY DESIGN BY DEMAND, DECREE, OR LAW

I SAY MOST THINGS FALL IN LINE BY THE LUCK OF THE DRAW CALL

KINGS

STRAIGHT FLUSH

FATHER MONTY FLICK

YOUNG VI

She lays out her cards; her father looks in shock.

MONTY

BY THE LUCK OF THE DRAW

FATHER

Baby that’s a Royal Flush.

VIOLET

…Royal flush.

— 18 —

I O L E T

FLICK

BY THE LUCK OF THE DRAW

YOUNG VI

Is that good?

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

BY THE LUCK OF THE DRAW

I’ll be damned.

FATHER / MONTY

The two Violets pull in the pots.

ALL

BY THE LUCK OF THE DRAW!

#5a—M & M’s Transition I

BUS DRIVER

I said it, and I meant it. Bus 322 is leaving Kingsport for Memphis, Tennessee, by way of Knoxville, Nashville, etc., etc., on schedule, which means in no more than five minutes. So swallow that coffee, visit that bathroom, pay that tab, then grab your seat if you got one, or get your ticket ready if you don’t.

Flick and Violet reboard; Monty follows after giving the driver his ticket. He’s grumpy.

MONTY

Damn. What kind of girl knows poker like that?

VIOLET

Before I was born, my Papa served in the Merchant Marine. Sent money home playing poker, even won him a farm, up on a mountain, high up on one. With Mama dead, shuffling cards by a kerosene lamp was all was left to me and my Papa. Once I passed 15, we’d drink together too. Moonshine?

FLICK

VIOLET

Applejack, or a beer he made from potato peel.

FLICK

Sorry to hear about your Mama. Want a drink of this?

He offers his flask.

And where you headed now?

I O L E T

— 19 —

MONTY VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

It’s a pilgrimage. I’m going to see this television preacher in Tulsa, the one that heals? And I’m coming home pretty. With this face, I think that counts as healing. I’ll even trade if he wants… I’d take somebody’s weak eyes or deaf ears. I could stand limping a little.

Flick starts to laugh. Violet glares at him.

No, wait. You’re serious?

FLICK

VIOLET

I tried to get down to Charlotte last year, when he set up his 8-pole canvas cathedral tent, seats 15,000? But I didn’t have enough saved yet.

Flick laughs harder, starts coughing.

Now what’s so funny?

He’s jes’ got a cough, there.

MONTY VIOLET

Let the Lord give me a cough, long’s I get my new face while I’m still young enough—

Just when he was getting his laughter under control, Flick starts off again.

I don’t know what you think is so funny. We don’t think it’s funny.

MONTY VIOLET

How come you’re both laughing at me then. I’m not laughing.

MONTY FLICK

Listen. I’ll take on that scar, if your Preacher makes me a warrant officer.

Flick winks. Both Monty and Flick start to laugh at the idea.

Don’t be ridiculous.

VIOLET

— 20 —

I O L E T

FLICK

But I want me some of that W-scale pay. So how ‘bout we just swap faces, clean and simple. I’d get that job if I was white.

VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

But what do I want with colored skin? No offense, but I want folks to think I’m pretty.

But Flick is offended. He gets up and goes back to the bus bathroom.

No Flick, I didn’t mean that… I just want to look like someone in a movie magazine, that’s all. It’s not your skin, it’s your face. On me. Which would be ... You should just quit.

MONTY VIOLET

His drink and his cards, and I hurt Flick’s feelings. I oughta be the expert in hurt feelings. Flick?

MONTY

Don’t worry ‘bout him. Let him smoke it off in the bathroom.

Monty moves closer to her.

It’s true, you’re not much to look at. And how old now? What business is that of yours? Your Papa still alive?

VIOLET

MONTY VIOLET

Is this Twenty Questions? What’s the prize?

Pass the time, that’s all.

MONTY VIOLET

My Papa died 3 years ago. He left me some money, and I picked stacks and stacks of galax to pay for this trip.

MONTY

Don’t suppose you got a man back home. Or you wouldn’t be making a trip like this.

Violet gives him the look she gave Leroy Evans earlier.

VIOLET

Oh no, there’s men falling all over each other going in and out my door.

I O L E T

— 21 —

#6—Question ‘n Answer MONTY

SOMEONE SURE HAS HAD SOME TROUBLES; A GIRL ON A MOUNTAIN ALONE

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

NOTHING BUT HER CHORES TO DO NO ONE NEAR WORTH TALKIN’ TO

FEELING SORRY FOR HERSELF FOR BEING ON HER OWN

VIOLET

YOU HAVE ALL OF THE ANSWERS TO THE STUPIDEST QUESTIONS

BUT THE TRUTH IS NEVER SO PAT—

TRY AND WRAP YOUR MIND AROUND THAT SOMEONE SURE HAS HAD IT EASY; A BOY IN THE SKIN OF A MAN

THINKS HE’S BORN A GIFT TO WOMEN THINKS HE’S IRRESISTIBLE

THINKS WHAT NO ONE ELSE HAS MANAGED, HE’S THE ONE WHO CAN— I GOT NEWS FOR YOU, SWEETIE PIE

I’M THE ONE WHO CAN SEE YOU’RE LYING— BETTER HOPE THERE’S A DOCTOR BY

WHEN I REACH FOR THE PAIN YOU’RE TRYING TO HIDE—

MONTY

YOU THINK YOU KNOW THE ANSWERS

BUT YOU DON’T KNOW THE QUESTIONS

BET THE TRUTH WOULD KNOCK YOUR ASS FLAT— TRY AND WRAP YOUR MIND AROUND THAT THINGS GET PRETTY WICKED OUT THERE TULSA JES’ AIN’T LIKE YOUR FARM BEST BE CAREFUL NOW, YA HEAR?

UGLY, EVERYWHERE YOU LOOK

WHAT YOU OUGHT TO CULTIVATE’S A HEALTHY DOSE OF FEAR

And don’t count on your TV padre for nothin’. Things are mean and ugly in this world—I mean act ugly, do ugly, be ugly. Flick’ll tell you.

— 22 —

I O L E T

VIOLET

Act ugly, do ugly, be ugly. That could only be the motto of a pretty boy.

MONTY

You think you’re funny don’t you. Whatcha got here.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

He grabs her catechism. She is furious.

VIOLET

Gimme that!

MONTY

Unh-unh-unh! Oooh, stuff’s falling out. Dammit to hell! This isn’t funny.

What’s in the envelope, love letters?

VIOLET

MONTY

He waves it in front of her, taunting her. Stuff falls out which Violet stoops to pick up.

Flick, catch!

He throws the book to Flick. The lines following coincide with what Monty is singing, but aren’t super important, and should end as Monty does.

#6a—Preacher Hymn I MONTY

LOOK AT WHAT MY JESUS HAS DONE… HE MAKE A DUMB MAN SPEAK

Stop it, it isn’t funny. Flick! Help me!

Flick grabs the book and returns it.

Take the book.

A MAN SPEAK DUMB

FLICK

Violet is frustrated and angry. Flick is annoyed with Monty.

LORD ALMIGHTY,

Yeah, everybody’s looking at you now. You’re real funny.

MAKE A DEAD MAN COME

It was my Mama’s.

VIOLET

VIOLET / YOUNG VI

The book is the trigger for this memory.

I O L E T

— 23 —

FATHER

That doesn’t make it yours! Where did you get that? Your bed-side drawer.

YOUNG VI FATHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

You got no business in there! You know better. What’s the big deal?

YOUNG VI

He doesn’t answer her.

You never talk about Mama. And what else is even hers around here.

She doesn’t understand his discomfort.

What’s wrong if I wanna know about her. She wrote all through this book, like a diary almost. All about boys and stuff? That’s the problem right there.

FATHER

YOUNG VI

She liked best the boys who did some traveling. Is that what she liked about you? We are not talking about this.

FATHER

YOUNG VI

I bet she was pretty. Was she pretty, Papa?

FATHER

Violet, please! There are things in those pages… you’re too young for it. You can’t unring a bell, you understand me?

YOUNG VI

But she was my age when she started writing in it. It was different for her.

FATHER

YOUNG VI

Why, because she was pretty? Would you have loved her if she looked like me?

#6b—M & M’s Transition II

A new driver speaks over the P.A. system in the Nashville station.

— 24 —

I O L E T

BUS DRIVER 2

Bus 322 to Memphis, making all local stops, will be leaving the Nashville station in 15 minutes. Connections are available in Memphis to all points west. Passengers reboarding Bus 322 may reclaim your seats at any time.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

The old lady makes her way over to Violet, who is looking at the movie magazines on the station newsstand. Flick and Monty are sitting nearby, playing cards.

Come to say goodbye?

VIOLET

OLD LADY

Why don’t you stop the night with me, and my boy. Harvey won’t mind. That’s him out there, by the DeSoto?

She waves to him.

You can wash, change clothes, and catch a new bus tomorrow.

VIOLET

No, thank you. I’m in a hurry to get to Tulsa.

OLD LADY

You got to overnight in Memphis anyway, why not spend that night here. Why not spend it in Memphis.

VIOLET

OLD LADY

A girl alone. A girl that maybe feels she’s got to prove something? Some people might try to take advantage.

She does not look at the soldiers, but Violet does.

VIOLET

Next week, when I’m pretty, I hope I’ll have that problem. Thank you, but no.

OLD LADY

Young lady, don’t you think you’re being unrealistic? Excuse me?

VIOLET

OLD LADY

Obviously, what with your ... I understand you maybe don’t have too many opportunities for… Do you really think these soldiers are the answer?

Monty raises his hand like a schoolboy.

MONTY

I musta missed the question. D’ja hear a question, Flick?

I don’t think I did.

I O L E T

— 25 —

FLICK OLD LADY

What I mean is, I had looks once. In the end, it don’t amount to much.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

And you are living proof of that.

MONTY

OLD LADY

Sticks and stones! Sticks and stones.

The old lady exits in a hurry.

That was real nice of you, thanks. I was helping you get rid of her.

VIOLET

MONTY VIOLET

You call that help? Did you think I would be impressed? Why would I wanna impress you.

Why’nt you just leave her be, soldier.

MONTY FLICK

VIOLET

Flick, please don’t stay mad at me. I’m so sorry. I didn’t mean anything by it. Honestly, I wish I did have your skin. Back home, I can get sunburned standing in the shade of a slippery elm. I should really live in Alaska or something.

Flick says nothing, so she addresses Monty.

After all those hands I let him win, too.

FLICK

Let me win? Lady, I could mop up this floor with you, any time you want. Like I been doin’ with Monty all day long. Oh that’s right, Flick.

MONTY

Monty speaks with his idea of a patrician accent.

‘We’re traveling together. He’s been in the family for generations.’

FLICK

You better watch your mouth, corporal.

— 26 —

(Derisive.)

MONTY

Yes, sir!

FLICK MONTY

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Wanna take this outside?

I O L E T

Any time you want.

VIOLET

Stop it! Coupla barnyard cocks. Ever chop the head off one? Brain the size of a walnut. Tiny little peckers too.

Monty looks at her quizzically a moment

You’re a kick.

MONTY

She’s got your number—Montgomery.

FLICK

VIOLET

Montgomery? I’m so sorry I haven’t been calling you by your proper name. Flick, you are in so much trouble now.

MONTY

Violet picks up a movie magazine from the stand.

VIOLET

I think the old lady is full of it. Looks don’t amount to much? Tell that to Ingrid Bergman. She’s made a whole career offa cheekbones. I could live with those. Or Elke Sommer, look. I’d take that hair. Twelve years of ugly oughta be worth something. You gonna mix and match?

MONTY VIOLET

I can’t tell you how it’s going to happen exactly. But the preacher says you have to “envision” how you want your healing to go. Sounds like you got a plan.

I’m not tellin’. You’ll only make fun.

FLICK

VIOLET

Someone’s gone fishing.

I O L E T

— 27 —

MONTY FLICK

Shut up, Monty. He’ll behave himself, I promise.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Promise, Mont-gom-er-y?

VIOLET

#7—All To Pieces

Long as you don’t call me that.

MONTY VIOLET

I’D LIKE A PAIR OF GENE TIERNEY EYES.

Monty fluffs his hair and purses his lips, like his idea of a starlet. TRY MONTY’S MOUTH ON FOR SIZE— A LITTLE FULLER THOUGH

Flick, amused, punches Monty’s shoulder.

A MOUTH SO SOFT THERE’S NO END OF ROMANCE ...

MONTY

WHAT’S A MOUTH GOT TO DO WITH ROMANCE?

FLICK

YOU GOT TO ASK, YOU’LL NEVER KNOW

MONTY

I BEEN WITH MORE’N YOU, MY FRIEND

FLICK

NONE OF YOURS WANT SECONDS, THOUGH

MINE ALL COME BACK FOR MORE

MONTY

Yeah, to me.

BOYS, BOYS, BOYS!

VIOLET

WHEN I’M IN LINE FOR MY MIRACLE

AND THE PREACHER IS ALL SET TO GO I KNOW JUST WHAT I’LL ASK FOR

— 28 —

I O L E T

The MEN have started shadow-boxing.

(VIOLET)

BUT I’M NOT TELLING YOU, AT LEAST TILL YOU STOP SQUABBLING AND PRETEND YOU’RE ACTUALLY LISTENING

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MONTY

Pretty please, Viii-lut. Sugar on top?

Violet pulls Monty’s cap down over his eyes. IF I HAD GYPSY HAIR

VIOLET

AND A FACE TO MATCH IT NO TRACES ANYWHERE

OF A WAYWARD HATCHET

I COULD BE CYD CHARISSE SHOOTING ON LOCATION

IN SOME FAR-OFF AND TINY NATION OH, WITH LIPS LIKE THOSE

I’D LOOK ALMOST SHAMELESS OH, BUT ADD THE NOSE,

NOW I’M PURE AND BLAMELESS

IF CYD CHARISSE ISN’T, THAT’S HOW IT GOES I LOVE ‘ER ALL, I LOVE ‘ER ALL

I LOVE ‘ER AH-AH-ALL TO PIECES! I LOVE ‘ER ALL, I LOVE ‘ER ALL

I LOVE ‘ER AH-AH-ALL TO PIECES! IF I LOOKED IN THE KNOW WITH A HINT OF MYST’RY LIKE A BRIGITTE BARDOT WITH A DARKER HIST’RY

IF I THREW YOU A GLANCE, AND I LET IT LINGER

I COULD WRAP YOU AROUND MY FINGER— OH, ONE OF BARDOT’S

WHY SHOULD SHE BE STINGY? OH, THROW IN HER TOES

MINE ARE JUST TOO DINGY

I O L E T

— 29 —

(VIOLET)

I’LL GIVE THE PREACHER MY MOUNTAIN FOR THOSE I LOVE ‘ER ALL, I LOVE ‘ER ALL

I LOVE ‘ER AH-AH-ALL TO PIECES! I LOVE ‘ER ALL, I LOVE ‘ER ALL

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I LOVE ‘ER AH-AH-ALL TO PIECES!

From the magazine stand Violet plucks a copy of Time with an Ursula Andress cover shot. Monty tosses the vendor a quarter. I COULD BE A LEADING LADY—

PRESENT TENSE, AND BACKGROUND SHADY— TAKE AN HOUR OR TWO TO GO

FROM DOWN-AT-HEEL TO TIPPY-TOE FROM NO BIG DEAL

TO THE STAR OF A PICTURE SHOW

MONTY

You should ask that Preacher for some Ursula Andress legs. I think my legs are fine.

VIOLET

MONTY

No but, rising outa the ocean in that white Dr. No bikini? What’s the matter with my legs? Nothing! They’re… long.

Then why’d you bring ‘em up at all?

Flick points at her chest.

VIOLET

MONTY VIOLET

FLICK

What you need is some Ursula Andress there.

(Embarrassed.)

VIOLET

I can’t believe you said that.

Flick takes the Time magazine.

FLICK

NOT THAT IT MATTERS TO ME

— 30 —

I O L E T

(FLICK)

BUT YOU SAID A LEADING LADY IS WHAT YOU WANNA BE

HOW ELSE YOU GONNA GO

LIGHT UP A PICTURE SHOW?

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

GIVE ME JUST A MINUTE THOUGH TO PILLAGE MY PORTFOLIO

BORROW ELKE SOMMER’S HAIR

AND JUDY GARLAND’S PRETTY CHIN PUT GRACE KELLY’S LITTLE NOSE WITH RITA HAYWORTH’S SKIN

BUT AVA GARDNER FOR THE EYEBROWS BERGMAN CHEEKBONES UNDER GYPSY EYES

Monty and Flick, unnoticed by Violet, turn to the sports column in Time. I COULD SHINE LIKE A MOONBEAM ON THE SILK OF A BALL GOWN I COULD BE SOMEONE LOVELY

TURNING HEADS ON HER FIRST NIGHT IN TOWN IN TOWN

ALL I NEED IS SOMEONE

TO WONDER, WHO IS SHE

TO ASK HOW TO MEET ME

St. Louis? Nah.

MONTY VIOLET

TO LOVE ME ALL TO PIECES

They’re 8 games out with 30 to go.

MONTY FLICK

But look at that Lou Brock. His legs belong in a museum somewhere. And Bob Gibson? The man has an arm of steel. Thirty to go, like I said.

MONTY

Noticing Violet has shifted, he looks up.

I O L E T

— 31 —

(MONTY)

Say, Viii-lut, if you’re gon’ be Bridget Bardot, why stay in Tulsa? Why not go all the way to Hollywood, Californ-i-ay.

YOUNG VI

MAMA, WHY’S A MAN HAVE EYES?

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MONTY

If you’re gon’ be pretty, I’ll tell you what, I’ll go AWOL, I’ll go right along with you. Right Flick?

FLICK

Being that pretty’s gonna take a bigger miracle than some TV preacher can deliver.

YOUNG VI

SO HE CAN TRY YOU ON FOR SIZE

Past and present interleave as young Violet runs on singing to herself, just as she had in the beginning. This time we can see her father with an axe.

VIOLET

You know what Flick? Both of you. The old lady was right! You don’t give two sticks about me. And I don’t need your pity, I got stockpiles of that. So drop dead.

Violet shakes her head, and leaves the two men to board the bus.

YOUNG VI

THERE’S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL

MAMA, WHY’S A MAN HAVE HANDS? IF I TELL YOU, DON’T YOU TELL—

GO ASK YOUR BEAU, HE UNDERSTANDS THERE’S HONEY IN THE BUSHES, LORD

AND WATER IN THE…

Violet, watch out!

FATHER

Young Violet straightens, her mouth open wide, terrified.

#7a—Organ Underscore/Preacher Hymn II The scene settles in the Preacher’s chapel.

— 32 —

I O L E T

PREACHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Watch out, everyone! Watch out demons, the Lord is onto you tonight! “Brose eesah vota leeva—gran maysa sayla. Ora seesayla posh, brone base eesais vrone basha. Elohim, elohim!” Oh, he’s got me speaking in tongues tonight! Glory be to God! Oh, hold on now, he’s talking to me ... there is a girl from, he’s giving me an N, yes Jesus, a C— from North Carolina? who can feel her facial scar beginning to heal.

Young Violet screams again, ecstatically now.

Is this the girl with the scar? Come over here darling, tell us what’s happened.

Young Violet is near hysteria.

God is with me, I can feel him! God is with you. Yes he is!

YOUNG VI

PREACHER YOUNG VI

She screams again. He addresses a TV camera.

PREACHER

Turn to the camera and tell the folks at home, where did the scar come from.

She gathers herself a bit.

I was hit by an axe blade.

YOUNG VI

PREACHER

By the blade of an axe. And you’ve had it how many years now.

Ever since I was 13.

YOUNG VI

PREACHER

Since she was 13, friends. And are you ready for a healing touch? Yes!

YOUNG VI

PREACHER

Are you ready for God’s power as it is manifested in my hands? Yes!

YOUNG VI

Are you ready to be healed? Yes!

I O L E T

— 33 —

PREACHER YOUNG VI PREACHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Yes child! Jesus, heal that scar! Make her whole again! Go, Jesus! She believes in you!

Virgil joins the Preacher on stage, standing behind Young Vi. The Preacher lays his hands on her face. At the conclusion of the healing, young Vi collapses backwards into Virgil’s arms.

Praise the Lord, for he has seen fit to raise thee up and heal thee of thy scar!

GOSPEL TRIO (including VIRGIL)

RAISE ME UP, LORD WON’T YOU RAISE ME

PREACHER

Doctors didn’t help her. Operations didn’t help her. But suddenly she’s healed by the power ‘a God. I AM ON MY WAY

GOSPEL TRIO PREACHER

Turn to the camera honey, show the people that beautiful smile. Do you realize you are shivering, child.

He turns her to face the camera. I AM ON MY WAY

GOSPEL TRIO PREACHER

Do you feel what’s happening to you? I feel like I’m flying!

YOUNG VI

PREACHER

Because you are filled with the Holy Ghost Spirit of God.

To the camera:

And you know there is no distance with prayer. I AM ON MY WAY

GOSPEL TRIO

— 34 —

I O L E T

PREACHER

God is here!

GOSPEL TRIO

OH IF YOU WANT HIM

PREACHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

God is there!

GOSPEL TRIO

OH IF YOU NEED HIM

PREACHER

God is everywhere.

GOSPEL TRIO

LORD, WON’T YOU RAISE ME UP AND ON MY WAY

PREACHER

You don’t need to leave home for a miracle, if you match your fingers to ours, on your television screen.

Young Vi stretches out her fingers to the camera. He stands right behind her to stay in the shot.

Do you feel God’s power coming through that screen? Sing with me, sister.

PREACHER / YOUNG VI

LOOK AT WHAT MY

PREACHER / YOUNG VI / GOSPEL TRIO

JESUS HAS DONE!

Violet has her eyes closed, and dreamily joins in the Preacher’s tune, finally taking it over.

PREACHER / YOUNG VI / VIOLET

HE MADE A DUMB MAN SPEAK

PREACHER / VIOLET

Ooo, Ooo

LORD ALMIGHTY

VIOLET

Vi-oh-lette, you sleeping?

She sits up.

…DUMB MAN SPEAK …LAME MAN RUN

A LAME MAN RUN

THANK YOU FOR YOUR SON

GOSPEL TRIO

FLICK

Day-dreaming.

I O L E T

— 35 —

VIOLET FLICK

Anyway, I thought you’d wanna see this—the Wolf River.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

The “Wolf,” to those in the know, is pronounced like ‘wolves’ without the ’s.’

VIOLET

What’s so impressive about that dinky ol’ thing?

FLICK

Means we’re almost to Memphis. The Wolf dumps into the Mississippi. Now that’s a river. If I could live anywhere it would be by the water.

VIOLET

I wouldn’t know. Nothing but cricks and ponds back home.

FLICK

Some day you come down to the seashore, Vi-oh-lette—Cherry Grove, O.D., around there. We tow these big nets up on the sand with trucks, all us men up to our necks in the surf—afterwards, we strip and dress by this big fire on the beach, while the cold wind is blowing. And make chowder.

VIOLET

Know what I think? You couldn’t wait to leave your home town, same as me. Why do you say that.

FLICK

VIOLET

Up to your neck in the surf is fine, I expect, long as you keep it to once a year.

FLICK

Maybe you’re right. I saw you writing in that book again.

VIOLET

I write down what I want to remember. You write down me?

FLICK

VIOLET

Well, yeah. Even before I knew you; playing solitaire on the bus, how you drop cards when you deal them, like a turtle laying eggs. Plop, plop, plop.

He notices a pressed flower in the book.

FLICK

Is that a mollypop flower? Makes a green ball that pops when you step on it?

— 36 —

I O L E T

VIOLET

We call it a maypop. I’m taking it to Tulsa to show the Preacher, because of the crown of thorns in its center? You know, I never knew a “negro” to talk to before; we don’t see too many in the mountains. You’re like a foreigner to me.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

She chooses the word “negro” carefully, because sadly the word her neighbors use would, she knows, offend Flick; she doesn’t want to do that again.

FLICK

Is that what you see when you look at me. I see a man, I guess.

VIOLET FLICK

That’s all I am, Vi-oh-lette. Just like anyone. Put that in your book.

VIOLET

No, but I mean, a man, a grown-up. Like my father. Confident, no-nonsense. I don’t know about the name though. Flick? Where’d you pick that up? Reform school.

No! What’d you do.

FLICK

VIOLET FLICK

Honey, I was born. The rest took care of itself. Is that why you went in the Army?

VIOLET FLICK

Well… Now I’m a 2-rocker sergeant. Where else am I gonna get that? Post Office? Cigarette factory back home? So.

VIOLET

Why stop at sergeant. You could be an officer. No, because I didn’t go to college. But you could if you wanted. How’m I gonna pay for that? GI Bill? I don’t know.

FLICK

VIOLET FLICK

VIOLET

You really think I could be an officer?

I O L E T

— 37 —

FLICK VIOLET

Monty does what you say. Isn’t that half of it.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Maybe so.

FLICK

VIOLET

Monty says Johnson could send you two to Viet Nam.

FLICK

Mmm-hmm. Course when you join the Army, you know the risks goin’ in. I always make it a point to know what I’m getting into. How much you know about this TV preacher? He works miracles, for a start.

VIOLET FLICK

Most people think faith healers are frauds, Vi-oh-lette. As a rule.

VIOLET

Then he’s the exception. Besides, after Papa died, I tried everything else. Doctors, snake handlers, even a Catholic Church once, like Mama’s? They were no help. Plus I tried to be healed at home. The Preacher stretches out his fingers? And you match them on the screen? But God’s power was too filtered and thinned down for me.

Flick chuckles.

What. Don’t you believe in God?

FLICK

I sure don’t believe he’s gonna come at me through a TV screen.

VIOLET

You would if you needed to bad enough.

FLICK

I’d believe in the tooth fairy if I needed to bad enough.

VIOLET

I’m serious Flick. Remember the first time you looked at me? Like you’d seen worse things? It’s what I liked about you. Most people though… I don’t like mirrors, but I stare into them sometimes, to know exactly how ugly I am, to prepare myself for the things people say. Because nobody can hurt my feelings if they tell me what I already know. I never coulda left Spruce Pine otherwise.

FLICK

So what do you need with this preacher. You came this far without him.

— 38 —

I O L E T

VIOLET

I’m gonna be to the Preacher what Goliath was to David, a need so giant I will drive him into action! So giant that God could be invented on the spot.

FLICK

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Violet let me tell you something. You gotta do what you gotta do, but in the end you do it alone. You choose your road, then you walk it, one step at a time.

#8—Let It Sing

RAISE YOUR FOOT, NOW THAT’S THE WAY YOU’LL BE MOVIN’ ON TODAY

RAISE THE OTHER, PUT IT DOWN

NOW YOU’RE HEADED INTO TOWN WHOA BOY, YOU GOT LEFT, RIGHT? OH BOY, AIN’T THAT RIGHT

GOT SOME YEARS AHEAD TO GO;

YOU’LL GO FREE IF YOU TAKE IT SLOW WHOA BOY, YOU GOT LEFT, RIGHT? OH BOY, AIN’T THAT RIGHT

TWO KINDS OF PEOPLE IN THIS WORLD, SOME SAY YES AND SOME SAY NO

TIME TO SAY WHAT SIDE YOU’RE ON; EENY MEENY MINY MO

SAY YES, AND YOUR ADVENTURES START NOT ALWAYS AS EXPECTED;

SAY NO, YOU STAY APART,

BUT YOU STAY PROTECTED

YOU GOT TO GIVE YOURSELF A REASON TO REJOICE,

FOR THE MUSIC YOU MAKE COUNTS FOR EVERYTHING NOW EVERY LIVIN’ SOUL HAS GOT A VOICE—

YOU GOT TO GIVE IT ROOM, AND LET IT SING MY FAMILY NEVER HAD TOO MUCH, MADE THE BEST OF EVERY DAY

ATE WHAT WAS ON OUR PLATES, YOU KNOW?

NEVER THREW A THING AWAY

I O L E T

— 39 —

(FLICK)

WE KEPT OUR NIGHTMARES ON A SHELF, OUR DREAMS WERE ON THE TABLE

PASS ‘EM DOWN, ‘N HELP YOURSELF

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

AS LONG AS YOU ARE ABLE

MY MAMA TOLD ME, SON, FORGET WHAT MIGHT HAVE BEEN GIVE YOURSELF A BREAK, WHATEVER’S HAPPENING DON’T LET YOUR SPIRIT SON COME CLOSIN’ IN—

YOU GOT TO GIVE IT ROOM, AND LET IT, LET IT SING YOU GOT TO GIVE IT ROOM, AND LET IT SING YOU GOT TO LIFT UP YOUR VOICE, AND SING GOT SOME YEARS AHEAD TO GO

YOU’LL GO FREE IF YOU TAKE IT SLOW GOT SOME YEARS, IT WON’T BE LONG YOU’LL BE FREE TO SING YOUR SONG WHOA BOY, YOU GOT LEFT, RIGHT? OH BOY ...

THERE’S PRECIOUS LITTLE REALLY, FOLKS LIKE US CONTROL—

BUT YOU CAN MAKE YOUR MUSIC FROM THE SIMPLEST THING AND YOU’RE THE ONE HAS GOT TO TEND YOUR SOUL; YOU GOT TO GIVE IT ROOM, AND LET IT, LET IT SING YOU GOT TO GIVE IT ROOM, AND LET IT SING YOU GOT TO LET IT SING YOU GOT TO LET IT SING

YOU GOT TO GIVE IT ROOM, AND LET IT SING

Monty rouses himself as the applause winds down. He looks a little jealously at Flick and Violet.

Comfy, you two? Montgomery.

MONTY VIOLET

#8a—M & M’s Transition III It’s Monty.

MONTY

— 40 —

I O L E T

BUS DRIVER 2

Memphis, last stop. Check inside the station for connection times.

People pile off the bus, start collecting their luggage.

MONTY

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I was thinking, Flick. It’s Friday night in Memphis! How ‘bout we get some rooms at that place you showed me? Sure. Wanna join us, Vi-oh-lette?

FLICK

MONTY

Flick. Viii-lut’s got a big day ahead of her tomorrow, with that preacher pulling rabbits outa hats and all.

VIOLET

I got second cousins here. I was thinking they might rest me overnight.

FLICK

These kinfolk expecting you, Vi-oh-lette?

MONTY

You prob’ly know us by now, better’n them.

FLICK

I know a woman runs a boarding house here. She won’t give us any trouble. We’ll get you a nice room.

VIOLET

I don’t know… I don’t think it would be right.

MONTY

Oh c’mon, Viii-lut, I dare you to have some fun. That would be the real miracle. Right?

Whyn’t you go call her a cab, Monty.

FLICK

Monty starts to go, but stops when Violet speaks, in irritation.

I never said I was afraid to have fun.

VIOLET

MONTY

Didn’t have to, it was written all over your face.

Violet checks for a moment; sees he is just teasing.

VIOLET

It’s all right, Flick. He was just flirting. How cheap is that hotel?

I O L E T

— 41 —

FLICK

Under five.

VIOLET

All right.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

#9—Anyone Would Do

But I’m taking the 6 AM bus outa here, with or without you two.

She glares at Monty.

MONTY

There’s your first miracle, right there. I called it.

As they walk, they hear a blues. They pass a hooker. This is outside of Violet’s experience.

HOTEL HOOKER

HEY THERE SOLDIERS, HOW ARE YOU? SHE GOT TWO AND I GOT NONE

AND RIGHT NOW ANYONE WOULD DO

FLICK

Forget about Elvis. Memphis is Beale Street, and Beale Street is the blues!

As they walk one direction, a bed rolls on from another, with a landlady after it. Violet kicks off her shoes and steps onto the bed; Monty and Flick watch. There is a radio on a bedside table.

How’s the bed. Comfy?

As a roll of fence wire.

MONTY VIOLET

LANDLADY

It wasn’t made to be stood on, miss. Flick have you seen the new ice machine? Down the hall, right? Let me show you.

FLICK

LANDLADY

She angrily gestures Flick out of the room. Violet and Monty fall silent.

Whatsamatter, you crazy? This ain’t New York City. Anyone finds out about her there’s gonna be trouble.

— 42 —

I O L E T

FLICK

Almeta, come on. Look at her. Ain’t nobody gonna think nothin’.

LANDLADY

I don’t care if that scar goes from here to her hush puppy, she’s still white.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Flick pulls a twenty dollar bill out of his pocket.

Aright. Y’all can stay the night, but don’t you ever bring that gal back here again. Maybe this was a bad idea.

VIOLET

MONTY

Naaah. You wash up, come down the hall, we’ll get throw-a-baby-to-the-hogs drunk, ya hear? Do sump’n we can write in that book of yours.

When he leaves, Violet lies down on her bed to rest for a moment.

HOTEL HOOKER

HOW’D I GET TO BE SO BLUE?

SEEMS I DON’T HAVE ANYONE

WHEN RIGHT NOW ANYONE WOULD DO

Violet dozes off. Flick’s voice is heard faintly, over the early evening street sounds of Memphis.

FLICK

RAISE YOUR FOOT NOW THAT’S THE WAY YOU’LL BE MOVIN’ ON TODAY

RAISE THE OTHER, PUT IT DOWN

Young Vi rises from behind the bed; she catches sight of her father.

#10—Who’ll Be The One (If Not Me)

RADIO SINGER

WHO’S GONNA LACE YOUR KID-LEATHER SHOES

WHO’S GONNA BOUNCE YOU ON HIS KNEE

WHO’S GONNA HEED YOUR HULLABALOOS

WHO’LL BE THE ONE, IF NOT ME

Papa? Papa it’s me, Violet!

YOUNG VI

She runs to him and hugs him. He is puzzled.

— 43 —

I O L E T

FATHER

What am I doing here?

YOUNG VI

Don’t you recognize the farm? The flowers are new, I planted them myself.

FATHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

What use are flowers.

YOUNG VI

You remember what you taught me?

Young Vi tries to get her father to dance.

RADIO TRIO

DANCE WITH ME DARLIN’

YOUNG VI

Wait!

Preoccupied, her father has started to leave.

RADIO TRIO

STAND ON MY TOES

OLD LADY

RADIO TRIO

Let him go, dear. Here, practice on me.

DANCE TO THE OLD-TIME

YOUNG VI

It’s the old lady! Do you think my mama smelled like you?

WHO’S GONNA LOVE YOU

OLD LADY

I can’t say, dear. But I know she would have loved the smell of you. There is

DO YOU SUPPOSE

nothing sweeter than a baby’s head.

ME-LO-DEE

RADIO SINGER

YOUNG VI

WHO’LL BE THE ONE

OLD LADY

IF NOT ME

But is that all I get in this life. What do you mean, dear?

RADIO TRIO

ROOSTER GO COCK-A-DOODLE-OOO, COCK-A-DOODLE-OODLE-IVE

MONTY

Ladies, ladies! Who here feels like dancing?

— 44 —

I O L E T

Monty does one turn with the old lady, and dips her.

RADIO TRIO

ROOSTER GO COCK-A-DOODLE-OOO, COCK-A-DOODLE-OODLE-EE

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Oh! I’ve been dipped.

OLD LADY

RADIO SINGER

WAKE UP MY DEAR, IT’S A QUARTER-TO-FIVE WHO’LL BE THE ONE, IF NOT-A ME

Little sister, care for a spin?

MONTY

RADIO TRIO

HEAR THE ROOSTER CROW

Go ahead dear. Isn’t he fine!

OLD LADY

RADIO TRIO

COCK-A-DOODLE-OH

But… on the bus…

YOUNG VI

OLD LADY

Honey I’m not on the bus now. I wish he coulda seen me in my flash!

Monty dances with Young Vi.

RADIO TRIO

WHO’S GONNA LOVE-A YOU

OLD LADY

RADIO SINGER

DO YOU SUPPOSE

Who’s that over there, little sister—

IF THE ONE

Man like that asks you to dance, you dance.

MONTY

OLD LADY

The dancin’ don’t last, but the memories do…

SHE leaves, unnoticed.

WHO’LL BE THE ONE

IS NOT ME

I O L E T

— 45 —

RADIO SINGER

WHO’LL BE THE ONE, IF NOT ME

MONTY

Look at her, lying there all defenseless like that.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

He reaches to turn off the radio, and finds Violet’s book. He picks it up.

You shouldn’t read that.

Monty seems not to hear her.

YOUNG VI

MONTY

“Praise God for Memphis and for two new friends.” One a them is me! Maybe you’re dreaming about me right now. I hope we’re up to no good!

He laughs.

I don’t think I want to hear this.

YOUNG VI

And sadly, young Vi disappears. Monty flips a few pages.

MONTY

There’s a Gideon Bible in my room, and inside it are a lot of dirty words somebody wrote. / It’s like something…

VIOLET

It’s like something Montgomery would do.

She grabs her book back from him.

You think you’re so smart. Smarter’n you.

You are so fulla shit.

MONTY VIOLET

So what are you hangin’ around my room for.

#11—Last Time I Came To Memphis

MONTY

LAST TIME I CAME TO MEMPHIS

— 46 —

I O L E T

(MONTY)

ALL IT TOOK WAS TWO BEERS HAD A GIRL ON HER BACK HER FEET UP BY MY EARS

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

HMM-MM, HMM-MM

I LIKE THE KIND OF GIRLFRIENDS YOU PICK UP IN A BAR

WHO KNOW WHAT TO MAKE OF THE PROMISES BARROOM PROMISES ARE HMM-MM

SOME BARBECUE, A COUPLA SHOTS

NOBODY ASKING NO ONE’S THOUGHTS SOMEONE WHO DON’T GIVE A DAMN:

THAT’S WHAT I COME TO MEMPHIS FOR

THAT’S ALL I WANT, AND NOTHIN’ MORE SO HERE I AM

THE OPEN DOOR

I AIN’T A BOY IN THE SKIN OF A MAN

I’M MORE THE STEAM THAT YOU LET OFF

THE ROMAN CANDLE YOU BUY BY THE ROAD THAT YOU CAN’T WAIT TO SET OFF THE TRUTH IS NEVER SO PAT

TRY AND WRAP YOUR MIND AROUND THAT

LAST TIME I CAME TO MEMPHIS

HAD THIS GIRL, KICKED HER OUT

THEN WENT BACK FOR THE WAITRESS THAT CHICK COULD SHOUT

THAT’S WHY I COME TO MEMPHIS THAT’S WHAT MEMPHIS IS FOR IF YOU COME WITH A PULSE

THEN YOU’RE GOING TO SCORE

SOME SMOKIN’ BABES, A COUPLA SHOTS

NOBODY ASKING NO ONE’S THOUGHTS

I O L E T

— 47 —

(MONTY)

THAT’S ALL THEY GET, THEY KNOW THE SCAM YOU KNOW WHAT, THEY DON’T GIVE A DAMN SO HERE I AM

AND SO ARE YOU

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

YOU GIVE A DAMN SO WHAT TO DO HERE I AM HERE I AM

Flick enters holding a coke and a flask.

FLICK

What happened to you two? You were gonna tell her to get ready. But Flick, are you ready? To do what?

MONTY FLICK

#12—Transition To Trio / Lonely Stranger

GET LOADED

MONTY

GET PLASTERED

IT’S THE PRINCIPAL SKILL WE’VE MASTERED

GO TO IT

YOU BASTARD

FLICK

BOTH

WE CAN DO IT AGAIN AND AGAIN AND AGAIN AND AGAIN

I brought you a sody pop.

Plus a little sump’n to spruce it up.

FLICK

MONTY

Monty intercepts her soda, spikes it, and hands it to her.

VIOLET

Mmm. Peppery. Where’s that music coming from again?

— 48 —

Let’s find out.

I O L E T

MONTY LET’S GET BOOZY GET HAZY

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

He takes Violet and spins her around. CAREFUL, VIII-LUT, WHOOPSI -DAISY GO TO IT

GO CRAZY

WE CAN DO IT AGAIN AND AGAIN AND AGAIN AND AGAIN

Monty takes her hand, spins her, and when she stops Flick, Monty, and Violet are in a dance hall. The music hall singer spots Flick and winks at him. During the uptempo section of this song, Flick and Monty join Violet out on the dance floor. They all three show off for one another. The two men one-up one another in a good-natured but obvious way. Monty does a shimmy and declares, ‘That’s Elvis, right there’ and Flick and Violet follow with their own specialties. The dancing is more athletic than sexy; there is little touching involved, as that would spell trouble for Flick. Once the singer sees who Flick is with, she loses interest in him.

MUSIC HALL SINGER

HEY, I’M DYIN’

I’M DYIN’ FOR WHAT YOU GOT THERE MAYBE I’M LYIN’

I’M LYIN’ BUT WHAT DO YOU CARE OH, OH, OH, WHOA LONELY STRANGER

NO STRANGER THAN ANYONE HERE I’M IN NO DANGER

NO DANGER, ‘SLONG AS YOU’RE NEAR OH, OH, WHOA

DON’T YOU LEAVE ME DON’T EVER GO

PLEASE BELIEVE ME

I KNOW, I KNOW, I KNOW-YEAH! HEY, I’M DYIN’

I’M DYIN’ TO DO SOMETHIN’ WRONG

I O L E T

— 49 —

(MUSIC HALL SINGER)

THERE’S NO DENYIN’

DENYIN’ STRINGS IT ALONG OH, OH, WHOA

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

When the song’s tempo slows, Flick is caught close to Violet, watched by the singer and a woman at a nearby table. Flick goes to a Coke machine to buy some sodas. Once Flick is gone, Monty takes Violet in his arms for some slower dancing. YOU JUST MET ME

YOU’LL NEVER STAY YOU’LL FORGET ME SOME DAY

Monty’s hands start to wander a bit; Violet is surprised but does nothing to stop him. When Flick returns he sees this, catching Violet’s eye, not Monty’s. Resigned, Flick sets down the beers, and turns to leave the two alone. Violet lets go of Monty, and runs to follow Flick. SOME DAY…

LONELY STRANGER

NO STRANGER TO WHAT’S IN MY HEART AM I IN DANGER

IN DANGER, LETTIN’ THIS START

HOTEL HOOKER

HOW’D I GET TO BE SO BLUE?

SEEMS I DON’T HAVE ANYONE

WHEN RIGHT NOW ANYONE WOULD DO

Violet catches up with Flick, who is returning to the hotel.

FLICK

What happened to Monty?

I thought he was right behind us.

VIOLET

She carefully introduces the idea.

You wanna wait up for him? He can handle himself.

FLICK

HOTEL HOOKER

IT’S AT THAT HOUR OF THE NIGHT IF I’M ALONE, I’M NOT ALL RIGHT

— 50 —

I O L E T

(HOTEL HOOKER)

DON’T KNOW WHAT I’LL DO IF I CAN’T HAVE YOU TO HOLD

TILL LIGHT

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Violet and Flick are standing outside her door.

VIOLET

I mean, as big a city as Memphis is… I don’t even have a lock on my door. Should I be worried?

This is an offer. Violet is as direct as her inexperience permits.

FLICK

There’s somethin’ I been wonderin’ about.

VIOLET

What is it.

FLICK

Does this ever hurt you?

He reaches to touch her scar. She shivers and he doesn’t.

Only when the weather changes.

VIOLET

(Pause.)

Flick…

He leans in for a kiss. The landlady appears.

LANDLADY

If you’re looking for your towels—Flick’s is on his bed. And yours I left in your own room.

The landlady clearly isn’t budging.

G’night Viii-lut.

See ya in the morning then.

FLICK

VIOLET

HOTEL HOOKER

MAYBE THERE’S A MAN OUTSIDE MY DOOR

HEY THERE, MISTER, HOW ARE YOU?

I O L E T

— 51 —

(HOTEL HOOKER)

YOU COULD BE JUST ANYONE

WHEN RIGHT NOW ANYONE WOULD DO

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Violet finds her bed, gets in it, sleeps. Monty approaches the door. He touches the handle. When it swings open, he enters Violet’s room. She is awakened when he crashes into a chair, and curses.

MONTY

Fuck! Viii-lut?

VIOLET

What, what! Where’s Flick?

MONTY

I could wake him up. Might get awful crowded though. What’s ‘at smell, licorice?

VIOLET

Anise. To keep my dreams sweet.

MONTY

Honey you ain’t dreaming now.

He puts her hand in his lap. She pulls him down to her, and as they kiss the lights fade. On the last day of high school, a boy follows young Vi home.

Wait up! Violet, wait for me!

BILLY DEAN

She walks faster.

C’mon, Violet! Slow down.

She doesn’t.

Ain’t you never had a boy follow you home from school before? You know the answer to that.

YOUNG VI

BILLY DEAN

Still, you know what it means, right?

She raises her eyebrows, waiting. He rolls his eyes.

Means I like you! Means I wanna get with you. Who put you up to this. Nobody, honest!

YOUNG VI

BILLY DEAN

— 52 —

I O L E T

YOUNG VI

Billy Dean Elum, you are so dumb. One day you’re calling me names, the next I’m supposed to think you’re sweet on me?

YOUNG VI

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Names? What names?

BILLY DEAN

Axe-head. Freak-face. Oh.

BILLY DEAN

How much are you getting for this. C’mon, Violet. How much.

Five dollars. We could split it.

YOUNG VI

BILLY DEAN YOUNG VI

I don’t want the money. I want you to be gentle.

He is quick, eager.

I’ll be gentle.

BILLY DEAN

Monty and Violet sit up, talking in her bed. Monty is half asleep.

MONTY

You should see me race my Norton sometime, Viii-lut. Covered in mud? Black leather pants, jacket- tools stuck all over my body with duct tape— The secret life of boys.

VIOLET

MONTY

C’mon, Viii-lut. One day I’ll come through, um…

Violet prompts him.

Spruce Pine.

VIOLET

I O L E T

— 53 —

MONTY

…Spruce Pine, flat out, throw you up behind me on my cycle! We’ll lean all the way through them mountains. Would you like that? You can jes’ holler and hang on.

He looks at her carefully a moment.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

When I told my mama I put in for Special Forces she just burst into tears. Couldn’t stop crying. I thought she’d be proud of me. I bet she is though.

She coulda said so.

VIOLET

MONTY

This is a little too personal for him.

My Norton though, she’s a working piece of iron, I mean she has guts.

A yawn overtakes him.

VIOLET

Oh, so now you’re going to sleep on me? Ain’t you tired?

You’re the one who woke me up. Are you sorry that I did?

MONTY VIOLET

MONTY

No answer.

Anyway, I wasn’t the first, was I.

So.

VIOLET

MONTY

So I hope he was good to you. My Norton though, she’s got the best front forks of anybody, she’ll run you up a tree trunk and down the other side ...

He drops off. She touches his hair; he groggily brushes her hand away.

#13—Lay Down Your Head

VIOLET

Look at your little hairs. It’s like a shoebrush. Sleepy now you’ve done your business, aren’t you.

— 54 —

He shifts against her.

I O L E T

(VIOLET)

There’s no keeping you awake, is there. Go ahead then. Go to sleep on me. LAY DOWN YOUR HEAD, AND SLEEP, SLEEP

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I’LL BE YOUR PILLOW, SOFT AND DEEP

LEAVE ME YOUR TROUBLES, I WILL KEEP

YOUR DAYS GONE BY, YOUR DAYS GONE BY

Monty lies against her with his full weight.

LAY DOWN YOUR HEAD, AND DREAM, DREAM YOU’RE SO MUCH GENTLER THAN YOU SEEM IS THERE A CHANCE YOU MIGHT REDEEM MY DAYS GONE BY, MY DAYS GONE BY AND OH, HIS BREATH IS SO WARM

MINE IS SHORT, AND MY EARS ARE RINGING EVERYWHERE, MY SKIN IS SINGING—

LAY DOWN YOUR HEAD, AND SLEEP, SLEEP I WILL BE PLEASED, YOUR SOUL TO KEEP GIVE YOURSELF OVER TO THE DEEP

OF DAYS GONE BY, OF DAYS GONE BY

#14—Anyone Would Do (Reprise)

MUSIC HALL SINGER

BY THE TIME YOU COME KNOCKIN’ MY

MUSIC HALL SINGER LONELY STRANGER NO STRANGER

LANDLADY

MAYBE THERE’S A STRANGER AT MY DOOR

THAN ANYONE HERE

HEY THERE, MISTER,

‘SLONG AS YOU’RE NEAR

YOU COULD BE JUST ANYONE

NO DANGER,

DON’T EVER GO

HOTEL HOOKER

WHAT’S TO KEEP HIM WAITIN’ FOR?

HOW ARE YOU?

CUZ RIGHT NOW ANYONE…

YOU COULD BE JUST ANYONE

— 55 —

I O L E T

ALL THREE

BABY YOU MAY BE THE STRANGER AT MY DOOR

LANDLADY

MAYBE THERE’S A STRANGER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

ALL THREE

AND RIGHT NOW ANYONE

MUSIC HALL SINGER WOULD DO

HOTEL HOOKER WOULD DO

LANDLADY

OH, ANYONE WOULD DO

#15—M & M’s Transition IV

BUS DRIVER 3

Wake up, soldier boys. This is Fort Smith Arkansas, through no fault of mine. The rest of us get 10 minutes to use the facilities.

The sound of a car horn; a shuddering diesel engine; Finally the pneumatic “shoosh” of a bus door opening. The driver and a few passengers leave; Monty stirs in the seat beside Violet.

Ready or not, Montgomery.

VIOLET

MONTY

Monty. Monty Monty Monty Mon… You’re do in’ that on purpose.

What are you gonna do about it?

VIOLET

MONTY

Wait right here, Violet. You got a surprise comin’.

As Monty leaves, Flick comes forward. With the seat beside Violet now empty, he takes it.

FLICK

Fort Smith’s the last rest stop you get. Don’t you wanna get up and stretch? I’m okay.

VIOLET

— 56 —

What happened to Monty?

I O L E T

FLICK VIOLET

He’s buying me candy and sodas, like he’s been doing all day.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Lemme see that gum wrapper.

FLICK

He licks a pencil tip, and prints something.

Here’s my address. You keep it. Never can tell. After Fort Smith, it’s straight up to Tulsa. Maybe 2, 3 hours. You excited?

VIOLET

I don’t even know what street the Hope and Glory Building is on. Can I borrow that?

Violet takes his pencil, opens her book, tears off a piece of a page and writes something down.

Here’s my address.

You really gonna write to me then?

FLICK

VIOLET

Yeah, but. Monty’s gonna be back soon, so…

Flick looks away, stands.

Right. Best of luck / to you, now. C’mon, Flick! I didn’t / mean…

FLICK

VIOLET FLICK

All this candy ‘n shit, ‘scuse my French, know why Monty’s buying it? Cuz he thinks that’s easier ‘n talking to you. There’s a man you can count on. What do you know about it.

VIOLET FLICK

I know a plain girl when I see one, with dreams don’t make no sense. Maybe not to you.

VIOLET FLICK

Don’t you get it? You’re just a piece of ass to him. And an easy one at that.

I O L E T

— 57 —

VIOLET

What gives you the right to be jealous? What makes you think I am?

FLICK

VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

You heard me say I left the door unlocked. Last I heard it couldn’t lock.

What did you expect, an invitation?

FLICK

VIOLET FLICK

Forget it. I don’t go for sloppy seconds anyhow.

VIOLET

Sure seemed like you were ready to go last night.

#16—Hard To Say Goodbye

DON’T WORRY

FLICK

DON’T SWEAT IT

GO DO SOMETHIN’ WRONG, THEN MOVE ALONG CUZ IT WON’T WEIGH ON YOUR MIND IF YOU DON’T LET IT

IT ISN’T HARD TO SAY

I’M SO SORRY

I MEANT BETTER

HELL IT’S NOTHIN’ NEW YOU PUT ME THROUGH

TAKE YOUR TIME NOW TO SPELL OUT JUST WHY IN YOUR FIRST LETTER

IT ISN’T HARD TO SAY GOODBYE MONTY’S NOT THE POINT ISN’T NOW, NEVER WAS

YOUR HEAD DOES NOT KNOW WHAT YOU NEED

YOUR HEART DOES DON’T WORRY

— 58 —

DON’T SWEAT IT

I O L E T

(FLICK)

DON’T KNOW WHAT HE SAID CLIMB IN’ IN YOUR BED BUT IT TOOK HIM ALL THE WAY BUT YOU DON’T GET IT

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CUZ ANYONE CAN SAY I’M SO LONELY

I WANT SOMEONE

DAMMIT, HE’S THE KIND YOU ALWAYS FIND

DOIN’ SOMETHIN’ TO CATCH SOMEONE’S EYE WHO’S THE REAL DUMB ONE

IT ISN’T HARD TO SAY GOODBYE

VIOLET

FLICK

YOU KNOW WHAT REALLY BOTHERS YOU?

MONTY’S NOT THE POINT

WHAT YOU WERE ONLY

NEVER WAS

MONTY HAD THE NERVE TO DO DREAMING OF

MONTY’S JUST A BOY, FLICK, I KNOW THAT

ISN’T NOW

BUT YOU CAN’T EVER

FIND YOUR WAY

BUT I DON’T REGRET IT

IF YOUR HEART DOESN’T LEAD

I’LL REMEMBER FOREVER

YOUR HEART DOES

I DID SOMETHING FINE

YOU DON’T KNOW WHAT YOU NEED

VIOLET

TWO KINDS OF PEOPLE IN THIS WORLD SOME SAY YES AND SOME SAY NO I’M ONLY LEARNIN’ TO SAY YES

I’M BOUND TO MAKE MISTAKES BUT I’M BOUND TO TRY

I KNOW YOU THINK I’M NO GREAT SHAKES

BUT THERE’S MORE TO ME THAN MEETS THE EYE

GOODBYE

IF I WERE SMART I’D GO BACK HOME BUT I DON’T GIVE A DAMN AND I’LL TELL YOU WHY

I’M MILES AND MILES FROM WHO I AM FOR ONCE I’M NOT AFRAID OR SHY GOODBYE

I O L E T

— 59 —

(VIOLET)

I’M GONNA MISS YOU, FLICK, A LOT I WISH YOU FELT THE SAME AS I GOODBYE

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Little girl got it all figured out.

FLICK

Give me back my address.

Here, take it. Have a nice life.

VIOLET FLICK

Violet pushes past Flick to the bus bathroom. Monty boards the bus with a bag full of candy.

I better go back and get her. No! Leave her be.

MONTY FLICK

MONTY

If she don’t come out, how’m I gonna wish her luck?

FLICK

What’s the difference. We’re never gonna see her again. I don’t know. Maybe.

MONTY FLICK

If you do go back there, you better set her down gentle. She’s not a one-nighter.

She might surprise you there. Anyway it ain’t so easy for me. I take one look in them sad eyes, I’m ready to promise her anything she wants.

IC N

MONTY FLICK

Yeah but soon’s you break that promise, it’ll hit her twice as hard. Least I won’t be with her when it hits.

MONTY FLICK

That what you think? Damn. I got no time for a boy like you.

Flick gets up and starts to collect his things.

— 60 —

I O L E T

MONTY

Nah, now wait a minute Flick. C’mon, you’re right. What do I say?

#17—Promise Me, Violet

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Violet practices what to say in the bus bathroom.

VIOLET

YOU GOT MY NUMBER, SO CALL ME WHEN IT’S CONVENIENT FOR YOU

FLICK

Sit down.

They share a bus seat.

VIOLET

SOME NIGHT YOU’RE DRUNK AND YOU’RE LONELY GOT NOTHING BETTER TO DO

I’LL BE SITTIN’ HOME, WAITIN’ TO HEAR FROM YOU

FLICK

I GOT YOUR NUMBER, I’LL CALL YOU,

MONTY

I GOT YOUR NUMBER, I’LL CALL YOU,

FLICK

EXPECT TO HEAR FROM ME SOON—

MONTY

EXPECT TO HEAR FROM ME—

YOU NEVER KNOW, WITH THE ARMY—

Good.

MIGHT BE YOUR NEIGHBOR BY JUNE

FLICK

WRITE ME ANY TIME—

MONTY

I’LL WAIT TO HEAR FROM YOU

Monty works his way to the back of the bus.

VIOLET

YOU WEREN’T SO BAD, FOR A SOLDIER

YOU WEREN’T THE BEST OR THE WORST

— 61 —

I O L E T

(VIOLET)

BUT WHEN YOU STARTED TO CRY,

BOY I TELL YOU, THAT WAS A FIRST…

MONTY

Viii-lut! You all right in there? You worried / or something?

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

I’m fine! It’s all the candy and the soda, what do you think?

She comes out.

Isn’t it your stop? You better get ready to go.

VIOLET

YOU GOT MY NUMBER SO—

What?

BOTH

I GOT YOUR NUMBER SO—

VIOLET

YOU GOT MY NUMBER SO—

What?

MONTY

BOTH

I GOT YOUR NUMBER SO—

Violet finally puts one hand on Monty’s shoulder, one hand over his mouth.

VIOLET

YOU GOT MY NUMBER SO CALL ME—

MONTY

EXPECT TO HEAR FROM ME SOON—

VIOLET

SOME NIGHT YOU’RE DRUNK AND YOU’RE LONELY—

MONTY

UNDER THE SPELL OF THE MOON—

He tries to touch her arm, she grabs it away.

VIOLET

I’LL BE SITTIN’ HOME, KNITTIN’ SOMETHIN’ FITTIN’

JUST WAITIN’ TO HEAR FROM YOU

Come on, Monty.

FLICK

— 62 —

I O L E T

Monty starts to walk away with Flick, then changes his mind, and returns to face Violet. PROMISE ME, VIII-LUT

MONTY

PROMISE YOU’LL DO THIS

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

ONCE YOUR HEALING’S THROUGH

FLICK

Monty?

MONTY

COME TO THIS STATION ANY TIME SUNDAY

I’LL BE HERE FOR YOU

I’LL BE WAITING, BY THE ROADSIDE ANY TIME, I’LL MAKE DO

I’VE BEEN WAITING, FOR A LIFETIME TO GET YOUR SWEET KISS SO VIII-LUT, PROMISE

CUZ I’LL BE WAITING FOR YOU PROMISE ME, VIII-LUT

WHY WON’T YOU FACE ME ALL I WANT IS YOU

YOU’RE NOT SOME BEAUTY THAT DON’T CONCERN ME I’LL BE HERE FOR YOU

FLICK

MONTY

I’LL BE WAITING

AM I JUST CAUGHT UP IN A DREAM—

MAKE MY LONESOME DREAM TRUE

SHOULD I SPEAK UP— OR LET HER GO—

BY THE ROADSIDE

I’VE BEEN WAITING, FOR A LIFETIME

FOR SOMEONE SIMPLY

YOU’RE SO SWEET

TO LOOK AND SEE ME

I’VE BEEN WAITING I’LL BE WAITING

FLICK

THE WAY THAT I SEE YOU

MONTY

PROMISE ME, VIII-LUT—

— 63 —

I O L E T

VIOLET

YOU GOT YOURSELF A GOOD JOKE NOW—

MONTY

WHY WON’T YOU PROMISE—

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

YOU WANNA SET UP THE PUNCHLINE— LIKE I PROMISED…

MONTY VIOLET

THAT’S ALL I AM, I KNOW…

I GOT YOUR NUMBER, MY DARLING YOU LOOK TO GOOD TO BE TRUE

MONTY

SLOW DOWN, YOU KNOW I’M THE BEST THING HAS EVER HAPPENED TO YOU

I’m coming here Sunday. See you then, all right? And you get off that bus!

FLICK

VIOLET

Leave the girl in peace!

LEFT MY TROUBLES ALL BEHIND ME

What the hell is wrong with you?

BACK THERE WHEN I CLIMBED ON BOARD

MONTY FLICK

JORDAN RIVER’S WHERE YOU’LL FIND ME

I’LL BE WAITING, BY THE ROADSIDE—

IT’S WIDE, BUT NOT TOO WIDE TO FORD

You expect her to get to Tulsa and back in two days?

MONTY FLICK

WE GOT TO LET HER GO…

VIOLET / YOUNG VI

MONTY

AND I’LL CALL YOUR NAME…

AND AS I’M GOIN’ ALONG

VIOLET

I KNOW YOU’RE WITH ME

#18—Raise Me Up

AND AS I’M GOIN’ ALONG

— 64 —

I O L E T

The passengers help transform the scene into the Preacher’s chapel. It is half stage set, half Art Nouveau temple (a relic of Tulsa’s oil boom style). The passengers—and maybe a few band members—become his volunteer choir, doing a foot-stomping number to stir the congregation up.

CHOIR

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I’M ON MY WAY, OH I AM ON MY WAY

PREACHER

Are you on the way, or are you in the way?

CHOIR

ON MY WAY, I AM ON MY WAY

PREACHER

I say are you on, or are you in the way?

CHOIR

ON MY WAY, OH I AM ON MY WAY RAISE ME UP, LORD

WON’T YOU RAISE ME UP AND ON MY WAY

PREACHER

Cuz anybody in the way had better get out of the way tonight. How would you like it friends, if the Lord were to raise you up tonight?

CHOIR

RAISE ME UP, LORD

WON’T YOU RAISE ME

PREACHER

Maybe you feel distant, maybe you feel far from God tonight. But God hasn’t moved. He’s the same place he ever was. If you

haven’t heard him, maybe you haven’t been listening. If you haven’t seen him, maybe

your eyes have been closed! Don’t worry, if

you don’t want him, he ain’t coming. But if you want him—

PREACHER

OH, IF YOU WANT HIM

If you need him—

CHOIR

PREACHER

CHOIR

I AM ON MY WAY I AM ON MY WAY I AM ON MY WAY

OH, IF YOU NEED HIM

— 65 —

I O L E T

CHOIR

PREACHER

Why not let him raise you up to his side!

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHOIR

LORD, WON’T YOU RAISE ME UP AND ON MY WAY

PREACHER

Let him fold you to his bosom, like a favorite angel!

LULA

ON MY WAY, I AM GLORY BOUND

LULA

RAISE ME UP, OH

…UP

LULA & CHOIR

RAISE ME UP RIGHT OFF THE GROUND

LULA

GIVE ME THE WINGS OF AN ANGEL I’LL FLY AWAY

I’LL FLY AWAY

CHOIR

RAISE UP, RAISE UP RAISE UP, RAISE UP

LULA

I WANT TO FLY LIKE AN ANGEL

I’LL FLY AWAY

I’LL FLY TO YOU

CHOIR LULA

PREACHER

How many are ready to get healed this afternoon? Raaaise your hands if you’re ready.

LULA

WON’T YOU RAISE UP!

PREACHER

…RAISE UP!

CHOIR

When medical science fails you. When all the clinics, the hospitals, and the infirmaries in the world tuuurn you away.

— 66 —

WHAT DO YOU DO

I O L E T

CHOIR PREACHER

What do you do. When even the family doctor shakes his head.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHOIR

RAISE UP!

PREACHER

And says, I’m sorry, I’ve done everything I can. RAISE UP!

CHOIR

PREACHER

And says, there’s not a pill in the world can help you now. I know one doctor you can surely depend on. WHAT IS HIS NAME?

LULA

PREACHER

His name isn’t John Hopkins. Oh no. His name isn’t Ben Casey. HIS NAME IS JESUS

CHOIR

PREACHER

If you believe in Jesus raise your hands! Hallelujah! Now there’s a woman right beside me God has called to sing his Biblical, scriptural music; what’s your name again sister?

Lula Buffington.

LULA

PREACHER

That’s right, Lula. You go ahead and make it a prayer. Amen, pastor.

LULA

WHEN MY THOUGHTS ARE TROUBLED, AND MY SPIRITS ARE LOW

WHEN MY URGES SICKEN, AND MY SINS AMAZE ME I CAN DEPEND ON YOU MY LORD ...

That’s right, sister!

PREACHER

— 67 —

I O L E T

LULA

BECAUSE I KNOW, I KNOW, I KNOW…

LULA

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

That’s right! Hallelujah!

PREACHER

YOU WILL…

LULA

RAISE ME HE WILL

CHOIR

YOU WILL RAISE ME, YOU WILL RAISE ME YOU WILL RAISE ME, YOU WILL RAISE ME

RAISE ME

HE WILL RAISE ME HIGHER, HE WILL HIGHER LORD RAISE ME UP

HIGHER LORD

I’M ON MY WAY

I WANT TO FLY LIKE AN ANGEL ON MY WAY

I’LL FLY TO YOU

I AM ON MY WAY

YOU WILL RAISE ME, YOU WILL RAISE ME YOU WILL RAISE ME, YOU WILL RAISE ME RAISE ME UP, RAISE ME UP RAISE ME UP, RAISE ME UP

I’M ON MY WAY, OH I AM ON MY WAY I’M ON MY WAY, I AM ON MY WAY I’M ON MY WAY, OH I AM ON MY WAY

PREACHER

Praise the Lord. Jesus wants to heal you, to comfort you, to make you prosperous and normal. He is a bone healer, a fever breaker, a cancer ender, a tumor disappearer. Who believes Jesus has the power to heal? Raise your hands if you believe.

CHOIR

RAISE UP YOUR HANDS IF YOU BELIEVE

PREACHER

What’s happened? Is this a woman who could not walk? You never know who the spirit’s gonna move. Let’s say it’s a woman, in a wheelchair a moment ago, and Virgil’s gonna raise her up onto the stage. She could not walk, and now she’s dancing! Engineer I might start speaking in tongues at this point, if the rapture hits me. You just keep that spot on me whatever happens.

Then I’ll open up the Bible, like I’m gonna read from it. Before we call it a night, I believe every cane will be broken, I believe every wheelchair will be abandoned, I believe every stretcher will be overturned! And here is where I’ll introduce the volunteer choir, from…Virgil?

— 68 —

Philadelphia, sir.

I O L E T

VIRGIL PREACHER

From the City of Brotherly Love. Y’all get ready now. This is where y’all start singin’ again.

PREACHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHOIR

That’s right. Raise yourselves up off your seats! Raise up! My Bible says, shout unto God with the voice of triumph. Blessed is his name!

RAISE ME UP, OH RAISE ME, RAISE ME UP

LULA

OH WON’T YOU RAISE ME

Look at what my God’s doing before I

start laying hands on people! Imagine

RAISE ME UP,

what he’s going to do after I start! Glory!

OH RAISE ME RAISE ME UP

LULA 1

OH WON’T YOU RAISE ME UP

WON’T YOU RAISE ME

WON’T YOU RAISE ME UP

HIGHER

WON’T YOU RAISE ME, RAISE ME

OH YEAH

HE PLACES ME,

WON’T YOU RAISE ME

ONTO SOLID GROUND, OH HE LIFTS ME

WON’T YOU RAISE ME UP

UP, HE’LL TURN YOUR LIFE AROUND

WON’T YOU RAISE ME, RAISE ME

HE’S A HEALER

RAISE ME UP, RAISE ME UP

HE’S A COUNSELOR

RAISE ME UP, RAISE ME UP

LET HIM DO IT FOR YOU

LIKE HE DONE IT FOR ME

OOOOOH!

RAISE ME, RAISE ME, RAISE ME, RAISE ME

LULA 1

RAISE ME, RAISE ME, RAISE ME, RAISE ME

OH, HE WOKE ME UP THIS MORNING AND STARTED ME ON MY WAY

IF YOU KNOW WHAT I’M SAYIN’, SAY YEAH! YEAH! YEAH!

CHOIR

YEAH!

CHOIR LULA

CHOIR

The testifying language at the end of this song comes from Rema Webb

I O L E T

— 69 —

LULA

YEAH!

CHOIR

AND ON…

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

LULA

OH, I KNOW SOME OF YOU CAME HERE TO FORGET ABOUT YOUR WORRIES

LET ‘EM ROLL DOWN THE RIVER JORDAN…

CHOIR

MY…

LULA

HE’S WONDERFUL, HE’S MARVELOUS

HE DID IT FOR ME, AND HE’LL DO IT FOR YOU, AND YOU…

STACY

AND YOU, AND YOU, YEAH!

LULA

OH, DEAR GOD I’M ON MY WAY

CHOIR

WAY!

YEAH! YEAH! YEAH!

LULA

They finish, pleased with themselves. The Preacher isn’t happy, and his impatience takes over.

PREACHER

All right, all right, shut up! You there, are you awake or not? You mean me?

VIOLET

PREACHER

Mind telling me what happened to my cue? What kinda engineer are you? I’m, um… not an engineer.

VIOLET

PREACHER

How do you expect to run a lightboard then? Give me strength!

— 70 —

I’m here to see you.

I O L E T

VIOLET PREACHER

All right then, you’ve seen me. Now you’re fired.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

But I don’t work for you.

VIOLET

PREACHER

Well join the club! Because I got a choir that isn’t working for me either. Their mouths are moving, but it don’t sound like singin’!

Furious, at everyone.

What’s the matter, people! Do I have to do everything alone? I need your help!

VIOLET

And I need yours! I came here to be healed. Virgil? Tomorrow night, sister!

PREACHER

He waves Virgil to Violet, but the gesture is unclear to Virgil, whose focus remains on the choir.

The same night you people are gonna be on television! You can’t be singin’ like you’d rather be fishin’. Lula here’s the only one singin’ for me, she’s givin’ me what I need. I’m singin’ for the Lord. What?

Not for you. For the Lord.

Of course, that’s what I meant. I hope so.

LULA

PREACHER LULA

VIOLET

I just thought the choir was wonderful. Thank you baby.

LULA

Virgil, where are you.

I O L E T

— 71 —

PREACHER VIRGIL

Right. Everybody—that’s a 6 o’clock call tomorrow, a 6:30 show.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

As the choir files out, Virgil takes Violet’s arm.

I never thought of it as a show before. Right this way, ma’am.

VIOLET VIRGIL

VIOLET

I came to talk to the Preacher.

VIRGIL

Nobody talks to him unless they talk to me first. You’re so young. I need his blessing.

Virgil sees her scar and reacts.

VIOLET

VIRGIL

Not to worry, ma’am. We’ll get you taken care of in a jiffy.

#19—Down The Mountain

On the way down the mountain, the Father supports young Vi; she holds a quilt to her cheek. PAPA, CAREFUL EASY DOES IT

YOUNG VI FATHER

HOLD ON BABY, THERE WE ARE— HOW FAR?

YOUNG VI FATHER

WE’RE HALFWAY DOWN BY NOW

WE’LL GET YOU TAKEN CARE OF, SOMEHOW

Violet’s lines overlap what the father sings.

— 72 —

I O L E T

FATHER

VIOLET

I have something to show him.

VIRGIL

GOD ALMIGHTY, SHOW YOUR MERCY

Perhaps you could show me first.

VIOLET

GOD ALMIGHTY, PLEASE FORGIVE

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Okay, but only if you take me to him after.

GOD ALMIGHTY, SHOW YOUR MERCY

From her book SHE takes an envelope.

Here’s what I need. I’ve written it all down.

GOD ALMIGHTY, PLEASE FORGIVE

THERE’S THE RIVER WE CAN CROSS IT

My name. My one desire. The Bible verses which must speak for me.

YOUNG VI FATHER

He lifts her up, to carry her across.

THIS MIGHT HURT YOU, BE PREPARED— I’M SCARED!

YOUNG VI FATHER

I KNOW, BUT DON’T YOU FRET

WE’LL GET YOU TAKEN CARE OF, YET

FATHER

DON’T YOU FRET…

PLEASE FORGIVE

HE hums a phrase.

THERE’S THE DOCTOR’S— THERE’S A LIGHT ON

HOLD ON BABY, ALMOST THERE—

By now YOUNG VIOLET is staggering, hardly conscious. Her FATHER supports her.

VIRGIL My child, we must pray for your spirit. VIOLET Never mind my spirit.

VIRGIL All suffering has a purpose.

VIOLET Maybe that’s true, but it doesn’t make it right!

VIRGIL Kneel with me. Lord, help us to remember that you have a purpose in all things. With me today is—now what was your name again, sister? HE looks up and Violet has disappeared.

I O L E T

— 73 —

FATHER

THANK HEAVEN FOR THAT MOON

WE’LL GET YOU TAKEN CARE OF—

FATHER

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

You come back here!

VIRGIL

SOON

Call security! We got a scrambler.

VIRGIL

The father approaches the doctor’s door, and prepares to kick it open; lights pull our attention to Violet, who flings open, then closes the door to the Preacher’s chapel. The Preacher is praying in the darks of the chapel, at a back pew.

Hello? Mr. Preacher? Anybody?

VIOLET

#20—In The Chapel

When nobody answers, Violet approaches the altar.

THIS IS WHERE THE PREACHER STANDS NO ONE’S LEFT TO TESTIFY FOR ME

ALL I HAVE ARE YOUR WORDS, LORD TO RAISE ME UP AND SET ME FREE

She empties her envelope full of Bible quotations one by one onto the altar.

Lazarus. The withered hand. The ear of Malchus. The woman at the door of Peter’s house. The healing pool of Bethesda. ‘The crooked shall be made straight.’

She is startled when the Preacher sits up straight.

PREACHER

Isaiah was talking about a valley, not a scar. Please don’t send me away again.

What are you doing in my chapel. I need your help.

She gathers herself

VIOLET

PREACHER VIOLET

— 74 —

I O L E T

(VIOLET)

Jesus healed an impediment of speech. See my impediment? Mud in a blind man’s eye was all he needed. Remember?

PREACHER

“Favor is deceitful and beauty is vain.” That’s in Proverbs.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

“I shall yet praise him who is the health of my countenance.” Psalms, see?

PREACHER

“By the sadness of the countenance the heart is made better.” Ecclesiastes, 7, 3.

VIOLET

Oh that’s not fair! And it isn’t true, besides. Why don’t we go find Virgil.

PREACHER VIOLET

Please help me. I have such high hopes for you.

PREACHER

So many people do, sister. But right now I’m exhausted. Come on.

She is excited when he takes her by the hand; but he tries to lead her out of the chapel.

Come back another time; you got to go on home.

VIOLET

I can’t, not tonight. I came from North Carolina on a Greyhound bus!

PREACHER

What do people think, I’m a healing jukebox? Drop a quarter in and watch me go? Come to the service tomorrow, sister, like ever-body else.

VIOLET

Well which is it, a service, or a show? Call it an act and you could take it to Vegas.

PREACHER

Let me tell you something, Miss Hoity-Toity. I started out preaching from the back of a flat-bed truck. I faced the doubtful. I faced the hostile. I faced the Klan! Sister, I was on fire for the Lord. I could feel his power burning in my fingers. And most ever-body who came, got their miracle.

VIOLET

Why can’t I have mine. You can do it on TV if you want!

PREACHER

Believe me sister, if I could do that I would.

I O L E T

— 75 —

VIOLET

Look at me! I need some of that fire off your fingers.

PREACHER

To do what? I’m sorry, but there’s nothing really wrong with you.

VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

How can you say that? Maybe it’s vain to worry you’re ugly, but if you’re worse than ugly? If you’re disfigured! That’s not vanity, that’s pain, pure and simple.

PREACHER

But sister, your scar is already healed though, right? It’s not going anywhere. You need to make your peace with that.

#21—Raise Me Up (Reprise)

VIOLET

GIVE ME THE WINGS OF AN ANGEL I’LL FLYAWAY

You with me, sister?

PREACHER

He tries to interject, but Violet keeps going.

VIOLET

I’LL FLY AWAY

I WANT TO FLY LIKE AN, I’LL FLY AWAY

You got to understand.

PREACHER

Violet raises a hand to shush him. I’LL FLY TO YOU

Before you let yourself… Be quiet a second.

VIOLET

PREACHER VIOLET

OOO, OOO, OOO, OOO

You can’t just demand…

PREACHER

— 76 —

I O L E T

VIOLET

You had your chance!

OH, WON’T YOU RAISE UP

VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Don’t count on / me to be…

PREACHER

Raise up your hand if you’re ready.

Violet raises hers.

Please, sister…

PREACHER VIOLET

IF YOU’RE READY

Say how many want a touch, how many wanna get healed. RAISE UP

Say I got the power to heal. RAISE UP

You can talk now if you want.

OOO-OH-OH-OH, WHAT IS HIS NAME?

You can save it all up if that’s better. HIS NAME IS…

PREACHER

Jesus, sister.

PREACHER

JESUS

VIOLET

Why don’t we kneel together and pray for that inner beauty. I AM ON MY WAY

VIOLET

PREACHER

Sister I promise you, this is not the way to go about this.

VIOLET

ON MY WAY, I AM ON MY WAY

PREACHER

I’m sorry, but I need to call my security.

I O L E T

— 77 —

When he sees an opportunity, he tries to leave. Oh no, you’re not going anywhere!

VIOLET

She runs over and blocks the exit.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

ON MY WAY, I AM ON MY WAY RAISE ME UP, LORD

WON’T YOU RAISE ME UP AND ON MY ...

The Preacher retreats as she advances, until she’s backed him up behind the altar.

#22—Look At Me

LOOK AT ME

NO ONE WILL LOOK AT ME

NO ONE WILL DARE TO SPEND THE TIME IT TAKES TO LOOK AT ME—

TO REALLY LOOK AT ME

WHAT DID I DO TO MAKE YOU ANGRY AT ME MY GOD

THIS IS SO HARD LOOK AT ME LOOK AT ME

CAN YOU IMAGINE

WHAT IT’S LIKE WHEN PEOPLE LOOK AT ME—

She directs her words to the heavens. LOOK AT ME

IS THIS THE TENDER MERCY THAT YOU’RE KNOWN FOR MY GOD

DON’T BE SO HARD

She starts beating her book against a pew. GIVE ME THE WINGS OF AN ANGEL

DON’T PULL BACK

— 78 —

I O L E T

(VIOLET)

DON’T SHUDDER

LOOK ELSEWHERE LOSE INTEREST

I’M ALMOST THERE

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

The Preacher has disappeared. Violet starts desperately arranging things for her healing. THIS IS WHERE THE PREACHER STANDS TWO KINDS OF PEOPLE IN THIS WORLD ALL I HAVE ARE PROMISES

TO RAISE ME UP AND SET ME FREE

Perhaps when her book starts coming apart, she rips it into pieces and throws the pages and whatever quotes are still inside up into the air; the pieces settle down all around her, and the altar. Violet’s father has magically taken the Preacher’s place. Violet is at first oblivious to the change. I’D LIKE A PAIR OF GENE TIERNEY EYES AND AVA GARDNER’S EYEBROWS AND ANYBODY’S CHEEKBONES A DIFFERENT MOUTH BENEATH A NEW

AND BETTER NOSE—

AND PLEASE, THE EYES—

BUT GOD, GIVE ME SOMETHING! SOMETHING OF MY OWN, SOMETHING MINE SO I WON’T

BE ASHAMED

WHEN I FIND A MAN

Violet sees young Vi enter, and follows her gaze to their father. TO LOOK AT ME

WHY WON’T YOU LOOK AT ME IT WAS AN ACCIDENT, OR WAS IT REALLY?

Look at me!

YOUNG VI VIOLET

GODAMMIT LOOK AT ME

— 79 —

I O L E T

VIOLET / YOUNG VI

THIS IS YOUR HANDIWORK THE GIFT YOU GAVE ME

FATHER

So what? Once I look at you, then what. Here I am, looking at you. Satisfied?

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

YOUNG VI

You act like it’s all my fault.

DON’T PULL BACK—

VIOLET

FATHER

I’m not the one who up and decides one day the woodshed is the place to play.

YOUNG VI

I’m not the one who doesn’t check to see his blade is loose!

FATHER

It wasn’t loose! The shim came out, damn it. Nobody checks the shim every time he uses his axe.

YOUNG VI

I bet you check it now.

VIOLET

DON’T SHUDDER

LOOK ELSEWHERE LOSE INTEREST ACT DISTANT,

EMBARRASSED YOU BETTER BE CAREFUL

CUZ I WON’T

ACCEPT THIS

NOT THIS TIME

I’M ALMOST THERE

GOD, I JUST WANT YOU TO APOLOGIZE

FATHER

Don’t try to quote to me from the Book of Suffering. You don’t know anything about it!

YOUNG VI

Young Vi runs off, and her father calls after her:

I know its every page by heart!

FATHER VIOLET

I’d like to see you try this face on before you dare speak to me of suffering. What is it / you want to hear?

FATHER

— 80 —

You know what / I want to hear!

I O L E T

VIOLET FATHER

It was all my fault? Is that what you want me to say? Well all right then. It was all my fault. I’m sorry, and there’s an end to it.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

There is no end to it. Not for me.

FATHER

Just tell me what you want, damn you. I will say it, I will do it. What does it take.

VIOLET

The last twelve years of my life? Can you get those back for me? Can you take back all the frightened looks from little girls, the jeers their brothers flung at me, the words of Christian sympathy their parents spat in my face like boiling oil?

FATHER

You think the accident didn’t leave its mark on me?

VIOLET

Not out for everyone to see and be sickened by!

FATHER

What else could I have done? The accident happened, how could I undo that? I got you to the doctor as fast as I could.

VIOLET

Yeah, a doctor who’d been out drinking, who sewed me up like a pair of old shoes. And then you waited five years too long to try and make it right. But you know / why I had to wait…

VIOLET

You know what I think?

FATHER

#22a—You Know What I Think?

You did it on purpose. You were afraid I’d leave if I were pretty, so you took care of that. You made damn sure no one else would come within a mile of me.

#23—That’s What I Could Do

FATHER

EACH DAY, I GOT YOU OUT OF BED SAW THAT YOU WERE FED

I O L E T

— 81 —

(FATHER)

THAT’S WHAT I COULD DO

SUNDAYS, I’D GIVE YOU CHANGE TO GO TO A PICTURE SHOW

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

THAT’S WHAT I COULD DO THAT’S ALL I KNEW TO DO

YOU’RE THE IMAGE OF YOUR MAMA SHE’S IN EVERYTHING YOU ARE

YOU’VE GOT HER EYES, YOU’VE GOT HER SMILE— BUT YOUR OWN SPIRIT CARRIED YOU THIS FAR IF I COULD

I’D TAKE AWAY YOUR SCAR

Maybe he places both hands gently on her cheeks, across her scar, then removes them. FORGIVE ME

YOU’RE MY ONLY STAR LOOK HOW BRIGHT,

LOOK HOW STRONG,

LOOK HOW BEAUTIFUL YOU ARE

I RAISED YOU STRONGER, CHILD, THAN ME WHICH YOU’LL ALWAYS BE THAT’S WHAT I COULD DO

I RAISED YOU STRONG ENOUGH TO START SEEIN’ WITH YOUR HEART

THAT’S WHAT I COULD DO THAT’S ALL I KNEW TO DO

THE REST, I GUESS, IS UP TO YOU

#24—Segue From “That’s What I Could Do”

Child, is there someone who can make you happy?

She’s embarrassed.

You don’t have to say. I understand. Keep a secret from your old man.

VIOLET

I want to bless you, but that’s not my job. I would if it were up to me.

— 82 —

He takes a step back. Look at you. Just look at you!

FATHER VIOLET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Did I have a miracle?

I O L E T

FATHER

I wish your Mama could see you like this.

VIOLET

Oh my God! Thank you! Did he fix the nose too? Or just the cheek? Maybe she’s watching us right now.

She almost touches her cheek.

FATHER

VIOLET

I want to touch it but maybe that’s temptation. I should wait until it’s settled.

FATHER

I am bushed!

VIOLET

Papa tell me, what do you see when you look at me?

#25—Intro to “Surprised (Reprise)” I could almost sleep forever.

FATHER

There is a great whirring sound, and maybe all the Bible quotes on the altar are borne mysteriously into the air, then scattered. When they have settled, the father has disappeared.

#26—Surprised (Reprise)

VIOLET

LUCKY MY MIRACLE TURNED OUT SO GENTLE MAYBE THE BEST ONES APPEAR ACCIDENTAL

I DON’T DARE TO CHECK IT IN THE MIRROR

GIVE HIM TIME, TO GET THE FEATURES CLEARER

— 83 —

I O L E T

(VIOLET)

BUT BY THE SOLDIER’S BASE, WAIT AND SEE

WHEN I SHOW MY BRAND-NEW FACE WHEN I SHOW MY BRAND-NEW FACE

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

WHEN I SHOW MY BRAND-NEW FACE I’LL BE FR…

The bus driver is impatient to have to repeat this.

I said, ticket please, ma’am.

BUS DRIVER 4

#27—M & M’s (Reprise)

VIOLET

Mr. Wallace Weatherman!

He looks at her warily.

Remember me?

BUS DRIVER 4

Name’s Johnson, ma’am. Says so right on the badge.

Violet is on the bus again.

VIOLET

LIPS? FULL. CHEEKS? HIGH.

NOW WHO’S EASY ON THE EYE!

BUS DRIVER 4

M&MS, GOOD ‘N PLENTY

AHH

STRETCH MY LEGS, AND GRAB A COKE

PASSENGERS

AHH

VIOLET

NOSE? THIN. FACE? FINE.

MONTY MIGHT NOT KNOW IT’S MINE.

BUS DRIVER 4

HAVE A TOOTSIE ROLL, OR TWENTY

AHH

PASSENGERS

BUS DRIVER 4 / PASSENGERS

WHEN WE STOP I’LL HAVE A SMOKE

— 84 —

I O L E T

VIOLET

I’LL JUST STAND THERE, GARBO-STYLE IT MIGHT TAKE HIM A LITTLE WHILE BUT THEN HE’LL START TO SMILE…

BUS DRIVER 4 / PASSENGERS OO-OO-OO OO-OO-OO OO-OO-OO

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

BUS DRIVER 4

I’LL HAVE SOME COFFEE FOR THE ROAD

VIOLET

DON’T EVEN KNOW IF HE WILL BE THERE…

Fort Smith, Arkansas.

Violet gets off the bus.

BUS DRIVER 4

VIOLET

He doesn’t even know I’ve changed. I’ll have to explain myself, how this gypsy hair and juicy mouth is still Violet Karl! He’ll say, where is that mountain where you live? Can I come there?

BUS DRIVER 4

MADE GOOD TIME CROSSIN’ OKLAHOMA

Monty, in the dress uniform of the Green Berets, spots Violet.

MONTY

Viii-Iut, there you are… I wasn’t sure which bus you’d be on. Monty?

VIOLET

(Excited.)

It was all I could do not to sneak a look before I got here. Well? What do you think?

MONTY

I tried to tell you what would happen. But you didn’t wanna hear it. Oh!

VIOLET

Her hands flies to her cheek. She takes off running. One of the glass panels of the station walls could be a door, which opens to reveal Flick. The sun makes a funhouse mirror of the door, and in it Violet sees her image reflected. Perhaps this is the one time we see her face, scar and all, as she sees it. She stares at herself, too stunned to speak. When the glass door closes, the spell is broken.

Vi-oh-Iette—

I O L E T

— 85 —

FLICK MONTY

Sergeant Grady Fliggins. What brings you here.

FLICK

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I been waiting since daylight, scared to miss you, scared you might not ...

MONTY

Come with me to San Francisco. I made it, Viii-Iut! I’m a Green Beret.

VIOLET

Go away. Both of you. Don’t look at me!

MONTY

We’ll have a few days together before I go. See, I got to fly from San Francisco, I’m goin’ to Viet Nam. What? Flick! Not you— Not me.

VIOLET FLICK

MONTY

Nah, only Special Forces gets to go. And they only take the good soldiers, right?

(Short laugh.)

Just a joke. Look, I found a ring in my Crackerjack.

Holds it out to her.

I’ll get you a real one in San Francisco, I promise. See I didn’t know if you’d even come back for me. But you did. So what do you say, Viii-lut. Wanna hitch a ride on the Montymobile? Please! I’m so ashamed.

VIOLET

MONTY

I didn’t mean to… Don’t cry. Things’ll be okay. It barely even counts as a war. Flick, make her stop?

Pockets the plastic ring.

I’ll write to you, Viii-lut. How’s that. Listen, I’m gon’ miss you. Wish me luck. You be careful.

VIOLET

— 86 —

I O L E T

#29—Promise Me Violet (Reprise) MONTY

Anyway.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Flick salutes Monty, who returns it, then moves away. Young Violet emerges from the station.

FLICK

Vi-oh-Iette—maybe you still feel a hundred miles from who you are. I’ve got to get back on the bus.

DON’T PULL BACK—

VIOLET

YOUNG VI

FLICK

But I know who you are. And I know where you belong, too.

VIOLET

All alone on the side of some goddamn mountain.

FLICK

No, Vi-oh-Iette. You belong with me.

YOUNG VI

DON’T SHUDDER

LOOK ELSEWHERE

GIVE ME THE WINGS OF AN ANGEL

FLICK

I wish you coulda seen the way you looked when you first stepped offa that bus.

VIOLET

I WANTED A PAIR OF GENE TIERNEY EYES

AND AVA GARDNER’S EYEBROWS OR EVEN JUST THE CHEEKBONES BUT NOTHING’S CHANGED IT’S TOO LATE NOW I’M GOING HOME—

Flick moves toward Violet, and she pulls away. GOD, CAN’T YOU LEAVE ME!

I’M SORRY, I CAN’T STAY WITH YOU

FLICK

BUT VI-OH-IETTE, YOU CAN

I KNOW YOU FEEL LIKE NOTHING’S CHANGED

— 87 —

I O L E T

(FLICK)

BUT LOOK AT YOU, YOU’RE DIFFERENT YOU’RE NOT THE GIRL YOU WERE WHEN YOU BEGAN

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

AND LOOK AT ME

CUZ WHEN YOU LOOK AT ME YOU SEE THE MAN

I’VE ALWAYS WANTED TO BE LOOK AT ME

SWEET JESUS, LOOK AT ME WHEN YOU DO I’LL FIND

THE WORDS TO TELL YOU HOW I LOVE YOU

I’VE BEEN WAITING, FOR A LIFETIME AND NOW YOU’RE SO NEAR I’M GONNA WAIT HERE

UNTIL THE WAIT IS THROUGH PROMISE ME, VIOLET— HOW CAN I PROMISE?

LIKE I PROMISED YOU

CAREFUL NOW, GRADY

VIOLET FLICK

VIOLET

YOU BETTER MEAN THIS

FLICK

ALL I WANT IS YOU

VIOLET

I’VE BEEN WAITING—

I’VE BEEN WAITIN—

SCARED MY PLAN WOULD FALL THROUGH—

HOW WILL I KNOW YOU’LL NEVER LEAVE?

SCARED TO LOSE YOU—

I’VE BEEN WAITING, FOR A LIFETIME FOR SOMEONE SIMPLY TO LOOK AND SEE ME

AFRAID TO LOSE—

BUT MAYBE YOU’RE THE ONE I’VE WAITED FOR THE FIRST ONE TO SIMPLY …SEE ME

— 88 —

I O L E T

VIOLET

THE WAY THAT I SEE YOU

YOUNG VI

MAMA, WHY’S A MAN HAVE EYES? IF I TELL YOU, DON’T YOU TELL—

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIOLET

Flick. What do you see when you look at me.

YOUNG VI

MAMA, WHY’S A MAN HAVE HANDS? IF I TELL YOU, DON’T YOU TELL—

Flick reaches out to caress, and kiss Violet’s face.

GO ASK YOUR BEAU, HE UNDERSTANDS THERE’S HONEY IN THE BUSHES, LORD AND WATER IN THE WELL

Young Vi exits.

#30—Bring Me To Light

FLICK

IF I ASK YOU TO BE WITH ME BY AND BY WILL YOU MEET ME TONIGHT, LOVE

IF IT’S TOO DARK TO SEE WITH THE NAKED EYE WILL YOU BRING ME TO LIGHT

FLICK / VIOLET

IF I HAPPEN TO STAGGER AND FALL BEHIND

WILL YOU HELP ME TO FIGHT, LOVE

WILL YOU HELP ME TO WALK, WILL YOU EASE MY MIND

ADD EARL

WILL YOU BRING ME TO LIGHT

ADD OLD LADY

WILL YOU BRING ME TO LIGHT

ADD YOUNG VI / BUS DRIVER 4

I KNOW YOU WILL TRY

I O L E T

— 89 —

ADD FATHER

TO HELP ME FIND MY WAY, LOVE

ADD MABEL

I WON’T WONDER WHY

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

ADD MONTY

WHEN NIGHTS ARE LONG

ADD LULA / CREEPY GUY

IF YOU’LL HOLD ME TILL IT’S LIGHT

YOUNG VI / BUS DRIVER 4

LIKE A COMET THAT CATCHES YOU BY SURPRISE

EARL / MABEL

LIKE A STAR IN THE NIGHT, LOVE

FATHER / OLD LADY / LULA

LIKE A BABY THE FIRST TIME SHE OPENS HER EYES

ALL

WILL YOU BRING ME TO LIGHT WILL YOU BRING ME TO LIGHT WILL YOU BRING ME TO LIGHT

TO LIGHT, TO LIGHT, TO LIGHT, TO LIGHT LEFT MY TROUBLES

BACK THERE WHEN I CLIMBED ON BOARD JORDAN RIVER’S WHERE YOU’LL FIND ME IT’S WIDE, BUT NOT TOO WIDE TO FORD

AND AS I GO, AND AS I GO

AND AS I GO, AND AS I GO ALONG I WANT YOU WITH ME

IF I TELL YOU MY HEART HAS BEEN OPENED WIDE

IF I TELL YOU I’M FRIGHTENED

IF I SHOW YOU THE DARKNESS

VIOLET, FLICK, MONTY

I HOLD INSIDE

YOUNG VI / FATHER

WILL YOU BRING ME TO LIGHT

— 90 —

I O L E T

ADD MABEL / OLD LADY / BUS DRIVER 4

WILL YOU BRING ME TO LIGHT

ALL

WILL YOU BRING ME TO LIGHT, LIGHT

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

HOOO, HOOO,OOO

#31—Bows: Let It Sing

M U S I C A L N U M B E R S ( VO C A L B O O K )

Water In The Well ........................................................................................92

On My Way....................................................................................................99

Surprised .......................................................................................................94

M & M’s .......................................................................................................110

Luck of the Draw.........................................................................................112

Question ‘n Answer ....................................................................................124

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

5a. M & M’s Transition I ...................................................................................123

6a. Preacher Hymn I .........................................................................................128 6b. M & M’s Transition II..................................................................................129 7.

All To Pieces ................................................................................................130

Let It Sing ....................................................................................................142

Anyone Would Do .......................................................................................149

7a. Organ Underscore / Preacher Hymn II .....................................................138

8a. M & M’s Transition III ................................................................................148

10. Who’ll Be The One (If Not Me) ..................................................................151 11. Last Time I Came To Memphis ...................................................................155

12. Transition To Trio / Lonely Stranger .........................................................159 13. Lay Down Your Head..................................................................................165

14. Anyone Would Do (Reprise).......................................................................168 15. M & M’s Transition IV ................................................................................170 16. Hard To Say Goodbye .................................................................................171

17. Promise Me, Violet ......................................................................................176 18. Raise Me Up ................................................................................................183 19. Down The Mountain ...................................................................................196 20. In The Chapel ..............................................................................................199

21. Raise Me Up (Reprise) ................................................................................200

22. Look At Me ..................................................................................................202

22a. You Know What I Think?............................................................................207 23. That’s What I Could Do ..............................................................................208

24. Segue From “That’s What I Could Do” .....................................................210 25. Intro To “Surprised (Reprise)”....................................................................211

26. Surprised (Reprise) .....................................................................................212

27. M & M’s (Reprise) .......................................................................................213

29. Promise Me (Reprise) ..................................................................................216 30. Bring Me To Light .......................................................................................221 31. Bows: Let It Sing .........................................................................................229

— 91 —

— 92 —

I O L E T

WATER IN THE WELL

# ## 4 & # 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

: 9

9-14

Spirited

# # # #YOUNG VIOLET: œ œ œ œ œœ & œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ f Ma-ma, why's a man have eyes If I tell you don't you tell So he can try you onœ for size 15

# # & # # œ œ.

hon - ey

nose

####

œ œ œ nœ œ œ œ.

the bush - es

‰ . œr œ œ .

A pim-pled

chin

œ œ œ œ œ œœ œ

Ma-ma, why's a man have hands

# # & # # œ œ.

hon - ey

and

wat-er

‰ . œr œ œ . Un-ev-en

4 œ 4 ˙

œ.

the

There's

‰ . œr œ œ . VIOLET:

well.

A bat-tered

‰ œ œœ œœ w 24

eyes

to take

œ œ œ œ œ œ œ œ œ œ œ œ. œ 27

œœ œ œ œ

œ.

4 Ó œ 4 w

If I tell you don't you tell Go ask your beau he un-der-stands There's

œ œ œ nœ œ œ œ.

the bush - es

2 œ 4 œ œ. 19

a - Lord,

YOUNG VIOLET:

œ œ

a - Lord,

2 œ 4 œ œ. 29

and

wat-er

#1—Water In The Well

œ.

the

well.

‰ j œ

VIOLET:

œ œ œ œ nœ

œ œ . nœ œ nœ . ˙

‰ j œ œ nœ œ œ œ 33

œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

— 93 —

I O L E T

have to start

# # & # # n Ów

the preach-er

YOUNG VIOLET:

‰ . œr

cheek

& 44

Lazy

œ œ. œ

There's hon - ey

U !

the scar

that cuts a rain - bow clear a - cross my

2 œ 4 œ œ. œ.

œ œ œ nœ œ œ œ.

the bush - es

a - Lord,

U !

and

wat-er

nnnn 4 4 œ

the...

U !

Attacca

#1—Water In The Well

— 94 —

I O L E T

SURPRISED

Cue: LEROY: "You goin' someplace, Violet?"

Colla voce

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

4 &4 ‰

j bœ œ œ œ œ œ

‰

VIOLET:

Is this

can - dy

in my

hand?

œ œ œ

Lord,

I'll call

In 4

œ œ

he's ter

œ œ

Sta - tion sign?

œ œ

off

accel.

œ. œ œ œ œ ˙

Le - Roy

are

U ˙

Ev - ans looks

me in the face.

j œ œ œ œ œ œ œ œ

week,

#2—Surprised

won't

j œ

‰

j œ œ œ œ œ ˙

q = 152

stu - pid.

This town is a su

U #˙

A tempo (Swing 8ths)

ror - ized.

Œ bœ œ œ œ œ œ œ

j œ œ

the

Have I got a tick - et

The peo - ple of Spruce Pine

trip

I wait-in' by

bœ œ œ œ œ œ œ

œ bœ œ œ œ

‰ j nœ œ œ œ œ œ

j œ œ œ œ bœ

œ.

it mine?

the whole

I win,

place.

œ œ

j bœ . œ

‰ œj œ

Stu - pid.

#œ

Nope,

Moderate 2

‰ j œ œ œ ˙

Be - neath the Grey-hound

& œj œ n œj ˙ ##

‰ j bœ œ

stand,

suit-case...

& œ. œ œ œr œ ˙

- per - sti - tious

j nœ œ œ œ

they

sur-prised.

(Slightly faster)

(Underscore)

24-25

26-33

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

q = 158

— 95 —

I O L E T

34-38

(A cappella)

# # VIOLET: & œ 40

'Mis

nœ

# j & # œ œ

IC N

ter

œ œ

scar

an - oth

j œ ˙

˙.

book.

Weath

Got

˙.

er no - sy look.

j œ

œ œ œ œ œ

sur - prised,

j œ

Safety

BUS DRIVER: "Move along, m... Oooh, Miss." (Music out)

Wal - lace

(Music in)

j œ

Give

heal

week,

#2—Surprised

man.'

j j œ œ œ

j œ

week

in' planned

‰

j œ œ

j œ

j œ œ

out

I'll

you'll

j j œ œ œ

j nœ œ œ œ

come back

j œ

dis-guised.

— 96 —

I O L E T

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

& œ

Lips?

& œ

Nose?

# & Œ

Thin.

& œ

IC N

black

Cheeks?

Bent.

Ears?

œ œ œ œ J

Noth-ing in his

I can tell that. But what does he have, really?"

VIOLET: "He thinks well of himself,

œ J

face

e - nough

own

sure

don't want

Got

four

be.

˙.

œ œ

breeze.

#2—Surprised

mine

œ œ

that.

œ œ œ œ ˙ see

though— is it

once.

j œ

‰ j œ œ œ œ. Cher-o - kee?

‰

œ œ œ œ œ like

eyes and he can't

His hair

bœ J

œ nœ

œ œ œ

me.

soft

j œ œ

œ œ œ œ ˙

˙.

Flat.

for

& ˙.

Runts.

œ œ œ

(Straight 8ths)

j œ I

It's

want

# & Œ

œ œ œ

b 34

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 97 —

I O L E T

And al

# # 4 VIOLET: j & 4œ œ œ œ Once I

j j œ œ œ

œ œ Œ

bet her eyes

Fun - ny,

please.

"...dizzy, looking off to the side..."

˙.

j j œ œ œ

if she

Œ nœ œ œ

100

"Praise God, it is started

#2—Surprised

‰

œ œ ˙

would look on me.

j œ

won't

œ œ

j œ œ œ ‰ œj œj œ

Find - ers keep-ers,

Next week,

j œ œ œ œ

- cog - nized.

˙.

Won - der how those eyes

j œ ˙

see.

were green.

j œ œ

j œ ˙

## 4 4

79-84

li - er

& b 34

OLD LADY: "Do you mind if I sit here, dear?..."

cur

101

wait

and

j nœ œ œ œ

bbbbbb

you

September 4th, 1964."

sur-prised.

— 98 —

bb & b b bb bœ œ œ 102

œ œ nœ bœ 3

I O L E T

j j œ œ ‰ œ œ œ.

103

104

œ œ œ œ œ œ œ

2 4

Ma-ma, just look I'm a long ways from pret-ty

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Ma-ma your book says “It's bles-sed to pit-y.”

j œ œ œ .

105

bb 2 & b b bb 4

j 4‰ œ œ œ œ œ œ 4 J œ œ œ œ œ œ.

106

107

108

‰ œ œ œ œ œ œ œ J

109

Be an an - gel. Ma-ma help to save me

b & b bbbb œ

110

j œ œ œ œ.

111

‰ œj œ œ œ

b & b b b b b 44 œ 114

b & b bbbb Œ

œ œ

b w & b bbbb

j œ œ œj ˙

119

b & b bbbb w

116

24 ˙

a brand - new

127

face

Broadly (Swing 8ths)

123

œ "œ œ œ œ

Won't you be

121

And it's mine

œœœœ˙

117

120

œ "œ œ œ œ

125

sur-prised

œ "œ œ œ œ

shine.

brand - new face

œ œ w

124

113

œ œ œ œ œ

When you see a

œ œ œ œ œ

Won't you be

126

115

a brand - new face

œ œ

When you see

122

And I will praise his grace rain or

When you see

118

œ œ œ œ œ

112

face you gave me

Make the Lord re - store the

Won't you be

128

sur-prised

#2—Surprised

129

sur-prised

OLD LADY: "You goin' far?"

j œ "œ bœ œ œ ‰"

Won't you be

sur...

Segue

— 99 —

I O L E T

ON MY WAY

Cue: VIOLET: "It took an axe blade to split my face in two." OLD LADY: "Well..." [GO] : 2

q = 120

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

4 & b 4 ..

P FLICK: j &b ‰ œ œ œ œ œ œ œ 5

1 WOMAN, 1 MAN:

œ œ œ œ œ œ œ œ

j &b ‰ œ œ œ œ œ œ œ

1 WOMAN:

& b ‰ œj œ œ œ œ œ œœ 2 MEN:

3-4

j œ œ

j œ ˙

œ œ œ œ ˙

j œ œ

j j œ œ œ.

œœ œœ J

œœ œœ œœ .. J J

w ww

˙.

˙˙ ..

1 WOMAN:

& b œ.

j œ œ

w œ ‰

1 WOMAN: {Ah

‰

2 MEN:

Jœ

j œ œ !

w w

wœ .

#3—On My Way

2 MEN:

œ œ Jœ œ

— 100 —

I O L E T

"...I am right tired of children."

& b ˙. ˙.

2 WOMEN:

4 MEN:

j œ œ #œ œ J

œ. œ.

œœ

˙˙ ..

œœ

3 4

˙˙ .. ˙.

œœœ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

{Oo

& b ˙. ˙.

# œœj œ œ J

œœ .. œ. œ.

{Oo

& b 34 œj œ P Look at VIOLET:

j œ œ

her skin,

24 œ

œ œ œ

œœ œ

œœ œ œ

Chi - na white,

44 Œ 26

Tis - sue

thin

Look how

& b 34 ˙˙ ..

˙. & b 34 ˙˙ .. ˙.

j j œ œ œ

j œ ˙

&b œ

j œ œ œ œ

the bone

j œ œ

Gives her

skin

such

‰ j œ œ œ

the

tone.

I'd take it

light cuts clear

j œ ˙.

&b œ œ œ œ

an - y day

Praise

God

for

j œ œ -

j œ

'ry - one

#3—On My Way

œ bœ œ œ Œ I

meet

while

œ œ œ œœ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 101 —

I O L E T

I am on

way

P ‰ œj œ œœ œ œ œ œj œ œ œ œ œ œœ œ œ œ

WOMEN:

& b œ.

‰ Ó

MEN:

& b œœ .. Oo

. & b œœœ .. œ. Oo

& b 24 œ

worth

& b 24 œ

worth

40 VIOLET:

34 j œ œ

My face

j œ œ œ œœ # œJ œ j # œœ œœ J

œœ œ

œœ œœ

P œ ‰ œœ œœ œ œœ œœ œœ œœ œœ œœ J J

tears

˙˙ ..

œœ

34 . ˙˙ .

˙˙ .. ˙.

œœ œ œ

44 Œ 43

44 Œ

might

j œ œ

is mean.

no breath

no breath œœ œœ œœ .. J J

œ œ œ

Eight - y years

OLD LADY:

œ œ

Eight - y years

˙˙ .. ˙. ˙.

scrub

j j œœ œœ œœ ..

scrub

#3—On My Way

œ.

clean

poco cresc.

clean

j œ œ

hers

and

— 102 —

‰

˙.

j œ

j œ œ

‰

j œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

strong

&b œ

But

and

don't

long

to make my

strong

&b œ œ ˙

‰

face o - kay.

j œ

+ ALL:

j œ œ œ œ

last,

the

North

j œ

ro - li

b œ œ œ œ ‰ j 64 œ VIOLET:

bor

der

And

‰ Jœ

FLICK:

And

& b 64 w .

‰ œ 44 ˙ . J

j 44 ˙˙ .. œ

44 ˙ . ˙.

& b 64 w

And

Ó ‰ œ œ J

& b 64 Ó

Ó & b 64 Œ

1 MAN:

2 WOMEN:

Ó œ œ w

And I

Œ ˙

1 WOMAN:

‰

And I

1 MAN:

j œ œ.

And I

44 ˙.

wait

VIOLET:

Je - sus,

And

I am

I I

#3—On My Way

24 œ œ

œ œ

## 4 4 ## 4 4

(Slightly faster) q = 128

# 4 VIOLET: & #4w 54

F 58 ‰ œj œ œ œ œ .

˙.

way

Be - fore an - oth-er

œ œ

sun - rise

wakes

‰ j œ

‰ Jœ

+ OLD LADY:

Be -

+BUS DRIVER:

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# & # 44

: 57

— 103 —

I O L E T

Be -

œ œ œ.

fore an - oth-er

# & # œ

œ œ œ.

fore an - oth-er

œ.

takes

# œ. & # œ.

takes

IC N

1 WOMAN, 1 MAN:

GROUP 2 — 3 MEN:

j œ œ

j œ œ Jœ œ

GROUP 1— VIOLET, 2 WOMEN:

œ œ

night

j œ

You

j ‰ œ œJ

+FLICK:

+1 MAN:

You

˙.

gone

+MAN:

gone

got

œ œ

got

tra

Left my trou-bles all be - hind me

œ œ œ œ . œ œ œ œ . œj œ Œ

Left my trou-bles all be - hind me

œ œ

tra

œ œ

vel

œ œ

vel

œ œ

œœ

œ œ

œœ œ

Back there when I climbed on

#3—On My Way

˙.

on.

˙. ˙.

on.

Back there when I climbed on

out where this high - way

œœ œœ œœ œœ .. œœ œœ œœ œ . œj œ Œ œ. œ œ J

I'll find

know I've

out where this high - way

know I've

I'll find

j œ ‰ œœ œ J

˙.

‰

‰ œj œ

+WOMAN:

˙œ ..

œ œ œ œ

board. (climbed on

œ.

board)

œ œ œ œ Œ

(climbed on

board)

— 104 —

I O L E T

œ œ œ . œj ‰ j œ œ

œ œ œ œ. œ

FLICK:

Jor-dan Riv-er's where you'll find

œœ œœ œœ œœ .. œœ

œœ œ œ . Œ œ œ œ œ œœ œ œ ‰J but not too wide to ford.

me It's wide

And as I'm

‰ j œœ œ œ œœ œœ œœ œ J

œœ œœ œ œ œ œ œ. œ œ J

VIOLET:

œœ

˙œ .. œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Jor-dan Riv-er's where you'll find

‰ œj œ œ œ œ œ

Jor-dan Riv-er's where you'll find me

# # VIOLET: & ˙ go

# & # Ó

It's wide but not too wide to

œ œ œ . œj œ

œ œ œ œ. œ

in'

‰

a - long

j œ œ œ

YOUNG VIOLET:

And as I'm

œ œ œ œ

œ œ œ

œ œ œ Œ

Pro - mis - es that can't go wrong

# & # œ œ œ œ

car

ford)

j œ œ œ ˙

˙.

with

a - long

44 ˙. œ œ œ . œ

I tra-vel

œ œ J

œ J œ

œ œœ ˙

nn 3 4

Pro - mis - es that can't go wrong

in'

œ.

(wide to

j œ w

œ.

ford)

œ. œ œ œ œ

It's wide but not too wide to

j œ w

œ.

ford. (wide to

& 34 ˙ .

VIOLET:

way

DRIVER: F BUS gentle legato œ œ & 34 œJ n œ J

First thing

I'll do,

OLD LADY:

Read-y

œ œ ˙

go to Sal's

or not

Bar - be - que

#3—On My Way

All those boys

Greas - y,

mes - sy

œ œ œ œ J J

89 VIOLET:

2 œ œ 4

œ œ ˙

œ 44 Œ œ œ œ

+ YOUNG VIOLET:

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 105 —

I O L E T

Red hair's a thought real-ly fine

œ & œJ œJ œ

œ œ ˙

& œ

FLICK:

Can't beso bad, Not the worst

OLD LADY:

œ #œ œ

mak - ing noise,

& œ

Grub-by hands

post

I've

had

‰ œ œ J

œ œ

it's bound to be

‰ œ J

what

œ œ œ J

I'll have me some

œ œ3

bet - ter than squirrels

pie

#3—On My Way

No mat-ter

+2 WOMEN, +2 MEN:

44 Œ œ œ œ

No mat-ter

‰ œj œ œ

˙˙

œ.

3 œ œ œ œ J

A head-ful of

Í & ˙.

4Œœ œ œ 4

bad

24 ˙

I've had.

what

what,

2 4 ˙

œ #œ œ

what

Í & w

Í what & wœ .

44 Œ œ œ œ

Not so

˙.

No mat-ter

œ œ 2 ˙ 4

Dirt-y toys

Best

Í & w

bar - be - que

˙. Œ

BUS DRIVER:

(not like mine)

dry

curls

like Ju - dy

— 106 —

œ & œ œ ˙.

I O L E T

100

## Ó

‰ j œ P

OLD LADY:

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Hol-i - day

œ œ œJ œ

Wave

# & # œ 101

œ œ œ

good - bye,

œ œ ˙ 102

wife thinks I'm a dra - gon

105

## w

Lord

Car

j œ œ œ œ œ œ 103

104

˙.

IC 109

# ˙ & #

way.

Œ ‰ œ J

FLICK:

Too

His

lin - a

œ œ

you've got to help me find

˙.

106

œ œ

bad we don't see eye

fly,

œ.

# & # œ œ œ œ œ

folks,

## œ

˙.

œ J

BUS DRIVER:

to eye,

œ.

ing

j œ w

œ.

ing

œ J

110

a - long

107

œ œœœ œ Œ

Lord

œ.

car

œ œ J I

#3—On My Way

And as I'm

œœ œ œ œ œ ˙

We could pass the time of

111

‰ jœ œ œ

OLD LADY:

108

œ œ. J car

‰ œ œ œ J

day

And as I'm

j œ œ œ ˙

œ J

112

with

F # # VIOLET: & œ œ œ

113

114

115

œ œ œ ˙. 116

œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 107 —

I O L E T

F # # OLD LADY: & œ œ œ

pro - mis - es

that

pro - mis - es

FLICK: #F # & œ œ

pro - mis - es

117

œ œ œ œ

can't

go wrong

#œ

that

can't

go wrong

that

118

tra - vel

#### w &

120

IC N

121

f # # # # œ œœ œœ œœ œ œœ œ œ &

œ œ œ œ

Œ Œ

####

119

œ œ œ

# # # # f GROUP 1—WOMEN, MEN: # œœ œœ œœ œœ .. # œœœ œ œ œ œ.

Left

122

˙˙

œœ œœ œ œ

œœ œ œœ

be - hind

f VIOLET, YOUNG VIOLET: w

œœ œ

I tra - vel

way

œœ œ

Back there when I climbed

GROUP 2—MEN: + FATHER, MONTY (off stage)

Left my trou-bles all

YOUNG VIOLET:

œœ œ

I tra - vel on

tra - vel on

hind

œ œ œ

# # & # # ˙˙ ˙

go wrong

#3—On My Way

œœ œ

trou-bles

œœ œ

all

œœœ

˙œ . œ.

œœ œœ

board (climbed on

œœ

board)

œœ

œœ œ œœ

Back there when I climbed

œœ

on,

— 108 —

123

124

I O L E T

125

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

I'm

# ## & # œœ œœ œœ œœ .. œ œ œ œ.

œœ œ

œœœ œœœ

˙˙˙

Jor - dan River's where you'll

# # œ & # # œ

climbed

####

126

####

130

œœ

board

in'

˙˙

VIOLET, YOUNG VIOLET:

OLD LADY: + 1 WOMAN:

‰ jœ œ œ œ

And as I go

ford

1 MAN, 1 WOMAN:

‰ j œ œ œJ

And as I'm

‰ œj œ œ ˙ FLICK:

And as

Œ œ œ œ

Pro - mis - es

that

131

can't

œœ ..

in'

j œ Jœ

‰ œj œ œ And as I

go wrong

ƒ œ ‰ œœ J

long

132

find

œ. œœ ..

œœ œ œ œ œ

As I tra - vel on

j œœ œœ

˙. ˙.

car - ry with

j œ œ ‰ œœ ƒ

129

œœj œœ J

œœ ..

j œœœ œœœ J

œœ .. œ.

car - ry with

œ œ œ ˙. 133

I'm

œœœ

˙.

œ œ J

car - ry with

+3 MEN:

+ YOUNG VIOLET:

#3—On My Way

œœ

j ƒœ œ ‰ œ œJ

a - long

+ 1 MAN:

I go

VIOLET: 3

you'll

˙˙

128

a - long

œ œ œ

ƒ j‰ œ œ

j œ w 127

It's wide but not too wide

Jor - dan Riv - er's where

‰ j œ œœ œœ œœœ œœœ œœœ œœ œ œ

œœ œ œ œ œ

a - long

in'

œœ œ

find

œ.

˙ .. ˙˙ .. ˙.

# # # # VIOLET, YOUNG VIOLET: œ ˙ & œ œ œ œ WOMEN:

135

136

137

>˙ ˙

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

134

— 109 —

I O L E T

tra - vel on

# # # # 2 MEN: œ ˙ & œ œ œ œ As

œ ˙

####

œ œ œ œ

# # w & # # w

138

WOMEN:

way

MEN: # # # # ww w &

way

n˙

>˙

tra - vel on

2 MEN:

>˙

tra - vel on

# # # # 2 MEN: œ ˙ & œ œ œ œ As

>˙

tra - vel on

139

ww ww w

140

ww ww w

141

˙˙

˙˙ ˙

Applause Segue

#3—On My Way

— 110 —

I O L E T

M & M's BUS DRIVER:

Swing 8's q = 126 "Kingsport, Tennesee..."

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b3 &b 4

Cue out: BUS DRIVER: "...won't be goin' on to Memphis; not today."

b & b ..

b & b .. b & b ..

Vamp till cue 4

45 ‰ Jœ œ œ œ 2 WOMEN:

45 ‰ Jœ œ œ œ

5 4 ‰ Jœ œ œ œ

j b & b ‰ Jœ ‰ œ œ n œ œ

& M's

œ œ œ œ

Good 'N Plen - ty

FLICK + 2 MEN

& M's

œ œ œ œ

Good 'N Plen - ty

j œ œ . ‰ œJ œ œ œ n œ œ œ œ œ 34 ‰ œJ ‰ œ œ œ œ œ

b j & b ‰ Jœ ‰ œ œ n œ œ

34 ‰ œ ‰ Jœ œ œ œ œ ‰ œ œ œ œ . œ œ J œ œ nœ œ œ J

b j & b ‰ Jœ ‰ œ œ n œ œ

nœ œ nœ 3 j j œ œ . ‰ œJ œ œ œ n œ œ œ œ œ 4 ‰ œ ‰ œ œ œ

Stretch your legs and grab some cokes Have a Toot-sie Roll or twen-ty

Good 'N Plen - ty

1 WOMAN, 1 MAN:

& M's

œ œ œ œ

Stretch your legs and grab some cokes Have a Toot-sie Roll or twen-ty

#4—M & M’s

Get an-oth-er pack of smokes

j b5 & b 4 ‰ œJ ‰ œ œ n œ œ œ œ œ . 11

4Œ ‰ œ ‰ œj œ J nœ œ œ œ œ . 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 111 —

I O L E T

Ap - ple cob-bler a la mode

Cup - pa cof - fee for the road?

b j & b 45 ‰ œJ ‰ œ œ n œ œ œ œ œ .

4Œ ‰ œ ‰ œj œ J nœ œ œ œ œ . 4

b5 j & b 4 ‰ œJ ‰ œ œ n œ œ œ œ œ .

‰ œJ ‰ œj œ n œ œ œ œ œ . 44 Œ

Ap - ple cob-bler a la mode

b &b œ

b nœ

cof - fee

for

the road

b œ nœ

cof - fee

for

34 œ œ #œ

for

bœ nœ

the road

œ # œ œ 34 œ

the road

˙.

#4—M & M’s

rit.

I'll have some

œ nœ

Cup - pa cof - fee for the road?

cof - fee

Cup - pa cof - fee for the road?

Ap - ple cob-bler a la mode

I'll have some

Fade and end

U !

— 112 —

I O L E T

LUCK OF THE DRAW

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FATHER: You got your royal flush, then your straight flush, your 4-of-a-kind; a full house, a flush, a straight, then 3-of-a-kind; two pair, one pair, and high card least of all. Which never hardly wins the pot. Not when there's more'n two playin'." VIOLET: What's the pot?" (Music in)

Shuffle (Swing 8's) q = 128 Vamp (vocal last x)

# # # 4 . FATHER: j & 4 . nœ œ œ œ œ œ .

: 15

First you set the an - te

###

j œ œ

both

# # & # œJ œ œj œ Œ

Just the one

### j & œ

# # & # 44 ‰ n œ

j j œ œ œ.

j œ œ

our

Once

That's what lot - sa

you

j œ œ

bet you

" ‰ nœ

Not

j j œ œ œ 29

get

pen - ny?

#5—Luck Of The Draw

too ma - ny

j j œ œ œ.

draw some

AS YOUNG VI: nœ nœ œ j " j Œ Œ Œ ‰ J nœ œ œ

for

œ œ J

Œ œ j nœ œ œ .

œ œ ˙

the deal's be-gun

All you got's a

queens are

œ œ œ.

pen - nies.

j œ œ.

j œ œ

Then be - fore

Let's see what your cards are

œ J œ

nœ œ œ

no-thin'

j œ œ

Say a pen-ny

j œ

an - te

.. Œ

j œ nœ œ œ .

‰ j #œ œ œ œ 3

pair of queens

and

24 ˙

nœ j œ œ œ n œ n œJ œ ‰ J

AS YOUNG VI:

FATHER:

That's a pair a queens

# # nœ œ Œ & #

FATHER:

There's the

j œ nœ

j nœ œ

bet I

saw

Œ nœ œ nœ

now

fate

I'll see you,

œ nœ œ in - ter-venes

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

nick - el.

— 113 —

I O L E T

###

Œ nœ

Some say things

nœ

say

### ‰ &

nœ j œ œ

j œ œ nœ

œ J

### ‰ &

### . . &

the

Brighter, 2x

œ œ

de-sign,

things

bet

œ œ œ

A nick - el

‰ œj œ n œ œ œ . J a good

.. .. 54

œ œ

de-cree,

or law

line

œ #œ œ J œ

It's

œ J

fall

the draw.

œ.

by de-mand,

‰ j œ œ œ

j œ

most

luck

what you should

q = 140

j œ œ.

hap-pen

# # & # Œ

nœ J

œ œ J

this

‰

bet

nœ œ œ . J J

case

j ¿ ¿ ¿

But

"...to get your student's attention."

Vamp (vocal last x)

# # # . FATHER: . n œ œ œ œ œj œ . & 56

Look - y what ya got here

.. Œ 57

œ n œ œj œ .

six and sev-en,

#5—Luck Of The Draw

œ œ œ.

then a nine

Ó j œ œ œ œ 59

and ten, no eight

win

— 114 —

# # & # œ

you

j j œ œ œ.

j j œ œ œ 61

do is

ditch

this

four

‰ nœ

and

œ œ J

pray

to hea - ven

j œ œ

œ œ J

for a

Straight

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

What

j œ œ

I O L E T

###

nœ œ œ œ œ

###

See

# # & # nœ 72

###

Œ œ nœ œ œ

j œ œ

forc-ing

j j œ œ œ

you

match me

win - ning?

‰

j #¿ ¿ n¿

###

j nœ nœ

nœ J

fa - mous

saw

Some say things

j œ œ.

hap-pen

œ œ J

nœ

you

can't

de-sign,

a dime

I'm

j œ œ

at a

time

‰ n œj n œ œ Œ

will it?

#œ œ

win

‰ n œj

YOUNG VIOLET:

j nœ œ

œœœ

j n¿ ¿

œ œ

a few bits

j ¿ n¿

says

But

can

œ œ œ

‰ nœ

Which I raise you

j j œ œ œ.

May-be two bits

I'm

# # & # Œ nœ 78

Well, a straight

IC N

First you got to bet, though

# # & #

œ Œ

There's a

win

‰ j œ œ œ

#5—Luck Of The Draw

by de-mand,

less

nœ

you're in

œ œ œ

de-cree,

œ œ

or law

# # & # Œ nœ œ Œ

say

most things

j œ œ

œ J

fall in

line

‰ œj œ n œ œ œ œ œ by the luck

of the draw.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 115 —

I O L E T

### Œ &

j j œ œ nœ

j #œ œ

YOUNG VIOLET:

Let's

# # & # Ó

stop this

game

‰

j ¿ ¿

But

œ.

right now, I've

j ‰ œ œ nœ œ œ . J put e-nough

YOUNG VI: "Papa!"

in.

j ‰ œ œ nœ œ œ . J FATHER:

I was bluf - fin'

FATHER: "Straight beats two pair."

win

YOUNG VI: "I don't even know the hands!"

Vamp till cue

(last X) # # # 2 . FATHER: j ‰ & 4 . ¿ ¿ ¿

.. n ¿

You got your

# # & # n¿

¿ ¿ ¿ ¿ ¿

Roy - al

44 n ¿ J

: 94

Flush, your

j ¿

Straight Flush,

¿ ¿ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ ‰ ¿ 3

your Four - of - a - Kind,

¿ 3¿ n ¿ j j ¿ œ ¿

Full House, a Flush, 'n a Straight, 'n a Three - of - a - Kind, Two pair, One pair, and no pair at all But

93A

Vamp - jump on cue

###

Cue out: YOUNG VIOLET: "Gimme the cards. I'm dealing this one!"

j ‰ 2 n œ 3œ œ œ œ 44 .. œ Œ Ó œ œ œ nœ œ #œ 4

high cards nev - er won a pot

that I can re

call

#5—Luck Of The Draw

100

101

— 116 —

###

102

j œ nœ œ œ .

YOUNG VIOLET:

104

105

œ œ œ œ

œ œ œœ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

103

I O L E T

I can play it

FATHER:

nœ

œ œj œ .

That's

###

# # & #

the way

œ œ œ

you

n˙

it's

played,

all

œ œ. J

j œ œ.

win

Clean us

108

‰ nœ

Hate

œ œ

bro-ther

Œ œ nœ

‰œ J

+ MONTY:

109

my mon-ey

Flick's gon - na

107

Then I give

# # & # ###

card or two

You don't know the gameyet

# # # P + FLICK: ‰ œ œ nœ #œ & J

106

First I deal a

out

œ3 œ nœ

j œ ‰ Œ

‰ nœ

œ œ J œ

to say

œ œ J

but it's

j œ œ

true

Take all our change

Hate

œ œ

Guess I'll

œ œ

Guess I'll

œ œ œ J

to say

#5—Luck Of The Draw

it,

œ #œ J

but it's

œ œ J

true

110

111

‰ j ˙. œ

+ VIOLET:

113

112

nœ

I'll raise

nœ ˙

you straight a - way

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

###

— 117 —

I O L E T

# # & #

j œ nœ œ œ .

# # & # n œ œ œ œ œj œ . &

###

# # & #

###

œ œ œ

œ œ ˙

I will see that

And I'll raise you

straight a - way.

o - pen with a nick-el

j nœ œ œ œ œ œ . o - pen with a nick-el

‰ œ œ œ J

You got some

œ œ œ œ

Ta-kin' can - dy

114

# # & #

guts

116

24 Ó 24

Guess

nœ

44 Ó

I'll

118

44 n œ œ Œ œ See ya,

24 œ

117

from a ba - by.

# # j & # œ ‰ Œ

j œj œj œ . 24 œ œ

115

who taught

Who taught

44 n œ œ Œ œ see ya,

#5—Luck Of The Draw

Who taught

j j nœ œ œ œ Œ you to play?

œ œ œJ œ Œ J

you to play?

œ œ œJ œ Œ J

you to play?

— 118 —

### Ó &

‰

j # # # FATHER: ¿ n¿ . &

j œ nœ

YOUNG VIOLET:

j #œ œ nœ

120

j nœ œ

nœ

121

‰

j #œ œ nœ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

119

I O L E T

I guess you

first.

At your ser -

Two cards

# # j & # œ nœ

122

vice,

###

125

That's

nœ œ J

VIOLET:

œ œ

# # & # Œ nœ œ Œ

129

say

# # & # Œ nœ œ Œ I

say

j œ œ.

nœ

œ œ

de-sign,

œ œ

hap-pen

de-sign,

j œ œ

œ J

œ œ

130

hap-pen

j œ œ.

most things

fall in

line

fall in

œ J

j œ œ

126

Some say things

Now

Some say things

### Œ nœ &

123

"Pa"

(meekly at first)

Œ nœ

œ nœ Œ

124

card

127

right, kid

‰

j nœ œ

Hope

my luck's

‰ j œ œ œ

128

by de-mand,

‰ œj œ œ

by de-mand,

131

line

#5—Luck Of The Draw

‰

132

‰

nœ

re - versed

(getting sttonger)

œ œ œ

œ œ

de-cree,

or law

œ œ œ

œ œ

de-cree,

or law

j nœ œ œ œ œ œ œ

by the luck

of the draw.

by the luck

of the draw.

j nœ œ œ œ œ œ œ

# # # P VIOLET: Œ œ œ œ ‰ œj & . . .

133

Bah

### P Œ œ & .

Bah dah

134

— 119 —

I O L E T

Œ œ œ œ

135

Bah

136

œ œ. Dee dee

Hmm

j œ œ. ‰ œ.

YOUNG VIOLET:

j œ œ. dee dee

‰ j œ # œ œ. œ .

Œ œ œ œ

"dime"

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

‰

Bah

Bah dah

Bah

Hmm

# # # P FATHER: Œ nœ œ œ ‰ j & œ. . .

# # # P MONTY: œ. # œ œ. ‰ n œ. "You got to !bet to win."Œ œ # œ œ Œ & J

. . # # # P FLICK: Œ œ # œ œ ‰ œj & .

Bah

###

137

Bah dah

IC &

Bah

Hmm

Œ œ #œ œ

Bah

Hmm

139

‰ ¿j ¿

140

You watch out

‰ j ¿ ¿ ¿

What-cha got?

See ya

"dime"

Hmm

See ya

# # & # Œ ¿ ¿Ó ###

Bah

138

# # & # Œ ¿ ¿Ó

dee dee

Œ nœ œ œ

Bah

Dee dee

Œ ‰ j ¿

¿ ¿ ¿

Œ Ó

‰ ¿j ¿ ¿ Ó

Whose play is it?

j ¿ ‰ ¿ ¿ Œ

See

and raise.

#5—Luck Of The Draw

Must be hers.

— 120 —

### F nœ Œ œ œ & 141

j œ œ.

I O L E T

œ œ

Some say things hap - pen

de-sign,

j œ œ.

œ œ

de-sign,

‰ œj œ œ

143

144

by de-mand,

‰ jœ œ œ

œ œœ

œ œ

de - cree,

or law

œ œœ

œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

### F nœ Œ œ œ &

142

###

F Œ nœ

Some say things hap - pen

de-sign,

j œ œ.

œ œ˙

de-sign,

nœ

Some say things hap - pen

& &

###

Œ nœ I

œ Œ

say

j œ œ.

œ Œ

say

or law

# # & # œ œ œ Œ nœ !

or law

j œ œ

146

say

de-cree,

or law

say

by de-mand,

œ œ

de - sign,

most things

de - cree,

œ œ

de - cree,

‰ jœ œ œ

by de-mand,

by the luck

of the draw.

‰ œj œ n œ œ œ œ œ by the luck

j œ œ

fall in

‰ j œ n œ œ œ œj ‰ œ

œ ˙ J

‰ j œ nœ œ œ œ œ œ

by the luck

line

of the draw.

œ ˙ J

line

j œ œ œ

œ œ

‰ œj œ n œ œ œ œ œ

line

or law

148

œ w J

say

‰ œj œ œ œ

line

most things

by de-mand,

147

de - cree,

‰ œj œ œ œ

œ w J

most things fall in

# # & # œ œ œ œ œ œ Œ nœ !

hap-pen

most things fall in

# # & # œ œ œ Œ nœ

j œ œ.

œ œ˙

F Œ nœ

by de-mand,

Some say things

###

145

Some say things hap - pen

j œ œ

most things fall in

#5—Luck Of The Draw

by the luck

of the

of the draw.

œ ‰ œj œ n œ œ œ œ œ J

line

by the luck

of the draw.

149

150

VIOLET: "...Royal Flush."

151

152

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

###

— 121 —

I O L E T

# # & # Ó

Œ ¿

# # & # ¿ Œ Ó &

###

153

& &

Œ ¿ Ó Kings.

P MONTY: ‰ j œ nœ œ œ œ œ œ By the luck

of the draw

¿ Œ

### ##

# # & # # # & #

P FLICK: ‰ j œ nœ œ œ œ œ œ By the luck

154

YOUNG VIOLET: # "Is that good?"

FATHER: "Baby, that's a Royal Flush."

Straight.

IC N

Flush

Call

P VIOLET: ‰ j œ nœ œ œ œ œ œ By the luck

155

the draw

FATHER: "I'll be damned." MONTY: "I'll be damned."

#5—Luck Of The Draw

156

of the draw

— 122 —

### ƒ j nœ ‰ & œ œ

### ƒ j ‰ œ œ &

158

159

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

157

I O L E T

### ƒ œ ‰ J &

the luck

the

luck

the

luck

### ƒ j ‰ & œ œ By

the

luck

˙ ˙

œ œ

the draw

the draw.

the draw

œ nœ

the draw.

the draw

Applause Segue

#5—Luck Of The Draw

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

5a I O L E T

#5a—M & M’s Transition I

— 123 —

M& M's TRANSITION I TACET

— 124 —

I O L E T

QUESTION 'N ANSWER

Cue: VIOLET: "Oh no, there's men falling all over each other going in and out my door." (Music in)

Smooth, cynical jazz (Swing 8's) q = 138 :4

####

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

4 &4

# # # # MONTY: nœ #œ œ ‰ œ œ œ & # J 5

Some-one

sure has had

3 # # & # ## Œ nœ œ œ

Noth - in' but

# # & # ## Ó

œ œ œ œ œ

Feel-in' sor

# # & # ## œ

You have all

œ œ œ œ ˙

for

‰ n œj œ n œ œ œ

Œ nœ œ 3

œœœœœ Œ

No one near worth talk - in'

for

œ œ ˙.

A girl on a moun-tain a - lone

her-self

œ œ

œ œ œ ‰ ‰ œ J J

of the an - swers

to do

# # # # ‰ VIOLET: j & # œ œ œ œ œ œ œ

œ œ œ. J J

some trou - bles.

her chores

œ œ J

nœ œ œ ˙

be - in' on

‰ œj œ œ œ œ œ œ

her own

œ œ ˙.

to the stu - pid - est ques - tions

#6—Question N’ Answer

— 125 —

I O L E T

Deliberate & straight

#### ‰ œ œ œ œ œ œ nœ œ œ Œ œ œ & # J J œ J 21

j œ œ œ œ

j nœ œ

U ˙

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

But the truth

####

is nev

Back to swing q = 138

‰ œj œ œ

œ Œ

# œ

Some-one

#### Œ & #

nœ

####

j # œ œ.

a gift

Aœ œ œ

œ ˙

I got news

b & b b b b ‰ œj œ œ ˙

Bet-ter hope

eas - y

wo - men

j œ œ

has

œ œ bœ œ œ œ

there's a doc - tor by

nœ

Œ ‰

man

Œ j œ œ œ œ œj œ

œ œ

Thinks

that

he's ir - re - sis

man - aged

sweet-ie pie

‰ j nœ œ œ œ œ œ œ

j j œ œ œ.

œ œ œ

a - round

A boy in the skin of a

œ œ bœ œ

j j j œ œ #œ œ œ .

for you,

Try and wrap your mind

j j j œ œ œ œ œ.

no one else

Half-time rock feel

b & b bbb

œ œ

œ œ œ

Thinks what

sure has had

Thinks he's born

- er so pat

ta - ble

nœ œ ˙

œ œ

He's the one

who can

œ œ

œ œ œ

bbbbb

œ . b œj œj œ .

I'm the one who can see you're ly - in'

‰ nœ œ œ

œ œ

œ.

3 j œ œ bœ œ

When I reach for the pain you're try - ing to

#6—Question N’ Answer

— 126 —

bb &b b b w 43

I O L E T

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

2 4

hide

bb œ3 œ œ b œ3 œ &b b b Œ MONTY:

You think you know the

an-swers

Deliberate & straight

b & b b b b 44 ‰ n Jœ œ œ œJ n œ

Bet the truth

####

would knock

Things get

# ˙

farm

Ug - ly

œ œ

ev - 'ry-where

œ œ J

œ œ . J J œ

out

Best

care

nœ

œ œ

j nœ #œ

œ œ J

you

j œ ˙

Tul - sa just ain't

ful

now,

a - round

nœ nœ œ œ

there

look

#6—Question N’ Answer

####

j œ œ nœ nœ

4 4

œ œ

ques-tions

your ass flat Try and wrap your mind

pret - ty wick

œ b 3œ " œ 2 " œ 4

But you don't know the

œ nœ #œ #œ

# # œj ‰ n œ # œ ‰ Jœ n œ œ

#### Œ 3 & # nœ

œ J

Back to swing

that

####

3 Œ œ œ

œ œ. œ Œ J

œ3

your

œ œ œ œ ˙ ya hear?

œ œ

œ œ œ

What you ought to cult

#### œ & #

œ.

œ J

nœ

fear

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 127 —

I O L E T

i - vate's

dose

MONTY: "And don't count on your T.V. padre for nothin'..."

62-64

rit.

65-66

####

Straight

health - y

[Under dialogue]

# # & # # # œJ ‰ Œ 61

#6—Question N’ Answer

(VIOLET) "...That could only be the motto of a pretty boy." (Music out)

U !

— 128 —

I O L E T

PREACHER HYMN I

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Cue: MONTY: "Flick, catch." [NOTE: This is extremely free and comes directly out of dialogue. Key is not important.]

4 &4 œ

Look at what my

&œ

Je - sus has done He make a

might - y

make

œ a

j œ œ

œ.

dumb man speak,

dead

man

come

Lord

, œ œ œj œj œ œ

(Dialogue continues over...)

MONTY:

#6a—Preacher Hymn I

man speak dumb

VIOLET: "It was my Mama's."

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

6b I O L E T

#6b—M & M’s Transition II

— 129 —

M& M's TRANSITION II TACET

— 130 —

I O L E T

ALL TO PIECES

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Cue: MONTY: "Someone's gone fishing." FLICK: "Shut up, Monty. He'll behave himself. I promise." VIOLET: "Promise, Montgomery?"(Music in) MONTY: "Long as you don't call me that."

3 &4

In 2 - colla voce

j #œ œ

pair

of Gene

&œ œ œ

ful - ler

j œ

VIOLET:

IC 14

j œ œ

œ #œ

&˙

got

In 4

None of yours

with

‰ # Jœ

MONTY:

soft

mine

there's no

ro - mance?

size

rit.

ten.

ro - mance

œ œ œ œ œ œ œ œ

all come back for more

ask

you,

œ #œ œ #œ œ œ œ

#7—All To Pieces

œ J œ #œ œ

You got - ta

A lit - tle

FLICK:

Broader

#œ

end

with more - 'n

œ.

Œ "‰ j œ œ œ

mouth on for

nœ œ #˙ .

been

œ œ œ œ œ

want se-conds tho'

mouth

& #œ œ œ œ œ FLICK: ad lib

know

Try Mon-ty's

4 4

(to 4)

#œ

3 j œ œ œ œ

Œ "‰ œj œj # œ

Tier-ney eyes

‰

What's a mouth

œ œ

tho'

MONTY:

& #œ

U ‰

I'd

& 44 œ .

you'll nev - er

friend

U œ #œ œ ˙

VIOLET:

Boys, boys, boys

j & ‰ #œ œ œ œ ad lib

Œ œ. œ œ œ œ œ. œ œ 21

— 131 —

I O L E T

j œ œ œ # œ œj œ . œ

j œ œ

Œ #œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

When I'm in line

&Œ

I know just

what I'll

# & # Œ

# & # Ó

I had

œ œ

In some far

off 'n

Intoned

all set to go

U œ œ. Œ

But I'm not tellin' you at least 'til you stop squabblin' list - 'nen and pretend you're actually

œ œ œ œ nœ œ œ

to match it

œ œ

I could

œ œ

ti - ny!

#˙

nœ œ œ

No tra-ces

j n œ n œ œj ˙ an - y - where

œ . œj œ Œ œ œ œ œ œ œ œ 42

Cyd Char - isse

œ œ œ œ

na - !tion!

#7—All To Pieces

## C

and a face

œ œ

gyp - sy hair!

of a way - ward hatch - et

nœ œ œ ˙

MONTY: "Pretty please, Viii-lut. Sugar on top?"

œ œ œ œ nœ

And the preach-er

for

nœ œ œ

œ. œ œ

ask

Country 2 feel q = 119

œ œ

#œ œ œ

# & #C 28

for my mir-a - cle

shoot-in' on

lo - ca-tion

œ œ œ œ

with lips like

— 132 —

˙.

I O L E T

œ œ œ œ

Œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

those!

# & # Œ

œ nœ œ

blame - !!less

œ œ

If Cyd Char-isse !

I love 'er all!

I love 'er

œ ˙.

œ œ

shame - !!less

look al - most

but add the nose

œ nœ œ œ œ

j j œ œ œ œ œ œ œ œj œ .

j œ œ.

is - n't

Now

j œ œ.

n˙

that's how it

Œ nœ œ œ

I'm pure and

Œ œ œj œ œj

goes

I love 'er all!

Œ ‰ j œ œ œ . œj œj œ . œ œ œ ˙ 71

to pie - !ces

all

j œ œ.

I'd

j Œ œ œj œ œj œ œ œj œ œj œ œ œ œ. 77

I love 'er all! !

œ œ ˙

pie - !ces

I love 'er all!

I love 'er

all

nœ œ œ If

#7—All To Pieces

j Œ ‰ j œ œ œ . œj œ œ . œ 79

I looked

nœ œ œ ˙ in the know

# & # Ó

œ œ œ œ nœ œ œ

nœ nœ ˙

nœ œ œ

œ œ œ

œ nœ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 133 —

I O L E T

with a hint

# & # Ó

104

110

116

j œ œ.

If I

105

œ œ

you

a glance

œ œ

˙.

and I let

100

101

106

112

œ œ œ œ

107

113

œ œ

it ling - er

Œ œ œ œ

Mine

108

I could wrap

102

103

˙.

109

œ nœ œ œ

- er hist-'ry

one of Bar - dot's

stin - !!gy

should she be

111

with a dark

œ . œj œ Œ œ œ œ œ œ œ œ

fin - !ger!

Why

Like a Bri - gitte Bar - dot

œ œ œ œ

œ œ

#˙

threw

round my!

of myst-'ry

114

you a -

œ nœ œ œ œ

throw in her toes!

œ nœ œ

115

din - !!gy

are just too

œ œ œ

I'll give the

120

117

œ œ

n˙

œ œ

118

preach-er my moun - tain for those

119

j Œ œ œj œ œj œ œ œj œ œj œ œ œ œ. 121

I love 'er all! !

#7—All To Pieces

I love 'er all!

I love 'er

— 134 —

122

I O L E T

Œ ‰ j j œ œ œ . œj œ œ . œ œ œ ˙

j œ œ.

125

124

123

126

127

Œ œ œj œ œj

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

128

138

142

129

146

I love 'er all!

œ I

could

nœ

Take

n˙

big

139

and

two

147

deal

136

din'

140

ground

nœ

148

nœ œ

œ œ œ

down

to the

at heel

star

#7—All To Pieces

141

145

j œ

tip - py

(A cappella)

137

sha

go from

133

to pie - !ces

144

132

all

œ œ œ

back

143

I love 'er all!

Œ ‰ j j œ œ œ . œ œj œ . œ œ œ ˙ 131

lea

tense

an hour

135

œ œ œ

130

I love 'er

Pre - sent

to pie - !ces

all

j œ œ œ œ œj œ œ œj œ .

134

j œ œ

toe

149

œ a

pic

ture

From

150

151

152

nœ

153

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 135 —

I O L E T

show

[Underscore]

154

154-161

MONTY: "You should ask that Preacher for some Ursula Andress legs..." (Dialogue continues...)

170

162-169

nœ œ œ œ œ ˙ # J J & # Œ 172

FLICK:

Not that it mat

- ters

# œ œ œ ˙ & # œ œ

178

IC N

what you wan - na be

184

VIOLET:

nœ

Give

just

œ Œ œ œ

180

175

œ Œ Œ œ

But you said

Œ nœ œ œ

181

176

j œ œ

171

min-ute

j œ œ

though

186

œ œ œj ˙ J

nœ

pil - lage

#7—All To Pieces

nœ œ œ œ

lead in'

182

How else you gon-na go

185

174

179

Cue out: VIOLET: "I can't believe you said that."

173

Vamp 'til cue

lad

˙ n ˙3 ˙

light up

187

177

œ ˙

183

œ œ

œ Œ

pic-ture show

œ œ œ

port - fo - li - o

— 136 —

188

nœ

189

j œ œ

I O L E T

j Œ œ

190

nœ

191

j œ œ

jŒ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

192

Bor - row

n˙

200

#˙

193

Kel - ly's

197

j œ œ

lit - tle

Gard

201

Nœ

nœ

hair

j Œ œ

ner

Ju - dy

194

nose

and

with

for

198

the

202

œ nœ

nœ

Ri - ta

cheek-bones un - der

#˙

b b b 44 ˙ .

195

chin

Put

skin

199

But

!brows

204

203

pret-ty

Hay - worth's

eye

gyp

Gar - land's

eyes

nœ œ . bw

Slower - colla voce

j œ œ

VIOLET: (as a secret)

could shine

b &b b Œ œ œ œ œ

209

Som-mer's

Berg - man

b & b b œ. sub. P I 205

Grace

196

El - ke

œ. œ œ œ ˙. 206

207

a moon - beam

210

œ œ ˙.

I could be some-one love-ly!!

211

œ œ œ

on the silk

Œ œ œ œ

œ œ.

of a

ball

œ œ. œ œ œ œ gown

œ œ b œ œ œ œ . œ 24 œ

Turn-in' heads on her

#7—All To Pieces

208

212

213

first

night

accel. poco a poco215

b 4 &b b 4 w

214

216

rit.

217

town

nœ nœ œ

All I need

nnn

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

town

— 137 —

I O L E T

Faster

j &œ œ 218

some-one

& bœ

221

love me

j œ œ

j œ

‰

won - der

Uœ

who

‰

A tempo q = 87

# & # œ œ.

hon ey

IC N

hon - ey

j œ

To ask how

220

pie

225

meet

‰ œj

232

œ œ. œ œ

223

ces

VIOLET: "...I got stockpiles of that. So drop dead." (GO ON)

U Œ ‰. r œ œ œ œ œ œ œ œ œ

a - Lord,

226

227

he can try you on for size

2 œ 4 œ œ. 229

And

œ.

wa-ter

œ œ œ œ œ. œ

233

œ œ

U Œ ‰. r œ

There's

4 œ 4w 230

the

well

œœ œ œ œ

œ.

If I tell you, don't you tell Go ask your beau he un - der-stands There's

œ œ œ œ œ œ œ.

the bush - es

U ˙.

FLICK: "...TV preacher can deliver" (GO ON)

the bush - es,

Ma-ma. why's a man have hands

# & # œ œ.

she

bœ

œ œ œ œ œ œ œ.

œ œ. œ œ œ œ œ œ œ

234

222

Ma-ma, why's a man have! eyes

œ J

all

# # YOUNG VIOLET: & œ œ. œ œ œ œ œ œ œ

231

j œ œ ‰ œj œ œ

MONTY: "St. Louis? Nah."

MONTY: "They're 8 games "...why not go all the way out with thirty to go..." to Hollywood, Californ-i-ay?"

224

228

219

Slower

a - Lord

2 œ 4 œ œ. 235

and

wa - ter

#7—All To Pieces

"Violet, watch out."

œ.

4 œ 4

236

the...

Attacca

— 138 —

ORGAN UNDERSCORE/ PREACHER HYMN II

PREACHER: "Watch out everyone!" (music in)

U !

3 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

4 &4 Œ

I O L E T

1-7

& 43

Jump on cue to 21

9-14

[YOUNG VIOLET screams]

On cue

21-25

27-32

Jump on cue to 38

IC &

15-20

U !

33-36

On cue

40-41

#7a—Organ Underscore / Preacher Hymn II

U !

— 139 —

I O L E T

U !

bbbbbb

U !

(to 173)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

43-45

U !

Cue: PREACHER: "Praise the Lord!"

b & b bbbb 173

173-174

175-176

h = 86

b b b bSOLOIST: ‰ j Œ " >œœ b & b œ œ œ. GOSPEL

177

Raise me

up,

Lord,

b & b bbbb

181

b & b bbbb

up,

Lord,

182

œ œ. ‰

won't

j "œ œ

p "œ œ J I

won't

MABEL: œ. b>œ b œ b œ b &b b b œ œ ‰ œ Œ J VIRGIL:

Raise me

œœ œœ. ‰ " œj œœ b œœ b œ > >

178

you raise me

œ >œ J

>œ

179-180

you raise me

j j bœ œ œ on

j .. bœ w 183

way

j œ .. w

way

#7a—Organ Underscore / Preacher Hymn II

.. ..

184

! !

— 140 —

bb & b b bb 185

j j bœ œ œ

j "œ œ

j œ

187

188

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

186

I O L E T

b & b bbbb

j œ

way

b & b bbbb

188A-188D

P b b b & b b b nœ œ

189

j œœ œœ œœ œœ

P bbb b b & b œ

am on

b & b bbbb Ó

193

way

j j bœ œ œ

"œ œ J I

b & b bbbb Ó

j œ œ œ œ

Œ " œœ >

>œ

j œœ ˙˙ ..

j œ ˙.

190

191

way

F Œ " œœ >

way

œœ œœ ‰ œj œœ œ .

you need

œ œ. ‰ " œ œ J if

F> œ

you need

œœ

195

Him

Œ " œœ >

Lord,

>œ

Lord,

you want

œ œ. ‰ " œ œ J

194

œœ œ ‰ œj œ œ. œ œ

192

you want

œœ œœ ‰ b œj œœ œ .

196

won't

you raise

œ œ. ‰ " œ œ J won't

#7a—Organ Underscore / Preacher Hymn II

you raise

œœ

Him

œœ

j b b b œj " œ b b & b œ œœ œ œœ

197

œœ

U Œ

˙˙ ..

"...sing with me, sister." [GO ON]

U !

199

200

U !

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

198

— 141 —

I O L E T

up and

b & b b b b b œJ " œ

up and

201

& &

q = 75

# #

& nœ œ f Look at

204

& œ

lame

& œ

lame

# & œ

lame

man

(way.)

nœ œ J

bœ

b˙ .

(way.)

! !

PREACHER/ YOUNG VI:

202

VIRGIL, HOTEL SINGER:

what

run

(n)

run

(n)

man

run,

sus

U œ ‰ J

203

U œ œ J J

GOSPEL SOLOIST:

Lord

+VIOLET

migh - ty,

speak

dumb man

thank you

206

speak

dumb man

has done, He made

has done (n)

dumb man

U j œ ‰

MABEL:

205

has done (n)

man

MABEL, GOSPEL SOLOIST:

U !

U Œ

speak,

for

your

#7a—Organ Underscore / Preacher Hymn II

Son.

‰ œj a

# # Œ

— 142 —

I O L E T

LET IT SING Cue: FLICK: "You choose your road, then you walk it, one step at a time." Note: FLICK gets starting pitch from onstage harmonica

q = 109

(He slaps the rhythm on his thigh, ham-bone style)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# 4 FLICK: & 4 œ œ

Raise

your

# & œ 3

You'll

# & œ

Raise

Now

# & œ 12

you're

œ.

Whoa

oth - er,

head - ed

boy,

put

you got

Got some years

j œ ‰

¿ ¿ ! ¿ ¿ ¿ ¿ ¿ ¿

œ œ œ

go,

town.

right?

down

left,

a - head

to - day

¿ ¿ ¿ ! ¿ ¿ ¿ ¿ ¿ ¿ ¿

way

œ œ.

œ œ œ œ

the

that's

the

now

mov - in'

foot

& œ

œ.

œ œ

boy,

You'll

#8—Let It Sing

free

nœ œ œ œ œ . ˙

ain't that

right?

œ œ œ œ

if you take it

œ œ

slow

œ.

œ œ œ œ

œ. œ œ

####

nœ œ œ œ œ . ˙ .

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 143 —

I O L E T

Whoa

boy,

# # & # # ‰ 17

œ J

œ.

‰

#### j & œ no.

left,

# nœ

moe.

right?

œ œ œ

Two kinds

you got

to say

Say

yes

IC N

œ œ

and your

pect - ed.

œ œ œ

j & œ œ ‰ œ œ œ œ œ œ

œ œ

of peo-ple

Time

Say no you stay a-part,

boy,

this

what

side

Gospel Rock

self

a rea - son to

œ œ œ œ œ œ œ œ

not al - ways as

re - joice

œ Œ

for the mu - sic you make

#8—Let It Sing

ex -

Œ ‰ œj œ œ œ œ # #

but you stay pro - tect - ed.

j œ ‰ ‰ œ œ œ œ œ œ œ

say

ee - ny mee - ny mi - ny

œ Œ œ œ œ œ œ . œj ˙

# œ œ œ œ j œ œ nœ œ œ Œ œ œ œ œ œ & # J 27

you're on,

some

say yes

and

œ œ

some

ad - ven - tures start,

œ œ œ œ

world,

right? !

ain't that

You got to give your -

counts for

œ œ J

œ nœ œ œ J ‰ J

ev - 'ry - thing. Now ev - 'ry

— 144 —

## œ

œ œ œ œ J

œ J

I O L E T

œ œ œ œ Œ J J

‰ Jœ œ œ œ

œ œ

œ nœ œ œ œ . J

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

liv - in' soul

has

## w

You got to give

####

‰

œ J

sing.

####

much,

# # & # # Œ

œ œ œ œ

made the best

nev - er threw

# j & œ ‰ ‰ œ

# & œ

œ œ œ

a thing

œ œ

our dreams

‰

œ œ J

were on

as long as you are

Ate

œ œ œ

fam - 'ly nev - er

what's on

œ œ

had

our

plates

œ œ

you know

way.

kept

our night

mares

œ œ

help

your - self

tab - le;

ble.

#8—Let It Sing

œ œ œ

too

j œ ˙

œ.

and let

the

it room

œ œ œ

day.

# nœ

‰

œ œ œ œ

j œ

'ry

œ œ œ œ œ œ œ œ

a voice

got

Pass 'em down

‰

j œ œ

nœ œ

the shelf,

ma - ma told me,

œ œ J

j œ

what

might

œ œ

Œ œ nœ œ œ

œ œ ‰ œ œ œ J

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Gospel Rock

## œ

— 145 —

I O L E T

son,

for - get

# œ & # J

# & # ‰

œ J

hap - pen

œ J

You

‰

ing.

got

give

ad lib) # # (Riff ˙.

# & # w

˙.

give

#### #œ & #

œ #œ œ œ œ œ

Got some years a-head

˙.

#8—Let It Sing

room

œ œ œ œ œ œ œ

You got to lift

clos

it,

œ J

come

and let

œ J

a break

œ œ œ J

nœ œ œ œ . J

room

got

sing

Give your - self

spi - rit, son,

your

You

œ J

been

Don't let

nœ J

have

what - ev - er's

œ œ J

in'

œ.

Let

sing.

nœ œ œ œ . J and let

and sing.

œ œ œ œ œ

####

œ œ œ œ œ Œ

up your voice

œ œ

You'll go free if you take it slow

— 146 —

#### ˙ . & #

œ œ

œ œ œ œ

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

####

# œ

You'll be

####

# œ.

free

boy,

œ œ œ nœ J

real - ly folks

You

sing

got

bœ J

œ J

sim - plest

b œ &b b J

‰

thing

right?

bœ J

give

song

!!!

one

‰ œJ

can make your

œ œ œ œ J

has got

room

#8—Let It Sing

œ œ œ bbb

There's pre - cious lit - tle

You

boy...

trol

long

œ œ œ w

œ œ œ ˙

œ bœ œ œ ˙ con

˙.

And you're the

œ J

it won't

your

you got left,

Rock it

bbb bœ

b œ &b b J

some years

œ œ ‰ œ œ. œ Œ ˙ J J

Whoa

Got

œ J

mu - sic

tend

œ œ J

from

the

œ œ J

your soul

bœ

and

let

b œ. b & b

nœ œ J

œ œœ œœœ ˙

(Riff ad lib)

œ œ J

œ œ œ œ J

bœ œ œ œ . J

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 147 —

I O L E T

Let

b œ œ. &b b J

sing

You got

sing

b b ‰ b Jœ œ b &

You got

‰

œ J

You

œ œ œ J

let

œ J

got

(Riff ad lib)

sing

U̇

U œ œ

! œ œ œ œ

œœœ œ

sing.

#8—Let It Sing

Uœ Uœ

Very free Gospel ending

You got to give

and let it

let

and let

sing

room

Move œ œ œ b œ œ ten. œ œ ‰ " œ bœ b œ . œ œ b & b J

œ bœ

to give it room

U̇

œ J Œ.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

N — 148 — V

8a I O L E T

M& M's TRANSITION III TACET

#8a—M & M’s Transition III

— 149 —

I O L E T

ANYONE WOULD DO

Cue: VIOLET: "Alright." (Music in) "I'm taking the 6AM bus outta here, with or without you two."

# # 12 & # 8

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Blues q. = 70

SINGER: # # # HOTEL œ & œ

Hey

# # & # ‰

there

œ J

right

nœ

now

an - y - one

j œ œ

She

j nœ

got two

#œ

would

do.

j œ œ œ œ œ.

and I

j œ œ.

got none.

###

9-17

SINGER: # # # 12HOTEL j œ & 8 œ œ œ œ œ œ nœ œ .

get to

so blue?

.. 68 ..

18-22

How'd

MONTY: "Naaah... Do sump'n we can write in that book of yours." (GO)

VIOLET: "Maybe this was a bad idea."

###

œ nœ

sol - diers, how are you?

And

œ.

3-4

Seems

#9—Anyone Would Do

j œ ‰ œ I

Vamp

œ œ #œ œ œ .

don't have a - ny - one

.. 128

— 150 —

### ‰ &

œ J

nœ

now

a - ny - one

j nœ

Vocal ad lib

œ œ œ œ œœ Ó

#œ

j œ œ.

6 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

When

# # & # 64 œ 29

right

FLICK: (Offstage)*

œ œ œ œ œ œ Ó

do.!

You'll be mov-ing on to-day

Raise your foot, now that's the way

would

#9—Anyone Would Do

œ œ œ œ œ. œ Ó

Raise the oth-er, put it down

10 q = 111

— 151 —

I O L E T

WHO'LL BE THE ONE (IF NOT ME)

Slow 3 (Hank Williams country waltz - Swing 8's)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# ## 3 & # #4

1-4

# # # # RADIO SINGER: & # ˙ œ œ F Who's gon - na 5

# # ˙ & # ##

Who's

####

# ˙

# œ

Who'll

####

gon - na

p œ

‰

the one

kid

lea - ther

j œ

hul - la - ba

œ J

œ œ

not a

his

œ œ J

me?!

YOUNG VIOLET: "Papa? Papa it's me, Violet!" (Dialogue continues)

19B-19G

#10—Who’ll Be The One (If Not Me)

shoes

your

œ œ œ œ

you

heed

your

bounce

j œ

‰

lace

gon - na

Who's

####

œ œ œ

knee

loos

19A

— 152 —

#### . & # .

"...You remember what you taught me?"

: 20

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

19H

I O L E T

# # ˙ & # # # ˙˙ f Dance 21

TRIO:

# # # # ˙˙ & # ˙

sub.

Dance

# # œœ & # ## œ

Who's

####

SOLO:

# œ

Who'll

œœ œ

with me

œœ œ

the

œœ œ J

œœ .. œ.

gon

œœœ

œœ œ

dar

lin'

˙˙ ˙

œœœ

old

œœ œœ œœ œ œ

the

one

˙˙˙

œœ œ

œœ

you

˙˙ ˙

toes

j œ Å œœ

œœ .. œ.

œ ‹ œœ

œœœ œœ œ

œœœ

mel

you

œœœ

stand

time

love a

œœ œœ œœ ˙

œ˙ œ œ ˙

dee

sup - pose

not

me?

52-55

#10—Who’ll Be The One (If Not Me)

Roos - ter

TRIO:

f # # # # œœ œœ œœ œœ œœ & # œ œ œ œ œ 73

œœ œ

MONTY: "Ladies, ladies! Who here feels like dancing?"

œœ œœ ˙˙ œ œ ˙

œœ œœœ œœœ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 153 —

I O L E T

Cock - a - doo - dle oo

# # œ & # # # œœ

œœ œ

Cock - a - doo - dle - oo - dle

œœ œ

Cock - a - doo - dle - oo

#### œ & #

SOLO:

Wake

####

# œ

Who'll

# # . & # # # ˙˙˙ ..

œ œ

œœœ

œœ œ

Cock - a - doo - dle oo

dear,

the one

ive

˙˙ ˙

it's a

œ œ

not a

œœ œ

3 ‰ œ œ œ

œ.

#### ˙ . & # ˙˙ .. oh

œ J

quar - ter

œ œ ˙

œœ œœœ œœœ nœ

œ œ œ

five

œœœ

TRIO:

me?

œœ œ

œœœ

œœ œ

Hear the roos - ter

90-91

crow

Roos-ter go

œœ œœœ œœ œ œ œ œœ

Cock - a - doo - dle

94-96

#10—Who’ll Be The One (If Not Me)

— 154 —

#### Œ & #

œœ œ J

‰

œœ œ

˙ œœ œœ ˙˙ œ œ

SOLO:

œ.

œ J

100

œ œ ˙

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

101

105

# œ

Who'll

####

# œ

Who'll

love

102

the one

the

one

you

œ œ

the one

106

103

you

rit.

not

sup - pose

œ œ

not

107

me?!

####

Who's gon - na

#10—Who’ll Be The One (If Not Me)

104

œ œ œ

U̇

— 155 —

I O L E T

LAST TIME I CAME TO MEMPHIS

VIOLET: "What are you hanging around my room for?"

Calm and cool, Swing 8's

# ## 4 œ 3 & # 4 nœ œ nœ œ œ

j j œ œ . ‰ œj œ œ œ n œ n œ œ œ œ œ œ œ n œ n œ œ ‰ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

: 43

MONTY:

Last time I came to Mem - phis

#### Œ &

# # # # œ n œ3 I

# # & # # œj n œ

####

my ears

œ nœ

œ œ

j œ œ.

of girl - friends

j œ œ œ œ œ

make

was two beers had a girl

œ œ

like the kind

nœ

All it took

Some

œ œ œ œ œ œ J

No - bo - dy's ask - ing

the pro

‰ œj œ œ

you pick up

mis - es

j œ œ

bar - be - cue

œ œ

˙.

œ œ œj ‰ œ

j œ œ

œ J

œ œ J

j œ œ

one's thoughts

bar - room

œ nœ nœ œ œ œ

‰ œj

on her back, her feet up

œ nœ

are,

nœ

Some - one

#11—Last Time I Came To Memphis

nœ

#œ œ

prom - is - es

who know what

cou - ple

bar

hmm

shots

who don't give

œ a

— 156 —

n œ3

I O L E T

nœ

j œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

damn

That's

# # œ n3œ œ & # # nœ

what

j œ œ Œ

j œ œ œ œ 67

come

That's all I want and no - thing more

b Aœ œ & b bb J 70

œ œ bœ J J

ain't

œ J

boy

b & b b b œ œ œ œ œJ œ .

that you let

b œ & b bb ‰

IC N

#### œ & J

œ œ œ œ J

mind

a - round

So here I am

to set

Ro - man

œ œ œ œ œ œ. JJ J J

œ J

Can

The

for

a man

œ -

œ œ bœ J J

I'm

dle your buy

the

#### ‰ œ œ œ œ œ œ œ œ œ Œ J J J 79

The truth

bbbb

o-pen door

‰ œ

off

˙.

phis

œ œ J J bœ

can't wait

wrap your

‰ œ

‰ b œj b œ b œ œJ ‰ ‰ œJ b œJ b œ Jœ ˙

in the skin

The

That you

Mem

œ œ œ œ œ œ œ œ

off

œ œ J J bœ

ne - ver so pat

# œ n œ3

that

#11—Last Time I Came To Memphis

Last time

I came

œ J

steam

the road

œ œ

Try and

œ œ

to Mem -

# œJ œ . &

‰ œj b œ œ

j œ bœ

‰

j œ œ

‰

‰ œj Œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 157 —

I O L E T

phis

& œ

Had this girl,

kicked her

(riff)

# œ œ œ œ œ œ œ œ phis is for

# & œJ œ 95

# œ & J œ

‰ œ J

babes

j œ œ.

‰

one's thoughts

# œ œ j & J œ ˙

102

give a damn

That's why I come

to Mem

œ œ œ œ œ

3 œ œ œœœ

100

So here I am

phis

105

œ œ J

101

That's what Mem -

˙.

‰ œj

Some

ing

106

And so are you

#11—Last Time I Came To Memphis

œ J

no -

œ ‰ œ œ J J

You know what,

Œ ‰ œj œj b œ œj ˙

œ œ œ œ œ œ J

No - bo - dy ask

œ ‰ J

ing to score

They know the scam

j j j œ Œ Œ ‰ œ œ bœ œ ˙ 104

œœ œœ .. J

œ œ3 œ ˙

coup - l - a shots

That's all they get

103

with a pulse, then you're go

for the wait - tress

œ œœ

œ œ œ œ œ œ

If you come

œ œ J

smo - kin'

Then went back

œ n3œ œ œ

That chick could shout

out

107

they don't

Œ ‰ œj You

— 158 —

j œ ˙

# j & œ bœ

109

‰ œj œ

110

: 112

bœ œ ˙

U Ó

nœ J œ

j œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

108

I O L E T

give a

113

damn

A tempo

& ˙

Here I

œ œ œ

Here

œ3

molto rit.

bœ

œ œ

119

bœ œ ˙ .

120

U Ó

# œ

to do

116

114-115

Freely

118

So what

#11—Last Time I Came To Memphis

117

˙.

— 159 —

I O L E T

TRANSITION TO TRIO/ LONELY STRANGER

Cue: MONTY: "But Flick, are you ready?" FLICK: "To do what?"

Sneaky, slow swing (Swing 8ths)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # 4 Œ MONTY: œ œ œ œ & 4

Œ nœ

Get load-ed

###

œ œ

œ nœ œ œ œ œ

Œ œ #œ œ œ

Go to it

più mosso

Œ nœ

œ œ œ

you bas-tard

# # & # œ œ œ n œ œJ ‰ Œ

: 12

œ nœ

It's the prin - ci - pal skill !

Get plas-tered

FLICK:

œ œ. J

we've mas-tered

accel.

nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ

FLICK+MONTY:

We can do

a - gain,

and a - gain,

and a-gain,

Bright h = 93

12-15

and a - gain,

###

16-19

Vamp till cue

# # # . MONTY: .œ œ & F

(Vocal last x)

Let's

get

œ œ. J

booz-y

# # & # Œ œ # Jœ œ .

.. Œ n œ

to it

œ œ. J

Get haz - y

Œ nœ

œ J œ.

Go cra-zy

‰ œ

j œ œ œ œ

‰ nœ

Care - ful Vi - o - let

nœ œ œ œ œ œ

We can do it

a - gain,

œ J Jœ œ .

whoop - sie dais - y

Straight 8ths q = 176

œ œ œ nœ œ œ œ œ and a - gain,

#12—Transition To Trio / Lonely Stranger

and a - gain,

— 160 —

### œ œ œ nœ œ œ œ œ &

I O L E T

bbb

29-32

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

and

bbb

a - gain,

œ œ

Hey,

I'm dy

MUSIC HALL SINGER:

May

j œ œ.

in'

œ œ b œj œj . œ J

b &b b ˙

be I'm

b &b b ˙

33-36

a - gain

Early Ike & Tina Turner style

b & b b ˙. 37

and

in'

‰ œj œ 39

I'm dy - in' for what you got

‰ œj n œ 43

I'm

œ.

œ bœ œ œ œ œ

j œ œ œ ˙. 47

b & b b ˙.

œ œ

j œ œ.

ly stran - ger

‰ œj œ 51

No stran - ger than an - y - one

#12—Transition To Trio / Lonely Stranger

˙.

care

˙.

œ bœ œ œ œ œ

˙.

there

ly - in' but what do you

Whoa

Lone

œ bœ œ œ œ œ

˙.

here

œ œ b œj œj . œ J

b &b b ˙

— 161 —

I O L E T

‰ j nœ œ 55

œ bœ œ œ œ œ

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I'm

in no

b &b b ˙

ad lib

dan - ger

dan - ger as long as you're

j w œ

œ.

Don't

Œ nœ œ

j œ nœ

b & b b ˙.

œ œ

Hey,

I'm dy

b &b b ˙

There's

j œ œ.

you leave

b j & b b œ œ.

˙.

Whoa

’60s/Beatles feel

bbb

near

œ J œ

know,

in'

j j bœ œ œ .

no de - ny

in'

ev - er

Œ nœ

‰ œj œ 77

Please

œ œ

do some-thin'

œ bœ œ œ œ œ

De - ny - in'

˙.

nœ œ

be-lieve

know

œ bœ œ

I'm dy - in'

‰ œj œ

know,

Don't

j œ œ.

œ œ œ n œj œ œ ˙ J J

œ.

‰ œj œ n œ

œœ ˙

strings it

#12—Transition To Trio / Lonely Stranger

˙.

wrong

long

— 162 —

ad lib

& b ˙

j ~~~~~ œ w ~~~~~~~~~~~~~~~~~~ w ~~~~~~~~~~~~

œ.

slide

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

“Scream”

bbb œ

84-90

bbb

q. = 65

Slower, heavier (q = e) 94

91-93

You

j j œ œ œ œ œ nœ nœ œ œ ‰ J J 96

just met me

day

œ œ œ bœ b œ &b b J ‰ J 105

You'll nev - er

œ.

‰ œ œ

œ œ J

‰ ‰ j œ œ

102

˙.

b & b b œ.

bbb

101

Whoa

106

Lone - ly stran - ger

Some

107

n œ œ œ œj œ ‰ œ . 99

stay

103

You'll

j j œ nœ nœ œ ‰ œ œ œ 100

for - get me

some

˙ . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slow slide

104

day

œ bœ

No stran - ger

to what's in

j œ œ œ œ 108

#12—Transition To Trio / Lonely Stranger

heart

‰

b & b b ‰ ‰ Jœ œ œ b œ

109

œ.

œ bœ œ ‰ œ

111

j nœ

bœ œ œ

12 8

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

110

— 163 —

I O L E T

dan - ger

HALL SINGER: b b 12 .. MUSIC . b w & 8

112

dan - ger

113

let - tin' this

(2nd x: to 117)

114

start

b & b b 128 .. ‰ œ œ œ œ œ b œ œ . ~ œ œ How'd I get to be so blue

j ‰‰ j j œ œ œ œ œ œ. œ œ œ bœ œ œ œ œ œ

j œ‰œ

HOTEL SINGER:

Seems I don't have an-y-one

Vamp till cue

b &b b

115

b &b b

˙.

b & b b bœ

.. 68 ..

b & b b ˙. !

.. Œ .

.. 68 ..

Ó.

118

j œ œ œ œ œ. ‰ œ

lone, it's not all right

123

119

HOTEL SINGER:

Cue out: FLICK: "He can handle himself."

120

117

When right now an-y-one would do

œ œ œ

It's at that

121

bœ œ œ œ œ œ œ

Don't know what I'll do

128 b œ j ‰ œ œ œ œ œ œ œ œ hour

128

of the night

bœ j œ œ œ œ œ. œ œ ˙. 122

if I can't have you

to hold

VIOLET: "I mean, as big a city as Memphis is..." (Dialogue continues...)

Ó.

If I'm a -

124-131

#12—Transition To Trio / Lonely Stranger

till light

— 164 —

I O L E T

Cue out: FLICK: "G'night ,Viii-lut" VIOLET: "See ya in the morning then." 133

Vamp till cue

b 6 & b b 8 ..

.. Œ .

134

œ œ bœ

j œ œ

12 8

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ œ

135

May - be there's a man

b & b b 128 ‰ ‰ Jœ œ œ 136

137

Hey there mis - ter, how are you?

b &b b ‰ 138

œ J

When

right

bœ

now

an - y - one

You could

j #œ

would

138A

be just an - y - one

j œ œ

˙.

œ.

b &b b

:139

138B-138C

b &b b 140

my door

j œ ‰ œ œ œ nœ œ œ

œ.

œ bœ

out - side

142A

140-142

(to 143)

bbb

143

143-145

146

ritard

147

#12—Transition To Trio / Lonely Strangers

— 165 —

I O L E T

LAY DOWN YOUR HEAD

Cue: VIOLET: "Look at your little hairs."

U !

"Go ahead then. Go to sleep on me." (Fade ad lib)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

#3 & 4

Cue to go on: "There's no keeping you awake, is there."

VIOLET: (matter of fact) 6

n˙

Lay down your head

œ œ œ

Œ Œ

and sleep

œ œ ˙

Leave me your trou-bles

q = 132

œ œ œ

will

& Fœ

Lay

You're

œ œ œ

I'll be your

˙.

down

your

much

n˙

head

aœ

and

Œ Œ

gen - tler

and deep

˙.

dream

soft

gone

˙.

Più mosso, with romantic phrasing 28

œœ œ Œ Œ 12

your days

pil-low

gone

aœ œ ˙

Œ ‰ j œ ˙. œ

keep

˙.

A tempo q = 124

Your days

Freely, romantic poco accel. 21

Œ Œ

sleep

# & Œ Œ ‰ j œ ˙.

A capella—ad lib

& Pœ œ œ

poco rall.

dream

than

#13—Lay Down Your Head

you

seem

— 166 —

poco cresc.

I O L E T

‰

j œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

there

chance

˙.

& ˙.

˙.

& ˙.

warm

& n˙

ears

are

‰

j œ

˙.

nœ

his

œ œ

ring - ing

#13—Lay Down Your Head

'ry

And

œ.

short

tempo q = 154

breath

Mine is

poco rit.

rall.

gone

cresc.

˙.

accel.

˙.

re - deem

gone

days

might

˙.

days

you

where,

j œ

and my

— 167 —

I O L E T

molto rall.

# & ˙.

œ is

˙.

sing

(no breath)

ing

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

skin

˙.

& œ

Lay

& œ I

#F & œ

down

your

will

Give

your - self

˙.

Freely (a cappella)

˙.

days

and

your

sleep

soul

j œ

œ.

the

gone

rall.

keep

deep

˙.

sleep

ver

IC N

head

days

pleased

gone

82-86

#13—Lay Down Your Head

P " ‰ j œ Of

˙.

j œ

‰

˙.

U !

— 168 —

ANYONE WOULD DO (Reprise)

q. = 66

Heavy Blues

j œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # 12 & # 8

I O L E T

MUSIC HALL SINGER:

# # # 12 & # 8

nœ

j œ œ nœ

the time you come knock - in'

# # # 12 & # 8

####

nœ

œ bœ

nœ

˙.

lone

Œ.

LANDLADY:

œ œ

œ nœ

j œ œ œ

May - be there's a stran - ger at my door

j œ œ.

stran - ger

‰ ‰ œj œ œ œ

No stran-ger than

HOTEL SINGER: # ## . & # ‰ ‰ œJ œ œ œ œ œ nœ œ

What's to keep him wait - in' for

nœ œ œ œ œ . an-y-one

here

Œ.

œ.

‰ ‰ œj œ œ œ

No dan-ger as

Ó.

‰

œ œ œ œ nœ œ .

Hey there, mis-ter, how are you?

# ## & # w.

‰ nœ

#14—Anyone Would Do (Reprise)

####

nœ œ œ œ œ .

‰ ‰ œj œ œ œ

Ó.

long as you're

near

Don't

slide

~ œ . ~~~~

#œ œ œ œ ˙ .

ev - er

œ œ œ œ œ J

œœœ

˙.

œ . ~~~

slide

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 169 —

I O L E T

####

could

œ œ œ œ œ œ #œ

####

IC N

U 2 œ nœ œ œ œ . œ J U 2 œ œ œ nœ

And right now an - y - one

‰ œ œ J 2

And right now an - y - one

œ nœ 2

slide

œ œ œ œ . ~~~~~

door

Ad lib riff

‰ "

j " "

May - be there's

‰

‰ ‰ œ œ #œ œ œ ˙ . J would do

Ó.

’. ’.

Ad lib riff

w. w.

an - y-one would do

#14—Anyone Would Do (Reprise)

j "

a stran - ger

˙.

U Ó.

˙.

U Ó.

would do

2 2 2 U ‰ œ œ nœ œ ‰ J œ œ œ.

And right now an - y-one,

œ J

j ‰ œ nœ œ j œ ‰ œ œ

œ œ œ œ œ œ œ

door

Ba - by you may - be the stran - ger

‰ œ œ J

Cuz right now an - y - one

Ba - by you may - be the stran - ger

####

y-one

‰

œ ‰ œ œ J

# ## & # œ œ œ œ œ œ œ &

be just an - y - one

Ba - by you may - be the stran - ger

####

be just an

j ‰ ‰ j œ œ œ œ œ œ œ œ

You

could

You

˙.

U Ó.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

N — 170 — V

15 I O L E T

M& M's TRANSITION IV TACET

#15—M & M’s Transition IV

— 171 —

I O L E T

HARD TO SAY GOODBYE

VIOLET: "Sure seemed like you were ready to go last night."

Driving blues q. = 85

nœ œ J

˙.

nœ J

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # # 12 ‰f FLICK: œ œ. & 8

Don't

some-thin' wrong

#### ˙ .

#### œ .

Heavier

œ.

noth - in' new

‰

œ J

œ œ œ J

‰ ‰ Jœ

nœ œ ‰ Œ .

‰

œ nœ

is - n't hard

nœ

meant

œ ‰ œ

œ œ œ J

˙.

You put me through, Take your

let - ter

sor - ry

‰

œ œ.

œ œ œ

Cuz it won't weigh on your mind

nœ œ J

bend

#### nœ œ œ œ

first

œ J

sweat

œ œ œ ‰ ‰ œ œ nœ

Then move a - long

let

#### ˙ .

Don't

nœ œ ‰ Œ .

don't

wor - ry

œ œ

#### nœ

Œ.

‰

œ J

If you

œ J

say

‰

œ nœ

œ J

is - n't hard to

#16—Hard To Say Goodbye

say

Hell, it's

nœ œ œ œ œ œ œ œ J

I'm

‰

bet - ter

time now to spell out just

œ J

œ œ œ

why

œ J

In your

good

#4 4

— 172 —

q = 112-114

Faster, with urgency (Straight 8's)

#4 ˙ & 4

2 ˙ 4

4 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

bye

Mon - ty's

# & 44 Ó

œ 3

not

the

24 œ

Your head does

Driving blues

# # # # 12 œ & 8 21

nœ œ œ .

not

point

Is - n't now

know what

nœ œ ‰ Œ .

Don't

you

44 œ

don't

#### œ . so

get

œ.

‰

nœ

œ J

Cuz

œ Œ J

lone - ly

œ J I

does.

But it

heart

sweat

in your bed

nœ œ ‰ Œ .

your

Don't

took

‰

# # # # 12 8

‰

œ œ

‰

him all the way

œ nœ

want

#16—Hard To Say Goodbye

nœ

But you

can

say

an - y - one

˙.

Don't know

œ œ œ œ œ. J

#### ˙ .

# # nœ œ œ ‰ œ œ œ œ œ ‰ ‰ œ œ nœ & # # Climb-in'

nœ

what he said

need,

was

˙.

wor - ry

nev - er

œ J

some - one,

‰

I'm

damn - it

— 173 —

I O L E T

#### nœ œ œ œ œ œ œ œ ‰ ‰ œ œ nœ & J

riff

œ œ œœ œ

œœœ

‰

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

He's the kind

####

# # # # riff ˙.

Ó.

Œ.

‰

nœ

œ œ. J

dumb

‰

œ J

one

is - n't

nœ

say

hard

Faster, with urgency (Straight 8's)

œ œ œ nœ

j œ ‰

œ œ

know what real - ly both - ers you?

bye

# & 44 œ

#4 4

VIOLET:

j œ

œ œ

But you can't

œ ‰ œ J

24 ˙

24 œ

ev - er

had the nerve to do what

point

Mon - ty's

œ3

good

#4 4

24 œ œ 4 œ œ 4

24 œ 37

œ œ œ œ œ œ. œ œ

Mon - ty

Mon - ty's not the

dream - ing

# & 44 Ó

Who's the

You

# œ & 44

do-in some-thin' to catch some-one's eye

real

# & 44 33

you al - ways find

Is - n't

now

44 œ

just

find your

nev - er

boy, Flick,

way

#16—Hard To Say Goodbye

was

you were on - ly

œ3

know that

but

your heart does - n't

— 174 —

& œ œ œ œ 3

2 œ œ œ œ œ œ œ œ œ 4 ˙ 3

œ œ

4 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

I don't re - gret

# & ˙

‰ œ œ

lead

œ œ

did some-thing fine I'll re - mem-ber for-ev - er

You don't know what you need,

with great urgency

j # & 44 ‰ œ œ . œ œ œ œ œ VIOLET:

˙.

your

heart

œ œ œ œ œ œ

Two kinds of peo - ple in this world: Some say yes, and some say

# & ‰. 47

# & ‰

r œ œ

œ œ œ œ

œ œ

I'm on - ly learn - in'

But I'm bound

shakes But there's more

œ œ œ.

say

j œ

yes

‰.

to me

r œ œ

I'm bound

r œ œ

try

œ œ œ

I know

than meets the

œ.

eye

œ 2 ˙ 4

does

q = 100

j‰ Œ Ó œ

œ œ œ œ

to make

you think

I'm

œ œ œ.

j 2 œ œ œ œ œ. 4 ˙ 53

Good-bye

mis - takes

œ œ œ œ

#16—Hard To Say Goodbye

great

#4 & 4 ‰.

œ œ œ

œ œ œ.

j œ " r œ œ

œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

r œ œ

— 175 —

I O L E T

# & ‰

were smart

œ œ œ

And I'll tell

# & œj

am,

you

r œ œ

For once

# & ‰ j œ œ œ œ œ 60

Recitative

I'd

back

‰.

home

r œ œ

why

I'm miles

œ œ œ

I'm not

a - fraid

But I

don't give

œ œ œ œ

and miles

who

shy

lot I wish you felt the same as

I'm gon - na miss you, Flick, a

#16—Hard To Say Goodbye

œ œ.

Good - bye

j, j . œ œ ‰ œ œœ œ œ œ œ œ œ œ œ œ œ 61

œ œ œ.

j œ œ

œ.

from

a damn

Good-bye

U !

(vuota)

— 176 —

I O L E T

PROMISE ME, VIOLET Cue: MONTY: "Nah. Now wait a minute Flick. C'mon..." (Music in) h = 96

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Old style country swing - Swing 8's 2

&b C

"...You're right.

F VIOLET: j & b ‰ bœ œ œ œ œ œ œ

You got my num-ber so call

&b œ

œ 3

& b ˙ nœ œ œ œ 3

œ œ ˙. me

bœ

Some night you're drunk and you're

œ bœ œ ˙

‰ œj œ œ œ b œ œ œ

&b œ œ Œ

you

j & b ‰ bœ œ œ œ

Ex-pect to hear from me soon

Got noth-in' bet - ter to do

‰ b œj œ œ œ œ œ œ F

MONTY:

I got your num-ber, I'll call

‰ b œj œ œ œ

œ 3œ œ œ j ‰ œ œ

Ex-pect to hear from me

œ œ œ

j ‰ b œj œ œ œ œ œ œ œ œ. F I got your num-ber, I'll call you

˙.

FLICK:

FLICK (to Monty): 8 "Sit down."

When it's con - ven - ient for you

lone - ly

bœ œ œ œ œ œ

‰ b œj œ œ œ œ œ œ

I'll be sit-tin' home wait-in' to hear from you

What do I say?"

œ bœ œ bœ œ œ Œ

You nev-er know with the

#17—Promise Me, Violet

ar - my

j & b ‰ œ œ œ œ bœ œ œ

j bœ œ œ œ œ œ

j œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 177 —

I O L E T

Might be you neigh-bor by June

FLICK: "Good!"

‰ j & b ˙ bœ œ VIOLET:

œ œÓ œ œ œ

j œ œ. ˙

You weren't so bad for a sold - ier

&b œ

œ 3

But when you

˙ nœ œ œ œ

from you

Write me an - y-time

I'll wait to hear

FLICK: 3

bbb

bœ

start - ed

‰ b œj œ

You weren't the best or the worst

œ bœ œ ˙

cry

œ œ œ œ

j œ œ

‰

boy

36-38

39-42

#17—Promise Me, Violet

tell

œ bœ

˙.

you that was

(to 35)

œ a

first

bbb

— 178 —

j b 3 & b b 2 ‰ bœ œ œ œ œ œ 43

VIOLET + MONTY:

I O L E T

‰ b œj œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

You got my num-ber so

j b & b b C ‰ bœ œ œ œ œ œ œ VIOLET:

what?

You got my num-ber so call

b &b b œ

VIOLET:

j œ œ. ˙

b &b b ˙

VIOLET: 3

I'll

b &b b

œ nœ œ

bœ

sit - tin' home

‰ b œj œ œ œ

œ bœ

œ œ œ

Ex - pect to hear from me soon

œ bœ œ ˙

what?

MONTY:

lone - ly

‰ œ œ œ œ œ œ œ J MONTY:

˙.

Un - der the spell of the moon

‰

knit - tin' some-thin' fit - tin'

Some night you're drunk and you're

You got my num-ber so

j nœ

just

œ œ œ bœ œ

wait-in' to hear

you

Colla voce - sweet and earnest

3 4 & 4 nœ œ œ œ P Prom-ise me Vio MONTY:

- let

44 ‰ j œ œ Œ œ œ œ 62

Prom-ise

you'll do this

#17—Promise Me, Violet

from

n n n 44

A tempo q = 91

4 &4 Œ

Poco più mosso

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 179 —

I O L E T

Once your heal - ing's

j œ œ.

&œ œ œ œ An - y-time

Sun - day

q = 95

œ œ œ

&Œ

œ &Œ œ œ

prom

˙.

Œ ‰

œœœ ˙ 3

œ œ œ

ise

F with more urgency & œ œ ‰ œj œ œ

me Viii - lut

Cuz I'll be

‰ j œ œ

œ œ

Why won't you face

rall.

wait

#17—Promise Me, Violet

ing

I'll

kiss

œ J

for

œ œ œ

All I want

make

œ.

you

An - y-time

‰ Jœ œ œ

for

œ œ œ œ

To get your sweet

‰ œJ œ œ

this sta - tion

I'll be here

for a life-time

Prom-ise

by the road - side

I've been wait - ing

Come to

œ œ œ

I'll be wait - ing

through

‰ œJ œ œ

So Viii-lut

A tempo

you

˙.

you

— 180 —

œ œ Œ

‰ j œ œ

I O L E T

œ Œ 3

œ œ

œ œ œ

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

& œ

You're not some beau - ty

œ œ & Œ œ œ MONTY:

I'll be wait - ing

Œ œ œ. œ

& Ó

& œ.

j œ ˙

wait - ing

& Ó

to look and

I'll be here for

Œ œ œ œ

or let her go?

œ.

see

‰ œ

œ ˙ J

I'll

œ ‰ Jœ œ

‰ œJ

true

œ œ œ3 œ

Am I just caught up

j œ ˙

œ.

You're so

‰ Jœ œ œ

‰ œ

100

sweet,

for a life - time

you

Make my lone - some dream

œ œ bœ bœ ˙

Œ œ œ œ

102

‰ œJ œ œ .

dream? I've been wait - ing

101

œ œ œ

by the road - side

Should I speak up

œ œ œ

FLICK:

That don't con - cern me

in a

œ J

I've been

For some-one sim - ply

œ . J œ 103

be wait

j œ œ ing.

#17—Promise Me, Violet

rit.

P ‰ œJ œ œ

The way that

104

œ.

see

(to 107)

œ C J

107

A tempo primo

&C w

FLICK:

‰ j bœ œ œ œ œ œ VIOLET:

109

110

˙.

bœ

œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

108

— 181 —

I O L E T

you

You got your-self a good

MONTY:

&C ˙

Prom - ise

Viii

111

112

œ œ ˙. line,

& Ó

lut

‰ j j bœ œ œ œ œ . ˙

prom

113

129

VIOLET:

nœ I

œ 3

prom

know!

set up the punch -

ise

####

(to 125)

(no breath)

ised?

j œ œ œ. œ Œ œ 126

127

got your num - ber, my dar - lin',

Half-time feel

####

œ nœ

Slow down, you know I'm the

130

œ nœ œ œ Œ 3

‰ n œj œ œ œ œ œ œ

128

You look too good to be true.

131

best thing

‰ œj œ œ œ nœ œ œ

has ev - er hap-pened to you.

˙.

132

####

114

(Still in 2) (Swing 8's)

125

You wan - na

Why won't you

that's all I am, I

joke now,

133

####

134

135

VIOLET:

œ œ œ œ

Left my trou-bles

136

all

œ œ

#17—Promise Me, Violet

137

138

- !hind

˙.

— 182 —

# # fœ &

there

when

139

climbed

141

142

board

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Back

140

I O L E T

# #f VIOLET: & œ œ

143

Jor - dan

# & # Ó &

& &

Ri - ver's

wait

˙.

find

œ œ œ œ

ing,

We've

got

150

152

# & # ˙

long

œ.

ing

‰

œ.

let

her

go - ing

44 ˙

YOUNG VIOLET:

44 ˙

in'

j œ ˙

a - long

And as I'm

‰ jœ œ ˙ œ

œ.

j œ œ

Œ Œ

œ J

‰ j œ œ œ

151

And as I'm go - in'

œ.

side

molto accel e cresc. poco a poco

VIOLET:

And as I'm

154

It's

œ.

a - long

And as I'm

j œ w ˙

‰ j œ œ œ

153

j œ œ œ

(no breath)

road

œ œ

go.

the

˙.

name

FLICK:

(q = h) ford

and I'll call your

# w & #

146

44 ˙

149

wide but not too wide

148

œ œ œ œ

you'll

145

where

MONTY:

I'll

147

144

know

you're

a - long

155

j œ

bbbbbb bbbbbb

Segue as one #17—Promise Me, Violet

— 183 —

I O L E T

RAISE ME UP

[Segues from "Promise Me Violet"]

New tempo (swing 8's) h = 86

: 154

œ œ ˙.

b & b b b b b 44 Œ ˙˙ F

j œœ œœ œœ œœ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bb 4 . & b b bb 4 ˙

VIOLET:

with

WOMEN:

I'm

˙˙ b b b 4 MEN: b Œ b & b 4 F

œœ œœ œœ œœ J

...are you in the way?"

b & b bbbb Ó

158

j ‰ œœj œœ œœ 159

œœ

œœ œœ œœ œ œ J

œœ

way

j œœ œœ

!Oh,

way

œ œ œ ‰ Jœ œ œ J

œœ œœ J

b & b bbbb Ó

j j ‰ œœ œœ œœ

j œœ œœ œ œ œ œ

b & b bbbb Ó

œ œ œ ‰ Jœ œJ œ

way

160

163

156

j œœ œœ œ œ œ œ

b & b bbbb Ó

162

155

Oh,

œœ œœ œ œ œ œ J

œœ œœ œœ n n œœ J

œœ J

j œœ œœ œœ œœ

j œœ

am on

œœ œœ œœ œœ J

œœ I

n œœ

#18—Raise Me Up

j œœ

j œœ œœ œœ n œœ

am on

n œœ

164

157

j œœ œœ œœ œœ

am on

œœ œœ œœ œœ J

way

"I say, are you on, or

161

way

œœ J

j œœ ˙˙ .. 165

way

œœ J

˙˙ ..

Œ Œ

— 184 —

j bb & b b bb œ œ ‰ œ Œ

" œœ >

166

Raise me

up,

167

Lord,

>œ œ

œœ

œœ .

won't

œœ.

‰ œj œ œ œ

œœ

you raise

168

‰ " œœ œœ J

œœ

j œœ œ œ

j " œœ œœ

œœ " œœ J

œ œ nœ œ J

up and

œœ

b œœ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ bb œ & b b b b œœ œ ‰ œ Œ J

œœ

I O L E T

b & b b b b b œœ 169

PREACHER: "Cuz anybody in the way had better get out of the way tonight. How would you like it, friends, if the Lord were to raise you up tonight?"

170

171

172

way!

b & b b b b b œœ

b & b bbbb

173

j Œ " >œœ ‰ œ œ œ . œ.

Raise me

up,

b œ œ & b bbbb œ œ ‰ œ Œ J b & b bbbb

But God hasn't moved."

IC N

177

b & b bbbb

! !

> b " œœ

Lord,

178

174

œœ œ. ‰ " œj œ œ b œ >œ œœ œœ. b œ >œ ‰ œJ œ won't

you raise

b œœ >

"Maybe you feel distant, maybe you feel far from God tonight.

175

>œ œ

176

"He's the same place he ever was. If you haven't heard him,

j "œ œ p Ij am "œ œ "œ œ

j j bœ œ œ on

j j bœ œ œ bœ œ œ

j œ

179

j œ œ

way

#18—Raise Me Up

180

w w w

! !

bb & b b bb

181

maybe you haven't been listening."

bb & b b bb

182

j j bœ œ œ

j "œ œ j "œ œ "œ œ I

j œ

"If you haven't seen him, maybe your eyes have been closed! Don't worry, 183

way

j œ œ

j j bœ œ œ bœ œ œ

184

w w

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 185 —

I O L E T

if you don't want him, he ain't comin'."

bbb b P b & b nœ œ

185

j œœ œœ œœ œœ

b b b b Pœ b & b œ I

am on

j œœ œœ œœ œœ

"If you need Him –"

b & b bbbb Ó

Œ " œœ >

189

>œ Œ œ

bb & b b bb Ó

IC N

œœ

b œœ

F>œ Œ œ

œœ

191

Him

œœ

Œ " œœ >

192

>œ Œ œ

"Let Him fold you to His h = 93 bosom, like a favorite angel!" 194

New tempo (faster)

34 ˙ . ˙.

way.

34 b ˙˙ ..

#18—Raise Me Up

you want

œœ œœ. ‰ " œœ œœ J

Lord,

œœ œ ‰ œj œ œ. œ œ if

"Why not let Him raise you up to His side!"

you need

œœ

188

j œœ ˙˙ ..

œœ œ. œ ‰ " œœ œœ J

n œœ J

187

way

b œ & b b b b b œJ " œœ

and

186

œœ œ ‰ œj œ œ. œ œ

j " œœ œœ

j œœ ˙˙ ..

190

j b & b b b b b œœ œœ

193

F Œ " œœ >

"But if you want Him –"

195

œœ œ ‰ b œj œ œ. œ œ won't

you raise

œœ œ. œ ‰ " œœ œœ J

œœ

Him

œœ

* NOTE: All of LULA's solos should be sung with liberties, as in gospel tradition.

LULA:

˙.

— 186 —

bb & b b bb

A tempo

197

j ‰ œ œ. œ œ

198

"œ

œ œ œ œ 3

199

(riff)

œ œ œ œ 3

œ œ.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

196

I O L E T

b & b bbbb Œ

200

LULA:

Raise

way

201

glo

œ œ œ Œ > > > 3

F 3 œœ œœ œœ Œ

WOMEN:

b & b bbbb

MEN:

(top line optional)

right

b & b b b b b œœ

right

b b b b œœ b & b

œœ

off

the

b œœ

œœ

off

the

b œœ

F œ œ œœ œ œ Œ

œœ

ry bound

‰

j œ

202

raise

b & b b b b b œœ

b & b bbbb

203

œœ

Raise

œœ

f . n n ˙˙ .

‰

œœ

j n œœ

b œœ

n œœ J

˙˙

f . n n ˙˙ .

# ˙ ˙

f #˙ . n ˙.

# ˙˙

204

205

ground

#18—Raise Me Up

j œ ‰ ‰

206

œ.

œ œ

œ. œ

Œ bœ œ œ œ œ œ

207

208

(riff)

œ. œ

209

‰

j œ œ œ œ 3

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

LULA:

— 187 —

I O L E T

Give

#P œœ ..

#P . & n œœ . œ.

Raise

210

#F & bœ œ #Fœ & œ

I'll

IC N

214

& ˙.

you

œœ

the

wings

œœ ..

Raise

œœ Œ œ

n œœ .. œ.

211

‰

j œ I

œœ

fly

n œœ

œœ a

b œœ

œœ œœ œœ

œœ

œœ Œ œ

˙.

I'll fly a - way

œ bœ œ œ ˙

œ œ œ œ.

want to fly like

b œœ

I'll

œœ

œœ Œ œ

n n œœ .. œ.

œœ

n œœ ..

212

PREACHER: "How many are ready to get healed this afternoon? 215

gel,

Raise

b œ .. œ Œ œœ . œœ

œœ œœ œœ Œ

Raise up

way

b œœ .. œœ

213

‰ œ

gel

œœ

fly

I'll

j‰ Œ œœ .. œœ œœ a

œ œœœ J 3

fly

way

j œ œ ‰ Œ œ . œ œ nœ bœ . œ

Raaaaise your hands if you're ready."

˙.

216

#18—Raise Me Up

217

Won't

you

— 188 —

I O L E T

"When medical science fails you. and the infirmaries in the When all the clinics, the hospitals, world tuuuurn you away."

218

& >œ . >œ Œ F # & œœ .. œœ Œ > > F Raise up! # >œ . > & œ . œœ Œ

219

220

221

j œ ‰ œ œ >

222

raise up!

"What do you do? When even the 223

What do you

j œœ ‰ Œ

do?

j b>œœ ‰ œœ œœ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

j œ ‰ Œ

224

& & &

What

family doctor shakes his head."

225

f œ. Œ > >œ

# #

f> > Œ œœ .. œœ Œ

227

# #

ƒ> . > œ œŒ ƒ œœ .. œ Œ > >œ

ƒ >œ . >œ Œ œ. œ Œ

Raise up!

LULA:

IC N

Raise up!

"His name isn't John Hopkins. Oh no!" 232

231

228

U !

"...His name isn't Ben Casey." 233

U !

! !

U !

229

U !

What is his name?

U !

œœ ‰ Œ J

"And says there's not a pill in the world can help you now."

Raise up!

f œœ .. œœ Œ > >

# ‰ œ œ œ œ œbœ U & œ J

"And says, I'm sorry, I've done everything I can." 226

do?

b>œœ ‰ œœ œœ J

Raise up!

230

do you

f j ‰ œœ œœ œ > > >œ

WOMEN:

f >œ >œ >œ ‰ œJ œ œ

His name is

#18—Raise Me Up

MEN:

# & ‰

rit.

234

His

(riff)

name

235

"If you believe in Jesus, raise your hands! Hallelujah!"

œ bœ œ œ œ œ œ -

4 UÓ 4

U Ó

4 UÓ 4

U Ó

4 UÓ 4

U Ó

236

sus.

˙˙ ..

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# & ˙˙ ..

œ J

— 189 —

I O L E T

# ˙. & ˙.

b &b 237

New tempo - in 2 h = 78

LULA:

‰ œj œ 250

my thoughts

are

254

b & b bœ 256

b œ &b

cause

ges

˙ I

œ œ #œ œ œ œ I

260

and

sick - en

œ œ œ

œ œ ˙

maze

259

257

de - pend

spi

and

rits

you

know

#18—Raise Me Up

are

œ œ œ J J

261

255

œ œ œ

œ œ J

œ œ œ œ œ U̇ œ

252

U Œ

251

œ œ œ œ

trou - bled

LULA: "Amen, pastor."

U Ó

248

237-247

When

(Organ underscores dialogue)

When

253

˙˙ ..

Colla voce (free gospel solo)

249

sus.

U 23 ˙

You

œ œ ˙.

low

˙.

(riff)

sins

258

j œ œ

a -

œœ‰ Œ

Lord

U ˙

U œ

will

be -

4 œ œœ 4

— 190 —

q = 136

b 4 LULA: & b 4 œ. œ Œ 262

Raise me

‰ œ œ œ Œ J

j œœ œœ .. œœ Œ

You

‰ b œJ œ œ Œ

263

will

j œœ œœ .. œœ Œ

‰ œœ

264

raise

j œœ œœ .. œœ Œ

‰ œœ

265

‰

b >œœ œ œ œ > >œ

œ œ J

You will

œ >œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b4F b & 4 ‰ œœ

I O L E T

Fœ b 4 & b 4 ‰ bœ CHOIR:

You will raise me

œœ œœ .. œœ Œ J

b bœ œ œ &b

266

raise

b ‰ œ œ

You

267

b &b Ó

IC N

b œ œ

He will !

œ ‰ bœ

œ b œ3

271

High-er, Lord,

œœ b œœ ‰ Ó J

œœ œœ ‰ Ó J

You

œœ œœ .. œœ Œ J

œ ‰ bœ

œ Ó 272

lift me up

œœ œœ b œœ ‰ Ó J

œ b œœ œœ œJ ‰ Ó

Raise me up!

will raise me

œœ œœ .. œœ Œ J

>œ >œ

273

high-er!

œœ œœ b œœ ‰ Ó J

œ n œœ œœ œJ ‰ Ó

Raise me up!

#18—Raise Me Up

raise me!

b>œœ >œ œ

œ œ >œ >œ >œœ >œ >œ > œ b œ œœ

You will raise me

> > > > #### œ œ œ nœ #

I'm on my way.

œœ œœ b œœ ‰ Ó J

œ b œœ œœ œJ ‰ Ó

Raise me up!

>œ œ

œ. œ Œ Ó

269

j œœ œœ .. œœ Œ

‰ œœ

will raise me

œ œ bœ œ œ œ Ó

Raise me up!

b œ & b nœ

You

268

j œœ œœ .. œœ Œ

You will raise me

œœ œœ .. œœ Œ J

‰ b œœ

œ œ œ œ bœ œ

‰ œœ

œœ œœ .. œœ Œ J

270

high - er

You will raise me

œ b & b ‰ bœ

œ œ

>œ >œ > œ œ b œœ

You will raise me

œœ œœ .. œœ Œ J

‰ b œœ

œ ‰ J

j œœ œœ .. œœ Œ

will raise me

####

New feel—rock/gospel (Straight 8's)

####

274

— 191 —

I O L E T

# w

j œœ œœœ œœœ œœœ œœ œœ œ œ œ œ œ œœ œœ J

277

j œœ œœ œœ # œœ

œœ

3 3 ‰ œj œ œ n œ œ œ œ

I want to fly

j œœ

like an

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # # Œfn # ˙˙ & # #˙

276

275

# # # # f# # ˙˙ & # Œ

I'm

# # & # ## œ

# ## & # # Œ

˙˙

278

an - gel

####

I'm

# Œ

˙˙

#### w & #

282

# # & # ## Œ # # & # ## Œ

I'm

˙˙

Oh,

œœ œœ œœ œœ œœ œœ œœ œ œ J J

œœ

j ‰ œj œ œ

œ J

279

œœ ‹ œœ œœj ‹ œœ on

œœ ‹ œœ œœ ‹ œœ J

283

˙˙ ˙

way

j œœ œœ

œœ œœ J

œœ œœ œœ œœ J

# œœœ

œ I

œ ‹ œœ

œœ œœ œœ œ œ J

‹ œœ

#18—Raise Me Up

fly

œœ œ J

j œœ œœ œœ œœ œ œ œ œ

am on

nœ . œ œ œ

way

œ œ œ œ J

am on

œœ J

œœœ œœœ œœœ œœœ J

am on

I'll

j œœ œœ œœ œœ

œœ

284

Oh,

281

j œœ œœ œœ œ œ œ œ œœ way

œœ J

280

my way

œœ œœ œœ ‹ # œœ J

way

œœ œœœ œœœ œœœ œ J on

œ œ. J

am on

œœ œœ œœ œœ J

œ J

285 (riff)

way

œœœ J

way

œœ J

www ww

to you

— 192 —

####

PREACHER: "Praise the Lord..."

286

8 286-293

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

Vamp (vocal last x)

# # & # # # .. ¿ 294

# # & # # # ..

Raise

#### . & # .

PREACHER:

####

296 PREACHER:

¿ ‰ ¿ ¿ ¿ .. ¿ J

295

your hands

"What's happened?..."

if you be - lieve!

n œœ

œœ

.. œ

CHOIR:

œœ œœ n œœ n œœ

Raise up your hands

œ œ

œœ œ

œ œ

300-307

Vamp

Cue out: PREACHER: "This is where y'all start singin' again."

309

#18—Raise Me Up

nnnn

297-299

& ..

œœ ‰ Œ J

you be - lieve!

(The band builds as the PREACHER'S sermon gets to "...and now she is dancin'!")

300

308

j œœ ‰ Œ

310

311

F CHOIR: p Œ & œ b œœ œ œ œ

f œ >œ

312

LULA: (riff)

œ >œ

œ >

œ œ b œ œJ œ

313

won't you raise

F œ œ œ œ Ó

œ J

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

˙˙

— 193 —

I O L E T

F p œ œ Œ œ œ œ & Raise!

me up

& ˙

314

& œ œ œ œ

p F œ œ Œ œ œ œ & Raise!

me up

œ Œ &œ

318

Raise me

f œ >

˙˙

f œ >

bœ œ œ . œ . œ & ‰ b Jœ œ œ . œ . œ Œ

319

High ! - er

me up

316

317

CHOIR:

œ >œ

œ œ œ œ

Raise!

me up

b œœ

œœ

Won't

‰ Jœ œ œ œ 320

yeah

j j > > > ‰ œœ œœ œœ .. œœ œœ œœ ‰ ‰ œœ œœ œœ .. œœ .. œœ Œ J >œ >œ >œ . œ ‰ b b œœ œœ œœ .. œ œ œJ ‰ ‰ b b œœ œœ œœ .. œœ . œ Œ J J Won't you raise me up

Won't you raise me

#18—Raise Me Up

you raise

j œœ ‰ b œ > bœ

you

œ œ œ œ Œ bœ

œ >

œ œ œ œ œ J

‰ œ

LULA:

Won't

Raise me

‰ œJ œ œ Œ

j & ‰ œœ œœ œœ .. œœ .. œœ Œ Won't you raise me

f œ >œ

Raise!

œ >

315

p b œœ

œ œ œ œ

œœ

raise

> bœ ‰ œ J

321

me up

Œ ‰ Jœ

j b œœ . œ œœ œœ Œ

Raise

b b œœ . œ œœ œœ Œ J

— 194 —

& œ bœ œ œ

œ œ œ bœ œ œ

322

I O L E T

pla - ces me

on - to

œ œ

323

so - lid ground.

œ œ

Oh he lifts me up.

j ‰ œœ œœ œœ .. œœ œœ œœ

j ‰ œœ œœ œœ .. œœ ..

He'll turn your

œœ Œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

j œ ‰ œ œœ œœ .. œœ .. œœ Œ &

œ bœ œ œ . ‰ œ J

324

Won't

bœ & ‰ b œJ

you raise me

œœ œœ .. œœ .. œœ Œ

& bœ œ œ œ

life a - round.

& b œœ .

Raise

bœ & œ.

j œ œ œ Ó

do it for you

Raise me up

326

œ.

raise me up

œ œ

bœ œ

He's a

œ œ

like he

œ bœ œ Ó

done for me.

œœ œœ b b œœ Ó

b œœ œœ œœ Ó

327

œ bœ

œœ Œ

Œ Ó

me up

b œœ

œœ

’

’ ’

Vamp

330

.. ’

(Ad lib solo) GO CRAZY!

’ ’

’

.. œœ .. œœ Œ œœ .. œœ Œ Raise me,

Raise me,

.. b n œœ .. œœ Œ œœ .. œœ Œ

#18—Raise Me Up

Let him

œœ b b œœ

œœ

coun - se - lor.

Raise

n œœ œœ b œœ

raise

. ‰ b b œœ œœ œœ .. œœ . J

Raise me up

329

Won't you

œœ œœ .. œœ œœ œœ

heal - er.

Raise me up

you

œœ œœ b b œœ

œ œœ Ó J

bœ Œ & œ bœ œ

n œ œ b œœ & œ œ

He's a

328

bœ & œœ œœ b œ

‰ b b œœ J

œ œ

325

Won't

331

’ ..

œœ .. œœ Œ œœ .. œœ Œ ..

Raise me,

b œœ . œœ Œ œœ . œœ Œ .. . .

332

LULA: (ad lib)

&‰

bœ

œ 333

"...Yeah! Yeah! Yeeeah!" (Go on)

U ’

’

2 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ bœ

— 195 —

I O L E T

Oh,

Tempo h = 74

& 24

334

he woke

& 24 Œ

335

ad lib riff

IC N

way

& 44 ww

morn

ing

Oh, I know some of you came here to forget about your worries Let 'em roll down the River Jordan...

336

338

’

’ ’ ’

U |

He's wonderful, He's marvelous. He did it for me, And he'll do it for you, and you...

U ˙˙

and started me on my way. If you know what I'm sayin' say yeah!

U n ˙˙

Oh, dear God I'm on my way… Yeah! Yeah! Yeah!

w & 44 w

U |

U b ˙˙

œ œ

& 44 ’ ’ ’ ’

337

this

LULA: (ad lib)

I'm

& 24 Œ

U ˙˙

339

340

U ww

#18—Raise Me Up

— 196 —

I O L E T

DOWN THE MOUNTAIN

Cue: VIRGIL: "Not to worry, ma'am. We'll get you taken care of in a jiffy."

bb 4 &b b b 4

b & b bbb

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bb 4 &b b b 4

b & b bbb Œ nœ œ œ œ Œ

j b œ œ & b bbb œ œ J Œ ‰ J

####

F Pa - pa,

Hold on, ba - by,

now.

We'll

YOUNG VIOLET:

bœ

care - ful.

there

œ bœ œ œ Œ

F Eas - y

does it.

œ œ

œ œ œ

FATHER:

How far?

j œ œJ

‰

are

j œ

We're half - way

bœ œ œ œ œ œ œ

24 Œ

get you tak - en care of

VIOLET: "I have something

#### 4 #w 4

nœ

down

(to 12)

some

how.

to show him..." (dialogue continues)

FATHER:

God

Al - might - y

show your

j œ ‰

mer - cy

j œ ‰

mer - cy

God

Al - might - y

please for - give

"...the Bible verses which must

God

Al - might - y

#19—Down The Mountain

please for

bbbbb -

— 197 —

I O L E T

speak for me."

bb & b b b Œ bœ œ bœ bœ Œ sub. F There's the riv - er. 20

YOUNG VIOLET:

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bbb bœ Œ

I'm

Œ œ bœ œ œ Œ

(FATHER:)

give

We can cross it.

b & b b b b œj ‰ Œ

scared.

b & b bbb Œ

‰ œj œ

I know, but don't !

you fret

#### 4 #w & 4

yet

Don't

VIOLET: "...Maybe that's true, but it doesn't

# # & # # Ó

Hmm

œ œ œ œ

remember you have a purpose in all things."

b & b bbb Œ nœ œ œ œ Œ

Hold on, ba - by,

œ œ Œ

bœ œ œ œ œ œ . J

VIOLET: "Never mind my spirit."

VIRGIL: "All suffering has a purpose."

fret

j œ

Please

There's the doc - tor's

j œ œ

al - most there

‰ œj œ œ J

Thank hea - ven

#19—Down The Mountain

#### 4 4

for - give

VIRGIL: "Kneel with me. Lord, help us to

make it right."

"With me today is _______. What was your name again, sister?"

get you tak-en care of

j sub. F bbbbb bœ ‰ bœ œ bœ œ Œ 34

be pre-pared.

We'll

you

j‰ Œ œ œ œ

This might hurt you,

j œ œ œ Jœ Œ ‰ J

œ œ

VIRGIL: "My child, we must pray for your spirit."

Œ œ

Œ œ bœ œ œ Œ There's a light on

j j œ œ œ 39

for

that

œ œ J

moon

‰ Jœ

We'll

— 198 —

b b bœ œ œ œ œ œ . &b b b J

2 4

I O L E T

"You come back here!"

#### 4 #w 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

VIRGIL: "Call security! We got a scrambler."

get you tak - en care of

# # & # #

rit.

soon.

Very slowly

VIOLET: "Hello?

Mr. Preacher?"

U U U Œ Œ Œ Œ

Segue

#19—Down The Mountain

— 199 —

I O L E T

IN THE CHAPEL

VIOLET: "...Anybody?"

Colla voce (gently)

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

4 VIOLET: " &4 œ œ œ P

This

where the preach - er

More deliberate

&œ F All

have

œ œ.

stands

œ œ.

b & b b b b 34 b ˙ .

bœ œ œ

No one's left

are your words Lord

In 1 q = 148

‰.

œ œ œ œ ˙

test - i - fy for me

molto rit.

r œ œ

to raise

˙.

j ! r bœ œ œ œ œ œ

me up

and set

bbbb

˙.

9-17

rit.

(VIOLET empties her envelope of Bible quotations)

free.

b & b bbb

b b b b b 34

Cut-off on cue

18-19

20-21

#20—In The Chapel

— 200 —

I O L E T

RAISE ME UP (Reprise)

Cue: VIOLET: "...That's pain, pure, and simple." PREACHER: "But sister, the scar is already healed though, right?" (etc.)

# ## 3 & # 4

PREACHER: "You with me, sister?"

Ad lib - no tempo

U !

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Swing 8's)

####

I'll

# # & # # œ 10

fly

####

œ œ œ œ

œ I

want to fly like an...

œ œ. Œ

gel

I'll fly a-way

I'll

fly

j œ œ

a - way I'll

j œ ‰œ

j œ ‰ œ

Oh,

won't you

œ œ œ œ œ 17

you're

œ œ

! What is his name?

PREACHER: "Don't count on..."

œ œ ˙

read - y

œ œ. Œ

VIOLET: "You can talk now if you want."

˙.

VIOLET: "You can save it all up if that's better."

fly

raise up

Raise up

j œ œ œœ

PREACHER: VIOLET: "Say how many want a touch. "Please, sister." Say how many wanna get healed."

Raise up

œ œ ‹œ

‰ j œ œ œ œ

PREACHER: "You got to understand... before you let..."

VIOLET: "Say I got the power to heal."

####

VIOLET: "Be PREACHER: "You VIOLET: "You

IC N

the wings of

VIOLET: "Raise up your hand if you're ready."

#### Œ &

A tempo quiet a second." can't just demand–" had your chance."

a - way

you

Give

‰ j œ œ

VIOLET:

U Œ ‰ œj œ œ ˙. rit.

#21—Raise Me Up (Reprise)

bbbb C

His name is Je

PREACHER: "Jesus, sister. Why don't we kneel

b b C fb w b & b

Full out Gospel 2 together and pray for that inner beauty." 31

j œ

j œ œ œ œ

"Sister, I promise you..."

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 201 —

I O L E T

sus

b & b bb

...this is not the way to go about this.

am on

VIOLET: "Oh no, you're not goin' anywhere!"

b & b bb ˙

‰ œJ œJ œ 40

j œ œ

Raise me

j œ Œ bœ up,

way

œ œ œ œ J

bbbb

I'm sorry, but I need to call my security."

am on

Lord.

œ œ J

Won't

œ J

(He tries to leave)

way

œ œ œ œ J

way

Oh,

j œ œ

you raise

œ I

œ œ œ œ J

am on

œ œ bœ œ J J

up and

œ J

way

my...

Attacca

#21—Raise Me Up (Reprise)

— 202 —

I O L E T

LOOK AT ME

Colla voce (in 3)—not too slow

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bb 3 &b b b 4 œ œ œ œ œ œ œ P VIOLET: 3

Look at me

To real - ly

bbbb

IC &

œ œ œ ‰ œj œ œ .

look at me

j b œ œ œ œ ‰ Œ 3

Look at me

3 b & b b b b œ œ œ œj ‰ Œ

look at me?

What did I

!œ œ œ

to spend

œ œ œ

to make

˙.

hard.

œ œ œ œ œ œ œ

Look at me

you

œ œ œ œ œ œ œ

Is this the

!œ œ œ

œ œ œ

it's like

ten - der mer - cy that

#22—Look At Me

an - gry

this

˙.

Can you i - ma - gine what

Look at me

œ œ œ œ œ

the time it takes

God,

No one will dare

b ˙.

b & b bbb

œ œ œ œ œ œ œ

Agitato - in 1 q = 164

bbbb

me?

No one will look at me

b & b b b b œ œ œ ‰ œj œ œ

œ œ œ œ

when peo - ple

œ œ

you're known

bb & b b b ˙.

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 203 —

I O L E T

for?

b & b bbb ˙

Slightly faster h = 62

&b œ P

Give

& b œ œ.

shud-der

IC N

the wings

j œ œ

This is where

b &b ‰ œ

Two

b ˙.

the

j œ œ œ

kinds

œ œ

an an

œ bœ

hard.

Look else

6/8 feel

b &b ‰ 39

don't

God,

where

Lose

gel

Don't

int - 'rest

I'm

preach - er

œ œ œ

peo - ple

œ œ

al - most

there

˙.

this

#22—Look At Me

world

j œ

Don't

˙.

stands

‰

back

pull

— 204 —

b & b œj œ

j œ œ œ

œ œ

œ œ œ œ

œ œ œ

bœ

####

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

All

####

###

have

are prom - is - es

3/4 feel

# a˙ .

to raise

˙.

free

Œ.

# œ.

>œ

I'd

accel. e cresc.

j œ œ œœ œ œ œ

œ œ

bet-ter nose

j œ œ

of Gene

j j œ œ œœ œ œ œ œ

And please theeyes

In 4 #### # Œ " & # œ œ œ œ œ

#### ˙ #

but

In 2

God

poco accel.

3 œ œ 4 œ

Some-thing of my own Some-thing mine So I

œ œ

˙.

eyes

‰ j œ And

œœ œ œ œ œ œ

diff-'rent mouth be - neath a new and

#œ œ

give me

œ œ œ

rit.

#### # #

some-thing

won't be a-shamed

#22—Look At Me

Tier - ney

j œ œ œ

˙.

Dramatico maestoso

and set

˙.

pair

œ œ œ

6/8 feel

### 4 4 nœ .

>œ

A - va Gard - ner's eye brows And an-y - bod - y's cheek bones A

‰ œ œ œ œ œ œ 3

when I find a man

#### # & # ˙

accel.

Slow 3 q = 100

####

ten.

œ œ œ œ œ œ œ

œ œ œ ‰ œj œ œ 3

œ œ

nœ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 205 —

I O L E T

####

Look at me

‰ œj œ œ

was

œ œ œ œ œ

it real - ly?

¿ ¿ ¿

Look at me

# # & # # œ

gift

# # & # # œ

gift

you

œ œ

God dam - mit

YOUNG VIOLET:

Why won't you

gave

œ œ

gave

b & b bb A˙ .

œ œ œ ‰ œj œ œ Œ

ac - ci-dent

œ œ œ

This is your hand - i-work

j œ œ œ

‰

In 1

˙.

FATHER: "So what? Once I look at you, then what? 78

me.

˙.

FATHER: "I'm not the one who up and decides one day the woodshed

˙.

(no breath)

pull

back

Don't

is the place to play."

b & b bb Œ

Don't

YOUNG VIOLET: "I'm not the one who doesn't check to see

shud - der

Look

else - where

#22—Look At Me

Lose

The

œ œ œ œ

Here I am looking at you. Satisfied?"

˙.

poco accel.

This is your hand - i-work

YOUNG VIOLET: "You act like it's all my fault."

It was an

look at me

h. = 60

look at me?

int - 'rest

Act

The

bbbb

— 206 —

FATHER: "It wasn't loose! The shim came out, damn it.

his blade is loose!"

bb &b b œ

Nobody checks

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

dis - tant

bar - rassed

You

bet - ter

the shim every time he uses his axe."

b & b bb œ

won't

cept

Not

rit.

this

time

œ œ œ œ

a - pol - i - gize.

want you

this

care - ful

'cause

YOUNG VIOLET: "I bet you check it now."

In 2

b 4VIOLET: b nœ œ & 4 ˙ f God, I just 96

#22—Look At Me

I'm

al - most

U #

100

there

U #

b b 44

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

22a I O L E T

#22a—You Know What I Think?

— 207 —

YOU KNOW WHAT I THINK? TACET

— 208 —

I O L E T

THAT'S WHAT I COULD DO

(Long silence)

U !

&b œ

Simple and gentle q = 74

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

4 &b 4

G.P.

‰ j œ œ œ Œ œ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ P Each day I got you out

&b ˙

show

œ & b J œ.

im - age

œ &b

œ.

œ œ œ

œ œ

your ma

You've

Freely

car-ried you

this

œ œ

I'd give

you change

œ œ œ

She's in

smile

œ œ œ

far

23 Ó 20

Œ œœ

(q = h) A little heavier, with joy

Œ œ œ

You're the

œ œ œ

œ œ

you are

C Ó 21

If I could

#23—That’s What I Could Do

a pic - ture

U C œ œ Œ 10

could do

œ œ œ œ œ.

You've got her eyes

But your

U̇

ev - 'ry-thing

That's what I

œ œœ œ œ

to go

That's all I knew

Gently, magically

œ œ

‰ . œr œ œ œ .

œ œ œ

- ma

her

œ œ

were fed

rit.

j œ œ.

got

Saw that you

could do

j & b œJ œ œ œ œ

j œ

That's what I

Tempo

‰

of bed

Sun - days,

FATHER:

j œ œ.

own

spir - it

U j j Œ ‰ œ œ œ œ œ œ. 22

I'd take a-way

your

Slow 4

4 &b 4 ˙

— 209 —

I O L E T

rit.

24-25

###

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

scar

A tempo q = 72

###

‰ œ nœ œ œ .

Œ œ

For-give me

###

Più mosso

bright

‰ œ

Look how

Tempo I°

strong

# & œ

# ˙

IC N

heart

œ J

than me

raised you strong

That's what I

œ œ

# & œj ‰ ‰ œj œj ‰ ‰ œj œ 45

is up

could do

guess

rit.

Look how

œ. p œ œ. J

œ 2 U̇ J 4

sub.

œ œ œ

œ œ

e-nough

to start

‰. œ œ œ œ. R

I knew

FATHER: "Child, is there someone who can make you happy?"

U Ó

U !

you

#23—That’s What I Could Do

#4 4

you

œ œœ œ

That's all

‰ œ œ œœ J

are

Which you'll al - ways be,

œ œ œ

œ ˙

poco accel.

Slower, tenderly

Look how beau - ti - ful

A little heavier

‰

on - ly star

œ J

œ œ œ œ œ œ Œ

I raised you strong - er child

You're my

‰ œ œ œœ ˙ J

# œ œ œ & 44 35

œ œœ œ œ

That's what I

could do

œ œ

œ œ.

see-ing

with your

U Œ ‰ œj œ œ

Parlando

œ œ

to do

The rest I

(Music Out after:) "You don't have to say..."

U !

Direct segue

TACET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

N — 210 — V

24 I O L E T

SEGUE FROM "THAT'S WHAT I COULD DO"

#24—Segue From “That’s What I Could Do”

TACET

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

25 I O L E T

#25—Intro To “Surprised (Reprise)”

— 211 —

INTRO TO "SURPRISED (Reprise)"

— 212 —

I O L E T

SURPRISED (Reprise)

Colla voce

"Œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b4 &b 4 œ

VIOLET:

b &b

May be

œ nœ œ œ

Luck - y

the

best

mir - a - cle

j œ

j œ nœ

ones

ap - pear

b &b Ó

b &b Œ

‰ œj œ œ

But by the

b &b Œ

When I show

œ œ

my brand

When

show

œ œ

my brand

‰ œ œ œ œ œ œ œ œj œ J 9

A tempo q = 152

œ œ

wait and

face

gen - tle

œ œ œ œ œ Œ new

j j œ œ œ.

Give him time to get the fea-tures clear - er

sold - ier's base

œ œ œ

in the mir - ror

nœ

out

ac - ci-dent - al

I don't dare to check it

œ œ

œ.

nœ

Slowly in 2, accel. poco a poco cresc. poco a poco

nœ

turned

j b & b ‰ œJ œ œ œ œ œ œ œ œ œ œ œ . 6

see

œ œ œ œ œ œ

When I show my

œ œ œ œ œ œ œj ‰ new

face

#26—Surprised (Reprise)

I'll be...

brand

œ œ œ œ ˙ new face

Slower q = 120

BUS DRIVER: "I said ticket please, ma'am..."

Segue

— 213 —

I O L E T

M & M's (Reprise)

Swing 8ths q = 128

3 4

4 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b5 &b 4

1-2

b 4 VIOLET:Œ b & 4œ 4

Lips?

b & b 45 œ

Full.

the

Cheeks?

High.

4: b 5 ‰BUS DRIVER j b œ V 4 œ œ FM & M's,

Nose?

Now

who's

ea - sy

˙˙ ..

n ˙˙

eye

b5 & b 4 ˙˙ .. P (sigh)

b & b 44 œ

PASSENGERS: (women and men on both, at pitch)

Thin.

Face?

Good 'n Plen - ty

n ˙˙

Fine.

‰

œ J

‰

Stretch

Mon - ty

j œ œ

my legs and grab

œ œ œ nœ

might not

#27—M & M’s (Reprise)

know

24 œ 12

Coke

it's

mine

— 214 —

b5 &b 4 œ

3 4

34 ‰ œ œ

j œ œ œ œ œ œ

4 4

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

b & b 45 n ˙ .. ˙

˙˙

b5 Vb 4 ‰

j œ œ

Have

b & b 44 Œ 16

b4 &b 4 Œ

œ œ

œ J

VIOLET:

b &b œ

then

nœ J

nœ nœ

he'll

start

IC N

style.

we stop I'll

smoke

have

smoke

œ n œœ

j Œ œ œ œ Œ ‰ œ nœ œ œ nœ œ . œ 19

It might take him a

œ nœ œ œ nœ œ

œœ œ

have

j œ œ œ

When

œœœœœ Œ œ œ

we stop I'll

3 ‰ œ 4

Toot - sie roll, or twen - ty

œ œ

b &b Vb

I'll just stand there Gar - bo

When

œ n œœ

œ n˙ œ n˙

œ œ

but

w w

#œ nœ ˙ .

lit-tle while

smile...

œœ œ

œ n œœ

œœ œ

n œœœ

I'll

have

some

cof

PASSENGERS:

BD:

I'll

have

some

#27—M & M’s (Reprise)

œ n œœ

cof

œœ œ

fee

for

fee

for

b b b œœœ n n n œœœ

the road

œ nœ

the road

34 34

b3 &b 4

rit.

U Œ

‰

j nœ œ #œ

VIOLET:

#4 4 œ.

j #œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 215 —

I O L E T

b3 & b 4 j œ. œœ œ . œ

U œ œ

œ œ

b3 V b 4 j œ. œ

U œ

In 2 (under dialogue)

& œ

Don't

#4 4

know

BUS DRIVER 4:

Made

good

time

j œ

cros

31-34

V œ

will

28-30

Accel.

Half-time

there...

Faster

e - ven

j œ

sin'

Vamp until Cue

.. œ

˙.

#27—M & M’s (Reprise)

kla

(1st x only)

ho - ma

— 216 —

I O L E T

PROMISE ME VIOLET (Reprise)

Cue: VIOLET: "You be careful." (Music) Cue out: VIOLET: "I've got to get back on the bus." (Dialogue cont'd.)

In 1 - Vamp til cue

bb 3 & b b b 4 ..

YOUNG VIOLET:

pull

FLICK: "...And I know where you belong, too."

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de 1

bbbb

b œ

Look else

F bbb œ b & b

Don't

n˙

back

nœ

n˙

where

FLICK: "No, Vi-oh-lett.

Give

Don't

the wings

nœ

˙.

œ œ

an an

n˙

shud - der

accel. poco a poco

You belong with me. 12

I wish you coulda... 13

n˙

gel

...seen the way you looked when you first stepped offa that bus.

b & b bbb

Freely (in 2)

I want - ed a

& bœ œ bœ œ œ

e-ven just

pair

bœ

the cheek bones

j œ bœ œ œ 3

of Gene Tier - ney

‰ j bœ œ bœ 23

but

n n n n n 44

14-17

3 j 4 Œ ‰ &4 œ œ œ œ bœ .

VIOLET: "All alone on the side of some goddamn mountain.

.. Œ

(Building)

j bœ Œ Œ ‰ œ bœ œ bœ œ œ œ bœ ‰ j bœ 21

eyes

and

œ œ bœ œ œ

A - va Gard - ner's eye brows

no-thing's changed it's too late now I'm

#29—Promise Me, Violet (Reprise)

In 4

bœ œ œ ˙ . go-ing home

4U 4 ‰ œj œ b œ .

ritard

3 & 4 bœ

nœ

Freely

bœ

3 4œ 27

œ œ

#4 4

bœ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 217 —

I O L E T

God

can't you leave

I'm sor-ry,

Steady 4 q = 88

# & 44 Œw 28

FLICK: ‰ . r œ œ œ ‰ . œr ˙ œ

# & œ œ œ

look at you,

& œ

you

j & œ œ œ ‰ œ œ

you can

look at me.

And

When

feel

œ bœ œ

bœ œ œ

bœ

you

œ œ œ

I'll find

the

words

#29—Promise Me, Violet (Reprise)

but

when

you

œ œ œ ‰ œj œ œ

be. Look at me,

44 Uœ

r œ

œ œ

were

'cuz

I've al - ways want - ed to

accel.

34 ˙

j œ

œ œ œ œ

œ ‰.

no-thing's changed

‰

with you

œ œ

you

Tempo

look at

you see the man

‰ j œ œ œ œ œ œ

œ œ

stay

You're not the girl

& œ œ œ

I know you

gan

look at me

you're diff - 'rent

Œ ‰. r œ œ

But Vi - oh-lette,

I can't

Uœ

Sweet Je - sus,

œ œ bœ œ to tell!

— 218 —

# # FLICK: & œ ˙. 44

tenderly

œ ˙

œ œ œ

j œ œ œ. œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

you

# & # Ó

How I love

‰ Jœ

‰ œJ œ œ

œ ˙ J

‰

œ J

is!

I'm gon - na

q = 102

A tempo - easy 4

through

You bet-ter mean this.

œ ˙ J

wait!

here

F j œ œ œ œ œ œ.

œ œ œ

lut.

j œ œ œ œ œ œ.

‰

Œ œ œ œ

œ œ ˙.

Like I pro-mised!

œ.

Care-ful now, Gra - dy,

# j j & # ‰ œ œ œ œœ œ

Pro - mise me, Vi

for a life - time

‰ œJ œ œ

near

œ.

IC N

œ.

I've been wait - ing,

How can I pro - mise?

un - til the wait

F # # ‰ VIOLET: j j & œ œ œ œœ œ &

and now you're so!

you,

you

All I want is

you

#29—Promise Me, Violet (Reprise)

œ œ

I've been

I've been wait - ing

‰

j œ nœ . bœ w 65

‰ œj œ œ œ

œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 219 —

I O L E T

wait - ing

# & # Œ

a - fraid

œ œ œ

to lose

scared to lose

you

‰ j œ œ œ

leave?

# œ & # Œ œ œ

sim - ply

# & # Ó

f ˙

see

fœ . ‰ Jœ œ œ . see

Slower (sturdy folk) q = 96

####

you

œ œ œ

for

œ ˙ J

œ œ œ

œ. œ ˙ J

- ply !

for some-one sim

the way that

œ.

the first one to

‰ Jœ œ œ

‰ ‰ j œ œ œ

œ.

nev - er

through

œ œ œ. œ œ œ ˙. I've wait - ed

know you'll

fall

for a life - time

to look and

IC N

œ œ

But may-be you're the one

˙.

I've been wait - ing

scared my plan would

œ œ

How will I

poco rit.

####

see

‰ Ó

YOUNG VIOLET:

œ œ.

Ma-ma,

œ œ œ

why's a man

œ œ œ.

have!!

#29—Promise Me, Violet (Reprise)

œ œ ˙ eyes

— 220 —

I O L E T

VIOLET: "Flick. What do you see when you look at me?"

œ œ œ

˙.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

#### F & œ œ.

Ma-ma,

####

tell

you don't

œ œ œ

why's a man

˙.

# # & # # œ œ.

ho - ney

you!

œ œ œ.

have!!

(FLICK kisses VIOLET's face) 86

tell

œ œ ˙ hands

œ œ œ œ œ œ œ œ œ

tell you don't

œ œ œ œ œ œ œ.

the bush - !!es

f Triumphant ‰ j œ œ œ œ œ œ Go ask

Lord,

your beau,!

24 œ œ œ. 89

and

wa-ter

œ.

you

j œ

un - der - stands,

4 œ 4˙ 90

the

tell

r œ

There's

well

Segue as one

#29—Promise Me, Violet (Reprise)

— 221 —

I O L E T

BRING ME TO LIGHT

# # # 4 Œ FLICK: œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ & 4

œ œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de 1

If I ask you to be

with me by!

and by

# # & # Œ 9

# # & # Œ

###

œ. œ

with the na - ked eye,

VIOLET:

œ œ œ œ œ œ

I hap-pen to stag

œ œ œ œ œ œ

FLICK:

I hap-pen to stag

j œ ˙

love

œ œ ˙ love

- ger and fall

œ œ œ

you help

Will

you help

œ . œj ˙

walk,

#30—Bring Me To Light

will you help me

to fight!

will you help me

to fight!

œ œ œ œ œ œ

be-hind,

œ œ œ œ œ œ

be-hind,

œ œ œ œ œ

ger and fall

love?

will you bring me to light?!

œ œ œ œ œ œ œ œ

Will

œ œ œ œ œ œ

If it's too dark to see

œ œœœ Œ

will you meet me to-night!

### Œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ &

‰

j œ œ nœ œ

will you ease

‰ Jœ œ œ œ œ œ œ

— 222 —

j #œ ‰ œ œ œ œ œ œ

I O L E T

j œ. œ ˙

Œ œ œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

###

mind,

will you bring me to light?!

# # j œ œ œ œ œ œ & # œ ‰ &

###

mind,

œ œ œ

EARL:

œ œ œ

I know

œ œ œ œ œ

& F

œ œ

œ œ œ œ œ

& Œ

OLD LADY:

œ . œj œ Œ

œ œ

Œ œ œ œ œ œ œ

& ˙. F

& Œ

Will you bring me to light?

VIOLET:

Œ œ œ œ œ œ œ

Will you bring me to light?

# FLICK: ˙.

j œ. œ ˙

will you bring me to light?!

Will you bring me to light?

I know

you will try

OLD LADY, YOUNG VIOLET:

œ ˙

I know

BUS DRIVER, EARL:

œ ˙

I know

œ œ œ œ œ you will try

œ œ œ œ œ œ

Will you bring me to light?

‰ j œj œ œ

j œ œ find

my way

‰ j j œ œ œ

j œ œ

find

œ œ

my way !

‰ j j œ œ œ

j œ œ

find

œ œ

my way

‰ j j œ œ œ

j œ œ

œ œ

to help me

+ FATHER:

to help me

#30—Bring Me To Light

find

œ œ

œ œ ˙ love

my way !

œ œ ˙ love

# & Œ

j œ n œ œ œ Œ ‰ œj œj œ œ ‰ œj œ

œ œ œ Œ ‰ j j œ œj ‰ j œ œ œ œ

j œj œ œ # # # # œ œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ˙

— 223 —

I O L E T

& & &

I won't

won't won-der why

œ˙

I won't

# #

won't won-der why

when nights are long If you'll hold

der why) unis. + LULA: Œ œ œ œ˙ b œœ n œœ œ œ Œ ‰ j j œ œj ‰ j Œ œ œ œ œ œ œ œ œ div. +MABEL:

(I!

œ˙

I won't

div.

####

Like a com - et that catch

œ œ œ œ #œ œ

PREACHER:

Like a com - et that catch

˙.

light

˙.

light

MEN:

when nights are long If you'll hold

won't won-der why

WOMEN:

it's

me till

it's

# ## j j œ œ œ œ œ # j œj œ œ # # # # œ œ me till

it's

me till

it's

GUY: # # j ‰ + CREEPY œ œ œ œ Œ ‰ j j j œ œ œj œ œj œ œ # # œ nœ œ œ œ œ œ œ œ

light

me till

+ MONTY: unis.

VIOLET: # # # # YOUNG œ œ œ œ œ #œ œ &

####

when nights are long If you'll hold

won't won-der why

I won't

won't won -

when nights are long If you'll hold

œ œ œ œ œ œ œ œ

es you by

Œ Œ

œœ œœ

#30—Bring Me To Light

œ œ œ œ œ œ

EARL:

Like a star in the night

œ œ

Hoo - oo

œ œ œ œ œ œ

MABEL:

Like a star in the night

sur-prise,

Hoo - oo

sur-prise,

œ œ œ œ œ œ œ œ

— 224 —

œ œ œ

OLD LADY, LULA:

I O L E T

œœ œœ œœ œ œ œ œ œ œ

œœ œœ œœ œœ œœ

œœ œ œ #œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

love

# # & # # œ &

####

œœ

Like a

œ œ

+ PREACHER:

Hoo-oo

œœ œœ

Hoo-oo

œœ

œœ œœ œœ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ

+MEN:

œœ œœ

œœ

Will you bring me

œ œ œ #œ œ

ba - by the first

time she

œœ

Will you bring me

pens

her

œ œ

pens her

eyes. Will you bring me to light

####

eyes. Will you bring me to light

# # & # # Œ

time she

+ YOUNG VIOLET:

+ WOMEN:

œ œ œ œ œ œ

love

ba - by the first

FATHER:

œ œ œ Œ

####

Like a

œœ

œœ . œj ˙ . œ ˙ J œœ .. œœj ˙˙ J . œœ . œœ

WOMEN:

œœ œœ œœ œ œ œ œ œ œ

Will you bring me to light

MEN:

œœ œœ œœ œœ œœ œœ

Will you bring me to light

. œœ œœ

accel. poco . a poco

cresc.

light,

œ Œ œœ œ . œœ œœ Œ

to light, .

to light,

cresc.

#30—Bring Me To Light

œœ œœ

j œœ .. œœ œœ œœ œœ . . J j œœ .. n œœ œ˙ œ œ . J

. œœ œœ Œ

œœ

to light,

. œ œœ Œ

to light,

œœ

New tempo q = 104

b b fb b b ww b & bb

j œœ œ . œœ n œ ‰ b œ œ œ œ œ

œœ œœ œœ œœ .. œ œ

unis.

œœ ..

œœ œœ œœ œœ Œ

œ. œ.

œ œ œœ œœ Œ œœ

43 div.

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 225 —

I O L E T

light

Left my trou - bles

b b b fb b b ww b & b

Left my trou - bles

b & b bbbb

there when I

j n œ b œ œœ œœ œœ # œ b œ ‰ œœ œ . œœ J

œœ œœ œœ œœ .. œ œ

light

back

there when I

climbed on

board

P 2 WOMEN: Ó ‰ œj œ œ . P Ó

And as I

3 WOMEN:

And

b & b bbbb œ œ œ œ . œ unis.

œ œ

Jor-dan River's where you'll

b b b b unis. b & b œ œ œ œ. œ

œ œ

find

unis.

It's wide, but not too wide to

œœ œ œ œ unis. œœœ ‰ j œ œ

div.

find

œ œ œ œ œ œ ˙

ford

3 MEN:

œ œ œ œ œ œ w

It's wide, but not too wide to

Jor-dan River's where you'll

œœ œœ œœ œœ ‰ œj œ

div.

#30—Bring Me To Light

ford

— 226 —

bb & b b bb ˙

‰ œj œ œ .

cresc. poco a poco

‰ œj œ œ .

f œ ‰ >œ >œ >œ J

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I O L E T

b & b bbbb ˙

And as I

cresc. poco a poco

long I want you

f> > > œ‰œ œ œ J

And as I

long I want you

f>œ >œ >œ 3 MEN: P cresc. poco a poco œ œ œ œ. œ œ œ œ œ œ 3œ œ œ œ œ. œ œ b b œ b œ œ œ . . . b ‰ œ œ ‰ R ‰ R R & bb J‰ As I'm go - in'

bb & b b bb w P cresc. poco a poco b & b bbbb œ ˙ .

a-long

As I'm go - in'

a-long

As I'm go-in' a - long I want you

f œ ‰ >œ >œ >œ J

I want you

Stately

with me

b & b bbbb œ b˙ .

bbb b œ ˙ b & b

with me

# #

with me

ƒ Œ n n œœ œœ œœ œœ œœ œ œ

œœ œœ œœ œœ œœ œ œœ

œœ

ƒ œ Œ n n œœ œœ œœ œœ œ œœ

œœ œœ œœ œœ œœ

œœ

WOMEN:

with me

div. b ˙˙ .. b b œ b &b b b

{If I tell you my heart

MEN:

{If I tell you my heart

#30—Bring Me To Light

has been o

pened wide

has been o

pened wide

œœ

VIOLET:

P ˙

jn œ. œ

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

— 227 —

I O L E T

& Œ œœ œœ œœ œœ œœ

˙˙ .

If I tell you I'm

œœ œœ œ œ œ Œ œ œ œ & #

If I tell you I'm

Più lento

side

w &w

fright

IC N

˙˙

fright

j œœ œœ œœ œœ œœ œ œœ œ J ‰

ened

hold

# ˙˙

j œœ œœ . Ó J .

j œœ ‰ œœ œœ # œœ œœ œœ œœ J

ened

P˙ ˙

hold

j œœ œœ .. Ó J

If I show you the dark - ness

˙w

w w

P YOUNG VIOLET: œ œ œ Œ œ Œ

Will you bring me

FATHER:

Will you bring me

#30—Bring Me To Light

light

# ˙˙ !

If I show you the dark - ness

side

n ˙˙

FLICK, MONTY:

œ.

j œ ˙

œ.

j œ ˙

n n

— 228 —

œ œ œ

ALL WOMEN: (except VIOLET)

&Œ

œ œ œ

œ.

I O L E T

j œ ˙

œ œ œ

+ VIOLET:

œ œ

bbb

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

&Œ

Will you bring me to light

œ œ œ œ œ œ

ALL MEN: (except FLICK, MONTY)

Will you bring me to light

b & b b ˙..

Fj œœ

b & b b ˙..

Fœ œ J

b &b b Ó

light

f> ‰ œœœ J

j œœ ˙˙

œœ ..

œœ ˙˙ J

Light

f >œœ ‰ Jœ

Hoo

P b ˙˙ ˙

Hoo

œœœ .. . œœ .. œ.

Light

P b ˙˙

j œ ˙

œœ ..

light

Maestoso

b &b b Ó

œ.

œ œ œ œ œ

+ FLICK, MONTY:

Will you bring me to

Più lento

œœ ˙˙ œ ˙ J

˙˙ ˙

Hoo

www

#30—Bring Me To Light

! !

Dictated

rit.

˙˙

molto rit.

œœ ˙˙ œ ˙ J

Hoo

Will you bring me to

U ww U www

N H U T R F VE Ü ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

31 I O L E T

#31—Bows: Let It Sing

— 229 —

BOWS: LET IT SING TACET

N H U T R VE FÜ ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

IC N

Music Theatre International 421 TWest Street MUSIC HEATRE54th INTERNATIONAL York, NY 10019 421New West 54th Street New Tel: York NY 10019 212-541-4684 (212)Fax: 541-4684 212-397-4684 www.MTIShows.com www.MTIShows.com

N H U T R VE FÜ ZU w MU R R R w A T w SI R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de