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8/10/2019 Always...Patsy Cline Script(2) http://slidepdf.com/reader/full/alwayspatsy-cline-script2 1/49 SCRIPT W by Ted Swind[ey Based on a true story Th i s hook is loaned and remains property of APC [nc. Revised 8 09 Not for sale. For professional use onl y. AU rented materia[ to be returned: APC, In c. 119 Larami e Drive San Antonio TX 78209 615-947 -5151 Licensing Agent Joan Kovats 203 - 978=0102 joan@teds\tvincl[eyproductions.com For more information www alwayspatsyccHne.com www. tedswindleyproductions.com © 1992 All Right s Reserved Print date l
49

Always...Patsy Cline Script(2)

Jun 02, 2018

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  • 8/10/2019 Always...Patsy Cline Script(2)

    1/49

    SCRIPT

    W by

    Ted

    Swind[ey

    Based

    on

    a true story

    Thi

    s hook is loaned and remains property

    of APC

    [nc.

    Revised

    8 09

    Not for sale.

    For professional use only.

    AU rented materia[

    to

    be returned:

    APC, In

    c.

    119

    Larami

    e

    Drive

    San

    Antonio

    TX

    78209

    615-947-5151

    Licensing

    Agent

    Joan Kovats

    203

    -978=0102

    joan@teds\tvincl[eyproductions.com

    For more information

    www alwayspatsyccHne.com

    www. tedswindleyproductions.com

    1992

    All Rights Reserved

    Print date

    l

  • 8/10/2019 Always...Patsy Cline Script(2)

    2/49

  • 8/10/2019 Always...Patsy Cline Script(2)

    3/49

    LW YS

    P TSY CLINE

    3/9

    (Publishing credits

    to be included

    in all Playbills)

    ONKY TONK MERRY GO ROUND

    tACK IN BABYS ARMS

    Fr

    ank

    S

    imon/Sta

    n

    Ga rdne

    r

    Sony

    /A

    TV

    Acuff

    Rose Music

    B

    ob Montgomery

    Cherry Lane

    Music Publishing

    Co

    ., Inc. (ASCAP)

    And on behalf of D

    imensio

    nal

    Songs

    of the

    Knoll (BMI)

    TIM

    ALKIN

    AFTER MIDNIGHT

    FALL TO PIECES

    T WASN'T

    GO

    D

    WHO

    MADE

    HO

    NKY TONK

    AN

    GELS

    :

    OMEON

    IN

    AND

    MAKE YOURSELF AT HOME

    { UR CHEATIN' HEART

    )TUPID CUPID

    {QU

    BELONG

    TO ME

    )AN

    ANTON

    IO

    ROS

    E

    J

    OVESICK BLUES

    )WEET DREAMS

    )HE S

    GOT YOU

    rHREE CIGARETTES

    IN AN ASHTRAY

    Herbert H

    appy Lawson

    Unichappel Music, Inc

    . (BMI)

    Don Hecht/Alan Block

    Sony

    /A

    TV Ac

    uffRose Music

    H

    ank

    Cochran/Harlan Howard

    Sony/A

    TV

    Tree P

    ublishin

    g

    JD Miller

    International Copyright Group,

    Inc.

    V.F. "Pappy" St

    ewart

    Sony/ATV AcuffRose

    Mu

    sic

    H

    ank

    W

    ill

    i

    am

    s,

    Sr.

    Sony/ATV AcuffRose

    Music

    Neil Sedaka/Howard Greenfie

    ld

    Screen

    EM Music Publishing

    King/Price/

    Stewart

    Rid

    geway Music

    Bob Wills

    Bourne Co. (ASCAP)

    Irvin

    g

    Mills

    /C.

    Friend

    Emi Mu sic

    Publi

    shing

    Don Gibson

    Sony

    /A

    TV

    Acuff Ro

    se Music

    Hank Cochran

    Sony

    /A

    TV

    Tree

    Publi

    sh

    ing

    Eddie Miller/WS Stevenson

    Sony

    /A

    TV Acuff Rose Mu

    sic

    Willie Ne

    l

    son

    Sony

    /A

    TV

    Tree Publis

    hing

    3

  • 8/10/2019 Always...Patsy Cline Script(2)

    4/49

    SEVEN LONELY DAYS

    IF

    I

    COUL

    D

    SEE THE

    WORLD

    T

    H

    ROUGH THE EYES OF

    A

    CHILD

    )

    JUST A CLOSER WALK

    BLUE MOON

    OF

    KENTUCKY

    GOTIA LOTIA

    RHYTHM IN

    MY

    SOUL

    SHAKE RATIL AND ROLL

    FADED

    LOVE

    HOW GREAT THOU

    ART

    TRUELOVE

    IF YOU VE

    GOT

    LEAVIN

    ON

    YOUR

    MIND

    BILL BAILEY

    Earl Schuman/Walden Schuman/Marshall Brown

    Music

    Sales, Corp.

    Sammy Masters/Richard Pope

    MCA Publi

    s

    hing

    (Traditional)

    Bill Monroe

    Integrated Copyright Group, Inc.

    Barbara

    Ann Va

    u

    ghn/WS

    Stevenson

    Sony

    /A

    TV

    Acuff

    Rose Music

    Cha

    rles Calhoun

    Unichappel Music

    , Inc

    BMI ) MIJAC

    Music

    BMIO

    J

    ohn Wills/Bob Wills

    Chappe ll

    Co.

    ASCAP)

    (Traditional)

    Cole Porter

    Chappell Co .

    ASCAP)

    Wayne

    Walker/Webb Pierce

    Polygram Intemati

    onal

    (Traditional)

    Please

    No

    t

    e: All

    Playbills

    must

    state

    the following: ALL RIGHTS RESERVED.

    USED

    BY PERMISSION.

    4

  • 8/10/2019 Always...Patsy Cline Script(2)

    5/49

    LW YS P TSYCLINE

    By

    Ted

    Swindley

    Revised 8/09

    CAST

    Patsy Cline-The legendary country singer, age 20-30

    Louise

    Seger-ATexas housewife

    and fan

    of Patsy Cline

    age 40-60

    The Bodacious

    Bobcats Band

    Joe Bob -piano

    Jim Bob-pedal

    steel

    guitar

    Billy Bob-lead guitar

    Jay

    Bob-bass

    Ray

    Bob-fiddle

    Bob

    Bob-drums

    SETTING

    The action

    o

    he

    play

    takes place at

    Louise's kitchen

    table and at various

    places

    from

    Patsy Cline's career, including The Grand Ole Opry, The Arthur

    Godfrey

    Show,

    The Esquire Ballroom, and a Houston radio station .

    The time is the

    past

    [circa 19

    57-63]

    to

    the

    present.

    Louise is sharing

    her

    memories of many years ago. Like

    her

    memories, Louise is timeless;

    stuck

    somewhere

    in the era of Patsy Cline's short but stellar

    career.

    Scenic Notes

    The

    band

    is upstage center on

    platforms. A

    smaller performance platform is

    center stage,

    just

    below the

    band. A circa 50's

    kitchen table and two

    chairs

    are downstage

    left

    of center. A table top

    radio

    and napkin

    holder filled

    with

    letters are on the table. A

    silver percolator,

    a tacky ashtray

    cigarettes

    in

    5

  • 8/10/2019 Always...Patsy Cline Script(2)

    6/49

    ladies cigarette

    pouch

    a box of tissues

    and

    a small

    trash can

    under

    the

    kitchen table. On downstage

    left

    there

    is a

    small bar table and chair

    a

    . jukebox

    and

    a

    barstool are on the far stage right.

    A

    period microphone [non-

    practical] bearing the

    logo

    of

    the

    Grand Ole Opry

    is

    downstage

    center.

    There

    is a

    set

    of steps

    leading into

    the

    audience.

    nstruments

    Drums

    Bass

    Electric Guitar

    Fiddle

    Piano

    Steel

    6

    .

    Preset:SR Table/chairs w/ radio, letters in holder,ashtrays, salt and pepper, cup

    SL Cafe table/stools

    In front of piano: stool w/beer bottle

    SR: Silver perc

  • 8/10/2019 Always...Patsy Cline Script(2)

    7/49

    ACTI

    [Pre-show music on

    tape plays

    in

    audience

    when house

    is open.

    Instrumental

    music from

    the period is "Bob

    Wills and

    the

    Texas

    Playboys".

    Pre-show music

    cross fades . The

    Band enters

    from

    the wings and plays an overture: a swinging version of T WASN T

    GO WHO MADE HONKY TONK ANGELS] Lights fade

    to

    black

    at the end of

    overture.

    A

    taped

    vo

    i

    ce

    o

    ve

    r

    [which can

    be

    take

    off of

    the

    Live

    Show

    Rehearsal

    CD] is

    heard

    in

    the darkness.

    VOICE-OVER

    [On

    tape]

    Well sir, friends, let's not keep you or

    me

    waiting any longer tonight. Let's have a

    swe

    ll

    Grand Ole

    Opry

    welcome for our special

    guest

    star,

    Miss Patsy

    Cline, Ladies

    and

    Gentlemen. [Music cue]

    [PATSY is seen

    standing at

    the Grand Ole

    Opry

    microphone.

    She wears

    a fancy

    cowgirl

    outfit

    and

    a

    neck scarf.]

    PATSY

    Howdy everybody, and

    welcome

    to

    the

    Grand

    Ole

    Opry

    Honky Tonk Meny -Go-Round

    PATSY

    I'M ON A

    HONKY TONK MERRY-GO-ROUND

    MAKING

    EVERY SPOT IN TOWN

    STARTING OUT EARLY, COMING

    HOME

    LATE

    EVERY

    NIGHT WITH

    A

    BRAND

    NEW

    DATE

    I'M ON A HONKY TONK MERRY-GO-ROUND

    ACTIN' LIKE A

    FOOLISH

    CLOWN

    STILL RACIN' THOSE BLUES THAT YOU LEFT WITH ME

    WONDERIN'

    IF

    I'LL EVER BE FREE

    ROUND AND ROUND AND ROUND

    I

    GO

    RIDIN' HIGH AND FEELIN' LOW

    ROUND AND

    ROUND

    JUST

    LIKE

    A

    TOP

    I'M

    GETTING DIZZY BUT

    I

    CAN'T STOP

    I'M ON A HONKY

    TONKMERRY-GO-ROill\TD

    ACTING

    LIKE

    A FOOLISH

    CLOWN

    STILL

    RACIN' THOSE BLUES THAT YOU

    LEFT

    WITH

    ME

    WONDERIN'

    IF

    I'LL EVER BE FREE

    [Instrumental Break]

  • 8/10/2019 Always...Patsy Cline Script(2)

    8/49

    [Spoken] Play it Hoss

    [PAUSE]

    I'm

    up

    here having

    a

    ball all by

    myself,

    ain 't

    ?[PAUSE]

    We're really cutting up

    tonight

    [PAUSE]

    ROUND AND

    ROUND

    AND ROUND

    I

    GO

    RIDIN' HIGH

    AND

    FEELIN'

    LOW

    ROUND AND

    ROUND JUST

    LIKE

    A

    TOP

    I'M

    GETTIN' DIZZY BUT

    I

    CAN'T STOP

    I'M ON A HONKY TONK MERRY-GO-ROUND

    ACTING LIKE A

    FOOLISH CLOWN

    STILL RACIN THOSE BLUES THAT YOU LEFT WITH ME

    WONDERIN' IF I'LL EVER BE FREE

    YES I'M WONDERIN' IF I'LL EVER BE

    FREE

    PATSY

    I

    never heard such

    a

    swingin' beat in all my

    life. Let's

    keep it in

    the same

    gear as that

    ,

    Ross.

    We'll see

    what kind of damage

    we

    can do tonight.

    [to aud

    i

    ence]

    Howdy everybody

    [audience says "Howdy"]

    Oh

    it's good to

    see

    you

    all

    and

    it

    sure

    is

    good

    being

    back here

    on this old

    stage.

    So

    now I'm gonna

    sing

    a

    little

    song about being back

    where

    I

    belong.

    You tell me if you recognoz' it

    B CK IN BABY S ARMS

    PATSY

    I'M

    BACK

    IN BABY'S ARMS

    HOW

    I

    MISSED THOSE LOVIN' ARMS

    I'M BACK WHERE

    I

    BELONG

    BACK

    IN

    BABY'S

    ARMS

    DON'T KNOW WHY WE

    QUARRELED

    WE

    NEVER DID BEFORE

    SINCE

    WE FOUND OUT HOW IT HURTS

    I'LL

    BET WE NEVER

    QUARREL

    ANYMORE

    I'M

    BACK

    IN BABY'S ARMS

    HOW

    I

    MISSED THOSE

    LOVING ARMS

    I'M

    BACK WHERE I

    BELONG

    BACK IN BABY'S ARMS

    [Key

    Change]

    [Spoken]Pl

    ay

    that music boys.

    THOUGHT I

    DIDN'T NEED HIS

    LOVE

    'TIL HE TOOK IT AWAY

    AY AY

    NOW

    I'M

    BACK WHERE I BELONG

    AND IN MY BABY'S ARMS

  • 8/10/2019 Always...Patsy Cline Script(2)

    9/49

    I'M

    GONNA

    STAY

    I'M BACK

    IN BABY'S ARMS

    HOW I MISSED THOSE LOVING ARMS

    I'M BACK WHERE

    I

    BELONG

    BACK IN BABY'S

    ARMS

    BACK IN BABY'S ARMS

    BACK

    IN

    BABY'S

    ARMS

    [Band

    segues

    into "Anytime"

    which

    is played

    at the

    same tempo as Back in Baby's

    Anns.]

    NYTIME

    PATSY

    ANYTIME YOU'RE FEELING LONELY

    ANYTIME YOU'RE FEELING

    BLUE

    ANYTIME YOU FEEL DOWN-HEARTED

    THAT WILL PROVE YOUR LOVE

    FOR

    ME IS TRUE

    ANYTIME YOU'RE

    THINKING

    'BOUT ME

    THAT'S THE TIME

    I'LL

    BE

    THINKING

    OF YOU

    SO ANYTIME

    YOU SAY

    YOU WANT ME BACK AGAIN

    THAT'S

    THE

    TIME

    I'LL COME

    ON

    HOME

    TO YOU

    [In

    strumenta

    l

    break]

    PATSY

    This

    is

    the

    sweetest music this

    side of

    heaven

    [LOUISE ent

    er

    SL

    with coffee cup,

    crosses to SR kitchen

    chair, turns

    on

    radio

    and li

    stens

    to

    Patsy

    singing. She is dressed in slacks, possibly

    Western

    boots, and a colorful loose

    fitting Western style

    sh

    irt. Her

    hairstyle is

    reminiscent

    of

    the teased look

    of

    the 60's-

    apperaring

    to

    be stuck

    in time.]

    PATSY

    ANYTIME YOU'RE

    THINKING 'BOUT ME

    THAT'S THE TIME

    I'LL

    BE

    THINKING

    OF YOU

    SO

    ANYTIME

    YOU SAY

    YOU WANT ME BACK AGAIN

    THAT'S THE TIME I'LL COME ON HOME

    TO

    YOU

    THAT'S

    THE

    T

    IME I'LL COME ON HOME

    TO YOU

    [Spok

    en]Oh I l

    ove ya Thank you so

    much

    [PATSY exits SL

    A

    band member strikes the

    .

    Grand Ole Opry microphone]

    9

    Band

    member

    strikes mic

  • 8/10/2019 Always...Patsy Cline Script(2)

    10/49

    LOUISE

    [Turns off the radio and

    addresses

    the audience.]

    Now

    the

    first time I ever heard Patsy

    Cline sing it wasn't on

    the

    Grand Ole Opry. No,

    the

    first

    time

    I ever heard Patsy

    Cline

    sing she was in my li

    vin' room

    and I

    was

    in the kitchen. That

    was

    in

    January, 19

    and

    57.

    See,

    I was never a

    big

    fan of he

    Arthur

    Godfrey Show, [as

    Arthur Godfrey] "How are

    ya?

    How are ya?"

    Yuk But my kid

    s, Donna

    and Da

    vid, they were t

    hr

    ee

    and

    five, Lord,

    they

    were. Just

    about

    every morning there

    they'd be waitin'

    for the

    Arthur Godfrey

    morning

    show . I

    was

    usually right

    here in

    the

    kitchen

    doing

    the

    breakfast

    dishes,

    see.

    We had this big ol' Muntz black and white TV, and

    they'd

    lie there in the livin' room

    with

    their feet stuck undemeath it staring straight up. [LOUISE

    does

    a

    pose

    as one of

    the

    kids

    staring

    up

    at the

    TV]

    Well this particular

    mornin', I was doin' the dishes, as usual,

    but

    subconsciously I was listening to

    that television.

    When all of a

    sudden

    I heard this

    voice

    that absolutely stopped

    me

    in my tracks. I

    said,

    My God, that sounds like

    I'

    ve always

    wanted to sing." So, I threw

    the

    spoons

    and forks in the

    kitchen sink

    and

    went tearing

    into

    the

    living room to

    see who it

    was.

    I

    said, "Get

    outta

    my

    way kid

    s

    ."

    and

    I

    looked

    and there was this

    chunky

    little country g

    irl

    leaning

    back and

    leadin'

    into a wonderful

    country

    song

    called

    "Wa

    lkin' After Midnigh

    t

    and I'll tell

    yo

    u I

    ha

    ve never

    heard

    a

    voice that

    impressed me so.

    [Music cue]

    [PATSY enters SL

    to DSL

    in a stylish 50's style

    cocktail dress

    , full skirt,

    with

    neck scarf

    LOUISE

    acts like she's

    watching her

    on the TV]

    WALKIN

    FTER

    MIDNIGHT

    PATSY

    I GO

    OUT

    WALKIN' AFTER MIDNIGHT

    OUT IN THE MOONLIGHT JUST LIKE WE USED TO

    DO

    I'M

    ALWAYS W

    ALKIN'

    AFTER

    MIDNIGHT

    SEARCHIN'

    FOR

    YOU

    I WALK FOR MILES ALONG THE HIGHWAY

    WELL

    THAT'S JUST

    MY WAY

    OF

    SAYING

    I

    LOVE YOU

    I'M

    ALWAYS W

    ALKIN'

    AFTER

    MIDNIGHT

    SEARCHING FOR YOU

    I STOP

    TO SEE

    A

    WEEPING

    WILLOW

    CRYING ON HIS

    PILLOW

    MAYBE

    HE'S CRYING FOR

    ME

    AND

    AS THE

    SKY TURNS GLOOMY

    NIGHT

    WINDS

    WHISPER

    TO ME

    I'M LONESOME AS I CAN BE

    I

    GO OUT

    W

    ALKIN' AFTER MIDNIGHT

    OUT IN

    THE

    MOONLIGHT JUST

    HOPIN'

    YOU MAY BE

    SOMEWHERE

    OUT WALKIN' AFTER

    MIDNIGHT

    1

  • 8/10/2019 Always...Patsy Cline Script(2)

    11/49

    SEARCHIN'

    FOR

    ME

    I STOP TO

    SEE

    A WEEPING

    WILLOW

    CRYING

    ON HIS PILLOW

    MAYBE HE'S

    CRYING FOR

    ME

    AND AS THE

    SKY TURNS GLOOMY

    NIGHT

    WINDS WHISPER TO ME

    I'M

    LONESOME

    AS

    I

    CAN

    BE

    [KEY

    CHANGE]

    I GO OUT WALKIN' AFTER MIDNIGHT

    OUT IN THE MOONLIGHT

    JUST

    HOPIN' YOU

    MAY

    BE

    SOMEWHERE OUT WALKIN'

    AFTER MIDNIGHT

    SEARCHIN

    ' FOR ME

    [PATSY bows

    excitedly

    and exits

    SR]

    LOU ISE

    That TV audience went wild.

    Then Godfrey

    said, "Well, little

    lady,

    I

    hope

    that record

    sells

    like hotcakes."

    And

    then Patsy said,

    "I just hope it

    sells

    like

    records." And it did

    Well, she must have been on

    that

    show

    every

    morning for

    about

    two

    weeks,

    and every

    morning you

    would

    find me and those kids

    right

    in front of that TV, waiting. [She does

    the "

    TV

    pose"

    again as i

    she

    is watching

    the TV staring

    up

    , just

    like

    the kids,

    mesmerized] One

    day,

    Godfrey said

    "Now here's

    a little girl

    from

    Virginia that I

    think

    you're

    going

    to

    be hearing a lot from." Then

    she

    just dropped out of sight. But I never

    forgot that voice and

    I

    never forgot

    the

    feeling

    it

    gave

    me.

    [LOUISE crosses behind

    chair

    and

    pours

    coffee]

    By

    1961,

    I was

    divorced,

    Yahoo ,

    hallelujah

    [To audience member]Yeah, I bet some of

    y'all know that feelin' And I had taken a job as an electronics technician.

    Well,

    we can't

    all

    be

    hairdressers Anyway, the man I worked

    for

    loved country music, and he used

    to

    keep

    the radio in the

    lab

    tuned

    to KIKK,

    one of

    our

    leading

    country music stations in

    Houston,

    kinda

    like

    [local

    sta

    tion] is

    here.

    Are y'all from around here?

    Anyway, one day I

    was

    doing

    my

    work,

    as usual, but su conscious ly I was listening

    to

    that

    radio

    .

    When

    all of a

    sudden

    I

    heard

    that

    voice

    aga

    in

    and

    it

    absolutely

    stopped

    me in

    my tracks.

    Well

    they

    didn't

    say who it was, so I called the radio

    station

    to find out and

    they

    said,

    "That was

    Patsy

    Cline singing "I

    Fall

    to

    Pieces." Well, I called Hal HatTis, the

    local

    disc jockey, right while he

    was

    on

    the

    air

    [LOUISE

    crosses

    SL

    with coffee

    cup] and

    I said, "HEY [Very Bossy],

    you

    play that

    one

    again

    for

    me.",

    and

    he

    did.

    [Music cue]

    [PATSY

    enters wearing casual

    pants

    and sweater. SR

    to

    platform behind radio OR stands

    on the

    band

    platform

    near

    the

    piano.

    There

    is

    a special "glow" on the

    table

    top ,

    radio-

    lighting special. LOUISE sits on SL steps]

  • 8/10/2019 Always...Patsy Cline Script(2)

    12/49

    F LL

    TO

    PIECES

    PATSY

    I FALL TO

    PIECES

    EACH

    TIME

    I

    SEE YOU

    AGAIN

    I FALL TO

    PIECES

    HOW CAN I BE JUST YOUR

    FRIEND

    YOU

    WANT

    ME

    TO

    ACT

    LIKE

    WE'VE

    NEVER

    KISSED

    YOU

    WANT

    ME TO

    FORGET

    PRETEND WE'VE NEVER MET

    AND

    I'VE TRIED

    AND

    I'VE

    TRIED

    BUT I HAVEN'T YET

    YOU WALK BY AND I FALL TO

    PIECES

    [PATSY

    remains

    in place as LOUISE crosses

    to

    SL kitchen chair-Band

    underscores

    the

    following]

    LOUISE

    Patsy's music made

    me feel

    so alive every time I heard it. I nearly worried that poor man

    at the radio station half

    to death.

    I'd call him every afternoon four or five times a day and

    everyday

    he'd

    say, "Louise, I just played your

    song

    . , and

    I'd

    say,

    "Well,

    flip her over and

    play the other side and in

    an

    hour

    play

    my

    song again." And he did . [She sits]

    PATSY[Resumes

    Song]

    I FALL TO PIECES

    EACH TIME SOMEONE SPEAKS

    YOUR

    NAME

    I

    FALL

    TO

    PIECES

    TIME

    ONLY

    ADDS

    TO THE FLAME

    YOU

    TELL

    ME TO FIND SOMEONE ELSE TO LOVE

    SOMEONE WHO'LL

    LOVE ME TOO

    THE

    WAY

    YOU

    USED TO

    DO

    BUT EACH TIME I GO OUT

    WITH SOMEONE

    NEW

    YOU

    WALK BY AND I FALL TO PIECES

    YOU WALK BY AND I FALL TO PIECES

    [PATSY

    exits

    SR]

    LOUISE

    Well, this

    went

    on for about

    tvv o

    months. That disc jockey,

    Hal

    Harris thought I was

    wacky,

    I

    was so

    wrapped

    up in

    Patsy Cline

    'cause I never

    asked

    for

    anybody

    else .

    Well

    one day

    I called in my request,

    as

    usual,

    and

    he said, "Oh, incidentally,

    she's corning to

    town." I

    said,

    "What?" He said, "That's right. She's going

    to be

    over at the

    Esquire

    Ballroom next Friday night." Well the Esquire Ballroom is this big, bam-like structure

    out on the

    Hempstead

    Highway.

    Y'all ever been

    to one of

    those big old hanky tanks?

    (pause for

    audience

    reaction) Well, I see some ofy'all

    don't get

    out much ,

    do

    you? Must

    be

    Baptists Anyway, I told my

    boyfriend

    , I

    said,

    "Patsy Cline's

    coming to

    town and

    we're going."

    He

    said,

    [note: Louise affects a big, dumb "Bubba"

    type voice

    for her

    12

  • 8/10/2019 Always...Patsy Cline Script(2)

    13/49

    boyfriend.] "Who the hell is Patsy Cline?'' I said, "Don't you worry about that you're

    going to

    find

    out." My boss said he

    kinda

    liked her , he

    thought

    he'd like to go too. I said,

    "Great.

    I'll

    call

    and

    get

    reservations." Well I found out

    you

    don't just call and get

    reservations. You just go tromp

    in'

    in out there and pick you out your own damn table.

    So

    I told my

    bunch,

    I said,

    "We're gonna get

    there early ,

    we're gonna

    wear our

    western

    clothes and we're

    gonna

    get there

    at

    6:30." My boyfriend said , "For Cryin' in a bucket,

    Louise,

    the

    band don't even start until 8:00." I said, [emphatically] "I DON'T CARE,

    WE'RE

    GONNA

    BE

    THERE AT 6:30." Sometimes

    you just

    have to

    ta

    lk

    to

    them

    that

    way.

    That

    night I wore yellow

    boots and

    a

    yellow

    and black cowgirl

    skirt,

    and it fit me

    like a g

    lo

    v

    [She

    models proudly

    and

    very sexily, particularly rubbing her bottom

    and

    teasing with a naughty little wiggle of

    her

    behind . Then

    she

    turns to another part of the

    audience] Y'all see

    that over

    there? [She does the

    same modeling routine again

    for the

    benefit of those who have

    missed her

    naughty wiggle] Well it did, just like a glove.

    Anyway, we all piled into

    my SEXY

    DUDE, that's what I call

    my

    pink and black Pontiac.

    [LOUISE crosses

    DR]

    And

    we

    went toolin'

    on

    out there.

    [She "tools"-posing

    com

    icall

    y with attitude

    and

    moving as if she was

    driving

    a

    big car

    - and

    backs up]

    I tool real

    good.

    Let me

    do

    it

    again. [She does]

    We

    went toolin' on out there [as

    she

    moves across the stage the

    drurruner

    accompanies her moves with a comedic bump and grind rhythm]. Well I

    want

    you

    to

    know we

    got out there

    and

    there

    was not

    another car

    in that

    parking

    lot. I'm

    talking four acres

    of blankness. I told my bunch , "Well, hell ,

    at

    least I

    got

    us a good

    place to park." When we went stomp

    in'

    in out there, they were still cleaning

    the

    place,

    except for the people

    at

    the

    bar

    we were the only

    ones

    there. [Band members raise a beer

    bottle, toasts

    Louise

    and takes a swig of beer]

    When

    we went across that wooden floor

    you could hear our boots just a' hollerin'.

    [LOUISE crosses to

    SL

    bar table

    and

    sits]

    Well I picked us out a table right in front of he bandstand. My boss said, [note: Louise

    affects a voice

    for her

    boss

    as

    a high pitched nasal

    old

    man.] "Damn, Louise,

    we won't

    even

    be able

    to

    hear

    oursel

    ves talk

    . I

    said,

    "HEY - we

    did

    not

    come here

    to hear

    ourselves talk. We come here to hear Miss Patsy Cline." [LOUISE

    takes

    a sip of beer

    from the bottle on the

    table]

    We'd been sittin' there

    about 15

    minutes all engrossed in

    beer talk when I saw this girl come in across the way .

    [PATSY

    enters through

    the

    audience to

    the

    stage

    and

    crosses

    to the jukebox, humming

    LOUISE focus

    on PATSY.

    Patsy wears

    a tan raincoat,

    pink

    suit,

    white

    high heels, and

    is

    carrying a purse.]

    She was

    wearing a

    tan

    raincoat

    and

    white high-heeled pumps.

    She

    just stood there

    lookin

    g

    at everything.

    She looked

    at

    the

    walls,

    she

    looked at

    the ceiling, she

    looked at

    13

  • 8/10/2019 Always...Patsy Cline Script(2)

    14/49

    the band-stand. Hell I thought she might be an

    agent

    the way

    she was

    checkin'

    th

    e place

    out.

    n a

    little

    bit

    she

    started walkin' around hummin',

    kinda

    singing,

    like she was

    trying

    to

    get

    the feel of the place. Then in a little bit she walked across the dance floor and sat down

    by the juke box. [PATSY sits on the bars

    tool]

    She looked so lonesome sitting

    there.

    I

    was

    the

    only one

    watching

    her

    nobody

    else

    was

    paying

    her

    any

    attention

    at

    all.

    IT

    WASN T GOD WHO MADE HONKY TONK NGELS

    PATSY

    AS I SIT HERE

    TONIGHT

    THE JUKEBOX

    PLAYING

    THOSE TUNES

    ABOUT

    THE WILD SIDE

    OF LIFE

    AS I LISTEN TO THE WORDS THEY

    ARE

    SINGING

    IT BRINGS MEMORlES WHEN I WAS A TRUSTING WIFE

    IT

    WASN'T GOD WHO MADE HONKY TONK

    ANGELS

    AS

    YOU SAID IN THE WORDS OF YOUR SONG

    TOOMANYTIMESMARRffiDMEN

    THINK

    THEY'RE

    STILL

    SINGLE

    THEY HAVE CAUSED MANY A GOOD GIRL TO GO WRONG

    [Band continues musical underscoring as Louise speaks.]

    LOUISE

    She took off h

    er

    rain coat [PATSY does so] and laid it on the back of the chair.

    She

    had

    on a pale pink

    two-piece

    cotton suit. Well something

    in my

    mind

    went DING DING

    DING

    Why,

    it

    was

    ju

    st

    like our

    minds

    were

    talking

    to

    one

    another,

    like

    she

    was

    saying,

    "Hello,

    I'm Patsy Cline, who are you?" As I looked at her sitting there in that nearly

    empty ballroom I wondered what that honky-tonk merry-go-round life ofhers is really

    like. [Louise watches

    Patsy intently]

    PATSY

    [Without noticing

    Louise]

    IT'S A SHAME THAT ALL THE BLAME IS ON US WOMEN

    IT'S NOT TRUE THAT ONLY YOU MEN FEEL

    THE

    SAME

    FROM THE START MOST EVERY

    HEART

    THAT WAS

    EVER BROKEN

    WAS

    BECAUSE

    THERE ALWAYS

    WAS

    A

    MAN

    TO

    BLAME

    LOUISE

    Amen

    Sister

    PATSY

    IT WASN'T GOD WHO MADE HONKY

    TONK

    ANGELS

    4

  • 8/10/2019 Always...Patsy Cline Script(2)

    15/49

    AS

    YOU SAY

    IN

    THE

    WORDS

    OF

    YOUR

    SONGS

    TOO MANY TIMES MARRIED MEN

    THINK THEY'RE

    STILL SINGLE

    THEY HAVE CAUSED MANY A GOOD GIRL

    TO

    GO

    WRONG

    LOUISE [Sings]

    SHE'S ON A HONKY-TONK MERRY-GO-ROUND

    LOUISE

    So I punched

    my bunch

    and said, "Do you know

    what

    that is

    at

    that jukebox

    over

    there?"

    My boss said,

    "Naw,

    Louise, what is that?" I said, "That is

    Miss

    Patsy Cline." My

    boyfriend sa id, "For cryin ' in a bucket, Louise, the band doesn't even start until

    8:00."

    I

    said, "I don't care.

    See

    in my heart I knew I was right so I said, "Alright, just a minute."

    My

    boss said, "Damn, Louise, don't go making a

    fool

    out

    o

    yourself." I said,

    "HEY

    , a

    fool I am

    and

    a

    fool

    I shall always be . So I just picked myself up [LOUISE hoists her

    bosom up

    and

    makes a

    bee

    line

    to PATSY,

    but then approaches her

    very timid

    l

    y]

    and I

    walked right on over to her, I said, Excuse me , Miss Cline." She looked at

    me,

    smiled ,

    and

    said,

    [PA

    TSY

    look

    s

    up]

    PATSY

    Yes?

    LOUISE [excitedly, a

    lmost

    forgetting her own name. Patsy extends her hand for a

    handshake, which Louise shakes rather exhuberantly]

    I said 'My name's Louise and I just want

    you

    to know how

    fond

    I am of your music. Why

    I have "I

    Fall

    To Pieces" played every

    day

    on the

    radio

    for me .

    And

    I'm over

    here

    at this

    table with some friends

    o

    mine [Looks threateningly at table], big fans

    o

    yours also,

    [Then to Patsy]

    and

    I

    wa

    s wondering, i

    you

    don't mind

    and

    if

    you have

    the time,

    cou

    ld

    you

    just stop

    by

    our table

    and

    say hello?' [To audience]

    Now

    y'alllisten up, 'cause y

    ou

    ain't

    gonna believe

    wh

    at she

    said

    next.

    PATSY

    Well, why don't I just come over

    there

    and sit with

    y'all?

    LOUISE [Screaming and almost fainting]

    I

    said

    'OH MY GOD, WE WOULD BE

    THRILLED ' And

    you know what? Patsy was

    just as much "us"

    as

    we

    were. Patsy, come

    on

    over and sit down with us.

    [PATSY

    deposits

    as

    dime in th

    e jukebox Music

    cue]

    PATSY

    Well help

    me

    out

    with

    this

    song

    first.

    [During song, PATSY and

    LOUISE

    work both si

    des

    o

    stage LOUISE sings chorus,

    claps

    and gets

    audience

    to also

    ]

    15

  • 8/10/2019 Always...Patsy Cline Script(2)

    16/49

    COME ON IN [ ND SIT RIGHT OWN

    PATSY

    NOW COME

    ON

    IN AND SIT

    RIGHT

    DOWN

    AND MAKE

    YOURSELF

    AT HOME

    IF I HAD ONE WISH I

    WISH

    I COULD

    GO

    BACK

    TO MY OLD

    NEIGHBORHOOD

    WHERE THE

    GOOD

    FOLKS THEY ALL LOVE YOU

    AS

    THEIR

    OWN

    THEN I'D GO OVER TO MY

    NEIGHBOR'S

    HOUSE

    KNOCK ON THE DOOR AND THEY 'D ALL SING OUT

    PATSY LOUISE/BAND

    MEMBERS

    COME ON

    IN

    AND

    SIT

    RIGHT DOWN

    AND MAKE YOURSELVES AT

    HOME

    LOUISE [Clapping hand , working

    the

    audience]

    Y'all put your hands together now. Help me out.

    PATSY

    I'D

    SING THEIR PRAISES

    LONG

    AND LOUD

    '

    CAUSE THEY'RE

    ALL MY FOLKS

    AND I'M

    MIGHTY

    PROUD OF

    THE

    LITTLE OLD

    TOWN

    BACK HOME

    WHERE I WAS BORN

    I WISH THAT I COULD HERE

    THEM SAY

    IN THAT GOOD OLD

    FASHIONED

    WAY

    PATSY

    LOUISE/BAND MEMBERS

    COME ON

    IN AND

    SIT RIGHT DOWN

    AND MAKE YOURSELVES

    AT HOME

    PATSY

    [Noticing audience

    members]

    Hey, here're some nice looking folks over here. Come on over and say hello

    to

    them ,

    Louise

    [LOUISE and PATSY trade sides]

    LOUISE

    [goes into the audience]

    All

    right. Hey

    ya'll

    It's good

    to

    see ya [Goes

    to

    couple]

    Is

    that you're

    wife?.... You're

    a liar [To another couple] I bet

    that's

    your second husband ... Yeah-he

    wouldn't

    have

    been

    my

    first choice neither [NOTE: If the woman asked the question nods that it

    is

    her

    first husband, Louise

    simply

    adjusts

    the

    line

    and says, "Well

    honey,

    he

    sure wouldn't

    have

    been my

    first

    choice " To husband

    or

    date:" Just kidding,

    Pumpkin "]

    Hey

    Patsy, I got

    an

    idea. We're gonna have us a

    sing-along

    [to audience]. Yeah we want

    to

    make sure

    you

    get your money's

    worth.

    Patsy's

    gonna

    sing

    the

    verse

    and

    we 're all

    gonnajoin

    in

    on

    the

    chorus . Just

    watch

    me-it 'ain't

    hard

    WATCH

    ME

    6

  • 8/10/2019 Always...Patsy Cline Script(2)

    17/49

    PATSY

    NOW

    THEY DON'T LOCK THEIR DOORS AT

    N1GHT

    CAUSE

    THEY ALL KNOW THEY'RE

    A'

    DOIN' RIGHT

    AND

    THE GOOD LORD'S BOUND TO HAVE THEM

    FOR

    HIS

    OWN

    IF I'D GO BACK TO HEAR THEM PRAY

    IN THE

    LITTLE PINE

    CHURCH I'D HEAR THEM SAY

    LOUISE

    Get ready

    PATSY. AUDIENCE, BAND. LOUISE

    COME ON

    IN

    AND

    SIT

    RIGHT DOWN

    AND MAKE

    YOURSELF

    AT HOME

    [PATSY

    and Louise meet

    CS]

    LOUISE

    All

    right, Patsy, do-si-do wit

    h

    me.

    [They

    do-si

    -do ]

    PATSY

    WHEN I WAS A CHILD

    OF

    ONLY

    THREE

    I

    SAID MY PRAYERS AT MY MOTHER'S

    KNEES

    AND I KNEW

    RIGHT

    THEN FROM GOD I'D NEVER ROAM

    WHEN I

    HEAR

    THE SUMMONS ON JUDGEMENT

    DAY

    I

    HOPE

    I

    CAN

    HEAR

    MY SAVIOR

    SAY

    PATSY/LOUISE/BAND MEMBERS/AUDIENCE

    COME ON

    IN AND SIT

    RIGHT DOWN

    AND

    MAKE YOURSELF

    AT

    HOME

    LOUISE

    SING

    [Loudly to the audience]

    PATSY/LOUISE/BAND

    MEMBERS

    /AUDIENCE

    COME ON IN AND SIT

    RIGHT DOWN

    AND

    MAKE YOURSELF

    AT

    HOME

    [end of

    song]

    [PATSY

    exits SR taking

    raincoat

    LOUISE watches PATSY exit

    then

    looks up

    prayerfully]

    LOUISE

    [Looking

    heavenward

    and speaking quietly]

    7

  • 8/10/2019 Always...Patsy Cline Script(2)

    18/49

    Lord .....take

    me

    now [Then to audience]

    Y'all

    did pretty good. But some of you were

    not singing. I'll get you later, you know I

    will

    ,

    too

    Well, my

    friends

    nearly fell off

    o

    their

    chairs.

    Patsy come over and sit

    down and ordered

    a Schlitz. Why in no time

    at

    all

    we were talking

    to

    one

    another

    like we'd

    known

    each

    other

    all

    o

    our lives, she was

    no

    stranger to us . Well in a little bit she looked around and said, "This is a

    damn

    big place

    isn't it?" I said,

    "Yes

    ,

    ma'am

    , it surely

    is

    and

    it's gonna

    be jam packed pretty soon . I

    called her ma'am because

    she

    was a star,

    to

    me she

    was

    the biggest star in the world.

    Well that

    was the

    beginning

    o

    he

    evening and by

    the

    end

    o

    the

    evening

    it

    was

    "Hey,

    gal ",

    and we

    shared

    every

    secret either

    one

    o us

    had

    ever

    known. You know

    , a secret's

    no fun unless you

    tell

    somebody After a

    while

    , Patsy

    asked me

    if I

    knew anything about

    the band . I told her,

    [Referring

    to he boyfriend's constant comment]"Well, I know the

    band starts at 8:00."

    She

    said she was

    worried about

    if hey knew her music. I

    said,

    "Well

    surely

    they must."

    She said she wasn't too sure about that, then she wanted to know if I knew her music. I

    told

    her,

    "Yes ma'am , every word and beat

    o

    it." Then she asked me i I would do her a

    favor. I told

    her,

    "Yes ma'am I surely

    would

    if I

    could.

    What is it?"

    She wanted

    to

    know

    i I would go up there

    and

    stand

    by

    the drummer and make sure he didn't rush her and I

    told her,

    "YES

    MA'AM, I COULD SURELY DO

    THAT."

    And she

    seemed

    greatly ...

    RELIEVED.

    [Louise crosses to bandstand]

    After a

    while Patsy

    was checking out

    the

    bandstand and I asked her, I

    said,

    "How long

    are

    you gonna sing?" She said

    she

    reckoned she'd sing

    with

    them all evening. I said, "You down

    here

    by

    yourself?"

    She

    told

    me

    she was, said it was

    the

    first time she'd been

    away

    since

    her

    baby had been born

    back

    in

    January. I said, Ifyou don't mind

    me asking

    , how

    much

    are they paying

    you?"

    She told me $350 dollars. I

    said,

    "Wait just a damn

    minute

    here. You mean to

    tell me

    a

    big star like yourselfwith a number one hit record on the radio is gonna stand

    up

    there

    and sing

    for four and

    one

    half hours with

    only one

    fifteen

    minute

    break.

    She said nobody

    told

    her any

    different. I

    said,

    "You

    come

    with

    me." My

    boss

    said,

    "Damn,

    Louise. Don't

    go making a fool out of yourself." I

    said,

    "HEY, my daddy was a musician. I know about

    these things." [Louise crosses

    DR]

    So I grabbed Patsy by

    the

    arm and

    we

    marched

    right

    straight to that manager's office

    [She marches to

    another area of

    the

    stage . The drummer

    gives her a proper

    military

    accompaniment]. I said, "Hello,

    this is

    Miss

    Patsy

    Cline and

    I'm

    her

    manager and

    we want to know what time

    her

    shows are."

    He said,

    [Note: Louise

    affects

    the

    bar manager's speech in a

    gruff,

    good old boy

    country

    voice chewing and

    spitting tobacco as

    he

    talks.] "Well the band stmts at..." I said , "I

    know

    what time the

    damn band starts

    but

    we want to know what time her shows are. We figured two shows

    was

    about right. He said that sounds pretty fair to me, how about one at 9:30 and

    one

    at

    11:30?

    We

    told

    him

    that

    would

    be

    just

    fine "

    [LOUISE sits at

    the Bar

    table]

    And

    we

    busted out laughing all the way back to our table cause

    we

    knew we had put

    somethin' over

    on

    that

    man [She

    toasts

    the

    band and

    they

    toast

    Louise and

    take a swig of

    beer]. See, I

    tell

    you I was fond of that lady and I

    didn't

    like the idea of her

    standing up

    8

  • 8/10/2019 Always...Patsy Cline Script(2)

    19/49

    there and singing all evening. Besides, I wanted to

    talk

    to her and I couldn't let those

    people

    have her all night. Well the band finally

    got

    there

    at...

    [LOUISE turns

    to

    audience

    to

    get

    them to say

    8:00 ] o

    9 o'clock. ..

    Patsy handed out

    her

    charts

    , and we went

    ahead as we had planned.

    [Arpeggio intro .

    Immediately

    begins and

    underscores

    all of the

    following bu

    s

    iness.]

    [PATSY

    enters SL

    to CS

    platform wearing a sequined cocktail

    dress

    .

    Louise

    runs

    on

    to

    the

    bandstand and positions herselfnext

    to the

    drummer. She a

    nd

    Patsy nod

    to

    each other

    with an

    okay

    sign. LOUISE

    instruc

    ts

    the

    drummer

    as to the

    correct

    rhythm

    and gets

    into the music; it is

    very

    burlesque. Louise's physical moves

    are

    big

    and bold

    giving

    them

    cut-offs and using strong

    arm

    movements

    for

    tempo and

    lots

    of

    hip and

    leg

    movements for

    additional comic

    affect.

    Note: There is

    a

    corded practical

    microphone

    center

    stage

    for Patsy

    to

    sing all of he

    Esquire

    Ballroom concert songs .]

    YOUR CHE TING

    HE RT

    PATSY

    YOUR

    CHEATING HEART WILL

    MAKE

    YOU

    WEEP

    YOU'LL CRY AND CRY AND TRY TO SLEEP

    BUT

    SLEEP WON'T COME

    THE WHOLE NIGHT THROUGH

    YOUR

    CHEATING

    HEART WILL

    TELL ON

    YOU

    WHEN TEARS COME DOWN

    LIKE

    FALLING

    RAIN

    YOU'LL TOSS AROUND AND CALL MY NAME

    YOU'LL WALK THE

    FLOORS

    THEWAY I

    DO

    YOUR CHEATING

    HEART WILL TELL

    ON

    YOU

    WHEN TEARS COME DOWN

    LIKE FALLING RAIN

    YOU'LL TOSS

    AROUND

    AND CALL MY NAME

    YOU'RE

    GONNA

    WALK

    THE

    FLOORS THE

    WAY

    I DO

    YOUR

    CHEATING

    HEART IS GONNA TELL ON YOU

    lliote: Louise holds the

    final

    cut-off' for the band for a vety long time before ending

    the song for

    a final big comic

    move

    .]

    PATSY

    [laughing]

    Good job, Louise.

    LOUISE

    [Almost nonchalantly to

    Patsy.

    She's

    too busy now

    instructing

    the

    band,

    in

    her

    new role

    as manager

    and music director ]

    Thanks, Patsy. You

    did

    good, too.

    9

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    PATSY

    Aw, bless

    your

    heart. That song's a real frog strangler

    Let's

    slow 'er down a bit. Gotta

    catch

    my

    wind . Don't got much wind tonight. [Obviously

    the

    next song is faster. Louise

    remains on the

    bandstand

    now going

    to

    each musician

    individually checking

    out the

    playing conducting

    and

    jiving

    to

    the

    rhythm

    of the song.]

    tupid

    upid

    PATSY

    STUPID CUPID

    YOU'RE

    A

    REAL MEAN

    GUY

    I'D LIKE TO CLIP YOUR WINGS SO YOU CAN'T FLY

    I'M

    IN LOVE AND THAT'S A CRYING SHAME

    AND I KNOW THAT YOU'RE THE ONE TO BLAME

    HEY,

    HEY

    SET ME FREE

    STUPID CUPID,

    STOP PICKING

    ON ME

    I CAN'T DO MY HOMEWORK AND I

    CAN'T

    THINK STRAIGHT

    IMEET HIM

    EVERY MORNING

    ABOUT HALF PAST EIGHT

    I'M NOTHING BUT ALOVESICK FOOL

    HE'S

    EVEN GOT ME

    CARRYING IDS

    BOOKS

    TO

    SCHOOL

    HEY, HEY

    SET

    ME FREE

    STUPID

    CUPID , STOP PICKING

    ON

    ME

    WELL YOU MIXED

    ME UP

    BUT

    GOOD

    RIGHT

    FROM

    THE VERY START

    HEY, GO PLAY ROBIN HOOD

    WITH

    SOMEONE ELSE'S HEART

    YOU'VE

    GOT ME nJMPING

    LIKE

    A

    CRAZY

    CLOWN

    AND I DON'T FEATURE

    WHAT

    YOU'RE

    PUTTING

    DOWN

    SINCE

    I KISSED HIS LOVIN'

    LIPS

    OF

    WINE

    THE THING THAT BOTHERS

    IS THAT

    I

    LIKE

    IT FINE

    HEY, HEY

    SET

    ME FREE,

    STUPID

    CUPID

    STOP PICKIN' ON

    ME

    [Instrumental break]

    [PATSY

    introduces

    the Band.

    Each member plays a solo]

    PATSY

    Ladies

    and

    Gentlemen, I'd like

    to

    take

    this opportunity

    to

    introduce my

    ba

    .nd

    to

    you.

    Here on piano we got Joe Bob [piano sol

    o].

    Right here on

    the

    pedal steel is Jim Bob

    [pedal

    steel solo]. Right here

    on the

    guitar is Billy

    Bob

    [guitar solo]. Back

    there on the

    bass

    is

    Jay Bob[bass

    solo].

    Playing that

    fiddle

    there is Ray

    Bob

    [fiddle

    solo]. And

    here

    on

    the drums is Bob

    Bob-That's

    right,

    Bob

    Bob

    He's

    so

    nice

    his mama named him

    twice [drum

    solo) They're

    all known together

    as the Bodacious Bobcats.

    Give 'em a

    nice

    hand Oh,

    and

    this

    here's my

    new manager, Louise . Take a bow, Louise. [LOUISE

    bows As

    she

    bows, the drummer does a comedic rim shot LOUISE comes up

    and

    gives

    him a warning sign, then

    she

    continues to conduct the band]

    WELL YOU

    MIXED

    ME

    UP BUT

    GOOD

    20

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    RIGHT

    FROM THE VERY START

    HEY , DON T PLAY ROBIN HOOD WITH SOMEONE ELSES HEART

    YOU VE GOT ME

    JUMPING

    LIKE A

    CRAZY

    CLOWN

    AND

    I

    DON T

    FEATURE

    WHAT YOU RE PUTTING DOWN

    SINCE I KISSED HIS LOVIN LIPS

    OF

    WINE

    THE THING

    THAT

    BOTHERS

    IS THAT I LIKE

    IT FINE

    HEY, HEY SET ME

    FREE,

    STUPID CUPID STOP

    PICKIN

    ON

    ME

    HEY, HEY SET ME FREE,

    STUPID

    CUPID STOP PICKIN

    ON ME

    LOUISE

    [on intro

    of

    You Belong

    To Me]

    Oh, thi

    s

    is my favorite one.

    PATSY

    Well,

    honey, why don t you

    just

    sit

    down and

    enjoy

    this

    one.

    [LOUISE sits at bar

    table

    and listens intently]

    You elong

    To

    e

    SEE THE PYRAMIDS ALONG THE

    NILE

    WATCH

    THE

    SUNRISE ON A TROPIC ISLE

    JUST REMEMBER DARLING

    ALL THE WHILE

    YOU

    BELONG

    TO

    ME

    SEE THE

    MARKET

    PLACE IN OLD ALGIERS

    SEND

    ME PHOTOGRAPHS AND

    SOUVENIRS

    JUST

    REMEMBER

    WHEN ADREAM APPEARS

    YOU BELONG TO ME

    I LL BE SO

    ALONE

    WITHOUT

    YOU

    MAYBE

    YOU LL

    BE LONESOME

    TOO

    AND

    BLUE

    *FLY THE OCEAN IN A SILVER PLANE

    SEE THE

    JUNGLE WHEN IT S

    WET

    WITH RAIN

    JUST REMEMBER

    TIL

    YOU RE HOME AGAIN

    YOU

    BELONG TO ME

    I M

    GONNA BE

    SO

    ALONE WITHOUT

    YOU

    AND I M HOPING MAYBE

    YOU LL

    BE LONESOME TOO AND BLUE*

    FLY TH

    E OCEAN IN A SILVER

    PLANE

    SEE THE

    JUNGLE

    WHEN IT S

    WET

    WITH RAIN

    JUST REMEMBER

    TIL YOU RE

    HOME AGAIN

    YOU

    BELONG

    TO

    ME

    *[Optional key change

    l z

    step up; not

    indicated in

    the score]

    PATSY [To

    audience

    and Louise.

    Louis

    e

    reacts heartily to

    her comments/

    jokes.]

    Lord s a mercy, I hate to

    stop.

    I hate to even

    go

    home cuz this music s got to stop - that s

    the bad part. But I ain t doing

    too bad for

    a girl who can t

    even

    read

    notes and

    don t even

    21

  • 8/10/2019 Always...Patsy Cline Script(2)

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    know what

    key

    she sings in. I feel like

    I've come

    a long way

    from

    working in a drug

    store

    during the day to help support

    my momma

    and then singing

    in

    clubs at night in

    Winchester Virginia . You know them cowgirl outfits I used

    to

    wear? My

    momma

    sewed

    each and every one of them by hand. I look different now, don't I? [She models her

    cocktail dress; steel guitar plays a wolf'

    whistle]

    Well, thank you Ross. Next week I go

    to

    Trenton, New Jersey and North Carolina and tomorrow I go on over to Dallas - I think

    I got enough time

    in between bookings to change

    my drawers. [drummer does

    rim shot.]

    And next month

    I

    go

    up

    to Las

    Vegas.

    I think

    I'll take this dress

    with

    me.

    I'll

    be

    doing

    four

    shows a day seven

    days

    a week. And I'll tell

    ya,

    this eat's

    ass

    will

    be

    draggin' the

    bottom out of that desert. [Patsy

    and

    Louise share a laugh] Oh, it's a

    great

    life. I don't

    want to get

    rich. I just want to

    live good

    . Right, Louise?

    LOUISE

    You betcha

    BAND MEMBER

    Hey Patsy, how 'bout doing a Texas song?

    PATSY

    Well, the

    boss

    just gave me

    an order.

    Well, honey child, you can

    boss

    me around

    anytime

    you want

    to.

    BAND

    MEMBER

    Well,

    it's just a request. [pronounced RE-quest; emphasis on RE]

    PATSY

    Well alright.

    Here's

    a request. This is

    an

    old

    one.

    You've all heard

    it,

    but we're

    gonna

    damage it anyhow. Let's put it in the

    gear

    of about

    "F"

    [piano plays a chord] Is that an

    "F"? Lord I'm off key tonight. Louise, this song's

    for

    all those good lookin' cowboys out

    there tonight

    LOUISE

    God bless

    Texas

    S N NTONIO ROSE

    PATSY

    DEEP

    WITHIN

    MY HEART

    LIES A

    MELODY,

    A SONG OF OLD SAN ANTONE

    WHERE

    N DREAMS I

    LIVE WITH

    A MEMORY,

    BENEATHTHESTARS,ALLALONE

    WELL

    IT

    WAS THERE I FOUND, BESIDE

    THE

    ALAMO

    22

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    ENCHANTMENT STRANGE AS THE BLUE UP ABOVE

    ON THAT MOONLIT

    PASS,

    THAT

    ONLY

    HE WOULD

    KNOW

    STILL

    HEARS

    MY BROKEN

    SONG

    OF LOVE

    [PATSY encoura

    ges

    LOUISE to

    go

    into

    the

    audience to find

    a

    dance partner.

    LOUISE

    goes into

    the

    audience and picks out a man and

    dances

    with him]

    MOON IN

    ALL YOUR SPLENDOR,

    KNOWN ONLY TO MY

    HEART

    CALL

    BACK

    MY

    ROSE, ROSE

    OF SAN ANTONE.

    LIPS SO SWEET AND TENDER, LIKE PETALS FALLING APART

    SPEAK ONCE AGAIN

    OF MY

    LOVE,

    MY

    OWN.

    BROKEN SONG, EMPTY WORDS I KNOW

    STILL LIVE IN MY HEART ALONE.

    FOR

    THAT MOONLIT PASS BY

    THE ALAMO,

    AND ROSE,

    MY

    ROSE OF SAN ANTONE.

    [In

    strume

    ntal

    break -LOUISE dances with her partner.]

    PATSY

    What 'cha got

    down

    there Louise?

    LOUISE

    Honey, I got

    me

    a tiger by

    the

    t

    ail.

    PATSY

    A

    tiger by the tail

    ?

    Well, swing

    it.

    And

    if any of

    the

    rest ofya ll out

    there want to shake

    a

    l

    g

    go

    right ahead.

    We

    don't

    care

    which

    one

    it

    is

    PATSY

    BROKEN SONG, EMPTY WORDS

    I

    KNOW

    STILL LIVE

    IN

    MY HEART ALL ALONE

    FOR

    THAT

    MOONLIT

    PASS BY

    THE

    ALAMO

    AND ROSE, MY ROSE OF SAN ANTONE

    AND

    ROSE

    , MY

    ROSE

    OF SAN ANTONE

    AND ROSE, MY

    ROSE

    OF

    SAN ANTONE

    [

    End

    of

    song]

    PATSY

    Let's have

    a

    round

    of

    applause for Louise and

    her partner

    [LOUISE

    bows with her

    partner and

    returns to

    SL

    table

    and

    sits]

    23

  • 8/10/2019 Always...Patsy Cline Script(2)

    24/49

    PATSY

    Y'all having

    a good time out there

    tonight? [audience cheers]

    I can't hear you I said Are

    ya' ll having a

    good

    time out

    there

    tonight ? [Cheers again] That s better Well why don't

    you

    let

    your hair down and let's

    see

    what ya lo

    ok

    like

    LOV

    SICK LUES

    PATSY

    GOT A

    FEELING

    CALLED

    SOME

    BLUES

    0 LORD

    SINCE

    MY DADDY SAID GOOD-BYE

    I DON'T

    KNOW WHAT

    I'M

    GONNA

    DO

    ALL

    I DO IS

    SIT

    AND SIGH

    0

    LORD

    THAT LAST LONG DAY

    HE SAID GOOD-BYE

    0 LORD I

    THOUGHT

    I WOULD

    DIE

    HE'D

    DO 'Y A,

    HE'D

    DO

    ME

    HE'S GOT THE KIND OF LOVIN

    LORD I LOVE TO HEAR HIM WHEN HE

    CALLS

    ME

    SWEET

    BA-BY

    WHAT

    A BEAUTIFUL DREAM

    I HATE TO THINK IT

    ALL

    OVER

    I LOST MY HEART IT SEEMS

    I'VE GROWN SO

    USED TO

    THAT

    MAN

    SOMEHOW

    AND I'M NO BODY'S SUGAR BABY NOW

    I'M

    LONESOME I'VE GOT THE

    LOVESICK

    BLUES

    [Spoken

    ]Listen

    to this, Louise.

    NOW I'M IN LOVE I'M IN LOVE

    WITH

    A

    WONDERFUL

    GUY

    THAT'S WHAT'S THE MATTER WITH ME

    WELL I'M IN LOVE I'M

    IN LOVE

    WITH A

    WONDERFUL

    GUY

    BUT

    HE

    DON'T CARE

    ABOUT ME

    WELL I'VE

    TRIED

    AND I'VE

    TRIED

    TO KEEP

    HIM

    SATISFIED

    BUT HE

    JUST

    WOULDN'T STAY

    BUT

    NOW THAT HE

    IS

    LEAVING

    THIS IS ALL I'VE GOT

    TO

    SAY:

    24

  • 8/10/2019 Always...Patsy Cline Script(2)

    25/49

    I'VE GOT A

    FEELIN'

    CALLED SOME BLUES

    OH

    LORD SINCE MY

    DADDY SAID GOOD-BYE

    I

    DON'T KNOW

    WHAT I'M GONNA DO

    I LOST

    MY

    HEART IT SEEMS

    I'VE GROWN SO USED TO

    THAT

    MAN SOMEHOW

    AND I'M NOBODY'S SUGAR BABY

    NOW

    CUZ I'M LONESOME

    I'VE GOT

    THE

    LOVESICK

    BLUES

    [Spoken ]How about another nice round of applause for those Bodacious Bobcats?

    [Instmmental

    break]

    Bring it

    on

    home, Hoss.

    I'VE GROWN SO USED TO

    THAT

    MAN SOMEHOW

    AND

    I'M NOBODY'S SUGAR BABY

    NOW

    'CUZ I'M LONESOME I'VE GOT THE

    LOVESICK

    BLUES

    [PATSY takes a bow at the piano and then crosses to Piano and chats with Player. She

    takes offher high heels]

    LOUISE

    Well

    Pat

    sybrought the House

    down.

    That place

    was

    filled with people just screaming

    and

    yelling.

    Well

    then

    after that first setwe

    took

    our break [proudly]

    as

    we had planned.

    And you know

    what?

    I'm gonna let you take

    one

    too . Come

    on

    Patsy let's go get a

    Schlitz.

    PATSY

    I sure could use

    one

    [Both exit SL arm in arm . The Band plays Louise re-enters

    briefly

    with a

    victorious

    gesture, then exits to Patsy.Audience out with "Lovesick Blues"]

    nd

    of Act I

    INTERMISSION[Taped

    music

    plays

    throughout]

    25

  • 8/10/2019 Always...Patsy Cline Script(2)

    26/49

    ACT II

    [Taped

    intermission music

    plays House lights to half, musicians enter

    from

    through the

    audience,

    greeting

    the

    audience members with

    handshakes

    and

    howdies . Musicians

    come

    to

    front o

    he stage,

    form

    a

    line and take

    a

    bow,

    tipping their hats

    to

    the

    crowd.

    Intermission taped music fades out.

    House lights

    fade to black. Band plays an entre act

    of I Fall

    To

    Pieces . Stage lights

    fade

    to black. During blackout, PATSY enters SR and

    crosses to CS Music starts before lights come up with mirror ball/Loui

    se

    is not

    on

    stage. Patsy is

    in

    the same dress as

    in

    the

    end

    of ACT I, as though she is concluding

    her

    second

    and last show

    at the Esquire

    Ballroom on

    the corded

    microphone.]

    SWEET DREAMS

    PATSY

    SWEET DREAMS OF YOU

    EVERY

    NIGHT

    I

    GO

    THROUGH

    WHY

    CAN'T I FORGET

    YOU

    AND START MY

    LIFE

    ANEW

    INSTEAD

    I'M

    HAVING SWEET DREAMS ABOUT YOU

    YOU

    DON'T LOVE

    ME

    IT'S PLAIN

    I

    SHOULD KNOW I'LL NEVER WEAR

    YOUR

    RING

    I SHOULD

    HATE YOU THE WHOLE NIGHT THROUGH

    INSTEAD

    OF

    HAVING

    SWEET DREAMS

    ABOUT YOU

    [SEGUES TO]SHE S

    OT

    YOU

    PATSY

    I'VE

    GOT YOUR PICTURE THAT YOU

    GAVE

    ME

    AND

    IT'S SIGNED

    WITH LOVE

    nJST

    LIKE

    IT

    USED TO BE

    THE ONLY THING DIFFERENT

    ,

    THE

    ONLY THING

    NEW

    I'VE GOT YOUR PICTURE, SHE'S GOT YOU

    I'VE GOT THE

    RECORDS THAT WE

    USED

    TO

    SHARE

    AND THEY

    STILL

    SOUND THE

    SAME

    AS WHEN YOU WERE HERE

    THE

    ONLY

    THING DIFFERENT, THE

    ONLY

    THING NEW

    I'VE

    GOT YOUR RECORDS,

    SHE'S GOT YOU

    I'VE GOT YOUR MEMORY, OR HAS IT GOT ME

    I REALLY DON'T

    KNOW,

    BUT

    I KNOW

    IT WON'T

    LET

    ME BE

    I'VE

    GOT YOUR

    CLASS RING THAT PROVED

    YO

    U

    CARED

    6

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    AND IT STILL LOOKS THE SAME

    AS WHEN

    YOU GAVE IT DEAR

    THE ONLY THING DIFFERENT, THE ONLY THING NEW

    I'VE GOT YOUR

    CLASS RING,

    SHE'S GOT YOU

    [Song

    segues back

    into SWEET

    DREAMS]

    PATSY

    [YOU] DON T LOVE

    ME, IT'S PLAIN

    I SHOULD KNOW I'LL NEVER W EAR YOUR RING

    WHY CAN'T I FORGET THE PAST

    START LOVING SOMEONE

    NEW

    INSTEAD OF HAVING SWEET DREAMS ABOUT YOU

    [Lights fade to

    black. Patsy

    exits.

    Lights then come up on

    Louise

    at bar

    table.]

    LOUISE

    Well, our

    second

    show Patsy

    blew the

    roof off of that honky tonk.

    People were stomping

    and

    hollering

    for

    more .

    She

    signed autographs

    and

    a

    lot

    of

    her

    fans

    took

    pictures .

    .includ

    ing my boss. Then she said, "Louise,

    honey,

    I have got

    to

    go, I've got

    to

    get back to that hotel, I've got

    to

    catch a plane to Dallas tomonow." I asked her how she

    got out here . Said

    she

    took a taxi. She didn't

    know much

    about Houston, that's about

    the

    only way she knew to

    get

    around .

    Said

    she was

    staying

    way downtown at the

    Montague

    Hotel. Anybody know that one? Well, we're just

    gonna

    have to have us a little road trip

    down

    to Texas. See,

    the

    Montague was where

    most

    of the big acts stayed when

    they

    played

    Houston

    back

    then

    .

    Well

    I tell

    you

    something, I thought it

    was

    absolutely terrible

    that Decca Records

    sent her all

    that

    way out here by herself

    like that

    and I told her, I

    said,

    "You're never going

    to

    get a taxi out here this time of night. We'll take you, but first

    we're

    going

    to my

    house

    for some

    bacon

    and eggs." She

    said,

    "Lordy

    she'd

    love that."

    And she seemed greatly RELIEVED. [LOUISE crosses

    to DSL] So

    we all piled into my

    Sexy Dude and tooled on back

    to my

    house [LOUISE "tools" again

    to

    DR. The drummer

    accompanies her with a bump

    and

    grind beat], and I want you to know that lady come

    right

    in

    MY

    kitchen

    and

    stood

    right

    alongside me frying up the bacon and

    eggs,

    just as

    big as you please . I let her wear

    one

    of

    my

    aprons so

    she

    wouldn't get greasy spots all

    over

    her

    pretty pink

    suit.

    We

    was

    standing in

    my

    kitchen just laughing

    and

    chattering

    away. Why,

    it

    was

    just like

    finding the

    sister I never

    had.

    I'd long quit

    calling

    her

    ma'am, hell I was only four months older than she was

    [Audience reacts]

    BELIEVE

    IT

    When

    we finished eating I put my boy

    to bed

    and then me and Patsy just sat

    around

    MY

    kitchen table and poured our hearts out. [LOUISE crosses and sits on SL kitchen chair]

    We talked about

    children ...

    and

    husband problems

    , broken

    hearts

    , loves lost,

    loves

    found

    27

  • 8/10/2019 Always...Patsy Cline Script(2)

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    [LOUISE waves to her dance partner in

    the audience]. Hell,

    we must of covered about

    everything. We sounded like two people writing

    country

    songs.

    [PATSY enters SR and sits in SR

    kitchen chair.

    She

    is wearing her

    pink suit

    again

    without

    the

    jacket and has on

    one

    of

    Louise's

    aprons. She carries a

    coffee cup. The song

    is performed as

    a

    dialogue

    of

    Patsy

    and

    Louise talking late

    at

    night

    at

    the kitchen

    table.

    Louise smokes

    a cigarette

    comedically during the song. NOTE:

    If

    the theatre does not

    allow

    smoking onstage or if

    the

    actress playing Louise

    is

    uncomfortable

    smoking,

    Louise

    can simply

    put an unlit

    cigarette

    in her

    mouth

    and pick

    up

    a Zippo lighter

    with

    no fluid in

    it

    so

    it just

    sparks.

    She

    gets frustrated

    about

    not getting the cigarette

    lit and

    then breaks

    the

    cigarette

    in

    half

    and throws

    it in

    the

    ashtray,

    somewhere

    in

    the middle

    of

    the song,

    around

    "men are pigs" line].

    THREE CIG RETTES

    PATSY[ sings]

    TWO

    CIGARETTES

    IN AN ASHTRAY

    LOUISE

    [speaks]

    Aw, sing

    it Patsy.

    PATSY

    MY LOVE AND I IN A SMALL CAFE

    LOUISE

    That

    happened to me one time.

    PATSY

    THEN A STRANGER

    CAME

    ALONG

    AND EVERYTHING

    WENT WRONG

    NOW

    THERE'S

    THREE CIGARETTES

    IN THE

    ASHTRAY

    LOUISE

    He just left me sitting there.

    PATSY

    I

    WATCHED

    HER

    TAKE HIM FROM

    ME

    LOUISE

    She

    was

    a SLUT

    PATSY

    AND HIS LOVE IS NO LONGER MY OWN

    28

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    LOUISE

    Yeah, you re right about that.

    [LOUISE

    offers Patsy

    more

    coffee/Patsy refuses and crosses behind kitchen table with

    back to

    audience.]

    LOUISE

    [Quietly.

    She

    is

    sharing a private

    moment with the

    audience,

    with

    her

    own

    vulnerability showing.]

    She asked

    me

    where

    my little

    girl

    was and I told her

    she

    was spending the night with a

    friend.

    She

    said it must be tough being divorced and having to raise

    two

    kids

    by

    yourself.

    I

    said,

    Yeah, it s

    tough

    and

    it s crazy. Patsy

    told me

    about her marriage.

    She said

    she

    and

    Charlie weren t

    getting

    along too

    well. She told me about

    the

    hell raising

    arguments they

    would ha

    ve

    and I knew only

    too

    well how

    she

    must be feeling. [Patsy

    turns

    back into

    the scene. She

    sings the song

    as an

    internal

    monologue

    about her troubled marriage.]

    CR ZY

    PATSY

    CRAZY, I M CRAZY FOR FEELING SO LONELY

    I M CRAZY, CRAZY

    FOR

    FEELING SO BLUE

    I

    KNEW, YOU D

    LOVE

    ME AS LONG AS

    YOU

    WANTED

    AND THEN

    SOMEDAY

    YOU D

    LEAVE

    ME

    FOR SOMEBODY NEW

    [PATSY

    turns

    to LOUISE and

    questions

    her in song]

    WORRY, WHY DO

    I

    LET MYSELF WORRY

    WONDERING WHAT

    IN

    THE

    WORLD

    DID

    I DO?

    [Patsy

    turns

    away from Louise

    ]

    CRAZY

    FOR

    THINKING THAT

    MY

    LOVE COULD HOLD YOU

    I M CRAZY FOR TRYING

    AND

    CRAZY FOR CRYING AND I M CRAZY FOR LOVING YOU

    [Key Change. Patsy crosses to center st

    age.

    ]

    CRAZY

    FOR THINKING

    THAT MY LOVE COULD HOLD YOU

    I M CRAZY FOR

    TRYING AND

    CRAZY

    FOR

    CRYING

    AND

    I M

    CRAZY FOR

    LOVING YOU

    [She

    crosses

    away from

    Louise

    to

    up

    stage away

    from the audience]

    30

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    LOUISE

    She

    said

    that sometimes

    she'd

    get so

    mad

    at

    her

    husband she'd like to

    hit

    him over

    the

    head with a skillet but she was afraid she'd break it. She said

    she'd

    go to pick something

    up

    to throw at him, and

    say

    to herself, 'Uh

    uh,

    Patsy. You

    just

    paid for that.' We traded

    stories until the wee hours

    of

    the morning.

    [PATSY crosses to US

    of

    kitchen table by LOUISE.]

    SEVEN

    LONELY

    D YS

    PATSY

    [Spoken]Louise,

    let me

    tell you

    what it's

    like living with that

    man of

    mine

    SEVEN

    LONELY DAYS MAKE ONE LONELY WEEK

    SEVEN

    LONELY NIGHTS

    MAKE

    ONE LONELY ME

    EVER SINCE THE TIME

    YOU TOLD

    ME

    WE WERE THROUGH

    SEVEN LONELY

    DAYS I CRIED

    AND

    I

    CRIED FOR

    YOU

    NOW MY

    DARLING

    YOU'RE CRYING

    LOUISE

    BOO

    HOO HOO HOO

    PATSY

    THERE'S NO USE

    IN

    DENYING

    I

    CRIED FOR YOU

    IT WAS YOUR FAVORITE

    PAST

    TIME

    MAKING

    ME BLUE

    LAST WEEK WAS THE LAST TIME

    I

    CRIED FOR

    YOU

    [Spoken]Now

    listen

    here.

    [PATSY crosses

    to SL of

    LOUISE.

    Patsy

    picks

    up a

    Kleenex

    box and

    throws tissues

    around the

    kitchen

    area.

    Louise

    picks

    them up

    They are

    having a ball as

    Patsy

    declares

    her

    independence.]

    [Key Change]

    SEVEN HANKIES BLUE I

    FILLED

    WITH MY TEARS

    SEVEN LETTERS TOO

    I FILLED

    WITH

    MY

    FEARS

    GUESS IT NEVER PAYS TO

    MAKE

    YOUR LOVER BLUE

    SEVEN LONELY

    DAYS

    I

    CRIED

    AND

    I

    CRIED

    FOR

    YOU

    OH MY DARLING YOU'RE CRYING

    LOUISE

    Boo

    Hoo Hoo

    Hoo.

    31

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    32/49

    PATSY

    THERE'S NO USE IN

    DENYING

    I

    CRIED

    FOR YOU

    [PATSY and LOUISE dance ; h

    av

    ing fun together doing the

    "Twist"]

    IT

    WAS YOUR FAVORITE PAST TIME MAKJNG ME

    BLUE

    LAST WEEK WAS THE LAST TIME I CRIED FOR YOU

    LAST

    WEEK WAS THE LAST TIME

    I

    CRIED FOR

    YOU

    [PATSY and LOUISE share a big laugh and hug and then

    Patsy

    exits SR]

    LOUISE

    Then

    Patsy said,

    "Louise, I

    truly

    have

    enjoyed

    it

    but I'

    ve really

    gotta

    go, I'

    ve gotta

    catch

    a

    plan

    e to Dallas tomorrow."

    I

    said, "Patsy, you

    will

    never

    know how much this evening

    has meant

    to

    me.

    But

    hey,

    wait a

    minute. Sinc

    e

    it's

    so

    late, why

    don't

    you

    just

    spend

    the night

    here

    ?

    And

    i

    you

    don't

    mind

    getting

    up

    early, I've got a disc jockey

    friend

    that I just

    know

    would

    love to

    m

    ee

    t you,

    and

    interv i

    ew

    you on

    the

    radio " She said, "Well, why

    not?"

    And she seemed

    greatly

    ...

    [Louise gets audience

    and

    band

    members to say

    "RELIEVED"]

    All right

    [LOUISE

    crosses

    to

    SL]

    So,

    I went quietly

    to the

    phone and

    called

    Hal

    Harris

    ...

    at

    home. His

    wife answe

    r

    ed the

    phone, and she

    was none too

    pleased let

    me

    tell

    you.

    When

    Hal

    fmally got on

    the

    line I

    said,

    "Hal,

    this

    is Louise and I got Patsy

    Cline

    at my house

    ."

    "He said,

    "Louise

    , honey what

    th

    e hell have you been drinking?" I

    said

    , No, now

    Hal,

    I

    ain't been

    drinking,

    I'm

    telling

    you I

    got Patsy right

    here, and I'm go

    nna

    bring her by your

    station in

    the morning

    for an int

    erview." He said, "Sure you are, hone

    y, and

    I've got

    Marilyn

    Monroe right

    here in

    bed

    with

    me.

    Now

    go

    to bed, Louise, and

    sleep

    it

    off, and

    I'll play "I

    Fall

    to Pieces" for you

    first

    thing in the morning , wh ich I

    believe

    it

    already

    is.

    I

    said, "For

    cryin' in a

    bucket, Hal, you

    better

    listen

    to me,

    I'm

    telling

    you,

    I've

    got

    P

    atsy

    right he

    re."

    He said, "Goodnight, Louise." And I said, "Give

    my

    best

    to

    Marilyn, Hal "

    And

    he hung

    up

    on me. [Now telling a lie] Well I

    told Patsy everything

    was

    set.

    So

    she

    went on to sleep

    in my

    kids' room

    where my

    little boy

    Da

    vid

    was

    already fast

    asleep. [Patsy is heard humming offstage] But as

    Patsy

    was getting ready for bed, I could

    hear her singing the

    sweetest

    lullaby

    to my

    little

    boy

    and I knew she must have really

    been

    missing her baby back

    home

    who

    mu

    st have really been missing his Momma,

    too

    .

    32

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    JUST

    CLOSER

    W LK

    [Patsy sits

    on the

    steps and prayerfully sings. She is a woman with many struggles and

    her life

    is

    not

    as easy

    as it

    may seem]

    PATSY

    I AM WEAK BUT

    THOU

    ART

    STRONG

    JESUS,

    KEEP

    ME FROM

    ALL

    WRONG

    I'LL BE SATISFIED

    AS

    LONG AS I WALK

    LET ME WALK CLOSE TO THEE

    WHEN MY

    FEEBLE

    LIFE

    IS O'ER

    TIME FOR ME WILL BE NO MORE

    GUIDE ME

    GENTLY, SAFELY O'ER

    TO

    THY

    KINGDOM'S SHORE

    TO

    THY SHORE

    [Key change]

    JUST CLOSER WALK WITH THEE

    GRANT IT, JESUS, IS MY PLEA

    DAILY WALKING CLOSE

    TO

    THEE

    LET

    IT BE,

    DEAR LORD, LET

    IT BE

    LET IT BE, DEAR

    LORD,

    LET IT BE

    [PATSY exits USR]

    LOUISE [Re-enters to downstage right

    center]

    Then I set

    the

    alarm for

    5:00

    so

    Patsy could get a little

    sleep.

    So

    at 5:00, I got

    up

    and

    went

    to call

    Hal Harris

    ...

    at the station.

    [LOUISE

    crosses SL] He

    had just

    gotten there.

    He said,

    "Damn, Louise, have you been to bed

    at all?"

    I

    said, "Don't

    you worry

    about

    that, but you just

    tell me quick, what's the

    earliest

    Patsy Cline record you've got?" He

    said,

    "Hell

    I don't know but I

    guess

    I

    can

    look

    and

    find out." I

    said, "Well,

    I

    surely would

    appreciate

    it

    and would you play it

    next

    for me?" He said,

    "Well,

    I

    guess

    I

    will

    i l

    want

    any peace for the

    rest of

    my life." Then

    I

    hung up on

    him I

    put

    on

    a

    pot

    of

    coffee while

    I

    waited for Hal to

    play

    one

    of

    Patsy's

    earliest

    hits.

    And

    then

    I

    snuck into my kids' room

    where

    Patsy

    was still sleepin'.

    And

    I

    tuned in

    the radio that was right

    next

    to her bed. I

    knew David would sleep through anything.

    [Chord and

    intra]

    BLUE MOON OF KENTUCKY

    PATSY

    [Offstage]

    I

    SAID BLUE MOON

    OF

    KENTUCKY KEEP ON SHINING

    SHINE ON THE ONE WHO'S GONE

    AND

    LEFT

    ME

    BLUE

    34

  • 8/10/2019 Always...Patsy Cline Script(2)

    35/49

    [Band continues to

    underscore]

    LOUISE

    So when Hal statted playin'

    Patsy's

    record, I turned the

    volume

    way

    up.

    She bolted up

    like a shot and said

    [PATSY

    enters,

    still wearing

    the

    robe, sleepily collapsing into

    the

    kitchen

    chair.]

    PATSY

    My God, who in the

    hell

    is that?

    LOUISE

    I said, Well, don't you know?

    PATSY

    No, but she sure

    as

    hell is loud.

    LOUISE

    I

    said 'Why

    that's

    you, you fool '

    Good

    morning

    Patsy.

    [LOUISE serves PATSY coffee]

    BLUE MOON

    OF KENTUCKY

    [Band plays intro to song

    PATSY

    comes back

    in

    on the bridge]

    PATSY

    WELL

    IT

    WAS ON

    ONE MOONLIT NIGHT

    STARS SHINING BRIGHT WHISPERED

    ON

    HIGH

    YOUR LOVER SAID

    GOOD-BYE

    I SAID BLUE MOON OF KENTUCKY KEEP ON SHINING

    SHINE

    ON

    THE

    ONE WHO'S GONE AND

    LEFT

    ME

    BLUE

    [Band continues underscore for "Blue Moon of Kentucky"]

    PATSY

    When

    the hell

    did

    I

    ever

    cut that record?

    LOUISE

    I don't know, but you better get dressed

    we

    have to get you packed go to the radio

    station and then get you to the airport.

    Shoo

    Shoo

    Shoo

    [She hurries Patsy offstage]

    Lord

    have

    mercy

    35

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    36/49

    [PATSY exits

    hurri

    edly as LOU

    ISE

    gently push

    es

    her offs

    tage

    then LOU

    IS

    E rushes

    over

    to

    s

    tag

    e right

    area.]

    When

    we

    got to

    her hotel

    room

    we tore through there like

    greased

    lightning. While Patsy

    was

    getting dressed

    , I s

    tarted picking

    up

    her things

    from

    all over

    the

    place

    - hair

    rollers,

    underwear, shoes,

    and

    literally threw everything

    in

    her

    suitcase.

    Patsy said, "Pack

    everything carefully " I said, "C

    are

    fully? Honey, it looks like a

    hurric

    ane ran through

    here

    l

    ast

    night

    when you were

    getting dressed."

    [LOUISE moves toward

    center

    stage and models her "outfit"

    very

    teasingly as she

    did in

    the first

    ac

    t, with

    the

    de

    sc

    ription of her cowgirl ski

    rt.]

    Oh, in

    c

    id

    entally, I

    was

    wearing my

    yello

    w western slacks that fit

    me

    like a gl

    ove,

    well

    th

    ey did, just like a

    glove,

    and a printed

    yellow

    wes tern shirt and my fanci

    est

    cowgirl

    boots.

    Wh

    en

    Pat sy

    came out of the

    bathroom

    , we cou ld have passed for id

    entica

    l twins.

    [Band stops abruptly with a loud crash , bang,

    boom

    from all

    th

    e players Patsy comes

    out wearing an outfit ofgold lame western slacks, a fancy western style shirt and boots.

    She

    canies

    a cowgirl

    hat

    and

    a

    sma

    ll

    s

    uitcase.]

    BAND

    [In unison

    to

    Louise in

    disbelief]

    They

    ain't

    no

    way

    LOUISE

    Well only the colors were different

    PATSY

    Come on honey, let's

    show

    'em

    [K

    eyc

    hange

    ]

    [LOUISE and

    PATSY

    sing duet LOUISE sin

    gs

    harmony, she is a

    star

    with PATSY and

    l

    oves

    it)

    PATSY AND LOUISE

    I SAID BLUE MOON OF KENTUCKY KEEP

    ON

    SHINING

    SHINE ON THE ONE WHO'S GONE AND

    LEFT

    ME

    BLUE

    I SAID, BLUE MOON

    OF KENTUCKY KEEP

    ON SHINING

    SHINE ON THE

    ON

    E WHO'S GONE AND LEFT

    ME

    BLUE

    WELL IT WAS

    ON ONE

    MOONLIT NIGHT

    STARS

    SHINING BRIGHT

    WHISPERED

    ON

    HIGH

    YOUR LOVER

    SAID

    GOOD-BYE

    I SAID

    BLUE

    MOON OF KENTUCKY KEEP ON

    SHINING

    SHINE

    ON

    THE ONE WHO'S GONE AND LEFT ME BLUE

    LEFT

    ME BLUE

    LEFT MEBLUE

    36

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    37/49

    LEFT

    ME

    BLUE

    [Patsy places

    the

    cowgirl hat on Louise's head at

    the

    end of

    song.

    LOUISE scoots

    PATSY off PATSY exits USR]

    LOUISE

    Anyway, we got in

    my

    SEXY DUDE and

    speeded

    all the way to the radio station [She

    poses

    as

    though she's

    in

    her car

    and

    speeds across

    the

    stage with appropriate drum

    accompaniment]

    and when we got there , there was

    only

    one

    lonely little

    sports car in the

    parking

    lot. I

    said to myself,

    Ah-ha you fool,

    are

    you in for a

    surprise.

    Patsy and I

    snuck

    in

    through a side door that

    was

    unlocked.

    [She

    sneaks across

    the

    stage to another

    area

    and

    pantomimes opening a

    door.

    The

    fiddle

    player makes a squeaking sound like a

    door

    hinge. Then

    Louise's

    eyes

    fall on Hal for the first time.] There was Hal sitting in

    his

    studio wearing a wrinkled up blue wool sweater that

    looked

    like

    it

    had been left

    in the

    dryer

    for

    a week. He had on an old pair o Bermuda shorts,

    no

    socks and a pair of old

    tennis

    shoes with holes

    cut in them

    so his

    toes

    cou ld

    breathe.

    He

    sounded

    so sexy on the

    radio

    and he

    looked like

    death eatin' a

    cracker.

    I

    tapped

    on the

    glass

    and he

    whirled

    around.

    He

    did a double

    take

    then

    ran

    to the door and

    he

    could not say a word. I said,

    Hal Harris, I'd like you to meet Miss Patsy Cline.

    Patsy,

    this is

    my

    friend that plays your

    records for me.

    Well,

    I

    want

    you

    to know, that man

    could have fallen through his butt

    hole

    and

    hung

    himself [She laughs at her own joke. There is a steel guitar lick descending

    with a drum button). Paints quiet a picture, don't it?

    He ran

    around that studio like an

    armadillo

    in heat.

    Finally,

    he found

    one of her 45's from

    his files,

    turned

    on

    this

    microphone and made this

    announcement:

    [Imitating

    Hal Harris on the

    center stage

    rnic]

    Ladies and Gentlemen, I'm going to play a record

    for

    you by a young lady who

    was

    here

    in

    town last

    night.

    And I have a big surprise

    for you. We

    have her in

    the

    studio this

    morning

    . Here's

    Miss

    Patsy Cline singing GOTIA LOTIA

    RHYTHM

    IN

    MY SOUL

    [PATSY enters in

    the

    same outfit as before . She takes the center stage

    microphone

    from

    Louise.]

    GOTT LOTT R YT M IN MY SOUL

    PATSY

    COME

    ON

    DAD,

    GET WITH THE

    JIVE

    LET'S

    LET

    'EM KNOW THAT WE'RE ALIVE

    UNTIL THE

    BREAK

    OF

    DAWN

    WE'LL

    YELL

    FOR MORE,

    MORE, MORE

    GONNA LIVE IT UP, AND TEAR IT

    DOWN

    GET

    IN THE GROOVE AND PAINT THE TOWN

    GOTIA LOTIA RHYTHM IN

    MY

    SOUL

    WELL NOW BABY , BABY LET'S GO TONIGHT

    TOGETHER YOU AND

    ME

    37

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    38/49

    BABY, BABY

    WHEN

    YOU HOLD ME TIGHT

    WEE, WATCHA DO TO ME

    BIG BLACK

    HAND

    ON THE CLOCK

    TELLING ME THAT IT S TIME TO ROCK

    GOTT

    A

    LOTTA RHYTHM IN MY SOUL

    [Instrumental Break/LOUISE

    dances wildly

    and then

    hurts

    her back and calms down a

    bit,

    but continues

    to do

    her own

    creative choreography

    to

    the

    song.]

    [Song

    segues into

    SHAKE

    RATTLE

    AND ROLL]

    SH KE

    R TTLE

    ND ROLL

    PATSY

    WELL, GET INTO THAT KITCHEN AND RATTLE THOSE POTS AND PANS

    WELL, GET INTO THAT KITCHEN

    AND

    RATTLE THOSE POTS AND PANS

    ROLL

    MY

    BREAKFAST CAUSE I M A HUNGRY MAN

    I M LIKE A ONE

    EYED CAT

    PEEPING

    IN

    A

    SEAFOOD

    STORE

    I M LIKE A

    ONE

    EYED CAT PEEPING IN A SEAFOOD STORE

    AND

    I CAN

    LOOK

    AT YOU AND

    TELL YOU

    DON T

    LOVE

    ME

    NO

    MORE

    I

    SAID

    SHAKE, RATTLE,

    AND

    ROLL

    I SAID SHAKE RATILE AND

    ROLL,

    DADDY 0

    I SAID SHAKE, RATTLE, AND ROLL

    I

    SAID

    SHAKE, RATTLE, AND ROLL

    NOW, YOU DON T DO NOTHING TO SAVE A DOG GOl\TE SOUL

    NOW, I

    BELIEVE

    YOU RE DOING ME

    WRONG AND NOW

    I

    KNOW

    NOW

    I BELIEVE

    YOU RE

    DOING ME WRONG AND NOW I KNOW

    THE

    HARDER

    I

    WORK THE

    FASTER

    MY

    MONEY

    GOES

    [Key Change]

    WELL,

    I SAID SHAKE, RATTLE,

    AND

    ROLL

    I SAID SHAKE, RATILE AND ROLL

    I SAID SHAKE,

    RA

    TILE AND ROLL,

    DADDY

    0

    I SAID SHAKE RATTLE,

    AND

    ROLL

    NOW,

    YOU

    DON T

    DO NOTHING TO

    SAVE A

    DOG

    GONE SOUL

    [Song

    segues back

    to

    GOTT

    A LOTIA

    RHYTHM]

    DIG

    THAT BEAT WITH A

    CRAZY

    BOP

    WHEN THE LIGHTS ARE LOW AND THE MUSIC IS HOT

    DANCE FROM TWO TO

    THREE

    AND THEN AT HALF PAST FOUR

    WHEN

    THE

    SUN COMES

    OVER

    THE HILL

    I WON T

    STOP

    I LL

    BE

    ROCKING STILL

    38

  • 8/10/2019 Always...Patsy Cline Script(2)

    39/49

    GOTT

    A

    LOTTA

    RHYTHM IN

    MY SOUL

    GOTTA LOTTA

    RHYTHM

    IN MY SOUL

    [PATSY

    remains onstage with back to

    the

    audience]

    LOUISE

    Hal

    and Patsy did a 15 minute interview. Then finally we had to say

    good bye

    to

    Hal

    Harris

    so

    we

    got

    in to the SEXY DUDE and

    headed

    for the

    airport.

    Patsy said, Louise

    ,

    honey, I want your

    address

    cause I

    don't

    want us

    to

    lose

    touch.

    So we exchanged

    addresses,

    but

    you know how it is, you figure,

    yeah,

    well, that will

    be

    the end of that. I'll

    never hear

    from

    her again. Well, finally, we made it to the airport. And Patsy walked

    up

    the

    steps to the plane

    and

    turned

    and

    waved a big good-bye. [LOUISE

    turns

    to PATSY

    and waves [Louise

    takes

    off the cowgirl hat and motions

    to Patsy-Patsy

    motions

    back

    for

    her to keep it, then blows her a

    kiss

    goodbye./

    PATSY

    exits . Louise then goes to the

    kitchen table and silently sits the hat on kitchen chair.] And you know what?

    In

    less

    than

    two

    weeks,

    I received the

    first in

    a long