Always...Patsy Cline Script(2)

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

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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





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



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



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



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



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]



[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



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



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



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]



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



[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





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



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



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





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



[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



[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

can·ies

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



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



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



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

series

of letters and

telephone calls from

Miss Patsy Cline.

I

tell you something, that country gal

was a

winner.

[Music cue

LOUISE

returns

to

kitchen

She

gets

a letter

out

of

the

napkin holder

where she keeps

her

collection ofletters,

next

to the radio] I received

my

first letter May 29, 1961. And I

want

to read

it

to

you.

[LOUISE

takes out letter and

reads while

band

underscores

with Faded Love ]

Dear Louise and All,

Wanted

to

take

time

to write a

line

or two

to thank you folks

for the

nice way you treated

this old country

gal while

I was

there.

I sure do appreciate all you

done,

because

i

you

hadn't

been

so

nice

I wouldn't

have

been

able to

go to

the

radio station

..

My

sincere

thanks and

hope

I can

be

as

nice to you

all sometime. Tell Hal Hello for me.

Hope

this finds you well and things going great. As

for

me, the kids and myself are fme

and hell is still poppin' of course.

Ha.

Don't

know

how

much

longer I

can

stand this way

of

living

,

but

the little ones always

come

first with me. Till then I'll

grin

and

bear

it. Ha.

Now

for the

really big news.

Well, I'm nearly

up

on

the

moon and didn't need a rocket. My

record

sold 10,000

in

Detroit

last

week

alone

and

is hitting

best

seller at Decca

and

is already

being put in 3

premium

albums right

away

of different artists.

[PATSY

singing

offstage . LOUISE reflects on

her memories

for a

moment)

F DED LOVE

PATSY

AS

I LOOK AT THE LETTERS

39



THAT

YOU

WROTE

TO

ME

IT S YOU THAT I AM THINKJNG OF

AS

I READ

THE LINES

THAT TO ME WERE

SO DEAR

I

REMEMBER

OUR FADED LOVE.

[Music

underscore

continues as

LOUISE

finishes letter]

LOUISE

I go

to

the 5 Star Jubilee [Friday Ni

ghts,

NBC-TV, Springfield,

Missouri,

Ozark Jub il

ee]

on July 7th,

and it s

in

color

.

Swingin ,

huh? I

think

I

told

you I m getting things

in

shape

for the Dick Clark show

but don t know

the day yet. I ll let you know. I m going home

next Tuesday and while there, they are proclaiming a Patsy Cl i

ne

Day in

my

home town.

Ain t

that a kick in the

head?

I

wish

they

would have

just

left

it

like

it was,

but

I

do

appreciate

the

noise they

are

kicking

up . So I

guess I ll

have to

do what they want that

day.

The Mayor is gonna be there and recognize

me

and so on. Anyway it sure is a

good feeling. I can t really believe

it.

Guess I d better close and

get

busy

with

this ironing I ve got here . Be sure

to

kiss the boy

for me.

He sure is

a doll and te

ll

the

couple

that was

there that

night hello

and

I

hope

I

didn t

bore

them

with my

troubles.

I think they

are

wonderful

folks.

[PATSY

enters DL, with pad and pen, writing the letter to Louise wearing casual slacks

blouse or sweater]

I still want all

o

you

to

come down and see us at the Opry. So write soon and thanks

agam.

By

the way, Dallas was a swinging date.

Hope

to

see you

again

soon.

PATSY and LOUISE [together]

Love, Always ...Patsy Cline.

[LOUISE

continues

to look

at the

letter

as

PATSY finishes]

PATSY

AS

I THINK

OF THE

PAST

AND ALL

THE

PLEASURES WE HAD

AS I WATCH THE MATING OF THE DOVE

IT

WAS IN THE

SPRINGTIME

THAT WE

SAID

GOOD-BYE

IREMEMBEREDOURFADEDLOVE

4



I MISS YOU

DARLING

MORE AND MORE EVERYDAY

AS HEAVEN

WOULD

MISS

THE STARS

ABOVE

WITH EVERY

HEART

BEAT

I STILL THINK OF

YOU

ANDREMEMBEROURFADEDLOVE

AND REMEMBER

OUR

FADED LOVE

[Song does not

end

-

segues

into her

next

speech]

[PATSY exits ]

LOUISE

One

morning about

two

years later, I was

dri

ving to work and as usual I was waiting for

Hal

Harris to play my f

avor

ite Patsy Cline record [Mu sical tag of aded Love ends here ].

Instead they come

on

the radio

and

said that Patsy Cline

had been

killed

in an

airplane

crash on

her

way back to Nashville. She

was

thirty

years old.

t bad only been six years

since

I first heard Patsy s

in

g on the Arthur Godfrey show . [Band underscoring for How

Great Thou Art begins

here.]

That Saturday night I tuned

in

my radio to a live broadcast

of the Grand Ole

Opry.

[A Crew Person

in

western outfit or a band member quietly

and

slowly

resets the Grand

Ole Opry rnic DC. The Band underscores and

hums

How Great Thou

Art ]

They had a silent prayer for Patsy and the others who died

in

the crash. And then the

Jordanaires came out

on

that very same stage where Patsy had performed so many times

and

sang that beautiful

old hymn,

How Great Thou

Art .

[The lights come up

on

the empty Grand Ole Opry microphone. On the last phrase of the

underscoring as the

band

quietly sings the final phrase How Great Thou

Art .

SILENCE.

There

is a

pause before

LOUISE continues.

Lights

fade on Opry

microphone, then

li

ghts slowly come back to LOUISE at the kitchen table.]

That's been a long

time

ago but I still call that

radio

station and I still ask them to play

Patsy Cline for me.

And as

I

look

at the letters that she wrote to

me,

I remember ...

and

I

know she meant it

when

she signed each

and

every one

o

hem

Love ...Always...Patsy

Cline. [Louise

remains at

the

table. She

lovingly puts the letter

back

into the envelope.]

[Mus

ic

cue, PATSY enters. She is wearing a beautiful pastel chiffon, with rhinestones

gown , semi-formal length-looking very

angelic.

No full length gowns

please.]

TRU LOV

4



PATSY

WlllLE I

GIVE TO

YOU AND

YOU GIVE

TO

ME

TRUE LOVE, TRUE LOVE

SO ON AND ON IT WILL

ALWAYS

BE

TRUE

LOVE,

TRUE

LOVE

[PATSY turns and

sings

to LOUISE who

sees her as a

guardian angel, always

nearby in

spirit.]

FOR

YOU

AND I HAVE GUARDIAN ANGEL

ON HJGH WITH NOTHING TO DO

BUT TO

GIVE

TO YOU AND TO

GIVE

TO ME

LOVE

FOREVER

TRUE

HUM HUM

HUM

[LOU

IS

E

exits with her

l

ette

r

PATSY crosses DC to

the

Grand Ole Opry mic,

appearing at

the Grand Ole Opry

one final

tim

e]

BUT

TO

GIVE TO

YOU AND

TO GIVE TO

ME

LOVE FOREVER TRUE

LOVE

FOREVER

AND ALWAYS

[The word "Always" should be on

a

sound reverb effect Lights

fade

to black]

ENDOF CTII

CURT IN C LLS

[Note: Play first

part

NYTIME for bows, PATSY

joins the l

ast refrain without

the

stop

time ending. Louise dances

with

her

partner

from the audience one

more

time]

NYTIME

PATSY

ANYTIME YOU'RE THINKJNG 'BOUT ME

THAT'S THE TIME I'LL BE THINKING OF YOU

SO ANYTIME YOU SAY

YOU

WANT ME

BACK

AGAIN

THAT'S THE

TIM E

I'LL COME

ON HOME TO

YOU

THAT'S THE

TIME

I'LL COME ON HOME TO YOU

Thank yo

u

so much [Patsy starts to

l

eave the stage.

Band "rumbles" a

chord underneath.]

42



LOUISE

If you want

to

hear Patsy sing one more song, keep

your

hands together and let her know.

Come on

Patsy,

just one more. [Patsy re-enters

to Grand Ole Opry rnic,

cuts the rumble

off. Then they play the intra

to

the next song.]

IF

YOU GOT

LEAVIN

ON

YOUR MIN

PATSY

IF

YOU'VE

GOT LEA VIN' ON

YOUR

MIND

LOUISE [Sits at a bar

table.

During song she occasionally turns back

to

drummer giving

him some instruction like she

did during

the

song "Your Cheating Heart".]

Honey, we ain't goin'

nowhere

PATSY

TELL ME NOW,

GET

IT

OVER

HURT

ME

NOW, GET IT OVER

IF YOU'VE GOT

LEA

VIN' ON YOUR MIND

IF

THERE'S

A NEW LOVE IN YOUR

HEART

TELL ME

NOW, GET

IT

OVER

HURT ME NOW,

GET

IT OVER

IF

THERE'S A

NEW

LOVE IN

YOUR

HEART

DON'T

LEAVE

ME

HERE IN A WORLD

BIUL

TON

DREAMS

THAT MIGHT

HAVE

BEEN

HURT

ME

NOW, GET IT OVER

I MAY LEARN TO LOVE

AGAIN

IF THERE'S

A

NEW

LOVE IN YOUR

HEART

TELL ME NOW, GET IT OVER

IF

THERE'S A NEW

LOVE

IN YOUR HEART

HURT ME

NOW,GET IT

OVER

IF THERE'S A

NEW

LOVE IN

YOUR

HEART

Thank

you

so

much

[Patsy bows and tries

to

exit again, but Louise stops her.]

LOUISE

Oh,

Patsy

. .just one more-just for

me.

43



PATSY

Well-okay honey,

just

for you [To Band]

Okay

boys,

give me

an "A

.

BAND MEMBERS

"A"

PATSY

I

mean an

"A"

chord you bunch

of

smart

alecks.

ILL BAILEY, WON T YOU PLEASE COME HO

ME

PATSY [She

goes

toCenterstage corded

mic.]

WELL, WON'T

YOU COME

HOME BILL BAILEY

WON'T

YOU

COME

HOME

I MOAN THE

WHOLE NIGHT LONG

I'M A GONNA DO YOUR

COOKING, HONEY

I'LL

PAY

THE RENT

I

KNOW THAT I'VE DONE

YOU

WRONG

REMEMBER THAT RAINY EVE

THAT I

THROWED

YOU

OUT

[Patsy

puts the

mic in

front

of

Louise

who sings tentative ly]

LOUISE

WITH

NOTHIN'

BUT A FINE TOOTH COMB

PATSY

Sing out,

Louise

LOUISE [Runs

down

to Opry

mic, si

ngs

and moves like "E l

vis"]

I KNOW

THAT

I'M TO

BLAME,

WELL

AIN'T

IT

A

DIRTY

LOWDOWN

SHAME

BILL

BAILEY WON'T YOU

PLEASE

COME HOME

[Musical

Turnaround. Patsy and

Louise dance

then

work

the

audience

from both sides

of

the stage]

PATSY

WELLLL ... WON'T

YOU

COME

HOME

BILL BAILEY

WON'T YOU COME HOME

I CRIED THE WHOLE NIGHT L0-00-NG

I'M GONNA DO

THE COOKIN'

HONEY, I'LL PAY THE RENT

I

KNOW

I DONE

YOU

WRONG

REMEMBER THAT

RAINY EVENIN'

I

THREW YOU OUT

44



WITH NOTffiN

BUT

A

FINE

TOOTH COMB

I

KNOW

I'M TO BLAME

NOW

'AIN'T THAT A

DIRTY LOW DOWN

SHAME

BILL

BAILEY WON'T YOU PLEASE COME HOME

COME HOME BILL BAILEY

BILL

BAILEY WON'T YOU PLEASE

COME HOME

[BAND

goes into

a

"slow

bombastic" type

finish.

PATSY

and LOUISE

"shimmy"

to

centerstage

Grand

Ole

Opry

microphone.]

BILL

BAILEY

WON'T YOU

PLEASE

COME

HOME

[Spoken]Come

on home, Boy

LOUISE [To

audience]

We all want to

thank

you so much for corning here

tonight.

If you had a good time-tell

your mamas and

daddies, your

friends and

neighbors to come

and see us.

And

I want you

to

be

extra careful driving

home

tonight.

And do

not

hit

the SEXY DUDE

on

your

way

out of

the

parking lot. Now I'm

gonna

take this gal

home for

some bacon and eggs.

PATSY

Good night everybody

[Women exit arm in arm and band starts the playoffmusic. As

soon

as

Louise and Patsy exit , Louise

rushes

back

onstage

briefly to do her

wild

"victory gesture" as she

did

at the

end

of

ACT

1 and

then exits

. Band

continues with

playoffmusic as audience exits

the

theatre.]

END

OF

CURT IN C LLS

45



PC

Technical

nformation

rops

-On Kitchen Table

60 s style

radio

plastic

flowers

or fruit anangement

2 placemats

ashtray

salt and pepper s

hakers

letter holder w/ old letters

small Kleenex

box

cigarette lighter

cigarettes

silver percolator

for

coffee

small

trash

can

under

kitch

en

table

Patsy s letter

to

Louise

Reading glasses

for

Louise

·-On Bar Table

one

longneck

beer

bottle

one ashtray

-For Band

six longneck beer bottles

-Offstage

white

purse [for Patsy]

compact

[For

Patsy]

sma ll 60 s su

itcase

two coffee cups

[1

for

Patsy, one

for Louise]

medium size Teddy

Bear

[Patsy]

stationary, pad, and pen [matches

Loui

se s letter to Pat

sy]

Furniture

1950-60 s style din

ette

table

with

2 matching chairs

area rug

or linoleum

jukebox

barstool [by jukebox]

bar

table

2 chairs for

bar

table

barstool [on bandstand next to piano]

one non-practical silver 50 s type

mic.

Stand

with a Grand Ole Opry sleeve

46



Light/Effects

2

hazers for smoke

effect

[not heavy fog]

24

mirror ball

2 follow spots

Other

Scenery

Notes

band platfonns

[Up

center]

singer platfonn [Center stage-one

step down from band]

kitchen table [right o center stage]

bar

table

[left o center

stage]

jukebox and barstool [downstage right]

The

surrounding environment

may

be

as

elaborate or simple

as the

designer

likes. The

show can be

played within

these bare essentials or can incorporate elements from the

Grand Ole Opry., a Texas honky tonk with beer signs-western signs free flowing, non

realistic n style.

Band

·

Piano/keyboard

Pedal/Steel guitar

Fiddle

Lead Gu

itar

Bass [upright or electric]

Drums

Band members should

also

sing back-up vocals.

Sound [Other

than necessary

amplification

for the band]

2 body

mics [one

Patsy, one Louise]

1

corded microphone on

bandstand

for

Patsy

with20'

cable with clip and stand

Cassette or CD player for

opening

voice over and

intermission

music

3 4

vocal microphones for

back-up vocals

Onstage monitors

for Band

and Patsy

1

offstage

cordless hand held

rnic

for emergencies

2 additional back-up body

rnics

headsets

for

backstage personnel

and

board operators

Running crew

1 dresser assistant

stage manager

2

follow

spot operators

1 light board

operator

1 sound board operator

1

monitor

engineer

[i

f possible]

1

stage

manager

LW YS PATSY

CLINE

47



SUGGESTED OSTUME PLOT

NOTE:

Patsy will

need a quick

change area on

each

side

of the

stage.

LOUISE

P TSY

CTI

Red or blonde wig-60 s style

parlor

hairdo

Colorful western style blouse

Slacks or nice western jeans

Western

boots or flat gold shoes

Colorful earrings

[No

changes during show]

Opening

Red

cowgirl

outfit with

white

fring

e

White western

boots

Earrings

White

neck

scarf

Black/dark brown 50 s wig [Note:

She

does not wear a

cowgirl

hat.]

Walkin'

After Midnight

Late 50 s style cocktail dress

High

heels

Rhinestone jewelry

Neck scarf

50 s style black wig

I Fall To

Pieces

Late 50 s style sweater/Neck scarf

Pegged

Slacks

Flat shoes or heels

Repeat

50 s

wig

Earrings

It

Wasn t

God Who Made Hooky

Tonk Angels

2

piece tailored

pastel

pink

cotton s

uit

w/ jacket circa

1960

Simple white blouse

White heel

s

Tan trench style

raincoat

Pear

l necklace

Pearl Earrings

60 s

sty

le

wig

Your

Cheatin

Heart [Esquire Ballroom Concert]

60 s

style

semi-formal: vibrant color with lots of

sequins

Rhinestone

jewelry

Hi

gh

heels

Repeat

60 s

wig

48



CT II

She's Got You/Sweet Dreams

Repeat Esquire

Ballroom Concert-No Change

Three Cigarettes

Pink

suit

from ACT I without jacket

Kitchen apron

Repeat

60's

wig

f l Could See The World Through The Eyes Of A Child

Simple

pas

tel, full length

bathrobe

House Shoes

Repeat 60's wig

NOTE: Under

her

full length

house robe,

Patsy

wi ll need tounderdre

ss pants

or shirt

for

BLUE MOON

OF KENTUCKY

scene

when

she sings with Louise. This is a fast costume

change.

Second

Blue Moon Of Kentucky verse [ ident ical tw

ins

bit]

Western fringe shirt

Gold lame pants

White boots

White

neck

scarf

White cowgirl hat [carried on not

worn

]

Jewelry

Repeat 60 's style wig

Faded

Love

60's

style swea

ter

Matching neck sca rf

Simple

pegged slacks

Simp

le flat

shoe

s

Repeat 60 's wig

True

Love [Finale]

Blue

chiffon semi-form

al

with rhinestone

s scattered

on

s

kirt

Rhinestone jewelry

High heels

Wig

should be a later patsy

sty

le: elegant, short [optiona l]

NOTE: All

hemlines

should be at

the kne

e or ju

st

below

the knee. No

full-length

gowns

or

mid-length

dresses. Colors of dresses are suggestions.

Band Members/Backup singers

Western shirts

Neck s

carves

or string

ties

Black jeans or slacks

Always...Patsy Cline Script(2)

Documents